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CDJay
Advanced Member
United Kingdom
3,049 posts
Joined: Nov, 2001
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 Posted - 2017/01/12 : 15:01:54
quote:
Originally posted by Triquatra:
entirely off topic, but saw Blu The Roooof was mentioned a few times in the previous comments here,
CdJay: I'm guessing a few of us (including myself) have moved house since the kickstarter was kicked off so our addresses will no longer be valid. Is something going to happen around the time to make sure they all go to the right places? Hope everyone at HU is doing well, I'm looking forward to happy hardcore underground 2!
Yep, a backer survey will go out as soon as we get the signed posters over from the U.S and the F&D set graded. I'm guessing end Jan! That will enable people to update shipping details, etc 
CDJay
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Http://www.hardcoreunderground.co.uk
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trippnface
Advanced Member
United States
1,661 posts
Joined: Jan, 2010
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Posted - 2017/01/12 : 17:14:42
quote:
Originally posted by warped_candykid:
I don't know where to start about the current affair of Hardcore.
I feel songs have become so soft. There is no hard to the the core anymore in those bass lines, Many tracks have that mushy, smooth drum that has very little kick to it, and many tracks have that same watery-synth, or the gritty hi-pitch synth.
It's hard to believe how many tracks don't even reach 5-6 minutes, and how bland the intros/outros have become.
Gammer posted the other day that 2017 will be the year for Happy Hardcore...Someone please tell me where this happy hardcore is at, because I haven't heard ANYTHING from TWR sounding like happy hardcore. Al Storm & Scott Brown, now that's another thing: Their releases actually have some happy hardcore memories to them.
Fracus & Darwin...Pretty much the 'underground' equivalent of Gammer and Styles. Their productions are also starting to flow down this 'same-sounding' slope. You would think two artists who have so much influential power would try to bring back the harder cheese to this genre, especially Darwin, who use to write some great raw-sounding material.
Which brings me to my last point: Where did all the cheesy hardcore go? Where did all the happy mid-sections go? Where did the vocal effects go? Will 2017 see the return of these things?
Big Thanks to Al Storm for keeping the core alive, & Scott Brown for keeping tracks released at a steady pace!
how does this track make you feel?
https://www.youtube.com/watch?v=9UWisvGBf_E
anybody else?
* also; if modulate was going to make hardcore again; why the **** did he just not name himself modulate..... plus; his hardcore under mike modulate ****ING DESTRoys the sub par bunk he produces now
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(A)☮(E)
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warped_candykid
Advanced Member
United States
3,980 posts
Joined: Jan, 2004
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Posted - 2017/01/12 : 21:16:39
quote:
Originally posted by trippnface:
quote:
Originally posted by warped_candykid:
I don't know where to start about the current affair of Hardcore.
I feel songs have become so soft. There is no hard to the the core anymore in those bass lines, Many tracks have that mushy, smooth drum that has very little kick to it, and many tracks have that same watery-synth, or the gritty hi-pitch synth.
It's hard to believe how many tracks don't even reach 5-6 minutes, and how bland the intros/outros have become.
Gammer posted the other day that 2017 will be the year for Happy Hardcore...Someone please tell me where this happy hardcore is at, because I haven't heard ANYTHING from TWR sounding like happy hardcore. Al Storm & Scott Brown, now that's another thing: Their releases actually have some happy hardcore memories to them.
Fracus & Darwin...Pretty much the 'underground' equivalent of Gammer and Styles. Their productions are also starting to flow down this 'same-sounding' slope. You would think two artists who have so much influential power would try to bring back the harder cheese to this genre, especially Darwin, who use to write some great raw-sounding material.
Which brings me to my last point: Where did all the cheesy hardcore go? Where did all the happy mid-sections go? Where did the vocal effects go? Will 2017 see the return of these things?
Big Thanks to Al Storm for keeping the core alive, & Scott Brown for keeping tracks released at a steady pace!
how does this track make you feel?
https://www.youtube.com/watch?v=9UWisvGBf_E
anybody else?
* also; if modulate was going to make hardcore again; why the **** did he just not name himself modulate..... plus; his hardcore under mike modulate ****ING DESTRoys the sub par bunk he produces now
It's a nice track! Nice vocal effects, nice melody, and nice drum beat selection rather than the dubcore sound.
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Impulse_Response
Advanced Member
United States
733 posts
Joined: Jun, 2013
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Posted - 2017/01/12 : 22:09:01
quote:
Originally posted by Triquatra:
... and mastering of the tracks just got more squished ...
John Doe's mastering service happened. It seems that almost all the freeform albums of the last several years used him, which is a rather masochistic choice of the labels/producers.
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Producers and record labels, please stop "loudness war" mastering everything. It sounds terrible.
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Edited by - Impulse_Response on 2017/01/12 22:33:28 |
Triquatra
Moderator
United Kingdom
12,637 posts
Joined: Nov, 2003
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Posted - 2017/01/13 : 11:08:32
quote:
Originally posted by Triquatra:
The most exciting thing I heard in hardcore in 2016 was when Jon Doe played a clip of a track on a live stream from a guy who was "big in trance" that they'd asked to make a freeform track (I have a fair guess as to who it was) and that track sounded awesome; in all respects.
Quoting myself as the track in question is also mastered by him; sounded great. I should have been less specific perhaps; my issue is absolutely across the board with dance music.
Even new compilations that feature old tracks are getting "remastered" if I'm listening to a track say "Gat Decor - Passion 96" ripped from a 90s CD, and then it goes into a track which I've mistakenly downloaded recently instead of ripping from an old cd (itunes like to fart out remastered crap) say "Up Yer Ronson - Are You Gonna Be There" the difference is enough to give you a heart attack and crash the car.
But yeah, it seems that way with a-lot of modern music, It's bloody annoying, because I've heard some great pieces...but it's really hard to read or enjoy a book when it's 2cm from your face.
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http://www.hardcoreunderground.co.uk/ - http://CLSM.net -
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Edited by - Triquatra on 2017/01/13 11:26:05 |
djDMS
Advanced Member
United Kingdom
10,304 posts
Joined: Feb, 2003
572 hardcore releases
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Posted - 2017/01/13 : 11:19:36
.....unless you're REALLY short sighted ;-)
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Taking my time to perfect the beat
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Triquatra
Moderator
United Kingdom
12,637 posts
Joined: Nov, 2003
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Posted - 2017/01/13 : 11:28:00
quote:
Originally posted by djDMS:
.....unless you're REALLY short sighted ;-)
Haha! Or really old, perhaps it will be easier to listen to late '00s/early 10s music when we are 70 years old (in a few years time)
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Triquatra/Bee Trax/Cuttlefish
http://www.hardcoreunderground.co.uk/ - http://CLSM.net -
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Cyrax
Advanced Member
United Kingdom
623 posts
Joined: May, 2012
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Posted - 2017/01/13 : 12:28:26
quote:
Originally posted by Impulse_Response:
quote:
Originally posted by Triquatra:
... and mastering of the tracks just got more squished ...
John Doe's mastering service happened. It seems that almost all the freeform albums of the last several years used him, which is a rather masochistic choice of the labels/producers.
I think his mastering service is really good, in the beginning I got 3 good engineers to master to compare between the 3 and his was the superior one.
He also provides me with 2 versions, a louder not quite smashed version for playing out at hardcore raves and a slightly less loud higher quality version for myself and other events.
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Samination
Advanced Member
Sweden
13,230 posts
Joined: Jul, 2004
195 hardcore releases
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Posted - 2017/01/13 : 12:57:10
You're joking right? I thougth most of them used Pure Focus (DJ Devastate I think, he did most, if not all of Electronica Exposted).
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Samination, Swedish Hardcore DJ
Happy, UK Hardcore, Freeform, Makina and Gabber
http://samination.se/
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Impulse_Response
Advanced Member
United States
733 posts
Joined: Jun, 2013
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Posted - 2017/01/13 : 20:12:18
quote:
Originally posted by Cyrax:
I think his mastering service is really good, in the beginning I got 3 good engineers to master to compare between the 3 and his was the superior one.
He also provides me with 2 versions, a louder not quite smashed version for playing out at hardcore raves and a slightly less loud higher quality version for myself and other events.
The problem is for those of us who have access to only the squashed public releases, such as people like me who buy the albums. I'm hoping artists and labels will take advantage of personalized delivery with digital downloads, where the buyer can choose unmastered/properly mastered/squashed, and then everyone is happy.
I'm also curious how the pros evaluate their mastered tracks. Do they compare them directly against the unmastered versions? Or do they make proper comparisons by level-matching the files with some R128 method and doing blind ABXs? If the files haren't level-matched, then there's no way to make a fair comparison.
__________________________________
Producers and record labels, please stop "loudness war" mastering everything. It sounds terrible.
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Edited by - Impulse_Response on 2017/01/13 20:20:32 |
Elliott
Advanced Member
United Kingdom
1,147 posts
Joined: May, 2012
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Posted - 2017/02/05 : 00:06:09
quote:
Originally posted by The drunken scotsman:
quote:
Originally posted by Elliott:
quote:
Originally posted by warped_candykid:
Fracus & Darwin...Pretty much the 'underground' equivalent of Gammer and Styles. Their productions are also starting to flow down this 'same-sounding' slope. You would think two artists who have so much influential power would try to bring back the harder cheese to this genre, especially Darwin, who use to write some great raw-sounding material.
I called this years ago just as it was starting to happen. I got ripped. Now I'm more right than ever.
Those of us who don't whack off into an official F&D sock every night could see that there was really very little difference between what they were doing and the shit the top tier were churning out.
Fair play, it seems like sacrilege posting anything negative about F&D on this forum. To be perfectly honest I've never been a massive fan of them. There is the odd track that I've liked, but I've always thought that the praise they seem to get on here is a bit OTT. I think I must be missing something, but I just find that most of their productions are a bit bland.
It's true, mate. This forum has always had its darlings who get escalated far beyond their natural position through endless circlejerking and a virtuous cycle of subtle peer pressure. Then they become protected from criticism. I've run afoul of the unofficial rules many times.
I wish I could find that thread where I criticised Olly P for recycling old hardcore melodies under new titles but it ended with me just throwing in the towel because of the backlash. But if you want to say that Gammer is shit with no constructive criticism appended, you're good to go (not that I think this is a bad thing). Massive double standards and they've always existed -- just way more obvious when you have a lot of fringe opinions and you're happy to express them.
I remember back in the USH days when Darwin had the same status as F&D do now. I couldn't understand it back then either. He was producing the same stuff as everyone else with a slightly more artistic spin perhaps. But then if you wanted hardcore as an artform, why not circlejerk over Ham and Nu Foundation? Those two pretty much spanked everyone else when it came to artistic, emotional mainstream hardcore.
Like you, I never really got the love for Darwin or F&D and I can only really put it down to being a social phenomenon. I heard an F&D track recently and I had no idea what it was and I thought it was a new TWR track.
I do have my own double standard but I think it's reasonable and, at the very least, internally consistent. For me, as soon as someone starts selling their music for money, that's when it becomes okay to treat them as a regular artist (i.e. gloves off with the criticism). I'm obviously not going to criticise a bedroom producer putting up free tracks while still learning to produce in the same way as a full scene artist. As soon as you start making money from the music, you're a full scene artist and the same rules apply to you as everyone else.
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old soundcloud
i gave up producing
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Edited by - Elliott on 2017/02/05 00:12:40 |
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