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Geoglyph

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Everything posted by Geoglyph

  1. https://mindspringmusic.bandcamp.com/album/infra-structureThere are some lovely things on this mini-album.
  2. Yes, please do I recommend getting in touch with local psytrance nights/festivals near you and asking permission to contact their attendees. Your study will be more valuable if you can give a precise location where it took place. The idea of a massive worldwide study conducted over the internet is exciting, but very difficult. For example, how will you contact Russian, Japanese or Brazilian psytrancers? Good luck!
  3. Oh man, well let's just say the EP was finished months ago, and i have come a long way since! Certainly in terms of production.
  4. PS I just downloaded 'On the Edge of Forever' for free. I promise I will be more generous next time I'm just quite inspired by that album right now. And broke.
  5. I know a guy who has a lot of old Ozrics cassettes from way back, he was wondering if they are valuable. He sent a picture of the collection but I should ask before sharing So are you a keyboard player Neil?
  6. How wonderful! You will find a lot of academics writing about psytrance in England. (Including me.) In fact, we're holding a conference in June, if you haven't heard of it already...
  7. So I was reading the Wikipedia article on wavetable synthesis and it mentions this piece. 1978! Incredible.
  8. Hey! Tell us more about your study. What is it about, and where are you based? G
  9. Also, I can't let this go, I'm sorry - it was Steve Reich who wrote Music for 18 Musicians haha I'm not surprised that Ott enjoyed Dryad's Bubble. I've been listening to those drums on 'Moksha Journey' for sometime now and I must say, I have no idea how you made those
  10. If I might, I'd love to chime in with a couple of thoughts from the wider musical world I'm writing a PhD in urban ethnomusicology/popular music studies, looking at psychedelic trance and related musics, and one of the things that we are really interested in in this area is professional musicianship. In fact, one of the first questions that ethnomusicologists like to ask - whether we are studying a tribe in the Amazon basin, or a folk session in Durham, or punk music in China - is "who gets to be a musician in this culture?" and "who pays the musicians?" I think that in Britain we tend to valorise professional musicians, and sometimes forget the colossal size and power of amateur music making. I suspect that this is true of other countries, too. There have been some very good anthropology-style studies of musicians in the UK, and what we've found is that "amateur" and "professional" are more like ideas than actual types of musician. Most musicians are somewhere on a spectrum with these ideas at either end. It's very possible for new musicians to get paid for a gig (more so than most musicians would have you believe!) but very difficult for even the most professional of musicians to make a living from gigging, and most (in classical, jazz and rock music) also teach or have another job. What strikes me about electronic music today is that more an more people are teaching it in increasingly formal ways. I know quite a number of producers who offer lessons - and DJs also. (I am a terrible DJ, but I had a lesson once, and also once had a paid gig. I'm not sure what the moral of this story is, but it was all great fun.) The question is - how do you know if you are good enough to give lessons? I'd love to hear your thoughts G
  11. I think that Visionary Shamanics are coming into their own with this 'forest dub' idea. It seems that the whole label is about these two very contrasting genres, and with these Elder remixes we see them coming together pretty successfully I think... Also those Electrocado remixes are getting my vote because psy-pop ftw :: can't get enough cheesy piano.
  12. Stellardrone <3 https://stellardrone.bandcamp.com/ It's pay-what-you-want, too!
  13. I think that producers would value this as well. It's surprising how few 'proper' reviews are out there for psybient releases...
  14. Cobearnicus has nailed it - the question of what the note 'A' is tuned to is surely irrelevant (unless, perhaps, your piece is a drone on A...) What's interesting is how the notes are tuned to each other in the scale. Equal temperament has some rather audible problems with it. Since ambient music very rarely modulates from key to key, it seems sensible that this music should explore other tuning systems wherein intervals are more mathematically 'pure'. (This wouldn't make sense in jazz, though, because in jazz you modulate from key to key a lot, very quickly. Same in classical music. This generally sounds bad in tuning systems other than equal temperament.)
  15. Spatialise has made, I think, a key point - the best pads happen when synth sounds are layered with ambient/non synth sounds. Even if the ambient sounds are very quiet, they add an amount of detail/texture which is virtually impossible to achieve through synthesis and effects alone. Also, Shimmer ftw.
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