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Used to be very much into dance music throughout the 90's and the 00's. Interest in new stuff and trends waned since around 04 however, and today I feel very disconnected from what's going on. The most interesting type for me to work with right now is ironically Dubstep. Most of what's released is just dismissable trite, but that has been true of any genre that gets a few years of prominence. Once the fad wears off, the genre is declared "dead" and returns to the underground, I think we'll see some interesting things happen with it again.

For 4-on-the-flooor stuff I stick mostly with proper Deep House for its jazzy harmonics and Goatrance for more melodic stuff. Goa tends to be very formulaic though and I can only enjoy it in small doses at a time.

Mastering was something you just did for vinyl originally. It's really redundant if the music is released on a digital format. But since a lot of people making a living from mastering probably wanted to keep their jobs...

The de facto definition of mastering today is more or less just applying EQ and compressors/limiters on the master channel. Sure enough there's nothing stopping you from doing that while you're mixing. But many people offer paid mastering services on tracks that have already been mixed and bounced by somebody else, so it benefits them to have it treated as a separate process.

I think mastering is mostly a destructive process, not saying you shouldn't do it if you really want to though. I would advise against investing in any mastering software though, I think it's just a marketing farce since what they offer is usually a EQ/Comp suite with tools you already have at your disposal. Like Coke Zero.

Would probably have helped if the Soundshock forums were still open, even if they weren't that active.

That's cool, I didn't think any of the old Yamaha synths had a pitch envelope. FM8 has it which is a huge boon for programming drums and sound effects. How does the "fake filter" work? Usually I don't bother with filters for FM, but FM8 has a separate filter operator which I can actually use to modulate before the output signal, which is really cool and gives me even more options for altering the timbre.

That could be useful to make string sections, choirs or anything else that relies on unison for its characteristics. Although I think just 3x 2op would be enough for chiptune purposes (and the same results have already been achieved at the expense of more channels).