Colin OOOD

Good luck Jules! Sure this will be a cracker and no mistake.

Gating is one of the fundamental ingredients of trance music, and IMO relates strongly to certain sensory distortions you get when you're tripping, in the same way that phaser and filter sweeps do.

FUCKIN YES One of the very very very few tracks I can still hear in my head, 12 years on. A true classic.

Wow heh that's pretty filthy. In a good way! It seems like a very playable track, with a good consistent character throughout, and the intro and outro would be perfect for mixing. I think you've done pretty well given you have no real studio monitors but I wonder if a little more clarity would be possible without losing the dirt. Great track though, it all hangs together very well.

Have you heard this?

You can do a Google image search just like I did 'egg beans' - you'll find it in about 5 minutes.

It would be a British cover to a British psytrance album... if I was going to add anything it would be two sausages, two rashers of bacon, fried mushrooms, a couple of slices of toast, half a fried tomato and a mug of strong, sweet tea.

No, I meant to say 200Hz but that's just cos I'd got it wrong lol. 400Hz it is - enough for many sounds but not eg. hihats, at least the way I do them. Running hi-hat sound - with the right sample it really is just a matter of getting the velocities right. I find it helps to imagine the drummer actually playing it, as imagining eg. a right-handed drummer can help with getting the weights of each hit right. Also see if you can find two hihat samples from the same kit, played wither with different weights or with different left foot positions, and place the heavier or more open hit on the offbeat.

The insert chain I use for my perc always has the same plugins at the beginning and end. At the beginning I have Antares Tube, really a magic bullet for fattening up drums. Can do anything from subtle tube compression to fat tube overdrive, all with one slider and one toggle button. At the end of the chain I always have EQ and a HPF, as the Tube adds a bit of rubbish in the low frequencies. My current favourite for this is the Sony Oxford EQ, as the high-pass is very good (if limited to 200Hz max) and the rest of the EQ is superb for sound-shaping. If I need a HPF higher than 200Hz I use Waves Q4 with every band set to the same frequency - if you store a preset with all the frequencies and gains set to the same point you can very easily drag all the bands up or down together in the EQ graph. With percussion as with anything else, when EQing I tend to cut much more than boost, removing (HPF) or reducing the parts of each sound that contribute little to its essential character. The human ear is more sensitive to EQ boosting than cutting so if I need to boost I do it gently using broad curves, but be quite ruthless with surgical notches and dipping out areas I don't want. As far as FX goes, I like having an early reflection reverb set up on an aux, and send a little bit of a few percussion elements to it. Closed hats really benefit from a subtle bit of this - I tend to use only enough to really be noticed when you A/B it with/without, but also having just one sound which totally canes the ER can sound really interesting in exposed sections of a track. Snares often like a short bit of dense reverb on them - try a small room program on the Sony Oxford Reverb if you have it, or good old Waves Trueverb. Use the reverb's in-built EQ if available to HP the effect, and perhaps a broad gentle cut in the mids around 1500Hz to increase clarity. Adding RVox or Sony Oxford Inflator with between 2dB and 4dB compression to the reverb return brings the reverb out, and grouping the whole lot - reverb returns and all - through a vintage modeled compressor like the URS 1975 (start with one of the Fairchild presets!) will chunk it up properly. Sometimes I'll use the Q4 HPF last in the group insert chain to deal with any compression artifacts that have crept in. To make a good driving pattern, find a track you really like that has a good driving percussion section and try and make yours play the same rhythms! You'll get it a bit wrong, and come up with your own style...

That's the title track off the album and it's one of my very favourite Ozrics tracks. The way the gating slows down...

What does your braincell tell you? (clue: it's a pisstake)

That's album 5 out of the way...

... or is it just me?

Hey, don't knock it, there's an actual chick with her actual norks out on that one.

We wait with bated breath for a statement by Zenon Records...

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:posford:

I could mix and master this, if you guys wanted... if so, I would suggest rule/guideline about not rendering FX... nothing more frustrating than having mix errors burned into the raw audio.

Apparently you can order now at some of the online shops...

To get in touch with the TRiP crew try contacting Lurk... As I recall the same people were involved in the Psubliminal Psychedelia parties in the 90s and I've seen them about at parties and festivals a few times recently.

np

Who mastered this album?

http://www.psynews.org/forums/index.php?sh...st&p=907362

Please be to listen to audio clippage of new tunerations soon to be letting foresale by Organic Records by second album of 'A: Drive' out of Voice of Cod. Ear Hear Here! Liking you we hope