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The ultimate Goa Trance technique thread!
Old 10th December 2018
  #961
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Here's my attempt. All OTB, bassline using my new Mono Station.


Old 19th December 2018
  #962
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Quote:
Originally Posted by umptanum View Post
I came across this great quote on an old Psynews thread that I thought was fun...

"The point is that real oldschool goa trance from the 90s has a dirty and grimy undertone. it sounds like dirty bong water, like drinking canned beer in the morning, like smoking pot in public transit and not giving a **** about other passengers, like getting a blowjob while sitting drunk at the beach. "Neogoa" might be nice trance music, but it doesn't sound like all this. it rather sounds like non smoking flights, clean hotel rooms, diet coke and sex with condoms. that's why many people including me don't like it at all."

What is wrong with Neogoa?

I've been getting back into listening to the old stuff again and what is striking me is that those old sounds' quality have a distorted fuzziness about them. It's not just about the musical harmonies, but the textures and sensations of how the frequencies phase and interact with each other as well. It's another layer that is quite satisfying to listen to, along with the harmonic tensions that those Indian/Middle-Eastern scales offer. And yes the sound is pleasantly dirtier.

It seems that as psychedelic goa trance shifted into psytrance, these qualities became less important.

I know that sending a 303 through a guitar distortion pedal was a thing... how much was using distortion pedals with other synths a technique as well? Did the old analog mixing boards have built-in overdrive effects or was it all guitar amps and pedals?

I would think that having an all analog signal chain really contributed to the sound... though I'd think that modern digital effects could probably do the trick just fine.
I've grown tired of the clean almost EDM like productions of nowadays psytrance myself.
Many times when I hear new stuff you would think it's all Virus TI or Sylenth sounds, but in many cases the studios of these producers are full of analog gear.
Don't really know how everything evolved into these tight boring and cheesy predictable productions, but it seems to have affected the Psytrance genre much more than for example the current Techno scene imo.
When I started listening to Psytrance around 2006 and I would hear the older stuff I always thought it sounded outdated, unrefined, simplistic and somewhat undeveloped.
But lately I'm discovering all this great music of the past, like X-dream, Transwave, Etnica, Man With No Name etc.. and I find these productions much more pleasant to listen to.
Old 20th December 2018
  #963
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Quote:
Originally Posted by Djones View Post
I've grown tired of the clean almost EDM like productions of nowadays psytrance myself.
Many times when I hear new stuff you would think it's all Virus TI or Sylenth sounds, but in many cases the studios of these producers are full of analog gear.
Don't really know how everything evolved into these tight boring and cheesy predictable productions, but it seems to have affected the Psytrance genre much more than for example the current Techno scene imo.
When I started listening to Psytrance around 2006 and I would hear the older stuff I always thought it sounded outdated, unrefined, simplistic and somewhat undeveloped.
But lately I'm discovering all this great music of the past, like X-dream, Transwave, Etnica, Man With No Name etc.. and I find these productions much more pleasant to listen to.
I posted almost a year ago about this and I think the primary driver for the modern psytrance sound is the nature of today's hyper sophisticated sound systems. It really is about how well all those separate frequencies are controlled and articulated within the spectrum. In this setting, the new stuff sounds damn amazing... it is engineered to be delivered in this format. It also helps that the djs are picking top notch tracks too, instead of whatever the masses are churning out in copy cat fashion.

A corollary to this, the old stuff sounds pretty nasty in this setting. But, back in the day, early goa trance was an underground thing with whatever sound system you could drag out into the forest or on the beach, and that nice distorted fuzziness and grunge was part of the charm. I think the older tracks were/are far more musically sophisticated where the artists tended to be pro musicians and engineers who were really pushing the equipment. Listening to tracks from 95-98 and understanding this was before DAWs and you really get a fine appreciation for what they were pulling off.

I do wish modern psytrance artists explored their musical ideas with the same passion they bring to their tone.
Old 20th December 2018
  #964
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more of a story in this type of sound:



Old 20th December 2018
  #965
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Quote:
Originally Posted by babylonpanic View Post
more of a story in this type of sound:



Yep a couple of proper corkers there. I have bounced in front of some properly fat soundsystems to those tunes. The Dragonflys in particular got me in to that sort of music
Old 20th December 2018
  #966
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at a certain point the sound really tightened up and got more
technical. good at first but then everything got to sound the same.
around 93/94 things in electronic music still had an experimental aspect.
maybe that's just nostalgia... goa was this new massive sound.
(wish current techno was less generic tok tok tok zzzzp etc.)
have to keep moving forwards >>>
i've lost track of it all tbh
Old 20th December 2018
  #967
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would be good if all that energy went off in this sort of direction now:

Old 21st December 2018
  #968
Quote:
Originally Posted by babylonpanic View Post
at a certain point the sound really tightened up and got more
technical. good at first but then everything got to sound the same.
around 93/94 things in electronic music still had an experimental aspect.
maybe that's just nostalgia... goa was this new massive sound.
(wish current techno was less generic tok tok tok zzzzp etc.)
have to keep moving forwards >>>
i've lost track of it all tbh
I think it's just how pretty much all genres evolve. First they're new, exciting and there is much experimentation and no set rules, then they become formulaic, then generic...And at some point some subgenres pop up from the younger generation who likes that sound (like dark, hitech etc for trance), and eventually there might be a revival.
Old 21st December 2018
  #969
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Quote:
Originally Posted by denstrow View Post
then they become formulaic, then generic
well it got 'generic' immediately in fact it was a de facto specific term
to describe a track. possibly even coined just for goa trance
Old 30th December 2018
  #970
ABT
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I have transcribed the liner notes from the first Mind Rewind compilation. Apologies for transcription errors. I also started a facebook page posting pictures of goa-trance studios and info. Scope it here.

I have added paragraph breaks to make it a little more readable.

.....






The Muses Rapt - Mediums of Trance

Written and produced by Juan Verdera Dernandez.

The sample in the track is spoken by Teresa Medrano says, "The mediums of the trance dance.... the spirits of Gods and devils penetrate... they believe that once

they get into trance, they reach a direct contact with world of the spirits."

This was one of Juan's earliest tracks, composed around the same time as "Spiritual Healing".

According to Juan, "It is a mysterious mix of emotions, becoming clearer as the track progresses."










Graham & Serge - The Full Monty

Written and produced by Graham Wood and Serge Souque.

The track was made around 1995, at a time when Graham had just set up a studio at his friend's house.

Graham says, "We would just sit around and I would mix tracks 'live' on the 24-track mixing desk. I was having so much fun with it back all then.

Serge was one of my good friends in the scene who I'd met back in Goa, and he was in town playing at one of the early TIP parties when we made this track.

Some of the equipment used includes a Nord Lead, a Juno, an SPX-90 delay, a 101, 303, and 909, a Sony D7 effects unit, a Deep Bass 9, an early Roland sampler - the s760, which allows a whole 7 seconds! - and a Korg MS-10.

We did about 9 mixes of this track, all of them live run-throughts on the 24 track mixing desk." A few different mixes circulated on DAT in the 90s, one was long as 15 minutes, all of them regrettably distorted.

Stef Holweck of Total Eclipse remembers being present while the track was being made, so it is likely that Total Eclipse were in town for the party and convened in the house with the studio, but the track is attributed to Serge and Graham.











Total Eclipse - Sound is Solid (Total Eclipse & Simon Posford Remix)

Written and produced by Serge Souque, Stephane Holweck, Loic Van Poucke and Simon Posford.

"Sound is Solid" was made at Youth's Butterfly Studios, which is where Simon and Total Eclipse (Serge, Stef and Loic) originally met.

Simon says, "We made 'Sound is Solid' and they wanted me to do a remix, and wanted to be involved as well.

The details are a bit of a haze, but we used an Atari computer, 3 samplers, a big old DDA mixer, and various analogue synths."

This track was only released on vinyl, on the other side of "Aliens". The original mix of this track was famously issued on Dragonfly Order Odonata Vol. 1, and a few years later when Dragonfly Classix released some previously never on CD tracks, this current vinyl-only version somehow didn't make the cut for "Aliens" for some reason made yet another appearance on CD.

This track hereby presented on CD for the first time, taken from the master session DAT in Stef Holweck's archive.











Joti & ofer - No Name

Written and produced by Joti Sidhu and Ofer Dikovsky.

This track was made in Avi Algranati's DNA Studio in Tel AVid when Joti was visiting Israel to DJ at a few parties.

He decided to stay for a couple of weeks to work on some tracks with Avi, which were released on the "Virtual Jungle" album.

One weekend, Avi was away playing at a party, and Joti and Ofer got together in his studio, using the Nord Lead 1 and Kurzweil wired into Avi's big mixing desk he had at the time.

This track appears as "Life Like A Flower" on several DATs but neither Joti nor Ofer ever gave it a name.












Blue Planet Corporation - High NRG

Written and produced by Gabriel Masurel.

Composed in 1994 using an Akai X-7000, a Roland Juno-106 (which Gabriel still has), a Cheetah MS6 (he still has that too), and Korg MS-10, and a Korg Wavestation.

There is a rhythm break sample taken from one of the first CD samplers on the market, which was made by Zero G.














Zerotonine - Two Faces

Written and produced by Daniel Mondry and Robert Junge.

Composed in late 1999 in their home studio.

As the duo were disenchanted with the dry, progressive sounds emerging in the late '90s, this was their last Goa-sounding production.

The title relates to the double-edged character of the track, euphoric on one side, and melancholic on the other, like the symbol for the theatre featuring the laughing and crying mask, or the Janus head with two faces depicted in Roman mythology.

The track was created using Logic Audio, a K2000, and Roland MC-505, Creamware-pulsar sounds, and some sampling CDs.













Slinky Nuns - Caught In The Zipper

Written and produced by George Barker, Dick Trevor, and Ronnie Biggs. This was the first track that these three wrote together and it was written in the Nuns studio in 1995 a couple of weeks after the completion of Kwo-Ne-She.

The same equipment was used, with the addition of the OSCar synthesiser, which Dick says "was and still is awesome".

This was the first time that Dick was working with any of the Flying Rhino crew, and the trio stayed awake for days trying to squeeze this track out.

Finally, George and Ronnie disappeared off to a party in Brixton near the end of the session to hear a mix of it played out and were going to return later, but both got to the part and drank the wrong drink there. Dick says, "I didn't see them for two days and when they came back they looked a little shell-shocked! One of them even even ended up keeping a police cell warm for the night after being found in a street (miles from the party) flagging down UFO's which actually turned out to be London buses... ".

The track circulated in some DAT circles incorrectly named "Caught in the Desert" or "Cosmic Puppy Remix" and attributed to Slinky Wizard.













Etnica - Shadow Dance

Written and produced by Andrea Rizzo, Carlo Paterno, Maurizio Begotti, and Max Lanfranconi in the Soundbuster Studio Live Room.

The composition of this track was initiated by Maurizio, and the test of the band joined him later. The equipment they used was the same used to produce their hit "Trip Tonite": the Korg MS-20, a Roland SH-101, a Morpheus, and an Akai sampler. It was produced after they had been to the Voov Festival in Germany and after the release of the "Italian EP" in 1995.

Max says, "It's important to remember at that time (many years ago!), all that equipment we used was analogue, so the sound had a lot more power and dynamics."













Infinite Zen - Friends From Tau-Ceti

Written and produced by Nikolaos Betsimeas.

This track was a result of experimentation with some gear (a Roland Juno-106 and a small Yamaha sampler) that a friend loaned Nikolaos for a few months.

Putting these together with his Novation BassStation, Alesis Midi Verb, Korg X3 as the main workstation, and a small Boss mixer, Nikolaos arranged tracks without a PC, using only the X3 workstation as a MIDI master.

As a science fiction fan, the title was easy: Nikolaos recalls spending some time chilling out and listening to music with his friends: friends from outer-space... friends from Tau-Ceti! He fondly remembers the spirit of the time, with great people coming together and sharing, exploring, and discovering new things together.

"It was a small piece of history in the making... our history."













Dimension 5 - Ganymede (Guitar Mix)

Written and produced by Charlie Clarke, Kerry Palmer, Graham Franklin, Nick Wenham, and Judson J. Eiloart.

Remixed by ninehands.

Nick says, "This track was written after an intastella voyage when we returned in 1997 of your Earth years."

It was produced using the JV-1080, a Korg Prophect, and Ensoniq SD1, and Emu! Sampler, a Quadraverb, a Mackie 1604 Mixer, a 303, a custom Strat Washboard, and 3D Soundbase.














Entnichaos - The Other Side of Reality

Written and produced by Joti Sidhu, Maurizio Begotti, Max Lanfranconi, and Carlo Paterno.

Entica was playing in Brighton at one of the classic Dragonfly parties at the ZAP Club around 1995-96, and so was Joti.

They had wanted to do a track together for a long time but never found themselves in the same city for long enough.


They decided this weekend would be the one, and they all got together at Joti's studio, which at the time was at his mother's house in Brighton.

The track was completed in a few days using all the classic Psychasos equipment (Akai S1000, Roland JD-800, Roland SH-101, Ensoniq DP4), as well as Etnica's Korg MS-20 and a steady supply of delicious curry courtest of Joti's mother!

Last edited by ABT; 30th December 2018 at 09:13 AM.. Reason: formatting
Old 30th December 2018
  #971
ABT
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Liner notes from Mind Rewind 2:



Excess Head - Another Planet (mix 5)

This comes from a DAT from Graham Wood's DAT bag that is labeled Excess Head on one side, and features multiple mixes of two tracks, the first being five mixes of Peace 1 and the other being six mixes of From Another Planet.

While the sample used is the same featured in the downtempo TIP track Another Planet, this is a dance track Graham produced on his own. The final mix circulated among a few DAT collectors at the time but was quite rare, and this slightly earlier mix - with a similar structure and a few differences - has never before seen the light of day.







Astronomix - Sirkka

I spent a long time looking at astronomy books while trying to get the name, it needed to be psychedelic and out of this world (not that it's the most exciting name, but still!). Then I tried to find some no so serious way of writing the word but I always found getting the track name the most difficult part of writing music.

The equipment we used was Kurzweil K2000, Korg Mono/Poly, MS-20 and Triton plus some kind of Mac computer. The track was written probably late '98 maybe early '99 with Sr. Kanellopoulos; I'm sure we wrote it more or less together but he was sort of away at the time.

Harry I kind of lost touch with, not being in the UK, but I saw him the last time I was there which was good. The track came from my studio but I guess I've always been a bit more on he technical side, and Harry was coming mroe from the DJ aspect, so where I got lazy in the music he would push me to go further and keep working until the sound was complete, but without his motivation there and his musical ear.








OOOD & MoonWeed - Spiral Expansion

One weekend in mid-1995, Jamie Graham aka MoonWeed packed a bag with his SH-101 and his TB-303 and carrying his Ensoniq ASR-10 sampler under one arm made his way via public transport from his home in London to a house in Oxford, where OOOD had their studio in Colin's bedroom.

The track was written by Jamie, Colin and Steve; much of the session is a blur in memory, and accounts differ as to exactly what happened, but Colin was driving Cubase and the mixer and ideas were flying around from all directions.

There was no digital multitrack recording in those days so everything was sequenced live by MIDI Colin made the kickdrum on the Silver machine, Nigel OOOD's home-made analog synth, and sampled it into his Ensoniq EPS 16 Plus. Similarly, a single bassline note was sampled from one of the 303s and run through a flanger inside the sampler.







Zerotonine - Morning Glory

The two tracks were composed in 1997/1998 and were among the first tracks we ever made after starting the project. We produced them together with friends, fascinated by the power and beauty of melodic Goa Trance and under the intense influence of the early Berlin parties and open air events at this time.
Out studio was located in the vacant apartment of a friend, in Berlin's Prenzlaur Berg district. We used it for 3 years.

We produced and mixed the tracks with Logic Audio (MIDI sequencing) and used the following gear: Kurzweil K2000, Roland MC-303/505 Groove Boxes, Oberheim Matrix-6/ Matrix 1000 synthesiers, a Roland VS-880 8 track multitrack recorder on a 24 channel Ace mixer (which originated from a radio studio). The final mix we recorded on DAT using the Tascam DA-20.








Kaledoid - anjuna twilight mix

Frederic Holyszewski:

The track was composed in my living room studio. We had no proper studio at the time, only an Atari, a sampler (Ensoniq ASR-10), and I think for this one we had just bought an SH-101 and a little mixer. We also just had one FX box, the Boss SE-50, and we were running everything though it.

We had signed with labels like Matsuri and we wanted to sell this track somewhere else on another label but at the end we couldn't use the name Transwave so they put a sticker with the name Kaledoid on each and every vinyl released! Well the track has a lot of energy and has a harder edge to it.

It's called Anjuna because of the famous beach in Goa, although I have never been to India myself. It is always funny to think out music was so successful there yet I never managed to go there even once. This year I'll change that - I'll finally go to Anjuna!








Ree.K - Far East Frequency

I forget exactly what equipment I used.. maybe a Roland Juno-106, SH-101, TR-909 and Ensoniq EPS 16. This was made in my home studio in Yokohama using Japanese sequencer software (a Roland one maybe). I remember it was too difficult to remove hiss noises because there was so much analogue equipment, mainly because of the AC adapter and cables, so I hung the AC adapter on the wall to keep it away from the equipment! But these are good memories... we are using only digital equipment today...







Etnica - Intense Visitation

Intense Visitation of Energy was the very first track where we used the Kurzweil K2000, which was a top machine at the time and which gave us the possibility of using the acid and solid sound that you can hear at the beginning and that sounds like a TB-303, which we never had.

We produced it at the Soundbuster Studio in Milan in 1995 and it sounds really good; at the time we also did Astral Way and Tribute, in the golden period with the best studio.

We had a lot of passion and will to create. We had also just signed with Blue Room and we were galvanized.

The inspiration came from Emmanuel Top and his Turkish Bazaar track, since we were listening a lot to Attack Records releases and we wanted to create a similar atmosphere. Emmanuel Top was Acid Techno but we tried to create a similar atmosphere in a Goan key.

The reverb you can hear in the track was made with the Lexicon, which can be clearly heard which we used in the studio together with the Eventide.

Back then we created track quickly and we were working on many tracks at the same time; we had the main room of a studio all for ourselves and during the night we were working on all our tracks. The first mix we created was darker and more tribal and that was called Visitation of Energy (Nighttime Mix) and is the one that Gil chose for his mix. I remember we did at least another and more melodic mix of this track.







Underhead - WhirlRain of Water

Whirlrain of Water was one of the earlier Underhead compositions in late '95 through the beginning of '96.

The track was built on a strong bassline played on the Moog Prodigy in Whirlrain of Water and by the Sequential Circuits Pro One in Whirlrain of Fire.

Also to be remembered are the unmistakable leads played by the SH-101 on both mixes and the furious TB riffs featured only on the Fire mix.
Just after producing this track, we got out hands on a Nordlead which had a huge impact on our sounds to follow!








MWNN - Moment of Truth (Alternate Mix)

It would be hard to come up with a funny story about this mix, as I can hardly remember doing it!

However, I can remember that I would have been using an Atari computer, running a program called Notator, this was later renamed "Logic", probably the best know music software in the world today!
Also at the time i would have been using an Akai S1000 sampler (with a total memory size of 2MB!) mainly for drums, Roland TR-909, TB-303, SH-101, and MC-202 was like a SH-101 with a built-in mini sequencer. Also a Yamaha DX21 synth.

I do remember the newest bit of gear I had bought at that time was an Emu Morpheus rackmount synth. All of these would have been recorded through my Mackie 8 Bus 24 Channel Mixer onto a Tascam DAT recorder - you could not "burn" CD's in the early 90s...








Total Eclipse - Toxic Caterpillar (alternate mix) & Total Eclipse - No Name

Both tracks were recorded in Bordeaux between 1993 and 1995 with very scarce equipment compared to Youth upper floor studio in brixton where Sound is Solid was done.

The original Toxic Caterpillar mix was released on the 2nd single by Dragonfly and was used for the soundtrack of Matthieu Kassowitz's "Assassins" movie.

Fairway had it released on a compilation mixed for them by Serg, and that CD ended up to be used on the scene shooting where Michel Serrault was filmed on a party dance floor.

The track used was actually from Paul Jackson / Voodoo People but the movie producers could not reach an agreement with Blue Room so they contacted us to get the track on the compilation and dubbed it in the synchro instead of Paul's track!







Byte 1 - Dive 1

This track was rediscovered in 2012 when Canadian DJ Mark Ainley (aka DJ Solitare) - having first been in contact with Graham Wood thanks to the production of the first volume of Mind Rewind - visited Graham in London to help him sort through some of his DATs.

Mark says, "We came across a DAT that had 'Dive 1' written on it, I asked Graham what it was, he said "Thats a track with Xavier"..."No that's Byte 1..." So we put it in the DAT player and there was this amazing other dark growling track that I'd never heard come across before. "That's another one I did with Xavier, then" Graham said.
Another version of this track was recently found on another of Graham's DATs with a slightly different structure, but there were multiple glitches on that tape.

This track probably comes from around 1996 and was made in Graham's studio at the time - so it is now clear that Graham and Xavier made two tracks together and not just the Byte 1 track that was issued on Flying Rhino in 1998.







Infinite Zen - Goa Generator (Live Mix)

The original track was written in October 1995 for a live gig in a basement at my hometown. I finished it in a day or two, just before the event and it became something of a hit in the central Greece psy-party scene.

The remix on this CD was made in some hours for a radio show and it was played live in the radio stations studio.

A friend of mine had this radio show and he invited me to play. I used a Korg X3 for sequencer, a Novation Bass Station for the acid lines, and the Alesis MidiVerb 4 for extra effects, all mixed in a little Boss mixer.

The track represents some special memories for me... organizing all these events around central Greece with friends and having the time of our lives exploring new music and meeting other people like us.

At that time none of us had been to Goa. So we "generated" Goa... Goa Generator" = )








Subcouds - Greenflow (Remix 1997)

The name "Greenflow" originates from driving home from the studio at night when all the traffic lights automatically switches to green - letting us "flow" through the city.

The idea for the core melody comes from interpreting a Metallica track - can't remember which one.

I remember that we used an EPS 16+ a lot on this track and also a TB-303 and MB-33. Greenflow (Remix) was composed in 1997 and recorded at Cloud 99 Studios.







Somaton - Nool Sonrg

This track was produced using a very small amount of equipment, basically an Atari ST computer running Cubase, an old Roland S-550 sampler and an Alesis quadraverb - that was pretty much it! Ah, the good old days.

Choci couldn't be bothered to ask me what the track title was, so he just copied off the DAT where I'd written temporary title "Noo 150 NRG" And hence Nool Sonrg was born.








33rd Rate Revolutionaries - Revolutionise

Back in the day I was running Paradigm Shift Records - at that time I was know as DJ Escapee, resident DJ for Bristol-based free party crew Resistrance.

Anway, Sean Devine (AKA 33rd Rate Revolutionaries) sent me a demo of Revolutionise and other tracks he'd done. I liked them, so I invited him to come and rework them with me in my studio. We liked the results and a twelve-inch was released.

After that we started playing live together under the name 33rd Rate Revolutionaries, performing several gigs in the UK.








RA - Static Distress

Static Distress was written circa 1996 and it belonged to a demo that wasn't supposed to circulate anywhere (but as you can see...). Around this time we were still developing our sound, yet this particular track I'm quite pleased with.







Tromesa - Nowina


Equipment used: some very old analogue synthesisers like Poly-800, Polysix, Juno, TR-808 and other machines, sampler Emu ESI-4000 and a huge mixing desk, Behringer Eurodesk 2000.

The track was made in a few days of hard work and finalized at the of the weekend. Then Jurek (Przezdziecki) called us and asked us if we had any news. And we presented him this track and named it accordingly (Nowina = news in Polish).

We had planned to release it, but after a few weeks all our archive was thrown away to trash by mistake during the room cleaning. All our DATs and zips were stored in an old dirty bad and Grzegorz's mother thought that these were to be thrown away.

It's a miracle that this track was found - actually we though no one had it - as we simply forgot about it and went on to produce new tunes.









Zerotonine - Superstring Material

The two tracks were composed in 1997/1998 and were among the first tracks we ever made after starting the project.

We produced them together with friends, fascinated by the power and beauty of the melodic Goa-Trance and under the intense influence of the early Berlin parties and open air events at this time.

Our studio was located in the vacant apartment of a friend, in Berlin's Prenzlaur Berg district. We used it for 3 years.

We produced and mixed the tracks with Logic Audio (MIDI sequencing) and used the following gear: Kurzweil K2000, Roland MC-303/505 Groove Boxes, Oberheim Matrix-6/ Matrix 1000 synthesisers, a Roland VS-880 8 track multitrack recorder on a 24 channel Ace mixer (which originated from a radio studio). The final mix was recorded on DAT using the Tascam DA-20.







The Infinity Project - Incandescene (MIX 2)

The track is on the same DAT that featured Graham Wood's and Serge Souque's track The Full Monty (featured in the first Mind Rewind compilation), a Dat entitled Phos-Time TIP. After two mixes of The Full Monty (which has no title written on the DAT), there is a track called Hexperiment. And then several mixes of Incandescence, which seems to have been the working title of New Phosporize. The second mix, featured here, is labeled "New P Scarce but good".
Old 4th January 2019
  #972
A new midtempo track...

Old 19th January 2019
  #973
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Mushy Mushy's Avatar
 

Finally finished this.
Old 19th January 2019
  #974
Quote:
Originally Posted by Mushy Mushy View Post
Finally finished this.
Love the vowely modulated sounds!
Old 20th January 2019
  #975
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Mushy Mushy's Avatar
 

Quote:
Originally Posted by denstrow View Post
Love the vowely modulated sounds!
Cheers man. The vowely bits took me quite a long time.
Old 20th January 2019
  #976
Gear Addict
 
Sapro's Avatar
Quote:
Originally Posted by denstrow View Post
A new midtempo track...

I really like that. Followed you on SC
Old 21st January 2019
  #977
Quote:
Originally Posted by Sapro View Post
I really like that. Followed you on SC
Thanks! I did a few midtempo tracks these past few months, and I quite like the 120 bpm range for trancey stuff.
Old 1st May 2019
  #978
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Who’s using the bass station for goa trance? Any good for hypnotic leads? Some audio examples would be greatly appreciated can’t find any on yt..
Old 1st May 2019
  #979
I made this all on my Virus Ti with maschine (and a guitar) a few years ago


not that I know much about Goa but it was meant to be that vibe


Old 1st May 2019
  #980
Lol, just noticed thread date...got my finger on the pulse
Old 6th May 2019
  #981
Here's a remake of Simon Posford's classic tune. Enjoy!



Old 8th May 2019
  #982
Quote:
Originally Posted by MPrinsen View Post
Who’s using the bass station for goa trance? Any good for hypnotic leads? Some audio examples would be greatly appreciated can’t find any on yt..
Haven't used it yet, but that's why I got it. I might have some examples soon, if so, I'll post here...
Old 8th May 2019
  #983
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Quote:
Originally Posted by denstrow View Post
Haven't used it yet, but that's why I got it. I might have some examples soon, if so, I'll post here...
Cool thanks!
Old 10th May 2019
  #984
Lives for gear
 

Another question: who is using the Korg Volca Kick for goa/psytrance kicks? It seems to be capable of creating snappy , and it’s based off the MS-20 resonant filter. But does it sound consistent enough to use live without having to sample it?
Old 3 weeks ago
  #985
Here for the gear
 

I think it would be good to share with you my new psytrance bank for Virus TI

Old 3 weeks ago
  #986
Wow! I`m seriously impressed with some of the work done here! I work completely OTB here with only my Synths (9 of them so far) and they`re mostly 90`s early 2000`s gear and no computers involved at all. Trance is my home really even though I experiment with different genres (purely by accident mosly), it`s my goal to also perfect the art of Trance and have tons of fun doing it!

this is my First ever trance track, when I discovered I love working at 138 BPM, it just felt comfortable.
(I really hope this link thingy works! LOL)

and this is most recent track:


neither are as polished and mastered like the other tracks in this thread so try to overlook that if you can, it`s only a small home studio on an even smaller budget! LOL and only me playing and it`s All done live directly into my recorder.
I`m hoping to buy a good Sequencer in the next couple of months, so hopefully I can make more interesting arrangements and better journeys (16 steps isn`t really enough!).
So there`s All sorts of folks out there keeping the trance spirit Alive! xx
Old 1 week ago
  #987
Gear Addict
 
Sapro's Avatar
My modern take: goa and psy need to progress. This has trance acid and psy. No computer. Just got MPC1000 with TR8, Mono station, TB3, Kaos pad new Craft 2.0 and Roland D50. Quite pleased with it

Old 1 week ago
  #988
Lives for gear
 

Quote:
Originally Posted by Katherine_Alicia View Post
Cool i like this one a lot,very trancey!!!!
Old 1 week ago
  #989
Lives for gear
 

is there a dodgy youtube link on this page? stops youtube from loading?
goes to m.youtube ... what's that?
Old 1 week ago
  #990
Quote:
Originally Posted by whatever17 View Post
is there a dodgy youtube link on this page? stops youtube from loading?
goes to m.youtube ... what's that?
m.youtube, or even m.anything simply means it`s the same site but optimised for Mobile device usage, remove the M. and it should take you to the regular desktop device format.
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