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Meander · Conrad Hoyer · live act

We're working on a collab right now. AUA self. We'll be working on tracks and checking this thread for the next 24 hours.

If you have anything to ask, shoot! Thanks a lot so far - it's awesome to see such a great turnout. We're going to take a break and chill out for a bit, but we'll be back tomorrow to answer more of your questions. Hardcore will never die - but it will totally take a nap. Edit 2: Thanks and keep 'em coming! Edit 3: Last break - we're done collabing for the moment.

I'll come back to this thread tomorrow and try to get to most of the kumo gassen youtube er I missed before we finally wrap this thing up. Thanks again. We're blown away by your awesome kumo gassen youtube er. This has been a really positive experience so far!

Not very near-future, but I always have new projects on my mind. If all goes well there should be a remix ep of my tracks before the year is out. The target for my next Meander album is and style-wise that one should be somewhere between Carbon and Gazing Kumo gassen youtube er into the Abyss.

There are also plans for other projects and collabs, but kumo gassen youtube er the moment they are a little too vague to discuss. I recently rediscovered Carbon.

I always really enjoy the first part of it and Kumo Gassen brings back a couple of pretty good albeit forgotten; memories, so kumo gassen youtube er up on that!

What influences did you have in your producing career? I see a lot of your vocals are from readings of poems, and your melodies themselves are always quite melancholic. Did you have an interest in that sort of poetry or did their themes just kind of fit in with kumo gassen youtube er style? What led to the Ophidian we know today?

I have always enjoyed art and poetry, especially more moody or dark work. I think it works both ways: I like it because it resonates with me, and at the same time it influences my own new work. I am frequently asked why my songs are often dark or sad or melancholic, and my answer was always that it just felt more real to me, even though I wasn't sure why that was. Then, some time ago, an interviewer asked me the question again and for some reason I just came up with the reason. I always want to read, see, hear or make art that is a mix of emotions because that mix is what makes it feel real.

I don't believe a human being ever only feels just one single emotion - nobody is ever just happy etc. Maybe somebody feels really proud about something they have achieved, but on the other hand they really miss their friends and family.

Or maybe somebody feels really lost and sad, but at the same time they can feel hope. These multi-layered feelings are what it means to me to be human, and I think this is also what speaks most to a human when portrayed in art or music. If not Now with USBs it's a lot easier on the arms and shoulders. I carry three kumo gassen youtube er flash drives with me that have 30gb worth of music on them. Over the years we've never prepared our sets. We usually do have a few new tracks by ourselves we would like to play.

We usually decide which track to start with 20 seconds before the start of our set. This, to us, is the most fun. No one has done a live set like Conrad, but we have done a couple.

The one we did at MOH last year is a fun example:. Hi Cherie. I don't really prepare much kumo gassen youtube er my sets at all. I'll think of two or three tracks that I really want to play and get them in there somewhere, and just play off the crowd for the most part.

There's not been a lot of interest from the US lately and it's been a while since we've been there in that capacity, but we're super down for it! I'm talking to a number of people and may be able to announce something soon. Not sure about LA though Yes, we are planning a sort of follow up to Etched in Salt. In fact, we already have quite a few tracks done. We're going vanna safe to say mp3 bit of an analog route for this one.

Let's ask him then. He was ranting about them in his last radio show. Next time you see him be sure to make a one-handed clapping gesture at him. He absolutely loves it. You can find it yourself though It could possibly involve beef with another music group in the same area musically and physically but mum is the word I usually start with the kick in hardcore.

That's what we're doing right now actually: This process can take anywhere http get resume 2 minutes to 2 days. Both of us often come up with a concept for the track before we start, though. The collab we're doing now has been floating around in our heads for 4 years.

When I've got a kick I make an 8 or 16 bar loop and try to come up with the main body of the track first. Then breakdown. Then intro. Only if there is a suitable track and a fitting occasion.

We don't believe in remixes for kumo gassen youtube er sake of remixes. That said, if anybody wants to make unofficial remixes or edits, we encourage you to do so. We believe in a creative community! Just make sure you credit where is credit is due. Question for both of you guys! How do you go about making kicks? I start off with a clean or somewhat dirty sample and use the internal EQs in Kontakt to shape the distortion on the kick.

When I'm feeling lazier I'll mangle an exisiting kick. The process is the same for both styles for me.

I guess there is a typical "crossbreed kick", but I hope I've never used one. Industrial I'd say has more dirt in the midrange, but that's not always true. Personally I start with a sample from a drum machine usually not a or incidentally a synth kick and nuke the hell out of it until it starts to sound interesting. Then I work backwards and try to tame the mess I just created, usually with EQs and layers.

People often ask me which distortions and effects I use to create my kicks. The truth is, nothing special at all! I use basic EQs and clipping distortions. The only special plug-in I use is a clipping Kumo gassen youtube er I programmed myself, but it's nothing I couldn't do without.

Do you have some Raziel stuff somewhere, you could release on Meta4? TOA 1: Tell us more about ducking frequencies when it comes to mix a track. That collab isn't finished yet. That's all we can say. If you're working with audio you can sometimes simply fade a clip in a bit and ghetto sidechain it that way. I usually only do volume sidechaining. The kicks and the snares in my tracks trigger a short little pulse that I can use to make the compressor duck.

When you DO use frequency specific sidechaining it makes sense that for a Hz snare you'd want that frequency ducked.

It's not done yet, but I am slowly working on a new Raziel release for Meta4. I'm aiming for a broader style with this one, but obviously still with the typical Raziel sound. I don't think it has happened much lately. I'd rather not have people "steal" my stuff, but if it's subtle and used in a creative way Kumo gassen youtube er don't mind really.

In the past some people have blatantly sampled half a minute of kick drums including edits!

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