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antic604

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Everything posted by antic604

  1. antic604
    Interesting. For me personally Colin's mastering works great for dub / down-tempo, but is hit & miss for up-tempo music, e.g. was awesome in Portamento's "The Portal", Nervasystem's "4" and "Brainradio" and OOOD's own albums, but definitely over the edge in Artha's "Influencing Dreams". Probably it just fits MY idea of good mastering, which should be chunky, meaty and fat
  2. antic604
    For me per month it's basically: - 1 order @ psyshop.com: 3-4 CDs of more "mainstream" stuff, - 1-3 CDs purchased straight from artist / label, - 1-4 digital releases (non-goa/psy electronic music, usually IDM/glitch), But it really depends - sometimes it's the above x2, sometimes it's barely anything. I try to restrain myself to buying "good" music, because (1) I'm running out of space to store it, (2) have limited time to listen to it as is, and (3) don't want to upset my wife as well No monetery constraints luckily, so bring on those Limited Editions
  3. antic604
    Indeed. That was IMO the issue with Celestial Intelligence's album or Crossing Mind on Suntrip - they both are very "busy" in mid-range and boosting it kind of overwhelms / overshadows the rest of the mix. This is why if I ever use the EQ while playing music I start with subtracting few db in the middle and typically leave bass / treble flat.
  4. antic604
    As for Suntrip, Denshi-Danshi, Cosmic Dimension, Nebula Meltdown, Dimension 5's Trans* and Artifact303 all sounded very fine to me. Neogoa also usually gets it very right (if source material is of adequate quality, because there's only so much that can be done...). Goa Madness (Ephedra etc.) is balancing on the verge, but still on the safe side. Global Sect. and Hado Rec. are also delivering very pleasant mixes, same with Cronomi (except for 1st Artha that wa barely comfortable).
  5. antic604
    BTW, I don't think compression alone is the only issue - there's a lot of music which is loud, heavily (compared to the past) compressed yet it sounds fine, because there's balance between frequencies - e.g. latest Psyilocybian, Globular, Skizologic, Hypnocoustics or Ra albums. Compare that against one-dimensional, treble-heavy The Misted Muppet (my go-to example of great music ruined by mastering...) and the difference is dramatic.
  6. antic604
    +1
  7. antic604
    @Rich, you're on fire today!
  8. antic604
    Yeah, I know but somehow he pulls it off. And I'm also quite aware of the trade-off that you mentioned - that's what I meant in the post you quoted, but you've indeed put it more eloquently
  9. antic604
    That is awesome!
  10. antic604
    Sure, but the sounds went through cables, external effects, mixing desk and were modulated by hand instead of drawing envelopes on a screen, etc. all of which added their flavour and character to the sound. Today's music is too perfect, so to speak
  11. antic604
    Where can I pre-order it?!? Do I get this right that 1st CD will basically be Lazarus without the last track and 2nd will be all-new material?
  12. antic604
    Indeed Tristan stands out from the Nano Rec. artists because his signature metallic / bubbly sounds are somewhat more random & wide (as in covering broader frequency spectrum), but I wouldn't call it "warm". At least this is how I personally perceive "warm" vs. "cold" sound, i.e. a lot of modern releases carve out very precise, very narrow frequency spectrum for each sound / track, so that it can be mastered louder via compression. As a result you end up with very clean, pristine and highly controlled sounds but played individually they'd all be very boring, one-dimensional. In the past the bassline or kick would contain a lot of overtones reaching higher frequencies, which added "fuzziness" to the sound and - combined with more organic modulation methods - would produce more lively results. Now - this - is a "warm" sounding psychedelic trance, not to mention the weird 5/4 time signature (and obvious Juno Reactor influences): From more recent stuff, I find Psilocybian's music very chunky, punchy and - as a result - very warm compared to other releases:
  13. antic604
    It's not psychedelic music (frankly, it never was...) but since his "That Much Closer To The Sun" was released on LSD and was very well received, I'm hereby taking the liberty of informing about his latest. As usual, it's a happy, sunshine-y and lounge-y music to chill: https://modusrecordings.bandcamp.com/album/departure
  14. antic604
    The packaging is too thick, it's glossy black (finger marks are clearly visible) and it's made of soft, very easily damaged paper. Fine if its purpose is to look pretty on display behind glass, but if I were to actually use it every time I want to listen to the music, it'd quickly wear pretty badly.
  15. antic604
    On the OTHER hand though, most younger people are fine with digital and if they are to pay for physical edition, I'd assume they'd expect something fancier, but definitely closer to the Chi-A.D. than to The Beatles I guess DAT Records is pretty spot on with their policy there, with only IFO and 1st Mind Rewind with a weird jewel case being the outliers to the - more preferred, IMO - norm.
  16. antic604
    I'll probably be in vast minority here, but I don't care one bit for "signs" of how limited something is. I just want the damn music on a properly released CD - it can be a normal crystal clear jewel case, with plain booklet and regular silver CD for all I care. If anything, I'd avoid any non-standard shapes / sizes, because they're difficult to put on the shelf with the rest of collection
  17. antic604
    Ok, thanks!
  18. antic604
    @thanos81, do you plan to only release stuff that's exclusively available in digital form, or is there a chance for re-issues of rare / obscure stuff? In particular I was thinking about Tromesa's "Pasma Czasu" & "Gdyby..." albums, that were only available in Poland, but were sought after around the world. Recently there was a re-release as a double album, but it looks pretty amateurish and it's a CDr. I'm sure there'd be quite a demand for a proper collector's edition(s)
  19. antic604
    Keep us posted, please BTW, will it be available on Psyshop or Beatspace? I'll most likely buy it over at Cronomi's Bandcamp like usual, but it's strange your more recent CDs aren't distributed there?
  20. antic604
    So I guess I should more consider Ticon together with the artists like Son Kite, Beat Bizarre, Sensient, Tetrameth or Jaia (his "Fiction" album)? If so, I'm putting it in my Psyshop order right away!
  21. antic604
    You bet! A600 + ProTracker + some samples stolen from Lizardking, Tip & Mantronix modules
  22. antic604
    Damn, that interview made me go back and search YouTube for videos of Laserdance & Koto music. I remember being in late primary / early high school, lying in my room on the carpet and listening to those on cassettes! Few years later I even tried my own stuff in that style:
  23. antic604
    I was never a huge fan of Timewarp Rec., because their brand of Goa seemed to cheesy for my taste, but I found this one rather interesting, leaning more towards mid-tempo releases of E-Mantra or Altar Records: https://www.psyshop.com/shop/CDs/tim/tim1cd050.html
  24. antic604
    @recursion loop @Djuna - I fully agree with you both that technology is just a tool to be used to express yourself (I wrote as much above), but at the same time it's very clear that music - goa/psy in particular - has changed significantly with the advent of internet, VST, DAWs, etc. Within it's respective sub-genres there's so much uniformity nowadays - triggered by the hype for new Ticon I checked recent Iboga releases and swear to God all of them sound the same! Similar with Nano Rec., whose V/A "A Taste of South African Psychedelics" could well be an artist album, even though it's 18 different producers. And this extends to most other labels as well. There's whole industry dedicated to producing sounds, samples, presets and entire sequences ready to be used. Additional factor is over engineering of everything - I remember some time ago reading posts in music production forums where people would post "recipes" for good bassline, describing exactly which waveform to use, how and which filter to apply, which frequencies to cut and which to boost and by how much, which other sounds to avoid to not clash with the harmonics of the bassline, etc. At some point this turns into science of solving an equation or into writing a code, instead of artistic process of transferring one's emotions into notes and sounds... Again, I'm not saying technology is somehow bad, but then I can't shake the feeling that the share of inferior, pedestrian and soulless releases is much greater than in the past, precisely because of the technology that makes it possible for anyone to produce & release music.
  25. antic604
    So, is 15th Oct still the release date?
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