Padmapani

i'm planning to do that i don't think that where the artists put the emphasis on the low end differs between goa trance and the rest of psytrance. but there are plenty of reasons to go to bgf regardless

sorry i may have worded my post confusingly. i didn't mean bad mastering but the mix decision to make the bassline the dominant element in the low frequency range. a nice example (because it's an awesome track with good mastering) is this track by ra. it's completely fine for home listening, but at a party it only works because it has those great melodies we all know and love. otherwise it lacks drive and you definitely don't feel any pressure from the kick even if you stand right in front of the speaker. on the other side we have tracks like vimana, where the kick completely and utterly dominates the low end. it was a revelation when i first heard it on a big system and i could dance to it even if you take away all the great melodies. a non-goa example for the kick being drowned out by the bass (the mastering is fine. it also seems like an intentional mix decision; lots of darkpsy track of that time period were mixed like that) is this track by kindzadza. the low end is just a constant wobble that — because it is constant — completely lacks the impact of the kickdrum in vimana (or even silicon sunrise — to give an example of how to do it "right" for a kbbb pattern imho) exactly this focus on the kick is something that (is normal for most techno and) i often miss in psytrance.

i couldn't disagree more. the kick is the most important element; it is the heartbeat of the track. if you drown out the kick with some bassline, putting it more into the background, you immediately lose energy, dancability and take away what makes 4/4 electronic music so special. the unequivocal focus on the kick dominating the low end is what i love about techno (except modern minimal techno most of which doesn't do this) and would like to see more of in psytrance. right now every psy producer is so focused on basslines that many forget the imporance of the kick as driving element and they just take one "standard psy kick" or they leave the low end to the bass, making you feel just a constant wobbly hum of bass notes instead of the rhytmic pulsing of the kick when you stand on front of a big pa. that is not to say that the bassline is not important. it is, and i can add much to the groove and general feel of the track, but the bassline should know its place and not overpower other more central elements of psychedelic trance music.

yeah, normally it's only the hitech artists who use such names (probably to sound even more unconventional), so i didn't bother. 3 albums? and it seems the all have threads on psynews... way to fly under the radar.

i still think it was supposed to be hypnocock. after all missing the "c" for the "x" adjacent on the keyboard is an easy typo to make i didn't click the thread due to the strange artist name up to now, but the samples actually sound decent.

alwoods, cosmic replicant, astronaut ape, gmo vs. dense.

here you go: https://www.dropbox.com/s/1tql2fmeuurnozj/01%20Draeke%20-%20Blue%20Moon%20Dreams.mp3?dl=1

probably logic bomb - the grid.

he does. i've seen him once (and slept through his set the other time ::insert yet another rant about horrible timetimetables:: )

the new one is definitely better. the notes/release in the first one is a bit too long, making the single bass notes overlap and "smear". also the frequencies seem more even (better eq'd) in the second one.

the only artists that are as funky and acidic as gnotr are comsosis, slinky wizard (and of course slinky nuns ) and oood. the green oms are also funky but not nearly as acidic. i'd recommend cosmology or this one:

interesting. i have just given the album a quick listen, so the final verdict may differ, but i am pleasantly surprised. i went in expecting just kicknbass plus some random noises (which is not my really cup of tea. i know that nectarios is pretty good at using his analogue equipment to make interesting random fx so i decided to give it a try nonetheless). but it turns out that the album sticks more to the fullon template than expected (which is: not much and which is also not a bad thing in this case making the whole thing a little more easy-listening), that there are actually melodies twisted together and melted into the fx and that the way everything plays together is more like old hux flux (think cryptic crunch) instead of just messy noise (as in most darkpsy). especially discrete circuit sounds more like old hux flux than the stuff that hux flux posts on soundcloud these days... so while i'm not yet ready to give the album a thumbs up, i can say that it's definitely worth checking it out, especially if you like old hux flux, psilocybian or nervasystem. favourites up to now: discrete circuit and downward dog.

these days i've been listening to more dnb from back then. going through old mixtapes i stumbled upon this classic: and for once the youtube recommendations brought me somewhere useful. apparently tech itch still makes music in the same style and he's just as good:

you mean like this: ? most of the fullon from 2000-2005 sounds like that. gms and psysex were among the first to make these basslines, talamasca and astrix followed soon afterwards, and it became the quasi standard. cosmosis does an especially good job (no one makes groovy/funky psytrance like him).

i don't quite understand how it's going to challange anything when it sounds so utterly generic (which in itself was pretty expected given the way it's promoted). if you want more positive comments you should probably try a more descriptive blurb. what about: seriously, what sort of comments do you expect with that sort of over-the-top introduction? if you want me to not make fun of your promotional text, then the music has to be as least as innovate and out-there as twisted was in 1995 or I.F.O. was in 1997.

neither do i. when i first listened to the sample i immediately noticed that this music is extremely good at what it's trying to be, which — sadly — is beatless ambient. nicely constructed, lush, breathing and flowing ambiences that would bore me to death if i had to listen to the whole thing (or even just one track) in one sitting. i appreciate suntrip releasing this album because it's good music, and i totally understand their decision to make it a limited edition. i don't see the connection to 70s electronic music though. mindsphere is clearly ambient here while i see the (good ) music of the poineers back then more as trance without percussion.

high quality stuff as usual with altar records. but now is a really bad time to release a compilation with that name. i almost didn't go to this thread because i've had enough of winter for at least another year now

oh, damn. now i have that track stuck inside my head again. @topic early talamasca, silicon sound, latest cosmosis (what's he doing nowadays? some collaborations with hypnocoustics but nearly no news at all. will there be a new album??) and of course logic bomb/hux flux/...

thanks for sharing! things like that make it difficult to start fine-tuning tracks instead of creating new ones. some of these snares just beg for immediate experimentation

thanks. kaminanda is sounding good.

i'm also getting old, therefore i cannot just party anytime (or 24 hours like 10 years ago) and have to sleep long into the day to be well rested full power during the day is often impossible because of the heat (if the weather is good). chilling during the day and dancing at night helps to reduce the strain of temperature extremes if most people are in favour of partying during the day (it certainly seems to be the case on here), why aren't the normal parties during the day? it's easier to get permits at day and no one can stop the party due to noise regulations or complaints from neighbours.

i disagree. i enjoy it way more now that i can get the ideas down that i have in my head instead of depending on chance discoveries to get decent sounds. it's also great to enjoy the tracks you're making even when it's not the most recent one. @op don't depend on our opinion to decide what you want to do with your time. music production should be about you enjoying the process, not about if anyone else likes that stuff you make. if takes an awful lot of time and effort to learn your daw, your synths, the necessary music theory, how to structure a track, how to finish a track, how to eq and mix properly, … . online tutorials might speed up learning the basics (it took me way more than 2-3 days to come up with something like your "test" samples) but after that you're on your own. so if you expect to get a track released within a year or playing at parties all over the world, you're going to be frustrated and disappointed. you might end up like some of us, who (including me) have been producing for 10 years without releasing anything. for some that might change in the future, but even if it won't change for me i'm still happy with all the time i've spent producing. it's all about enjoying the process of creating music.

braincell is like e-mantra. always good music but after a while it all starts to sound the same. there are a few gems that stand out, but the great majority of their tracks (while instantly recognisable as being theirs) are non-distinct and forgettable. they work great in a dj set but it doesn't seem to matter much which track you stick in there skipping through the sampes this sounds a bit less melodic than his last album. bordering on what could be called "braincell meets nano records"...?

nice! the artists i look forward to hearing are too numerous to list, so i won't even start can you please keep us updated here (and/or on goabase) too?

i love that all the crazy stuff like numerology, discussion about the climate in california, a part about russian cpus and something about ufos is all listed under "work history"