Veracohr

I haven't seen it since the first time I saw it, when it was in theaters. I think I should watch it again. I remember having a similar reaction.

I think that since a moderate to high BPM is one of the defining elements of trance music, a downtempo song on an album full of trance is the odd one out, and thus calls attention to itself. An album of trance with no downtempo song is just an album of trance, like any other genre of music. But putting an unmistakably different style at the end is a call to pay special attention to that song. That's fine, but when album after album after album uses the same exit strategy, I can't help bu wonder why all these artists and labels feel the need to end different sounding albums in the same way. Generally speaking; certainly there is a lot of room for variation in goambient. But in a general "this is most definitely slower and more relaxed sounding" way. Say a hardcore rapper ended an album with an old school soul song. That might seem like a personal thing specific to that artist, but if 3/4 of every hardcore rap album ended in an old school soul song, would it not seem like they're just blindly following their predecessors' lead?

What do you mean by "tight"? There's a good chance what you're looking for is mastering compression. But it all starts with the writing and arrangement.

Yeah, that's a good one. The thing is, the more I hear it the more I get annoyed with it, so I tend to be biased against those end songs. I agree it can be a good way to wind down an album's journey, but ending every album the same way sort of implies that every album is the same journey.

I just got this album today. I was all pissed off that CD 1 is scratched, so the last song won't play past a certain point or rip to MP3, but after reading just the posts on this page it sounds like I may not be missing much.

Anyone ever notice the tendency for goa albums to conclude with a down-tempo track? Why has this become so typical? When I first got into goa it seemed kind of nice to wind down an energetic album with a nice mellow song. But I've heard it so often now it's getting kind of annoying. It's not that these ending down-tempo songs are bad, they're often pretty good, but why are they always at the end of the album? I'm not sure if this is also the case with more widely-liked styles like full-on or darkpsy, since I don't really listen to those. Other styles of music, like rock, often have a hard-hitting song at the end of an album. This is a strategic decision. Having an impactful song at the end of an album helps to imprint the memory of the whole album on the listener (assuming one has listened to the whole album from beginning to end, which is much less common now than in the past).

Yay! I just got it today. Along with Opus Iridium. I'm on "Born Underwater" now. The first 2 songs seem a little different from what I remember the samples sounding like. But "Born Underwater" is so far exactly what I wanted out of this album! Good day for music for me. Along with these two CD's that just came in the mail, I stopped on the way home from work and got a used Candlebox CD and a used Nicole Atkins CD. I haven't gotten 4 new albums in one day in...perhaps ever!

Merr0w - Born Underwater Just got it today! :posford:

Those samples all sound the same, as though they were all taken from the same song, regardless of the artist.

Damn, I gotta wait for it to get halfway around the world!

That's more or less how it was for me. I've been listening to goa and psy for about 4 or 5 years. But of course, things tend to be subjective.

When I was diving in Egypt I came across a small little fish in fairly shallow water that I called a "psychedelic zebra fish". I later found out it's called a "Klunzinger's wrasse":

Sounds good. I wish the samples were a little longer.

So for those who use Last.fm, where does this album stand in your stats so far? For me: #5 Top Artist (last 3 months) #3 Top Album (last 3 months)

True, but there's just so many wonderful lines in the 80 hours of audio or whatever that I have. Most psytrance using McKenna samples use lines where he's specifically talking about drugs, but there is a plethora of much more intelligent and meaningful sentences in his lectures.

Happy hardcore's the worst. I do like some gabber, though, but mostly in the realm of hardcore I like dark hardcore. Somewhat slower than gabber, just to the techno side of industrial.

A certain section of it would actually keep me awake, with disgust and depression.

Generally movies and Terence McKenna lecture MP3s. I try to limit my use of samples, because it's sort of a habit for me to rely on samples, but I try not to be so typical. I also think of it as a crutch, and I try to keep from using crutches. Not that that keeps me from using 303 sounds all the time.

I've been using this phase shifter plugin for a little while, and it has grown more and more useful, so I thought I'd pass it along: http://bram.smartelectronix.com/plugins.php?id=1 It has 3-23 stages, distortion, modulation is continuously variable between an ADSR envelope follower and an LFO, and 4 intensity levels illustrated by a cute little face that goes from smiley to maniacal evil. This guy has a bunch of other plugins, some of which don't really have descriptions of what they do. I just downloaded a few to try out. Some of them are Windows-only, so I can't try them.

Blast! I only understood 4 words from that video: synthsizer, MIDI, music and electronic.

stupid post

I like that a lot! :clapping: Kind of reminds me of IFB. This too! (though not the IFB part)

VALIS It's an excellent book. There were sequels to it, but they weren't quite as good. I think I remember seeing someone reading VALIS in the show, but I don't remember it being Ben.

Could be useful for string pads, although the starting price is approaching the upper end of of the value range listed at Vintage Synth Explorer. There's some sound demos there: http://www.vintagesynth.com/roland/rs09.shtml

Yes, more or less. Mastering should not have to entail big feats of sound manipulation; the mix should be perfected by the mixer, not the masterer. But it is (or should be) the job of both the mixing and mastering engineers to make the music sound best in all possible situations, whether it's on a big audiophile sound system, a club or coming out of a crappy TV. That's what they call "mix translation", meaning it translates the same from one place to another. Ideally, you should not be hearing different things when you hear a song on different sound systems; if you are, then you have frequency masking going on, probably in the form of too much low end.