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| Originally posted by electron Funny you should say that. I just bought the DVD and watched it last nite. Yup, besides watching Tiesto grinning non stop i get to see what's in his studio! So far i can make out.. Alesis Andromeda and Korg Karma. I can't see if he's got a virus or JP8000 tho. Can't make out the speakers either but they are definitely KRK's. (yellow cones) |
Timothy you are DA man! How did you manage to spot all that gear? But at least i was not wrong hehe.
Ok, im actually surprised to see that the No.1 and No.2 DJs in the world using KRK monitors ONLY (no 2nd set). I have to investigate this speaker further!
I know Ferry and Armin use the Mackie HR824s
tbh, im surprised anyone needs all this gear. 2 jp8080s and a jp8000? why?! you dont have to bounce as much but...
i wonder if most of them know even one synth inside out cuz synths are complicated monsters. life consumingly so. just one, more often than not has a mind boggling variety of sonic possibilities. if i had 20 of the best id be in my studio all the time, grinning constantly. but i dont think id get very much done. wouldnt know where to start. wouldnt be inclined to scratch the surface of even 1 of the many toys that im surrounded by. but maybe thats just me.
a case of G.A.S? (Gear Aquisition Syndrome)
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| Originally posted by electron Timothy you are DA man! How did you manage to spot all that gear? |
btw tiesto is not a producer he's "only" a dj! he doesn't produce the things under his name. that's done by different producers..
so long
cYrus
really? i would have thought he would have at least some input. i mean. production is so important. how can you control every aspect of the music you write if you dont produce your own tracks?!
it works the same way like the pop business.. there are producer which do some tunes and the labels are looking for the tunes which fit to the singer..
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| Originally posted by thecYrus it works the same way like the pop business.. there are producer which do some tunes and the labels are looking for the tunes which fit to the singer.. |
you may well be right cyrus, cuz im not too well up on what these people are doing. but when you muck around with synths and make electronic based music, it just seems natural that you would produce your own work. when you build synth patches thats production in a way. i find it hard to believe that he lets some joe producer handle the entire engineering process of his songs. engineering and song writing in electronic music are like 2 halves of the same coin.
pop music has this generic quality to it, this anonymity that screams 'this tune was written by person A who mailed the lyrics and notes to manager B who sent them to producer C who passed it onto his engineering colleague D.' it sounds empty cuz theres so many people involved in the making of a pop record and its extremely well produced but nobody has stamped their individuality on the tune. nobody in essence, follows through with their idea for the song, from conception to completion. thats why i feel that alot of pop consists of a mish mash of established styles and generic techniques both in musical and production terms. you get the impression that in some cases, the people making the tune dont really care that much about it. like its just a job. as far as you can tell all this from a song without seeming like jumping the gun.
stuff like urban train though has this real kind of energy to it. i dunno. maybe its just me. i dont think it could have been an entirely anonymous process like certain types of really manufactured pop.
no, tiesto does nothing for the "tiesto-tunes". he doesn't design synth-patches or writes melodies, lyrics, ... he only gives ideas/feedback from the dj gigs to the producers.
so why does he have a studio full of equipment that turns pretty much everyone here, green with envy? why do the producers not get a credit in the title of the collaboration if they are essentially the song writers? i could understand maybe if they wanted to capitalise on the man's good looks and/or his charisma to sell records but hes fugly and from what i hear a twat aswell. so its not one of those reasons.
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| Originally posted by thecYrus no, tiesto does nothing for the "tiesto-tunes". he doesn't design synth-patches or writes melodies, lyrics, ... he only gives ideas/feedback from the dj gigs to the producers. |
Actually you just have to read the fine print on his records. There are other producers doing records for tiesto. If you read magazines where tiesto talks about production it's hilarious. He has no idea what he's talking about. I remember reading a REMIX awhile back and he was talking about how important and how much fun turning the release knob is to make his tracks sound wide and big. It was just funny because it's soo obvious. The same is true with Sasha.. He hires tons of other producers to help him write all his material. Just read you guys!! I'll try and find some links online.
I'm sure Tiesto has a studio full of equiptment because he got tired of renting out both the studio engineers, producers and physical studio space with equiptment. So now he just hires the engineers and producers to help him in his own.
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| Originally posted by thecYrus btw tiesto is not a producer he's "only" a dj! he doesn't produce the things under his name. that's done by different producers.. so long cYrus |
i guess im just a bit shocked cuz urban train was one of the songs i studied voluntarily. tried to replicate all of the synths and rhythym patterns and effectively rebuild the track from scratch to see how it worked and how i could make my tunes better. i did the same with for an angel and saltwater. oh well. i guess that makes me a better producer than tiesto. ha!
Why does this always happen. When some person (DJ/producer) gets famous everyone suddenly assumes they don't make their own tunes, or even worse, never did.
While I am aware that Sasha usually gets a fair amount of support with his tracks (if you read the song credits it is usually him and at least someone else) and it would not supprise me if Tiesto does not have as nearly an active role in his producitons as he used to. But I find it beyond comprehension that people think simply because they are famous they can't produce. Scooter is another example, of course I am not a fan of their "music" but I don't get why people find it so hard to believe that they actually produce the songs. Scooter has the skills if you look at Ratty and I don't hear people claiming they didn't really produce that track.
Anyway, I guess I have made my point. I might understand if people are making the argument that Tiesto is not as involved as he used to be but to say "tiesto is not a producer he's "only" a dj! he doesn't produce the things under his name." Please...
PS - I am not a huge Tiesto fan and I know Traffic has the same "melody/lead" as some old techno tune.
the stuff off scooter's 'and the beat goes on' is really good i thought. songs like waiting for spring and rhapsody in e were awesome. ive got the cd and they are creditted as the writers and producers. its showing its age in production terms but it was great for the time it was released.
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| I'm sure Tiesto has a studio full of equiptment because he got tired of renting out both the studio engineers, producers and physical studio space with equiptment. So now he just hires the engineers and producers to help him in his own. |
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| he was talking about how important and how much fun turning the release knob is to make his tracks sound wide and big. |
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| Actually you just have to read the fine print on his records. |
id like to see that interview with the release knob. cuz envelope release doesnt make sounds become wider or bigger. the release rotary on the amp envelope determines the rate at which a note decays to 0 volume after the note is released. theres also one for the filter that controls the rate at which the filter cutoff releases.
sounds become wide when you hard pan them left and right together or alter its position in the stereo field with stereo separation. or they can sound wide if you modulate the phase of a sound which can make certain parts of a sound appear to sound further away or closer to you depending on what other frequencies are in opposite phase. or you can make sounds bigger by detuning, increasing the number of oscillators or the number of voices per oscillator or by forcing a sound to alias, or by making a mid range cut on an EQ whilst bringing up the highs and lows which makes the sound have a separate high and low component.
although i find it incredibly hard to believe that tiesto doesnt do any of his own production or never did any of his own production in the first place, suggesting that the release rotary makes sound wide and big is ridiculous.
wow im surprised how much some of these people know about tiesto and other famous producer/dj's you would think it was tiesto himself revealing his secrets lol... i supposed you want to tell me that bt cant "really" edit audio for shit now too right?
Ferry Corsten's Studio. I still can't find it! Does anyone have photos or his kitlist?
his kitlist is here:
http://www.vintagesynth.org/index2.html
go to archives at the top of the page, then artist profiles.
dont know where you can get any studio pics though.
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| Originally posted by Derivative his kitlist is here: http://www.vintagesynth.org/index2.html go to archives at the top of the page, then artist profiles. dont know where you can get any studio pics though. |
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