Production techniques/workflow(?) for late-90s progressive trance

[TW1306]

If anyone really wants to do a 90s/noughties style mix then simply get rid of most of your FX...limit it to 3 or 4 FX sends for the whole mix, don't process any sounds outside of basic Eq, and forget any and all audio processing per channel (though we did a bit of that with samplers).

I'm still working on implementing all the advice, but I wanted to ask a (potentially silly) question about this part specifically; I've been listening to this track for a while and recently noticed at least four different elements that all have a phaser effect applied
(pad at 3:30, background noise synth at 3:56, main lead at 6:01, synth at 8:01) - is it that the effect would be applied from the same device, just with varying levels of send on each channel?

[Synthman2000]

1998 so synths in use then could have had internal effects processors. Access Virus appeared in 97 for example, or Novation SuperNova 1998, Roland JP 8000 - 1996 - they all seem to have some effects processing on board meaning multiple synths could have effects on at any given time. Many Korg and Roland rack synths also were multi-timbral and could play 2-3 sounds via multiple stereo outputs with their own effects per preset.

Other than that synths/drum machines with no effects that need them would have an outboard processor on analogue desk sends/ dedicate returns in the master bus section (or using 2 desk channels for the returns)

[Synthman2000]

Remember hearing someone say they never knew what their hardware synths sounded like in stereo, everything was mono recorded to save using up recording resources, DAT etc.

DAT is a stereo recording device. It would have no bearing on whether you used mono or stereo into a desk. All my synths that were stereo capable were stereo on 2 channels panned L/R as would be for the majority of even project studio owners running a 24 channel desk. If you only had a 12 or 16 channels you might do that, as in go left output only... big compromise though.

[skarvika]

Oh good, I used to make music like this and got results I was satisfied with. I wrote down my process from that time:

Mixbox / Filter-M & Stero Imager (All tracks) <-- This is to make synths mono as well as highpass the low end
Route all tracks (drums excluded) into T-Racks Tape Machine 440 & British Channel (Cut mids -1db)
Mix down stems / 24-bit wav
Route stems to reverb (T-Racks Fame Studio) & delay (Soundtoys EchoBoy) buses
Mixbox Filter-M Lowpass on reverb
Route all tracks (drums excluded) into T-Racks Tape Machine 440
Mixbox on master bus / EQ-PA & Tape Cassette <-- I'd personally leave a little white noise on for a more 'authentic' tape feel; you can hear some very light tape hiss on many classic trance records
T-Racks Stealth Limiter on master bus (4x ISPL / Dithering 16)
Fader mix stems
Mix down / 16 bit wav

Every synth came from Reveal Sound Spire and I'd use XLN XO to make my life easier for finding samples.

Another part of making classic trance sound genuine is understanding that most producers were heavily limited. They were restricted to what equipment they had, and that meant they didn't have access to 50 different synths, 80 EQs and compressors etc and 500 different channels to record to. Typically, they'd record it to tape (often DAT, if they had the money, they might have a reel-to-reel) - my philosophy is limit yourself to 8-10 parts. Then run those records through their fx, essentially re-recording those tracks. Then mix/master the thing. I chose to simply go through a channel strip plugin for this, applying the drive on the EQ-PA will compress it nicely and glue the tracks together. I don't EQ much at this stage, as the tracks should already sound good by the time you're sending them through the fx channels. The whole process would usually be done in 1-2 days because they couldn't shut their PCs off!

Remember to limit yourself in all aspects, it'll get you much closer to the sound you want. 2-3 synths, 1 EQ, 1 compressor, 1 reverb, 1 delay, limited tracks etc. Classic trance was produced mostly by regular guys using gear they could afford in shops, not studio engineers with access to all kinds of high budget equipment they could swap in and out infinitely. So when making it, it's imperfect and it's restrictive, but that's what gives the finished product its soul.

Oh, and one more trick: EVERY synth in mono except for your lead.