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quote:

Originally posted by Rodri Santos when Armin Tiesto and all the big names started this was much different, like everything in life if you are the first to start something you accept some risk but if you succeed you become rich and famous. There are very few exceptions of people who become rich following a stablished formula, the exception could be Apple who only improves existing material but well, this is another formula indeed. They started mixing trance and producing trance, geting exposure is all about networking, and since what they do was new getting the attention was easy.

Apple got big because they completely changed their formula. They made an iPod, marketed it to hell and back, gave it to influential celebrities, and then used their new cult following to pump out more and more products.
It's exactly what music labels do. Establish a following and they will eventually buy whatever you put out, regardless of quality and price.

The problem with trance is that there is a trance industry.

The problem with trance is that there is a trance industry.

I think it's silly that there's a dj poll. That's ruined dance music. Once you crack the top ten, you have tenure for getting gigs for life! My grandma knew who Tiesto is. God bless him, I have nothing against him, but there are other names that the general populace should know other than Tiesto.

I respect DJs, but I think the industry should go another route than the DJ model, or reform it so that guys just don't get tenure for life. There are other producers (I like this model) and DJs out there.

That said, I don't look at tracklists for DJ sets, even though I do listen to a few every other month. As a consumer, it's tough to give others a chance. I do take the time and dig through songs online to buy, but it really is tough especially if you like a super niche sound, so I tend to stick to sticking with the tried and true labels that do it for me. I also trust the TA music discussion forum, they know their techno and house, so I use word of mouth too.

quote:

It's impossible to not find something you like.

I agree 100% this is the best era for music. As for the music industry, it's in limbo, it is evolving. Evolving into what is the question, especially for the dance music industry. I absolutely love the amount of choices out there on the net. I have gone to the record store disappointed buying nothing before buying online was the main medium. I have about 300 songs in my hold crate in one download store and I'm having a tough time trying to find out which songs to buy. I'm having a lot of trouble believing these jaded people who say that everyone is releasing crap. The kicker is, a lot of the names in my crate aren't household names.

it's unpopular to say that there is still good music in 2010 but the truth is that is possible, however there are less good tracks (or maybe there are so many tracks that considering 10% are brilliant and 90% crap you've to remove a lot to find that 10%) and i feel the good tracks aren't as good as they used to, but finding 9/10 stuff is possible in 2010 and will be possible in 2011

Re: The Trance Industry

quote:

Originally posted by Imu This is something I've been wondering about for a while. I would put it in the music discussion, but it's a very producer-specific topic, so I'm going to put it here. If anyone disapproves, apologies and please let me know. So, when the track Who.Is - "We.Are" came out, I was really excited - as I always get when I hear a new sound and a new name on the scene. However, last week, when I was googling Who.Is to try and find a copy of their remix to Aruna with Mark Eteson - "Let Go", I discovered that Who.Is is in fact Bart Claessen + Raz Nitzen. Good for them - it's a nice project, but it's indicative of the elitism and monopoly that exists in the Trance industry. There seem to be so many producers out there, but very few who are actually signed or who we actually hear. Why do you guys think this is the case? Are less commercial producers just not able to break through? Is their music "overproduced"? Are they just not networking in the right way? I've seen hundreds of people hand demo CDs to DJs and Markus Schulz seems to be the only DJ who actually gives these a listen and promotes newcomers (Thomas Cressine and Pobsky are classic examples).

Now days indipendet small EDM labels, depend by the other djs, depend by ASOT, GDJB TATW, CC, blablabla.... that is ridiculus a serious label have to promote you by radio (FM not web), by tv, by the all way possible without need any help from other non-house djs; the labels have to spend money in promotion on a valid product, so they will focus more on relase good music and invest money on new talents (THAT ARE REALLY A TALENTS !!) and products

Think about Anjuna investiments; how much they have to spend for promotions ? 0 euros; they have a close number of djs, they are always afraid to take something new, just cause they are really small =)

So the real problems, of trance and EDM industry in general, are these kind of labels, that relase: sometimes good tracks, but most of the time the same shit; they pretend to have from you, but they don't give anything to you !!!...that is too easy don't you think ?!??

Sadly this Trance "industry" has been discussed to a point of overkill on a hot bed of endless, pointless criticism which hopelessly leads itself nowhere, even with Joof struggling to keep a portion of it alive is like trying to stretch a bed sheet to encompass the world. As long as there are fanboys being spoonfed and business men (yes, business men, NOT producers/DJ's), the scene will continue to run as a circus.

Same analogy can be applied to orange juice poppers, sold by some popular/trusted brand to people who think they're actually consuming anything near freshly squeezed oranges. I've engaged and ranted with this topic for too long now but have given up as I can foretell the shit Trance will trip itself into in the near future. I personally don't consider it Trance anymore, NOR an evolution of itself, more like a mutation into Nu-Dance which is seemingly more appropriate, but NOT TRANCE.


Trance belongs to another timeline, a period where it actually lived up to its defintion.

Re: The Trance Industry

quote:

Originally posted by Imu This is something I've been wondering about for a while. I would put it in the music discussion, but it's a very producer-specific topic, so I'm going to put it here. If anyone disapproves, apologies and please let me know. So, when the track Who.Is - "We.Are" came out, I was really excited - as I always get when I hear a new sound and a new name on the scene. However, last week, when I was googling Who.Is to try and find a copy of their remix to Aruna with Mark Eteson - "Let Go", I discovered that Who.Is is in fact Bart Claessen + Raz Nitzen. Good for them - it's a nice project, but it's indicative of the elitism and monopoly that exists in the Trance industry. There seem to be so many producers out there, but very few who are actually signed or who we actually hear. Why do you guys think this is the case? Are less commercial producers just not able to break through? Is their music "overproduced"? Are they just not networking in the right way? I've seen hundreds of people hand demo CDs to DJs and Markus Schulz seems to be the only DJ who actually gives these a listen and promotes newcomers (Thomas Cressine and Pobsky are classic examples). Second though: This year has been a great one for Benno de Goij, because people finally found out who the hell he is and that the majority of Armin releases are co-produced by him. In fact, Armin seems to have done very little on his own for "Mirage" - working with the Nervo Sisters, Benno, and Raz Nitzen. Similarly, Jochen Miller's new sound ("Classified", "uPad", remix of "Back to Earth") are all a result of collaborations with Benno. So my question is: don't you think there are more talented guys out there who can actually write their own music AND produce it? Surely if Armin was looking just for collaborations, he would credit part of the track to his co-producers? Thoughts?

Regarding your second thought... This year was a year of enlightenment for me too as I discovered so many well known producers had engineers behind them. Engineers like Benno, Sentience, Parkinson, etc. I guess I was nieve but I really thought most everyone busted their own ass and did all the work themselves. It happens in all genres of music so I guess ours is no different. I have no problem with it as long as the proper credit is given but this is not always the case.

Re: Re: The Trance Industry

quote:

Originally posted by Magnus Regarding your second thought... This year was a year of enlightenment for me too as I discovered so many well known producers had engineers behind them. Engineers like Benno, Sentience, Parkinson, etc. I guess I was nieve but I really thought most everyone busted their own ass and did all the work themselves. It happens in all genres of music so I guess ours is no different. I have no problem with it as long as the proper credit is given but this is not always the case.

An artist who does their own productions will always have more respect in my book than ones who get others to create for them.

IMO at the end of the day, tunes are always better with that human touch of the original artist with their name or an alias infront of it (Besides Angkor - Untitled, whoever made that track needs to fess up NOW! ).

Its not that I think people with an uncredited/credited ghost writer don't care about making music, it just seems to not be their top priority anymore.

Re: Re: The Trance Industry

quote:

Originally posted by Magnus Regarding your second thought... This year was a year of enlightenment for me too as I discovered so many well known producers had engineers behind them. Engineers like Benno, Sentience, Parkinson, etc. I guess I was nieve but I really thought most everyone busted their own ass and did all the work themselves. It happens in all genres of music so I guess ours is no different. I have no problem with it as long as the proper credit is given but this is not always the case.

They may not necessarily want "proper" credit. Some people JUST want to make music, and avoid the limelight.

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