Padmapani

it's not shpongle, but have a listen: http://www.youtube.com/watch?v=VhACP4HvFTE you said you don't like ultimae stuff, so i won't mention altar records, what i'd usually suggest, simply because it's great stuff. but you should also check out electypnose's chillout stuff. maybe also gmo vs. dense which is something like a cross between psychill and progressive.

nice one, even if i don't see the resemblance to ra samples sound good, especially acid from above

glad to hear i'm not alone. terrafractyl is like vegetarian food for me, it may be of high quality, but it lacks "meat" . i have the same feeling about some of the more listenable avant-garde-ish music and indeed some kinds of jazz. so, i don't get it. somehow terrefractyl is similar to talpa with the integration of non-eletronic music, effects and strangeness. but terrafractyl's musical curry is made with pumpkin, while talpa uses beef

ah, ok. thanks.

why is that? isn't it the last track from this album? not that i'd need another point, 10 is a nicer looking number anyway thanks, even though i think that it's one of the easiest. if you carefully listen to the percussion you already have the track name

i need this now, as round 13 didn't contain nearly as much ott as i had guessed

nice, thanks for sharing. i only know (and love) this from one of the livesets above.

edit: so that's 11 points. i think haven't been that bad since the darkpsy one

ist gemerkt.

in sco'land? i always thought it was all smooth rolling hills up there.

still, it's not really applicable to psy, simply because there are no real life shops that offer any psytrance in most places.

i know, i listen to it regularly. but he's just a master at putting the right samples (which are both interesting and food for the mind) at the right places. i was thinking of tracks like tiny universe or illogical logic here.

well, you do have a very specific query. you're not simply looking for dark progressive, or for psytrance with a 3/4 signature, but for darker, mostly effect driven psytrance with slow bpm, a 3/4 signature and a specific bass pattern and sound. the problem here is, that most of us don't categorise our music using these criteria. so it's kinda like you were asking for newschool goa over 148bpm that has a specific pattern of 909 claps. while sections with a 3/4 signature are moderately common but often abused to add variety to an otherwise boring track (hence the video jason linked to), darker mostly effect driven psytrance with slow bpm (most of which is dark prog nowadays) has never been a very popular subgenre and therefore has comparatively few releases, so i don't think you'll find a lot of music that fits your criteria. i surely can't think of anything that hasn't already been mentioned. but good luck with your search anyway.

certainly, but i'm not sure if my association of mwnn with summer doesn't stem from regularily hearing him play live for the last few (or should i say many) years at ozora/sun at the hottest time of the year other artists than imho fit nicely to cold weather are eat static, aeternum and the infinity project. chi-ad is divided between winter tracks (the whole anno domini album) summer tracks (biocandy, eye am the i, ..), and bpc is great for every season

i love how he uses those speech samples in such a mysterious, unobtrusive and highly psychedelic way instead of making them cheesy like so many aritsts (for instance filteria) do.

certainly miranda, etheral e-mantra, elysium or ethereal, but ra and mwnn are definitely sommer music for me but actually i listen to quite a lot of psytek in winter (someting i hardly do in summer). the driving beat gives me the energy i need to fight the urge to go to sleep and hibernate

welcome, try it out but don't take by word for it, i can't hear all the details i'd want to be hearing for this without my headphones. either cutoff or eq. both work. it depends on where you want more control. the time dimension or the exact curve. i'd use an eq usually, but kinda suspect that it's the cutoff here, idk why... yes, certainly keep the lower part(s) in mono. actually that's the numer one reason i use layering on by basses. you can give the upper layer stereo width and modulation for a fat sound while keeping the low end stable and clean. i know that too well, you can learn a lot by reading up about production, but you can also waste a lot of time you could have used more productively in the daw to be honest i'm not that excited about it. for progressive i prefer the pure psy sound with atmosphere like ovnimoon, e-clip or zen mechanics, but my true love is goa .

nice explanation panoptes. i'd like to add a few practical tips: first and most important: always do a A/B comparison when using a compressor (at least while you're still in the phase of figuring out how to use it properly). use the makeup gain to get them to a comparable loudness (if you apply it to shape the transients) or signal level (if you use it to maximize the impact of your kick for example, which i don't really think is a thing you should focus on/spend your time with), and listen to the one after the other. best with eyes closed without knowing which is which. be sure to choose the variant that sounds better and not the one, where you spent a lot of time tweaking compressor settings . don't use the compressor to correct things that can be corrected in a synth. there was a time when i did this way too often - with absymal results for a lot of purposes (such as transient shaping, also sidechaining) it's important to let the compressor return to zero before the next note triggering the compressor hits. a good starting point is a gain reduction by the compressor by about 3db, then tweak it from there. if you hear artifacts ("pumping") then your compressor either has a too short release, too short attack, or you're using a too high ratio. for "staightening out" sounds i'd like to put through a gate afterwards, i usually use long attack, release and a soft knee (meaning there's a smooth transition from no compression to maximum compression depending on the loudness of the signal - as opposed to a hard knee where compression goes from 0 to max once the threshold is crossed). whenever in doubt use gentler settings (higher threshold, longer release, lower ratio) or omit the compressor enirely. no compression is always better than badly used compression. know what you want to achieve and don't use a compressor just because others use it. and please never ever make the silly mistake of putting a compressor/limiter with far too agressive settings over your entire mix. that way your breaks and the first kicks in a section will be way too loud with the rest of your track being squashed into a tasteless mush. there are too many examples of this on soundcloud

layering. in program flies the bass there consist of at least 2 (i think sometimes 3) layers. i don't have my headphones here now, but the lower layer sounds like a saw filtered down nearly to a sine, the middle one is probably the usual psy bass but with a very short decay, so it sounds more percussive than anything. and later in the track there comes a third layer, that's acutally more a lead sound than a bass. this one's a detuned saw with effects on the top (distortion, maybe filter fm, something else?) and a huge stereo width.

nice one i do like the sound of 3 forthcoming imba albums.

yes, that's indeed dark progressive, but (at least imho) you've already found the king of the genre with onionbrain. but there's some crossover with the minimal psytrance/psytek stuff. you should definitely check out the hypogeo album (and of course the whole zenon records discography) and you might also find something you like in the pool of minimalistic stuff from around 2001 like for instance krumelur - minimal animal.

interesting how much our opinions differ considering we probably have the same product wasn't it 25€ for internet, telephone and tv and 19€ for internet only?