Goa Trance - Sound

Sound

Goa trance was originally referred to as trance dance. The original goal of the music was to assist the dancers in experiencing a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms. As such, it has an energetic beat, often in a standard 4/4 dance rhythm. A typical track will generally build up to a much more energetic movement in the second half then taper off fairly quickly toward the end. The BPM typically lies in the 130–150 range, although some tracks may have BPMs as low as 110 or as high as 160. Generally 8–12 minutes long, Goa Trance tracks tend to focus on steadily building energy throughout, using changes in percussion patterns and more intricate and layered synth parts as the music progresses in order to build a hypnotic and intense feel.

The kick drum often is a low, thick sound with prominent sub-bass frequencies. The music very often incorporates many audio effects that are often created through experimentation with synthesisers. A well-known sound that originated with Goa trance and became much more prevalent through its successor, psytrance, is the organic "squelchy" sound (usually a sawtooth-wave which is run through a resonant band-pass or high-pass filter).

Other music technology used in Goa trance includes popular analogue synthesizers such as the Roland TB-303, Roland Juno-60/106, Novation Bass-Station, Korg MS-10, and notably the Roland SH-101. Hardware samplers manufactured by Akai, Yamaha and Ensoniq were also popular for sample storage and manipulation.

A popular element of Goa trance is the use of samples, often from science fiction movies. Those samples mostly contain references to drugs, parapsychology, extraterrestrial life, existentialism, OBEs, dreams, science, spirituality and similar mysterious and unconventional topics.

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Famous quotes containing the word sound:

    Music proposes. Sound disposes.
    Babette Deutsch (1895–1982)

    In spite of all her faults her name was so holy to him that it had never once passed his lips since her death, except in low whispers to himself,—low whispers made in the perfect, double-guarded seclusion of his own chamber. “Cora, Cora,” he had murmured, so that the sense of the sound and not the sound itself had come to him from his own lips.
    Anthony Trollope (1815–1882)

    Blame but thyself that hast misdone,
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    Change thou thy way so evil begun,
    And then my lute shall sound that same:
    But if till then my fingers play
    By thy desert their wonted way,
    Blame not my lute.
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