Colin OOOD

Anyone having problems using Trilogy (or other Spectrsonics stuff) in Nuendo? I hear there may be issues with timing?

Since 1975 I think I've written on the order of 300 pieces of music.

OOOD - 'Sandoz' (1998)

What a combination!

np: OOOD - 'Peach'

Now playing: a remix Mike Indidginus and I did of a track by our own Otto Matta... Superstring (Wilsly Inaccurate Remix)

There's a chatbox on Psystream too, not that I'd suggest anyone actually use it, oh no, we're far too busy here.

Just for you faze... BTW could someone please correct my horrendous spelling of the thread title? It's offensive to the eye, and eT has threatened litigation if it doesn't get changed quicksharp.

I is currently mashing up the airwaves... er... netwaves... er thing... with Tom Lurk in a 'starting slow(ish) and winding up till the spring breaks' stylee... from now until our nappies need changing (probably some time around 11pm (12pm CET); Tom cooked us a casserole and it'll take that long before a toilet trip becomes a necessity. Now playing - Hybrid/Mood Deluxeness. There will be some unreleased old-school OOOD (read: badly produced and unmastered ) in there at some point, as well as tracks from the album and a circular caked piece of mud that I reckon will fit in the CDJ. Join us, why don't you. (No, Cinos, that wasn't a real question). http://www.psystream.net No registration necessary; just go to Psystream and look for the 'listen' links.

If you're going to be in the UK for any length of time it's worth registering at www.psy-forum.co.uk - the party listings are pretty comprehensive.

Radi, Simon Posford and all the other old users worked with real sequencers which ran on computers like the Atari and Mac the PC, and worked just a bit with hardware sequencers like the one in the TB303. They more worked with computer sequencers because on that time the computerbased sequencers were very good for working with the hardware synthesisers that everybody used on that time. There was no VST on that time, VST didn't come until 1996 in the Mac and 1997 in the PC. Just thought you might like to know from an old user.

Compal CL56 - Fan noise.

Try spamming offtopic so everyone knows who you are, and then lashing out at anyone who isn't totally tactful in their comments about your track. It's a guaranteed winner.

Radi, Radi, Radi... trust me when I say that if you take criticism this badly (when the guy you were replying to was telling the plain truth when he said it sounded nothing like a commercial release) you will NEVER find people to help you get your music released. No-one wants to work with someone like that. You come across as arrogant, angry and conceited. Maybe you are different in real life but that is how you sound here. When people criticise your work (like you asked them to) remember that they are not criticising you, but offering their opinions on something you've done. You have the opportunity either to see how what they say can help make your music better, or to throw your toys out of the pram and whine about how people can't see your "genius". You had an opportunity to progress here but it seems you'd prefer to piss it up the wall. Luckily you're young and have plenty of time to learn, but first you must accept that you don't know as much as you seem to think you do. It can be a hard lesson in my experience, but it's essential and if you can learn it before you're 20 it will give you benefits in the rest of your life that right now you probably can't even dream about. Remember: YOU ARE NOT YOUR MUSIC, and a comment on your music is not a comment on you as a person - so there's no reason to behave like you've been personally insulted. Now STFU and take people's comments on board; don't make me wish I hadn't wasted my time trying to help you out.

Bias Peak? What's that like these days?

There's a couple of kicks of mine in there if that's the case, including one we used on the VoC album and another I've recently rediscovered

IMO In general: The level of the track is way too low - it peaks at -3.8dB. There's also a lot of DC in the track, which isn't good for soundsystems if you want to play it loud. If the track was mastered to sound like it was written in 1996 it's too compressed; the breakdown is the same level as the main body of the track. Back then there was much more light and shade in the dynamics, and things weren't so squashed. On the other hand, if the track was mastered to sound like a modern release, it's 3.7dB too quiet, there's not enough bass in it and the shakers are a little overpowering. It could also do with a little EQ in the midrange. With a few tweaks I reckon this might well have found a label back in the day; it's psychedelic and very trancy. However there's no top end in it other than the shakers, and for that true old-school sound you'd need to put an offbeat open hihat in there The snare is too quiet and it could, IMO, do with more variation. Each sound needs EQ, even if only to get rid of the low-end rubbish, and it's crying out for FX other than delay. Melodically it's much simpler than the Hallucinogen tracks I remember, but it certainly has that old-school sound.

I have downloaded the track by Teh Marghstergh Radi... I'll soon give my opinion on its marghsterghing - for what it's worth.

Shut it, this thread's about you, not me. First rule of success: never interrupt or disagree with someone when they're flattering you.

Billy Christiansen... officially Psynew's Most Talented Man.

Funny; neither "surround", "sound" nor "trance" have less than 4 letters...

Translation: Spank me

Most of the people I know listen to music on CD, whether it's purchased copies, copied from other people or burned MP3s. As for your other comment, I'll reply via PM.

That's a whacking great assumption.

well duh... it was for their benefit, not yours, botski.