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What is your biggest struggle?
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moki
IsraTrance Junior Member
Started Topics :
38
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1931
Posted : Oct 7, 2015 23:49
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On 2015-09-23 02:42, frisbeehead wrote:
Nice post man.
About the midi, do you mean ways that the software interprets the input data and turns it into something else automatically? 'Cause there's some ways that can be done these days. Most DAW software on the market these days has got some form or another of midi plug-ins. Which can do ordinary stuff like quantising or arpeggiation, or more complex stuff to. Cubase seems very complete in that department. But if you're really into exploring that, then you'd have a good time trying out some max devices on Ableton or messing about with Reaktor.
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Yes, exactly, ways that the software interprets midi input and makes automatically something new out of it. The input is then more composition oriented, more the classical music approach, the sequence is longer and if it is faster, for example 1/16s, then it is often not perfectly quantified. The quantify option in most software is useless, it does not seem to have this powerful pattern recoginition that is needed. The problem comes if more additional channels or effects are synchronized to the midi input, and the problem gets bigger if additional algorithms or just simple formulas are assigned to the midi input. In my case search, these are mostly formulas from the world of physics or chronobiology (sound in human body), and okey, earlier some other issues from the astro world. In normal software this cannot be done, it needs more options, more open source type of production software. Well there are some issues that can be done, but it is not compley enough to really be called a musical modell of a phenomenon from the world of physics.
Actually your tip about reactor is something I have to check, wonder if there is a plugin for presonus.
Of course this description (change midi input into something else) refers to an area with infinite possibilities. The place here will not be enough, and the research time is restricted too. But to put it simple, even quantifying is an issue that does not seem to be user friendly in most software yet. However I now searched for midi input plugins and found some wonderful things to check in the weekend. I am very happy about it. Thanks 
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Now back on topic. The only thing I don't quite agree with in your post is when you say the public on this scene isn't demanding. I think most people are and they can really appreciate when some artist pushes the right buttons on them.
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Yes, sure!! But then it is the psychologist that they appreciate and not the musician.  It is simply not difficult to push the right button once you learn how to. It seems to be more difficult to accept that this is what will make you successful and not any musician skills:P
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Take the beat off and nobody would dance to a weird drone of noises, right?
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Does this mean that people did not dance before the trance beat was created?
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frisbeehead
IsraTrance Junior Member
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1352
Posted : Oct 8, 2015 19:44
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Sure they did. There's nothing original about the trance beat in both form and concept, humans have been getting into trance from the dawn of time it seems - this is but the modern, contemporary form of it.
But this only makes a stronger argument for what I was on about. Repetition plays a big part in any form of dance music, doesn't it? And such a thing as a Kick Drum is not just a stylistic choice, it also serves a very well known and defined purpose - the functional side of it was what I was on about when writing that.
An hypnotic loop of drums that keeps on going, changing little over time has worked for our ancestors to get them into trance - or at least that's what we're lead to believe by anthropologists; and now there's also a common vocabulary that also includes drums and similar concepts. And I'd say it's working just as good - if not better.
The thing about language is that it has to start on common ground. That's what makes it effective.
So having things in common doesn't necessarily restrict one's creativity at all. Surely doesn't mean that everyone's applying the same formula either. It's just that it doesn't make sense to reinvent the wheel every single time you're to design a new car sort of deal.
I think you're generalising a bit to much here, when you say things like "easy when you know how do to it", then implying that it's either that or music skills? How come are these things polarised? (Really, no pun intended here  ...)
Everything gets easier the more you do it. You also get better the more you do it. The way one manages his career has to do with many things and many choices. Each to their own, I guess. Do you really think it's easy to work the crowds for many years? To keep the public's interest for long? I just really don't see it that way. |
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moki
IsraTrance Junior Member
Started Topics :
38
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1931
Posted : Oct 11, 2015 16:59
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Sure! What I wrote was not an attempt to state that it is easy to make the crowd happy:). What I tried to point was simply the opposition of "doing music for the crowd's sake" and '"doing music for the sake of music". I believe the two approaches basicly lead to totally different struggles.
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
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Posted : Oct 12, 2015 02:16
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You see, I don't think there's any real opposition between the two.
We live in a society where most of us can't simply afford to do stuff just "for the sake of it". Specially when you put so much energy, time and money into it. What then?
Artists also need to pay bills and make ends meet. Not everything needs to be about breaking boundaries, deviating from the norm, disrupting pre-conceived concepts, propelling us into the unknown and so forth. That's simply the romantic view of artistic expression. One could make the argument that the novelty in most 20th century art was based on a divorce with the past, which kept speeding up to the point it became trivial. You can't keep on killing something over and over. After a while it gets boring. Boring as some stuff we get to see on museums, boring as the music hitting the charts on beatport, as a tv commercial, as hashtags and selfies on facebook... (uffff)
People probably get into this super creative zone while making the music. I mean, as creatives they ought to. Everyone has their own rituals, their own sensitivity, their own story, character and personality. Everyone goes through roughly the same issues, and has to find their own ways to deal with them. How they approach their own art, if they try and make it profitable, if they keep it to themselves, if they decide and share it with the world and see what happens, and (presumably the one you fancy less) some may be trying to see just how far up the ladder they can go - 'cause they get their kicks from challenging the odds or something... There's plenty of scope, don't you think?
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Mathura
IsraTrance Junior Member
Started Topics :
16
Posts :
91
Posted : Oct 12, 2015 15:49
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Plenty of scopes...
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Soundmagus
IsraTrance Full Member
Started Topics :
67
Posts :
633
Posted : Oct 13, 2015 17:13
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Ellon
IsraTrance Full Member
Started Topics :
56
Posts :
1223
Posted : Oct 13, 2015 18:49
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On 2015-09-05 19:33, Colin OOOD wrote:
No, I don't have to make money at just Psy trance, I also do mastering ( http://www.is.gd/mastering ) and some music technology teaching and tuition, including hosting occasional week-long 1-on-1 residential sessions at my home. Making and playing Psytrance is the smallest part of my income and has been from the very beginning, but it's the thing that has been the most important to me for 21 years now, and after all these years I sometimes feel like it's taken everything out of me that I have to give it.
This feeling will pass, maybe.
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Stay strong Colin...many here believe in You and in Your Music!~
My main struggle is advance synthesis...i dont have the time to dig deep and be in total control of my sound design. I feel i need to go beyond knowing how a synth works and how to make a few sounds, leads, fx and really master my synth in all its details.
But i'll do my best to change this!
https://soundcloud.com/arglebarglemusic
http://soundcloud.com/turvytopsy
http://soundcloud.com/capecodplatform |
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Oni Katsu
Li/fe
Started Topics :
101
Posts :
704
Posted : Oct 14, 2015 14:29
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Biggest struggle, is making complex and good stab sequences that leads into the main melody in my music without giving off what happens at all.
Second biggest is cleaning up the mix so all sounds are audible individually without sounding squashed, when layering melodies over another.
Third is definitely overall balance of frequencies like bass and treble.
http://soundcloud.com/li-fe
I said I like it dirty, not muddy. |
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
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1352
Posted : Oct 14, 2015 16:42
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@Ellon
just live with the "no presets" rule for a while...
@Oni Katsu
The last two could be named "never ending story".
usually the most simple solutions work best for the first one. |
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Ellon
IsraTrance Full Member
Started Topics :
56
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1223
Posted : Oct 15, 2015 10:21
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On 2015-10-14 16:42, frisbeehead wrote:
@Ellon
just live with the "no presets" rule for a while...
@Oni Katsu
The last two could be named "never ending story".
usually the most simple solutions work best for the first one.
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I was never so much into presents though also not totally against....when you find a detail (not a main line) that really fits the track i say go it and use it.
My main issue is advance sound desing (i can create many sounds, fx, etc...). But to really be in control of my synth - i have a sound in my head or heard one and can (quickly) find the right path to it in the synth...well that's another story. For now it's something that consumes to much time and energy to the point of saturation.
I guess i have to work more...no secret formula here! Or find someone to teach me advance synthesis applied to the things i want to create.
Applications are welcome!
https://soundcloud.com/arglebarglemusic
http://soundcloud.com/turvytopsy
http://soundcloud.com/capecodplatform |
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ansolas
IsraTrance Full Member
Started Topics :
108
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977
Posted : Oct 15, 2015 18:48
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drumpets
Started Topics :
7
Posts :
7
Posted : Oct 15, 2015 21:31
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On 2015-10-15 18:48, ansolas wrote:
One of my biggest struggle is to be able to sit still why compsing. If I not keep focus I tend to start dancing with my head.
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Surely you're doing something right if your music compels you to dance?
http://drumpets.sporkles.net
http://soundcloud.com/drumpets |
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Oni Katsu
Li/fe
Started Topics :
101
Posts :
704
Posted : Oct 15, 2015 23:48
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Presets are nice when you fuck them over into something completely different
then again it's kinda like photoshopping something into a picture, rather than taking the picture like you want it to be.
http://soundcloud.com/li-fe
I said I like it dirty, not muddy. |
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
Posts :
1352
Posted : Oct 16, 2015 19:09
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Absolutely! Nothing wrong with presets. I just find it useful to go through some "no presets periods" sometimes, so as to really focus on the tools in the arsenal and explore them more. More so then when you're in the "zone" while composing and it's really a little bit counter intuitive, during those times, to stop the flow and focus to much on sound design, even though a lot of it comes into play for sure - but I guess anyone here knows what I mean for sure.
Even if you decide to fiddle around with a synth, or play with some fx chains and automation or whatever, it surely comes a time when you get inspired by the sounds you're making and then the composition phase starts immediately. A lot of times those are the good tracks. Well, at least for me. Truly depends. But surely you gain a lot of knowledge by doing it, and you'll be using it all later on. So it's a win win situation.
Even if you start producing more seriously, it's still necessary to keep on pushing your sound in new ways, experimenting with new things, learning new techniques. The trick is to find a nice balance between that and actually getting down to business when it comes to lay down a track. By listening to some releases, I get the impression that some guys should probably challenge themselves a bit more in that department, even though they're highly competent people. But even some pros ends up repeating themselves a lot. It's not as bad as some people put it, maybe they're chasing they're own tail, trying to come up with the perfect track within that style. I know I'm enjoying some of the more experimental stuff and following some artists who are into modular - 'cause it somehow ends up sounding a little more surprising in the end, or at least that's the impression I get.
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moki
IsraTrance Junior Member
Started Topics :
38
Posts :
1931
Posted : Oct 28, 2015 03:02
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On 2015-10-12 02:16, frisbeehead wrote:
You see, I don't think there's any real opposition between the two.
We live in a society where most of us can't simply afford to do stuff just "for the sake of it". Specially when you put so much energy, time and money into it. What then?
Artists also need to pay bills and make ends meet. Not everything needs to be about breaking boundaries, deviating from the norm, disrupting pre-conceived concepts, propelling us into the unknown and so forth.
That's simply the romantic view of artistic expression
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You are right, but at the end of the day each of us has his own truth and this is the only thing you would find in my post too : just one perspective. For me the only right thing is to do it for the sake of the music, not for the music business or the crowd. In the moment I finally arrived to the point where I stopped trying to do things that the trance scene might like, trying to reach an audience, trying to explain philosophical and moral issues, trying to fight for a better world etc, in this moment I finally felt free to make music. This took years. It was a big relief to stop caring who likes what and who thinks what about my work and this is a luxus you can only afford if you have one feet on the ground of "real life".
Of course this would not have worked if I had not found a well paid job. But I simply know too many ppl who were top artists and had no money. The oposition is simply that one day they started to be untrue to themselves , only to survive financially, to play music they dont like for ppl who they dont respect. And at the end many of them stopped making music at all. It is simply a very compliicated struggle that I am happy not to be a part of. But nevertheless I struggle to become as good as they were , just for the sake of proving the value of my point of view. Would be nice
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