Filteria

Thanos! You brought back some memories was always buying Lemon magazine when visiting greece and I still have that Space Goblin CD somewhere. I remember David (battle of the future Buddhas) took out 2 pages with pictures of him playing in Athens from one of the magizes i had. I always tried to find the Lemon magazine with Etnica but never manage to find it. If you have it, feel free to scan

Well, since you keep posting this on every youtube video about the sound (and more than once), I think I need to answer you (for the second time)... You seem to have taken it very personal for some reason? Either way: 1. There are 2 sounds (YES 2!) that are "software-based" in the entire Filternaut track. One is the lower fundaments (bas) of the kick and one lead sound (out of 7-8 lead layers). The kick is blended together with a Linndrum kick (yes a real Linndrum from 80's) to give the kick another character than the usual kick you heard in 1000000 releases (and also because I love the 80s vibes). So it's obivously something else you are disliking and NOT a "software" issue. As for the production: having spent 2 years at home without a party (same as the rest of the world) my mood was a bit more layback and so was the mix.. If you want more in your face Filteria production then come see me play. Every track from this album is mixed/remixed differently and its more like the previous stuff in the mixing. To conclude: if you don't like it, that's fine but get your facts straight. And cheers for the support until Daze or Lost in the wild or wherever you draw the line

Yeiii i hope you will like it guys

Hello I have been working a lot with this one and I hope you will like the album. Of all the stuff i've made this was by far the most challenging for me. I believe there is something in there for everyone Take care / Jannis

Daze of Our Lives (extended) is just rereleased with 2 additional tracks. Check out here: https://filteria.ban...-lives-extended thank you for the support and all the reviews Best regards / Jannis

My third album from 2009 Daze of Our Lives (extended) is just rereleased with 2 additional tracks. And yes, there will be more coming including the debut album of K.O.B. on Suntrip Records. Check out the rerelease of Daze of Our Lives here: https://filteria.bandcamp.com/album/daze-of-our-lives-extended thank you for the support Best regards / Jannis

I never (and I seriously mean never) managed to finish a tune that I started as a loop. Working with a loop that you start fiddling around with limits the creativity because you can't really let the track take YOU to places..Also hearing the same loop over and over kills the mood for me. I suggest you go back to the old way of working.. creativity first, mixing etc comes second. Leave the small details for last.

No I didn't Etnica/Pleiadians finished with Lunar Civilization to make a smooth transition for my sound. I finished my initial set with Navigate (from my first album). People wanted me to continue to play and Max asked me to play Lunar Civilization (Filteria Remix). Now the reason why you think I played it twice is that the version I play on livesets have the ending of my own track Navigate. So in fact you heard the ending melody of Navigate twice. Nice videos you uploaded btw

Thank you for the love and criticism.. Some insight regarding Sky Input: I was just a kid back then (19-20 years old) who made music for myself in my parents place. There was no one who would affect me and tell me how it should sound. I just did what I wanted too. Once that album came out, I started reading reviews and talk with the audience at parties after my gigs. Like it or not, they will affect you. But you also change as a person. I can't possibly be the same guy today as I was back then. Things have changed a lot since the Sky Input days. There are periods of time nowdays where I play every weekend and have the opportunity to test my new tracks on audiences all around the world. I always try to find a sweet middle ground between homelistening and being able to make people dance. For instance: a track like Lost in the Wild or 36th February might be (probably is) too much for homelistening but been tearing dancefloors apart, so I couldn't exclude them from the album. But I was really happy with the result in the end. As for the question: how do you follow up the Lost in the Wild album? I am working on K.O.B. album. And I am having some serious sound design sections and trying to find new stuff that will inspire me to make a 5th one. Time will tell how that goes... Best regards to everyone / Jannis

For me, Boom was amazing! I played there both in 2010 and in 2012 and I have to say that 2014 was better than 2010 and 2012 combined Everything was really super. S.U.N. was also great. The crowd at S.U.N. went more nuts on the dancefloor, but then again there is more space to dance and not as hot. These 2 festivals are the best ones for me. Hah! I told Dick while I was playing, look at that shirt! And then you were pointing at each other. I also saw you at S.U.N. while walking towards the bar with that T-shirt My pleasure mate Good to hear that you guys enjoyed my set

Hi I just came back from this years Boom Festival which was simply amazing. Probably the best festival i've been to. I thought I would share this video while I am playing Dog Days Bliss Hope you like it

I would answer that Food Demons and night @ 12pm is totalt different and still on the same album. Life never sleeps is also very different from those.. And i dont know what the snuggling snail has incommon with those 3 tracks. Or compare filtertraces with lost in the wild. But ofcourse our perception differs and that is what makes life wonderful

This is timeless music. It's almost 20 years and still sounds so fresh. The Live CD might be the best piece of music human kind has ever witnessed. I will never forget the first time I heard Plastic around 5.50. Goosebumps, smiles and breathtaking. And the way the tracks switches between them is simply amazing. Just listen between Vimana and Lunar Civilization. That's what a liveset should be like (taking notes for myself). There is a not a single boring second here. I have to add that since i've been making music myself for some years that the mysticism and magic is somehow gone when you have the knowledge how the sounds and tricks are created in trance music (speaking generally). For the first time in years I am amazed again and feel clueless when I hear those sounds in Plastic or how this liveset is build in general. There is simply so much more to explore I would have given a left arm to be there that night and witness this liveset. Too bad I was just 13 then A true inspirational piece of music! Get it! GET IT!!!! Thank you Etnica..

I think there is some confusion here. I get a feeling that some of you are talking more about the mixing rather than the mastering. The only way you really can tell if the mastering engineer fucked up is if you listen to both the raw final mix and the final product. It's seldom a professional engineer ruins the tracks. He has his own vision of what it should sound like, but I think it's up to the artist to tell the engineer what he wants. What makes a track fat/clear is the mixing from the artist in the first stage. A mastering engineer only have a wavefile to work it. Remeber that every little EQ boost affects the whole track. If you lack highs for instance, he might add that, but you get also hiss on every lead along with that. Remove some rumble from the bas and the track might get too strong in the mids etc etc. Mastering is the final "polish" of a track. To make a album/compilation more "even" if you like. The 2 big fails are if they squeeze it too much (loudness war) or overcompress it so it "pumps" ugly. The rest I would say is taste. Speaking about my own track Aqua Society. I just got a TC Electronics Finalizer at that time. For some reason the track was recorded with a compressor and a limiter, which is big no when it comes mastering. All the dynamics are already gone and the mastering engineer has nothing to work with. I don't know who did the mastering, but it's my fault it sounds the way it does. I think it's up to the artist to tell the engineer what he wants. I always tell Tim to work veeeeery little with the compressor so the music can breath and each layer can do it works. That's at least my 2 cents