progressive psytrance style as Ranji, Fabio and moon, interactive noise

On 2014-01-24 18:23, andro.bot wrote:
Please don't do it.

This style is just so lame. Offbeat + samples and percussion that pitch shifts to another ohmpa bass drop.

This is predictable formula based not psychedelic at all music.

Neelix is the responsible for most of the damage, then others came... IMHO is very easy to make non creative music.

You can flame me and resist but take an objective approach to this style and you will find my words to be true.

There are so many great artists out there that actually put effort, intelligence and creativity into their materials... I respect taste but also encourage people to do something interesting.

Want some cool psy progressive with skills? Go listen some Electrypnose, now that's something.

On 2014-01-24 18:23, andro.bot wrote:
This style is just so lame. Offbeat + samples and percussion that pitch shifts to another ohmpa bass drop.

This is predictable formula based not psychedelic at all music.

On 2014-01-24 18:23, andro.bot wrote:
Neelix is the responsible for most of the damage, then others came... IMHO is very easy to make non creative music.

I've had a lot of fun wagging my butt to this:
http://youtu.be/kXgvVzXfxH0?t=1m35s

On 2014-01-13 23:44, Fakso wrote:

With the bass you have to do your own, low cutoffs will privde powerful basses when you open them up with the filter env/mod env

that said, don't open up the filter to much via envelope, get a slight opened filter, but then (and this is fucking important besides maybe some layering)...distort it...

On 2014-01-26 23:04, frisbeehead wrote:


choose the right kind of kick to go along with your bass, watch those fades (in/out), 'cause the high frequency of the Kick is usually on it's attack, and the bottom is on it's tail, so the fade in is something to tweak carefully if you have a big sounding kick going already. same thing for the tail, listen in context, until you feel like you've locked a nice groove between the two. don't see this mentioned often but it's important.

I'd steer away from using distortion on the whole patch. If you're layering, you can do all sorts of things to the upper layers, leaving the sub region intact.

Why? Simple test: pick a sine wave oscillator and play low notes, somewhere round 70-90hz, that's a pure sub bass. Then process it with any distortion you like, and listen carefully to what happens. Where you had a pure sub tone going, you now have a big mess, and if you check with a spectrum analyzer, chances are some harmonics have been introduced - most likely not bringing anything nice to the equation. usually sounds like some form of digital distortion, or very similar to digital clipping.

everyone knows how a waveform is represented, right? there's the line in the middle, then it goes upwards or downwards. when it's up, your woofer cone is pushing outwards, towards you, when it moves down, the woofer recedes. This movement is what makes air move, and the speed it moves is the frequency, right?

what I mean, to put it simple is: simple is better, sounds better and is way easier. plus, if you want to use distortion/saturation, leave that to the upper layers, you need a focused and clean sub energy down there, not an inconsistent mess that easily eats up headroom and creates bad sounding harmonics that you'll fight with later on with a Q.

layering is good for many reasons. one of them, that people seem to overlook, is that it enables you to mix the volume and dynamics of the different bands separately. another simple fact is: if you want something to be strong, make other things around it seem weak. know what I mean?

(there's a tool suitable for this job for a non-layered patch also, never fails to do the trick)

instead of cutting on 200Hz, or 500Hz or whatever frequency, scope the spectrum and listen for what sounds bad and bring those down. pick your peak filter with a very narrow Q, scope it, find the real harsh sounding frequencies and bring those down - but not all the way down or you'll kill the sound and maybe even create bad artifacts when it changes note... so be gentle.

this is like saying, keep it simple on the very low frequencies: sine or triangle without any form of post processing does the job if that's what you're going for. a single sawtooth wave with Q and compression (yes, sometimes multi-band) is enough to get you all the bass fatness you'll ever need.

choose the right kind of kick to go along with your bass, watch those fades (in/out), 'cause the high frequency of the Kick is usually on it's attack, and the bottom is on it's tail, so the fade in is something to tweak carefully if you have a big sounding kick going already. same thing for the tail, listen in context, until you feel like you've locked a nice groove between the two. don't see this mentioned often but it's important.

2. There´s no trick for me to compress any layered lines... Take a compressor you like (maybe transparent like Pro-C, or more coloured like The Glue). Take the signal and start compressing with very slow attack (so slow that it wont compress at the start). Make it faster till it start compressing. Take a listen to whats going on. Here play with threshold and ratios (for this I would use lower ratios like 2:1). Try to find an ok spot for the compressor, and then mix the signails again. You can fell that after the compression some layer is less proeminent that you wanted... Bottom line here: find when compressor start to work, and them pay attention to the changes when you rotate a knob.