Fast track build and sonic rewind trance

it would be very much appreciated if you lads could make another trance tutorial :slight_smile: one is very much due think :wink: cheers :slight_smile:

you have like 3 great trance “HOW TO MAKE” tracks in the tutorial section. Have u seen them all? :slight_smile:

i sure have, the peak time trance one is very good, the others not so much

post up some tracks you are digging… spotify playlist or youtube links are best

cool :slight_smile: would like to see a really driving track, something that has tech-trance elements but also uplifting. artists such as kearney, gary maguire, joc, ben nickey, sneidjer, darren porter etc br
heres a very tracks I’m liking at the momentbr
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http://www.youtube.com/watch?v=FBBG7DR_Jmklist=PL6Zl2OBVUmNwjQfvMTT8Nzk9jKqh2Cloiindex=6br
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http://www.youtube.com/watch?v=QwIn4C3dLrMbr
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http://www.youtube.com/watch?v=q0ZN5Qe4fGQbr
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http://www.youtube.com/watch?v=Pvg6C7RAco0br
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http://www.youtube.com/watch?v=iweabDXcn3Mbr
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http://www.youtube.com/watch?v=XDMR4kd06X4br
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You maybe can read : Dance music manual by Rick Snoman…br
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I really like this kind of music… I dont like trance generally ; but your second link is pretty nice.br
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For first i can see that they like a lot make some melody on every kick. Or kick/hit/ with the same tone espacement. something like use Arp Up 1/8.br
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Their kick is very hight.br
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They have bass more on 90Hz. Minimum (not less so) and with simple way cause melody are in the lead chord.br
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Look at that.br
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It’s one page of this book of Snoman.br
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[quote]"The bass rhythm in trance varies greatly and is open to artistic interpretation, but it will generally always consist of two bass lines that not only syncopate with one another but the transients also remain offbeat. This approach ensures that the bass transient does not occur at the same time as the kick or lead instruments transients. By doing so, more compositional ‘room’ is created in the mix since the bass transients, lead transients and kick transients are not all occurring at the exact same time. Indeed, the basic theory employed in a large amount of trance music is that the lead and kick transients can occur together, and the lead and bass transients can occur together but the bass and kick, or the bass, kick and lead should not occur simultaneously.br
The two basses in this genre typically consist of a sub-bass and a high bass. The sub-bass will most commonly consist of an octave shifting bass constructed of short 1/16th notes.br
Figure 20.3 shows a typical trance sub-bass arrangement in Logic Pro’s Piano Roll editor. Note how each transient of the bass not only remains off the beat so as not to clash with the kicks transient but also remains at a single pitch with only a single octave jump occurring in each bar (note pitch A octave jumps to A). Moreover, additional rhythmical motion is applied to this simple rhythm by moving the position of the octave jump a sixteenth back in time on alternative bars.br
For the high bass, the lowest sub-bass pattern is often duplicated onto another channel and transposed up by an octave. To maintain the rhythmical motion but also introduce some difference between the two basses, occasional notesbr
are removed from the high bass pattern and then lengthened to join these notes together (i.e. eliminate any spaces between the pattern). This approach is shown in Figure 20.4.br
Of course, this approach is only one example and is open to artistic interpreta- tion, but whilst there are differences in rhythm and pitch between records, this is the general approach taken by many trance artists when composing the bass line for the record. Indeed, it is important that the bass remains close to a sin- gle pitch for much of a bar and only changes pitch between the different bars. With this style of trance, the lead instrument is the focus of the track, and if the bass melody continually changed pitch during the course of the bar, it would dissuade the listener’s focus from the lead."br
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Interesting page.