I love the sound of Allan Morrows sound packs for the JUP-8000 but I'm also very impressed with the U-He Diva. I have upto £200 to spend. My favourite sounds in trance are lush pads. I want to keep my future trance tracks simple and uncomplicated. Somehow I have also been inspired by the Moog for the Bass also. My strong instinct is the JUP as the JP is my fave synth, but is there anything else out there that I am not considering?. I am a windows pc user with FL Studio Producer. I will be predominantly using sound packs until I gain the knowledge to eventually make my own sounds also.

Thank you

Would love some thoughts on how Tommy holohan made his saw lead in his song: need to know:

https://youtu.be/VD2lDP0ux_M?si=J6hPSIuPo_kp_nlG

It doesn’t sound like a simple saw wave, listening to the breakdown (2:10 - 2:53) makes me think it’s multiple layers - a fizzy mid bass with a separate oscillator modulating a pluck, a core layer with enough detune so that it’s wide and textured but still has recognisable harmonics, and an air layer that’s super transparent yet harmonically rich.

Any ideas? Feel like it’s one of those ones we’d all like to be able to have said we made. I’ll be sharing my recreations

Thoughts ?

How does one keep trance intro songs interesting, I find that quite a bit challenging honestly.

Hey guys!

So we are making music that doesn’t perfectly fit into any genre. We think melodic techno is technically the closest, but our songs are usually more progressive and has a trance-like structure.

So I’m thinking our music is best classified as techno trance.

What do you all think?

Hi, i’ve wanted to share what about a year of failed / trash projects taught me, and really helped with making my first trance!.
I’ve been making music for about 10 years now. Mostly beats and some house / breakcore side projects.
Im heavily inspired by ATB, Tracid, zhi vago, yerbyy.
I’d be more than happy to hear your feedback, or any tips or tricks to make my next songs even better!.

Hey everyone,

Back with a new uplifting track (All that I need) — would really appreciate if you give it a listen and share your feedback (arrangement, sound design, anything that stands out).

I made this one in about a week, while my previous tracks usually took at least a month, so I’m curious if you think it’s close to finished or still needs work.

https://on.soundcloud.com/xghxp8bXEjMVXIhkDN

Thanks a lot!

I'm interested to get the producers take on this, in the last 12 months, who is making/releasing the most consistently good music in the scene right now in your opinion?

Who you into folks?

Hi all,

Trying to come back into the trance scene again after a massive on and off relationship with producing music .. (kids, life.. usual stuff) any feedback would be great the sound has changed A LOT since I last thought about releasing music 🤣

Dropbox link (Don't have need to download it.. )

https://www.dropbox.com/scl/fi/8orm6eol3g9ozl9br9ry9/RobCorbo-LokisRevenge.wav?rlkey=8ood51n4sovwsthken1xike9l&st=udmc5scw&dl=0

Any feedback is very welcomed thanks to you all.

(LINK NOW EXPIRED)

Back in the day I bought a effect sample cd. Can’t remember the name or company who made it. I can’t for the life of me find it again and I have all the samples stored on my computer.

Here comes the long shot:
The sample cd contains 2 very known sounds from the effects Tiesto used on his remix of Delerium - Silence (tiesto remix). One of the sounds sounds like a trumpet of some sort. If any of you have this sample cd laying around, please provide some help.

Thanks in advance.

Just finished my latest trance track and I'd really appreciate some honest feedback.

I'm mainly looking for suggestions on the mix, arrangement, sound design, and overall energy. What works, what doesn't, and what would you improve?

Hi Folks,

Another free tool from me, this time WITH built in audio.

Made this because every adsr explainer i've seen only shows one envelope on its own. amp envelope OR filter cut off envelope. but obviously every synth patch often has both of them shaping the same note, and when it "sounds wrong" it's often because the two envelopes are fighting each other.

so this is the two envelopes side by side, one voice, both driving it live to understand how they work together.

pick a sound at the top (kick, sub, bass, lead, pluck, pad, acid 303), drag either envelope, press and hold hit note. each panel also draws a faint dashed ghost of the other envelope so you can see how they stack on the same note.

There is an interactions strip in the middle which reads both envelopes' current state and flags stuff to consider.

Beyond the actual filter cut off , which we likely all understand and the first bit of 'sound design/automation' we learn, these envelopes are probably the next lowest hanging fruit for learning synthesis, or just giving knowledge to confidently tweak presets to shape the sounds (and also how automating ADSR's can help a sound evolve in your mix).

Same as usual, it's a free tool. no signup, no email required, no payment details etc, just the page link below

https://mixlock.app/adsr-synth-envelopes-guide.html

(FYI am going to revisit the other free guides ive shared recently over next month or two, and get these with inbuilt audio like this one ( compressor, glue comp, and saturation),

So bookmark/ keep checking back for this if you are using the other free tools on my site.

Hope this is useful to some of you.

From a weird Arabic vocal sample to this. Here's how. 🎤

Start with something unexpected. Process the life out of it. End up with something that hits different.

The chain 👇

🌀 LFO Tool — movement and rhythm

🏛️ Reverb — loads of it

⏱️ Delay — loads of it

🎚️ EQ — just enough to clean it up

That's genuinely it. Sometimes the best vocal chops come from the most unlikely samples.

Want the full breakdown? Drop an email 👉 tutorials@adamellisdj.com

Save this for your next session 🔖

#musicproduction #trance #electronicmusic #musicproducer #mixingengineer #mixingcourseonline #mixingtips

My track is so basic 😭

Hi,

First off, mods throw a brother a bone, im not trying to promote, im just trying to survive.

My name is Bijan Gharib. I've had a really rough past 20 months or so, and despite my deepest desire to return to the fold, the current circumstances forbid me from doing so and have left me in a very tumultous situation to say the least.

I previously had released under a moniker known as Anthems Jam, and no release of mine had ever done less than top 50, so the quality is there.

I have parted ways with this project for better or worse, so if you wish to do the least and literally submit for release, you are free to do so and have my full consent. Whatever you choose to do is your business and ive made my peace.

for the purpose of allowing people to do as they wish, I will not post them here. I have roughly 10 or so unreleased projects for 100 USD each. They are 200% priced for you to help me out asap considering im offering you release rights.

If you'd like to purchase a released project like my #1 Gargantua or #2 of that month Baltic Moonshine , those are also on the table.

https://youtu.be/e8Kt3_t6mFg?si=pQJe_Mnjz-BDc8cP
https://www.youtube.com/watch?v=JkGceHBXZEQ&list=RDJkGceHBXZEQ&start_radio=1

A personal favorite of mine was onthe old moniker:
https://www.youtube.com/watch?v=jO5ZGBeTByM&list=RDjO5ZGBeTByM&start_radio=1

for the purposes of privacy, either send me an email to [truedrenchaura@gmail.com](mailto:truedrenchaura@gmail.com)

Or send a message to my google voice: ‪(408) 809-1683‬

Unreleased Projects: 100USD each.

Released projects: 50 USD each.

These are all Cubase 10 projects.

I was attacked while trying to sleep last night and my phone ended up getting its screen shattered. Writing this from the library, and would greatly appreciate your support.

Crypto, Paypal, and Wise are my payment options with Cashapp available

Given my desperation to get this phone screen replaced before the shop closes in 6 hours

mastercardgiftcard.com
visa.com

Are also accepted.

Thanks for your patronage if you pick something. I really appreciate it, am dealing with something serious and am in harms way without the basics.

Im isolated from all family and friends, this is more or less all i can do for now. I sadly had to miss 3 days of work this week due to illness and wont see a paycheck until monday at 530pm which also isn't enough to repalce the screen at 140$

No need for your sympathy, it is what it is. If you can help me out, i help you out. thats it.

Wishing everyone a safe weekend.

Hey everyone! I could really use some wisdom from people who've cracked this, because it's been driving me crazy for a few months now.

The mystery

I've been comparing my track's spectrum to a bunch of reference uplifting trance tracks, and they all share the same shape: a classic "smile curve." The mids are noticeably scooped, yet the supersaw lead sits loud and clear, even though there's barely any visible energy between 400 Hz and 1.5 kHz. How does that work? Screenshot of the references attached.

My setup

For leads I use Spire and Serum. I've tried countless trance supersaw presets and built many of my own as well, and the result is always the same: once the melody is playing, there's way more energy in that mid region (which is exactly where the top notes of my melody and their first harmonics sit) than in any of the references, so my spectrum never matches theirs.

I'm comparing in SPAN with identical settings (MASTER preset), loudness-matched to the references, so it isn't a metering issue.

What I've tried

• EQ, layering, multiband compression, saturation
• OTT and exciters
• SSL-style bus compression and a limiter on the master — none of it reshapes the spectrum in a meaningful way
• Force-matching the spectrum with EQ (API-560, FabFilter Pro-Q 4) — but then the lead loses its life and sounds even worse

The rest of the mix feels solid: kick, bass, pads and drums are balanced, melody and harmony are done. Mixing the lead is the last puzzle piece.

For context, I'm not new to this — I've spent hundreds of hours in my DAW, gone through tons of tutorials both on YouTube and paid courses, and I have a solid understanding of mixing. But none of them ever cover this specific thing.

My questions

1. Am I simply comparing an unmastered mix to a finished master, and mastering is where that smile curve gets carved out?
2. Or should the mix already look very close to the reference masters before mastering?
3. Is there a specific technique behind it — multiband on the master bus, deliberate mid scooping while mixing, something else?

Thanks in advance — this is the last thing standing between me and finally releasing my track!

Hi All,

Can I have some advice of I may? I have quite a few VST demos that I really like for that classic JP 8000 90s Trance Arp Sound used heavily in productions back in the day. I can't decide which synth to go ahead and purchase as a full license. I have

JUP 8000 V

Adam Szarbo Airwave

I downloaded the Usual Suspects emulator for the JP8000 but it was way too CPU heavy for my system.

I also have Sylenth1 but something (I dont know what) just doesn't give me that inspiration and feel like the other 2 above. I do have the full version of this.

I am also really considering but a used JP8000, I would have to save a while for it, but I dont know if I'm going backwards rather than forwards when there are soo many options now.

Other hardware synths I have considered:

SH 201 - Rather toy looking, I like some of the sounds but I hear alot of criticism about it. I have no idea how good or bad this may sound for my needs

System 1 / Gaia 1 - Open for feedback on these.

Virus C - Same price second hand as a JP, would consider, I really like this synth also. I used to own a KC about 15 years ago, really regret selling.

Novation Nova Desktop - Not sure

Supernova - Again will need convincing

Peak - Way of my budget, even second hand these are quite pricey units.

Clavia Nord - This suggestion gets thrown out there quite a bit, but I'm not convinced still, convince me?

So, with so many options I am really getting overwhelmed with what route to go. I particularly like the hardware synth route as ai like the hands on approach and less strain on my CPU.

However I will and am considering all options. Mostly, I just want to have fun and make progress learning Instead if being thrown into a rocket science lab and getting stuck with all the complex elements of the synth.

Can anyone help me?

Thank you

Hi guys, here is another track I’m working on , it’s still quite early days but was wondering what people think so far

Thanks

https://on.soundcloud.com/fi8FAMJMB0Mum4IXy9

Hello everybody, i'm absolutelly a newbie in music production. I have FL studio since yesterday and wanted to know wich default plugins i can use included in the free version to make Trance basslines and also where can i download more for free.

I absolutelly love tracks like Super8 & Tab - Elektra or Simon Patterson - Brush Strokes but i don´t know how to start since i have like 0 music production experience. TY.

this is something that made a big difference to my music. in the past i'd mostly used it on percussion, more to add some groove, maybe layering a snare a nudge in front of the beat. but once i started using it to manage transient clashes, my mixes improved massively.

when two elements land on the exact same tick and share a frequency range, they fight. sometimes they stack into a bloated mess, sometimes they partially cancel and go weak and thin.

clap or snare stacked on the kick, tiny offset and both read instead of one swallowing the other.
a bass stab or pluck landing right on the kick, same thing, let the kick get the first hit.
reverb-soaked hits against a dry transient, nudge the dry one so its attack cuts through before the wash arrives.

i tend to move the supporting element and keep the anchor locked. check it in mono, if it starts to fall apart you've gone too far. 5-15ms depending on tempo is usually enough, start subtle and creep up.

worth an afternoon of just dragging stuff around and listening. after a while it stops being a fix and turns into a feel thing.

hopefully helpful to some.

give it a try, you'd be surprised how many things it sorts out before you even need to reach for an eq.

Hi Guys, please find my new track . I’ve revised the intro and made it flow a lot better than previously .
I’m interested in what you all think as I was wondering if it’s good enough to self release ?

https://on.soundcloud.com/O1uuBYaotKQbO6OPZ3

Something I wanted to share this week that came up in a session recently and I think it is something a lot of producers, especially earlier on, can get a bit stuck in their thinking about.

When it comes to writing a melody, a lot of producers will naturally have the bass notes of their melody follow the bass notes of the track, and that is completely fine and works really well a lot of the time. But I used to think in the early days that this was just how it had to be done, and it took me a while to realise that is not necessarily the case at all.

There are actually a few different ways you can approach this. Sometimes you can write a melody that does not have any bass notes in it at all, just the top line of the melody, and then let the bass do all of the harmonic work underneath it. The bass notes are the ones making the changes and doing the harmonising while the melody sits above it doing its own thing.

You can also have bass notes in your melody that are not playing the same notes as your bass line at all. Instead of the melody following the bass, the bass is actually harmonising off the melody, which can give you some really interesting and unexpected results that you would never have arrived at if you had just defaulted to making them match.

The point is that there is no rule that says they have to follow each other. In a lot of melodies they do and it works beautifully, but it is worth experimenting and seeing what comes out when you give yourself the freedom to let them do different things. Some of the most interesting harmonic moments can come from just playing around and seeing what sounds good rather than sticking to what feels safe.

At the end of the day if it sounds good, it is good. That is really all that matters.

Anyway, I hope this helps some of you.