Nothing, I was just trying to make sense of one of those “had to be there” transitions. 😛

Really liking these previews. The Substanced remix harkens back to the days of Acid World, and the post-breakdown melody in I’ll Show You The Dark Side sounds a great deal like the kind I might use. Gonna be putting an order in. I’m curious what this new direction for the label will entail.

• This reply was modified 8 years, 2 months ago by Sherkel.

Another great link. Everyone’s approach is different, but I always like seeing the ways artists I look up to describe their creation process. All that prescription-strength musical advice aside, I shouldn’t be sherking my duty here, so here’s something more practical to help get you started.

Here’s a lead I’m currently using without filters applied. Maybe this will come in handy for your production. Here’s how it sounds playing a few notes with the filter turned on, for reference.

I wasn’t sure whether or not this was directed at me at first seeing as I arrived at what I got through pure experimentation rather than knowing the exact production techniques and such. I could put together some presets and/or screenshots soon, but you’d have to use FL as your DAW and use the plugins I happen to have. Not exactly a practical explanation…

That Alek tutorial on the other hand is a great find and could probably be followed to a decent degree without Reason or the Alpha Juno synth. I’ll post again once I’ve tried it out. It reminds me of a conversation that unfolded on Facebook when I asked about one of Grimsoul’s leads. Alek himself gave Chip’s comments a Like, so this should be good to have on hand too: http://pastebin.com/6bTy9QTw

I can confirm from experience that getting a “freeform lead” is almost all about effects and filtering. In terms of a “base” you shouldn’t need much more than a preset or a few layered oscillators.

Thank you!! I’m always happy to take a minute to offer my thoughts on something so special. Even when you first announced the album, I had no idea there would be such an impressive lineup. The remixes fill in two of the other names I was sure I would see.

I really don’t know how the whole licensing process works, but from what you’ve said I can conclude it’s a nightmare. Even if you hadn’t mentioned it, though, I would have enjoyed the set through and through. I think it’s an ideal counterpart to your Lucky Lotus 5 set. I might not appreciate the number of labels represented as much as others being a relative newcomer, but I can still enjoy the music and all the work that went into the structure.

Looking at all these years listed, I’m probably the newest fellow here. Oh well, no big deal! Here’s another hello from US and A!

I was first introduced to freeform in 2012 when I came across a thread somewhere that acted as my initial exposure to electronic music. The OP included a list of album recommendations, at the very top of which was Betwixt & Between’s Nanosecond Eternity. One thing led to another, and for the past few years I’ve been neck-deep in freeform and NRG! With everyone else mentioning their other musical preferences and how they relate, I’ll mention that for as long as I’ve known about music my favorite “genre” has been VGM. It shouldn’t be hard to guess that I’ve taken quite a liking for the melodic variant of freeform that our favorite producers are known for. There’s something about combining steady beats, repetition, and filtered synths with captivating melodies that creates a miraculous combination in the right hands.

I’ve been writing music of my own since 2010 that’s achieved varying degrees of popularity (under a handful of less round names) and at last shifted my focus to freeform this year. My approach to production didn’t click as well with electronic music as I hoped it would, but looking at my most recent stuff I think it’s all paid off in the best way possible. If I find the right opportunity there’ll hopefully be a release or three coming to support this corner of the scene.

My favorite track intro? I’d have to go with I Believe Nothing.