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We continue to host interview sessions, and we have already 50+ exclusive interviews plus some "re-published" and "archive" interviews ! Don't miss, all is here : all interviews - https://www.psybient.org/love/category/articles/interviews/ archive - https://www.psybient.org/love/category/articles/archive/

very welcome ! don't miss : https://psybient.org/ https://soundcloud.com/gagarinproject/sets/psybient-org-podcast

Artist: Advanced Suite Album: Hidden In Plain Sight Type: album Style tags: Psydub, Psychill, Downtempo, Chillout, Dub Media type: WEB Year: 2022 Label: Advanced Suite Catalog ID: CAT625443 Length: ~1hour official url: https://advancedsuite.bandcamp.com/album/hidden-in-plain-sight https://open.spotify.com/album/1Hg19q5nEtCqB1GIeJhFW4?si=0GNTX6vvSKue7DBGTftvUw Tracklist: 1. A Prison Of My Own Making 07:29 2. What Would The World Be Like 08:21 3. When We Agreed About Our Hallucinations 08:34 4. Between Perception And Understanding 07:57 5. I've Went Into Lights 07:51 6. How To Become An Instant Hippie07:43 7. Rockwell Automations Retro Encabulator 05:11 8. The Endless Dance 07:17 9. Brighter Than The Stars At Night 08:09 ANNNND here is some codes to add to your Bandcamp catalog.... for the first 100 people that claim them Go here to redeem your codes: https://advancedsuite.bandcamp.com/yum And maybe comment to let others know you've used a code so they know its not available anymore. code 3qt2-ky4r 58n5-6ujd rkd9-6q9c d3qz-y9gx sa8u-7znq km9h-umyn kgys-e62j nkup-3gxk mz5g-cuj8 9t6z-cp92 yuyn-xrgh 35kv-jdfv w8y6-kd59 pk2t-gh2t 83mt-ujw7 td8y-jkd5 k4fz-bq9q uedn-x9gz m64v-jtf6 9zs7-k2jk z2jd-ghz8 yvgs-ujyn ygkc-ek2j 3t3e-3yxk azv9-wfj8 8ygk-ca92 7kx6-km6c xnqt-g68x h582-u6uq 47zw-jkmz ql2e-kykg 9sm9-yfzu yhrk-bm9q 3elu-xzgz 58ca-jgf6 8zhr-kbjk t3ew-gxz8 jkuy-yx3t 6n5z-uqd7 kd6k-j9w5 njyu-kthr m92a-67qd ftl8-kj6c wupy-gk8x c593-ukuq crtl-v9mz plnj-68kg 8ca6-ynzu vkv8-c7q8 6zgt-we62 k2k3-h38h nvy5-vw7v lgk9-ksa9 qt3k-g43t gnvk-umd7 yw9t-jzw5 3pt2-kghr a9n5-6uqd rydg-kv6c 6k4f-krqk knpx-g4k8 ka9h-umtn z6ys-ez3j nyup-3glk mt5g-cuq8 gz6y-w562 y3yn-xr8h 2vkv-js7v d9y6-kda9 py2t-gl3t jxnp-kgzg 64ag-g7ku ksfy-3v6q njdn-x98z mg4v-j876 9ts7-k2qk ynjd-glk8 y5gs-ujtn t6kc-e63j 2z3e-3ylk atv9-wfq8 v63v-6fjd 7yx6-km9c x2qt-gzgx 4v82-u6nq 4bzw-j6vz qd2e-kyzg g4m9-guku ycrk-bq6q 2jlu-xz8z a9ca-jt76 8thr-kbqk x6yg-6c59 jyuy-yx2t 625z-7vw7 zl6k-j9d5 neyu-kt4r m82a-6njd bzl8-kj9c w3py-g6gx

I should follow this forum more often... I was playing in this event before CBL! 😁 Did you make it to the party?

Thank you for making the release lists! I always look forward to them It comes as it comes brother Have a wonderful time

Thank you for providing these lists! It's quite a long already! Lots of new new names and good releases to be discovered!

November & December 2021 Releases

Great album! I like the blend of jazzy/psybient/dub, it sounds very interesting and made with Love, and generous with the income going to a charity.

Hi! Really great introduction for your music.

Great music, The End Is Nigh is super deep, nostalgic, happy and sad in the same time, love it. "New Age" brings Entheogenic vibes. Interesting melodies and deepness. It's really nice that you compiled this album after 10 years There's quality in it, congratulations

I EQ as I go, but I don't worry about getting it "perfect" right away. Unless I have to render the channel for some reason, simple EQing doesn't take much CPU, so I can mess around with it as needed until I'm ready to render a track. Kicks may get EQed to sound punchier/less boxy/more subby. Snares may get EQed to have more bite or sizzle. Hats usually get EQed to take off the low end. I'll EQ my drum bus before it goes into a few layers of saturation/compression (to control what gets distorted), and I'll EQ it after if it needs it (for overall drum balance). I ruthlessly hipass anything with too much low end energy if it conflicts with the bass or kick. I try not to EQ using EQ plugins if I can help it. If my saturator has a filter built in, I'll use that, for example. Or I'll just use different distortions themselves to boost/cut the lows or highs. Synths and recorded sounds will get EQed if they need it to fit the mix, but while I don't think there is anything wrong with a 16db cut or boost if you need it, major EQing to fit a sound into the mix is often a strong sign that I should have chosen sounds that didn't clash so much. Usually, I'll just change a synth or take something out entirely rather than try to wrestle with infinite mud. I have a nice gentle EQ on my master because I see no reason not to. I used to avoid this because everyone told me this is a bad idea. But more often then not, a 3db cut or boost on the master actually sounds better (to me anyways) than going back and working with individual channels. An EQ on the master really makes me feel in control of the overall feel and vibe of my mix. YMMV. Everyone seems to do their own thing or have their own "rules" for EQing. Curious to see what other people's workflow is. But I do think blanket advice like "never boost more than +6db" is misleading, especially with synthetic music. Who is anyone to decide what a squelchy space fart is supposed to sound like "naturally?"

Hey OP - can you post an example of anything you are making (or, an example of a song that does this really well that you like) ? Some ideas for pads: - Are you layering stuff? A lot of great pad sounds are 2 or 3 or more pads layered (with one pad providing the low-mid warmth, another providing maybe the mid-range melodic component, and another providing the top-end shimmer). - What synths are you using/ are you only using synths? Stretched-out melodic sounds, especially reversed, drenched in reverb can make amazing, organic pads that no one has ever heard before. Synths like Omnisphere or Alchemy have lots of samples already for doing this, but you can just do it manually using warping in Ableton / Flex Time in Logic / etc. - You said you are EQing out the mid frequencies - which ones? I usually use pads to add extra warmth, movement, and depth into the mid frequencies. - EQ the left and the right channel differently! I like to boost and cut a few frequencies differently on left and right channels to increase width. Even better, slowly automate a different peak on each left/right channels. - Delay, chorus, reverb are all good for this, but can maybe sound bland if they are just used as static effects. Do you automate your reverb sends or chorus amounts? Some ideas: -- My favourite: I like to automate the reverb send up while automating a lo-pass filter down on the original pad. This will make it sound like it is moving farther away, giving a great sense of front-to-back depth. The reverse works well, too. Or with a hi-pass filter. -- Try a chorus with a very low rate but high intensity, automate the mix from 20% to 80% every 1/2/4 beats, then quickly back down. This will make it sound like it is "pumping" from centred to wide with each pulse of the beat. I like to combine this with regular side-chaining to a kick etc. -- Old trick: automate the delay send, and then send that delay to itself. Be careful because this might get loud, but if we do it carefully, we can make a pad (or any sound) turn into a completely different, ultra organic ambient soundscape of throbbing echoes. If you want width, use a stereo delay (or maybe a flanger/phaser on the delay channel). - Panning rather than widening... less is often more in production. If you make everything detuned and wide, your song doesn't sound wide - it sounds like stereo mud. Panning some sounds left and some sounds right - and especially automating the pan - is often way better than just making something wide. - Autopan plugins are great, but I like to automate the rate or width to keep them from sounding static. - Sometimes mono reverbs work really well for localizing a sound in the mix. I like to make sounds panned left, send it to a mono reverb channel, panned right. On its own, this isn't as impressive as a big wide wet delay. But in the mix, it is sometimes so much more spacious. We can do the same with delay - then maybe try automating the pan of that delay from right to left again. - Same philosophy, polyphony: too much polyphony can also make things unfocused, especially when working with bass/pads/atmospheres/multiple melodies. Sometimes I like to think like in jazz, where the bass can play the root note and the pads can play the 3rd/7th/9th etc. Leaves a lot of harmonic space for melodic instruments. - My other favourite: you need a microphone to do this, but even a cheap microphone is fine because we are trying to make weird sounds anyways right? Solo the pad you want, put the microphone somewhere in the room, maybe pointed at a wall away from the speakers, or even in the hallway, whatever... record 8 or 16 bars. Move the microphone around to a totally different spot, do it again. Then, pan one recording left and the other right. We should have a very wide sounding pad, with lots of room echoes and reflections making it organic and interesting. I have a million more ideas if this is helpful at all. Just remember - there is such a thing as too wide. 1 ultra-wide sound and 4 sounds swirling in automated panning will sound bigger and more spacious than 5 ultra-wide sounds.