recursion loop

I don't know, I guess he may be now crying somewhere in a dark corner.

Well, real men don't cry, but if we talk about melodious, emotional and touching psytrance, U-Recken always nails it (sorry for the fugly cover in the last vid) Anyway, what actually makes me cry is that both psy and goa as a whole are moving into darker, louder and noisier territory in last few years completely leaving any melodic/emotional content behind.

Interesting release. Not sure I actually like it, but it is different enough from typical modern goa sound. I can't say it sounds actually oldschool, the mixing sounds very clean and digital. It's more like that they just use less layers, less processing aimed at making things loud/fat/in your face, less delay and reverb. Not sure it's a bad thing, the sound may lack the complexity and fatness of most modern productions but on the other hand the sound picture is very clean, all details are clearly heard. As for the music itself, there are some very interesting moments (I loved these atmospheric synths and melodies in tracks 1, 7 and 9 and the didgeridoo is totally awesome of course) as well as some pretty pointless ones. Unfortunately the album doesn't completely avoid "useless and predictable melodies" as the reviewer said, there is enough of this chromatic and fake-Eastern pointless shreddage. Also I agree that there is too much 303 here and it is used in a very straightforward manner and often distracts me from more interesting sounds and parts the tracks may have (is it a real 303 btw? sounds more like some plugin to me, maybe Spire). Anyway, there are some interesting sounds and melodies here and there and a clear intention to develop their own sound instead of doing the same thing as everybody else (apart from that 303 which tries to sound like the most stereotypical goa 303).

Ну я в общем про то и говорю, для меня этот релиз на голову выше большей части того, что сейчас выходит в гоа. Очень хорошая мелодичность, глубокий космический звук, почти как у астралов. Мне такого звука очень не хватает, сейчас всё какое-то кислотно-хаотичное, мне гораздо больше нравится вот такой красивый трансовый саунд. Другой вопрос, что человек нашел свой звук, действительно очень удачный, и пишет треки по одному рецепту - с одной стороны издержки стиля, всё таки гоа-транс должен быть именно гоа-трансом, с другой стороны в формате альбома хочется немного больше разнообразия. Это не то, чтобы именно критика, скорее пожелания на будущее. В любом случае, ваш лейбл сейчас для меня самый интересный из гоа, причем большей частью за счет русских проектов. По поводу названий это стёб, конечно, просто действительно много проектов с похожими названиями

Gaura Nitay is incredible. Just love this track, every single second of it sounds perfect. This guy has made a lot of great music (it's hard for me to name a weak track by him) but Precession of the Universe and Gaura Nitay are arguably the best goa tracks ever made during the whole history of the genre (this sounds exagerrated a bit, doesn't it? but for me they are). I also love Night Train by Alienapia (what a climax!), Message to God by Zopmanika and every track contributed by Centavra Project (hope he will release an album any time soon). Median Project tracks are quite good as well. There must be also some other gems here but it's really hard to go through 34 tracks and remember everyhthing.

Interesting how the perception changes, now it's one of my favourite tracks here. It does have a bit ponitless part in the second half before the final climax, but these groovy acid lines in the first part and the dramatic melody in ending are beyond any awesomeness. On the other hand, the last two tracks are now sounding to me a bit weaker than the rest, they have some cool acid textures and nice melodies but compared to the rest they seem a bit directionless, like they were made of the parts that hadn't made it into the other tracks. Anyway, the album is a real masterpiece, every time I'm listening to it I hear something new.

Отличный релиз! Не без недостатков, но в целом очень понравилось. Так держать! Really like the album. It indeed does have many similarities in sound and overall atmosphere to Artifact303's Back to Space, which is my favourite newschool goa album so far, and it does approach almost the same level of awesomeness. My favourite kind of goa, melodic in a good way (I mean, real pleasant melodies, not chaotic mess of notes like in many other "melodic goa" releases), deep, warm and lush. The production is pretty good. On the other hand I agree that there is not enough variety both between the tracks and within the tracks, at least as it appears at the first couple of listens. Some tracks are a bit darker (but it never gets actually dark) some others are downright euphoric (which I always appreciate anyway) but they all follow the same formula, a short intro with filter sweeps and some pads, then the track starts almost full power, fully unfolds in first two minutes and then just rides on. Comparing it to Back to Space the latter has more unexpected turns, more variety in melodies, moods and textures, even though it's the same kind of smooth floating goa. I can skip over to any random part of any track and while I'll most probably hear something I like it all will sound very similar. I think the tracks from this album must work better if mixed up with tracks by other artists, as a whole the album is a bit too much of the same thing. Anyway, I'm glad that this kind of goa lives on, this album offers exactly what I actually expect from goa trance. Being a big AP fan, i'm finding most newschool goa too harsh and chaotic. I hope Median Project will continue working in this style just making his tracks a bit more varied and challenging. Btw, is there such a rule that any goa act from Russia must have "project" in its name? I mean, Psy-H Project, Median Project, Atlantis Project, Centavra Project, Nord Project.

Psy-H Project uses something similar to a typical darkpsy bassline. A bit unusual for goa, but that's his trademark style. If you know how to make a basic psy "kbbb" bass, just drop it one octave down, make amplitude and filter envelopes a bit shorter and decrease the amount of envelope to filter modulation, you should get shorter percussive sound with less high frequency content (not completely devoid of it though, the attack phase should have enough high frequencies to cut through the mix). You may also add some saturation to make the lower midrange sound fatter. If you write music in a DAW and have a PC, check out G-Sonique Ultrabass plugin, it's great for these basslines. It has a built-in saturation which sounds spot on. Alienapia is a bit harder to dissect because the bass never plays on its own. This track has a midrange arpeggiated synth and a bass which plays some groovy pattern supporting the arp. I think it's also a saw with an envelope-controlled LP filter, but this time it sounds more loose, I guess the phase of the osc may be free-running and the envelope is set differently (I guess, longer decay). Also it's not a steady 16th pattern, it plays some syncopated groove interplaying with the arp pattern..

Techincally this is wrong. The "kbbb" bass is a almost always a saw and typically has the filter almost fully open at the attack so the frequency content spans over few octaves. Some full-on basses with longer filter decay may sound almost like leads. As opposed to psy, some goa basslines may use layering which may be responsible for "fuller" sound, however in goa the bass is rarely the main element of the track, so it's actually a good idea to make it relatively quiet and scoop some frequency areas with an eq to make room for all the leads. Also many full-on tracks have lots of chord changes followed by the bassline - especially if we talk about melodic kinds of full-on. Some full-on bassline patterns may sound like melodies on their own. I think goa in general tends to use less chord changes, maybe a modulation to subdominant at the climax and that's it. @the OP: care to post some specific tracks so we could try to figure out how the basslines were made? If you talk about "the psybass" typically no examples are necessary because everybody immediately understands what kind of sound you are after, in goa there is much more variety.

I envy you I think there is no unified kind of goa bassline, basically any bassline that fits the track may be a goa bass. Many newschool goa releases utilize something that sounds like a more loose version of the typical full-on bass - I mean it's still a phase-retriggered saw with a short filter envelope played by 16th notes jumping over an ocatve, it's just not supposed to sound as loud, fat and tight as possible but may be buried beneath other synths as your say. Some people add a midrange layer on top of the bassline - a synth playing the same notes octave above hipassed around 150-250 Hz, it may have some unison and a delay and/or phaser or some other stereo-widening processing. But basically goa bass is whatever bass that fits the track.

I'm curious about ARC system myself. Far what I know, it creates some kind of equalizer curve based on the frequency response of your room. I think if you room has no acoustic treatment, ARC may be helpful to some extent, however the problems which may arise with lower frequences in untreated rooms may be far more complex than what a static equalizer curve may fix. Anyway. I would be curious to read some feedback from people who have actually used ARC. I talked to a professional ME about what can be done in a home studio to improve the monitoring and he believes that there is basically no other way than doing full room treatment with big bass traps. On the other hand, as a temporary soultion if you are mixing in an untreated room you may place the monitors close to your ears, around 40 cm or so and listen to your mixes quielty. Thus you will minimize the room reflections - however you should be aware that at lower volumes you perceive the overall frequency balance somehow differently (see Fletcher-Munson curve), so you should always check your mixes against level-matched reference tracks and also make cross-checks on different speakers/headphones etc. I wish I learned this much earlier Btw, here is a nice article on budget room treatment. http://www.masteringmastering.co.uk/cheap-acoustic-treatment-for-mixing.html

These tracks are not actually new, wrote them in 2016-2017 but they have nice mastering now

I think it would be easier for you to learn how to produce tracks youself than to explain to someone else, who has his/her own artistic vision, what you want and what you don't want to hear in their tracks. At least this is what I did

I don't DJ just dowloaded the track to listen myself. "Voice Of Pressed Tin" also sounds lovely. Thanks for sharing these! Genre-wise I think these tracks are just pure psytrance. They don't have any specific traits that would allow classifying it as strictly full-on, or progressive or goa which is actually a good thing cause all these subgenres are way too cliched now. Love & Magic may sound a bit like full-on because of the tempo.

The track in the OP sounds a bit too simplistic but I think it has all the characteristic elements of progressive psy, like the rolling bass, "trippy" farts etc. The tempo maybe a bit too high, though but if Suntree or Ritmo are psy then it must be psy as well. The Material Music track is surely psy, not sure if progressive (again the tempo is too high, around 145 I guess? May be kind of full-on). To me it sounds much more interesting. Liked and downloaded, quite a good track!

That's my second EP at Gert Sound Records, three tracks combining progressive, full-on and uplifting trance elements. Track list 1. Soul Of The Machine (137 bpm) 2. Morning Wake Up (vs MTR) (140 bpm) 3. Andromeda Nebula (146 bpm) https://www.beatport.com/release/soul-of-the-machine/2167570 You may preview the full EP in the above video, though the sound quality in it is not very high (128 kbps I guess), the label doesn't allow posting high quality audio of full-length tracks. There is also a respective playlist on my soundcloud but it contains preview versions which I have mastered by myself, the release is mastered in a pro studio. Also special thanks to Antic604 who helped me to finish the third track (he didn't participate directly in the track writing/production process but his advices on the intermediate versions which I posted here were quite helpful)

Absolutely! Basically no weak tracks on this album. I was listening to his previous project Beyondecliptica today but sounded to me like pretty generic fullon, although well produced. As for his post-Shuma output there are some tracks which I rate very high, like Little Universe, One and some others but they are collabs with someone else. It seems that the guy has some serious production skills but the real inspiration doesn't visit him too often. I also came across his most recent tracks at his soundcloud the other day but they are pretty repulsive, this Vini Vici-like kind of "futureprog" which i can't stand.

https://soundcloud.com/recursion-loop/escape-from-utopia Proggy stuff. Hope you like it

This thread is from 2011, at this time full-on was sort of psytrance equivalent to Bling Guardian, Hammerfall etc - energetic, with catchy and euphoric melodies, but not really psychedelic and more adapted to causal listeners. This kind of stuff There are some of the psy sounds, like squelches, FM farts etc, and also the rolling bassline in there, but people were often saying that this subgenre as a whole was way too lighthearted and not trippy enough to be called psytrance I think this kind of full-on has mostly died out now. Now full-on is much less melodic and more dark. Btw, how many more metal-heads turned into psytrance listeners will I meet in my life?

The latest E-Clip was quite poor in general but for a couple of tracks. I don't remember the basslines because when I don't like the music I don't care about the technical details.This track is from 2014 when E-Clip was still good. Actually I have that mid-00 full-on sound imprinted deep in my mind, so whatever "prog" I may be making it will be a slowed down version of that full-on.

Nice track, maybe a bit too trancy but good.

If you know this technique, you have a choice - you may use it or not. If you don't know this techique, you don't have such a choice. In any case psytrance is technically very complicated genre, the more various tricks and approaches you have at hand the more creative you may be. And yes, carefully chosen starting phase with constant retrigger does make psytrance bass more enjoyable because in psytrance you need steady and consistent basslines having hypnotizing effect, this is one of the approaches which is proven to work best.

Thanks! Yeah, great stuff and fits this thread perfectly.

Thanks a ton! I think I'll leave the bass in this track as it is as I don't think I can make it any better now, but I'll take note of your advises when making next tracks. Anyway most proggy tracks released in last few years are way too bass-heavy to my taste. I like when bass defines the groove and moves the track forward, but not when it becomes the central element of music. Here is my perfect bassline - it doesn't take more space than needed and works perfectly within the track..

I once talked with a manager of a major psytrance label about one of my old tracks. He said that he likes everything - the synths, the melodies etc, but the kick/bass are not up to the modern standards and for this only reason they can't release it. Go figure.