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-- Marco Guardia

Marco Guardia

ANyone know if he is still alive ?

In case anyone does not know who he is , he was the main guy behind SCHOKK and Flutlicht. arguably the best trance producer of all time.

ALways wondered how the hell he got the sounds he did from VAZ. I still remember in 2000 how it was driving people mad as nobody could believe something that good could come from software.

But after quitting EDM in 2004 ish, he has kinda gone MIA.

try the music discussion forums, you should start posting there bro, you like talking about music dont you?

http://www.tranceaddict.com/forums/...hp?s=&forumid=1

i am interested in his production techniques, but thanks. Feel free to tickle my prostate as you remove yourself from my as and mind your own fucking business. Make minimal a lifestyle including posting in my threads. you dig ? That insult was tailor made for you. Hope you like it.

So much time has gone by, you'd think someone would spill the beans on how he did it.

last thing he did was a lameass chillout thing. I thought that the famous Guardia-sound came from the Mercury VST, didnt know it was the VAS

naw it was VAZ modular. Especially the later stuff. PRetty incredible when you listen. And that was when nobody thought it was even possible to make a track with software let alone make what most consider some of the most classic trance tracks of all time.

Re: Marco Guardia

quote:

Originally posted by Looney4Clooney In case anyone does not know who he is , he was the main guy behind SCHOKK and Flutlicht. arguably the best trance producer of all time.

Seriously? Maybe if you got in to trance in 2000 (when it went down the shitter). Don't get me wrong, good producer and I have to give props to my other homeland (Switzerland, via the missus) but he's probably not even in the top 5.

And when was this milestone that suddenly let people make music with software? I started a job in Audio equipment retail in 2001 and three of the guys I worked with who were producers getting regular vinyl releases in a couple of different genres (house, breakbeat and DnB) were nearly completely ITB back then. AFAIR, he didn't even have any release prior to late 1999.

I suppose you could say your trance would be the mozart and the stuff I refer to as the Mahler.

Doing something first has historical relevance, doing something nobody ever topped has aesthetic importance. Trance pretty much stopped being made after SHOKK and Flutlitcht stopped. There really has not been anyone to make melodic trance that comes anywhere close. So although i won't denegrate the music you liken to classic as much as i would like to, I consider it an achievement based on historical milestones, not musical.

best way i can put it.

quote:

Originally posted by Looney4Clooney I suppose you could say your trance would be the mozart and the stuff I refer to as the Mahler. Doing something first has historical relevance, doing something nobody ever topped has aesthetic importance. Trance pretty much stopped being made after SHOKK and Flutlitcht stopped. There really has not been anyone to make melodic trance that comes anywhere close. So although i won't denegrate the music you liken to classic as much as i would like to, I consider it an achievement based on historical milestones, not musical. best way i can put it.

I hear what you're saying, but I don't think the two ("first" & "topped") are mutually exclusive as you're alluding to. Of course this whole issue is intensely subjective but I think SHOKK and Flutlitcht productions were just the last of a dying breed, and while good not really anything better than what had come before. If i think of people making incredible melodic trance I think of people like DJ Taucher, Nick Bracegirdle, Jam & Spoon, Sasha, PVD.....Marco Guardia only just registers compared to the melodic trance that these guys put out, years before. My point is, I don't hold a special place for that music because it was first (my period was technically the 2nd gen of trance) , really just because it was better. The producers making that music had to be amazing song writers and arrangers as they were constantly fighting against equipment limitations - you had to be pretty dedicated and talented to fork out $30k for music equipment needed to make a track....anyway, you know this quality filter argument thing.

face it, you had an orgy with leg warmer wearing gogo dancers and thru that met your girl and when you think of it, you aren't really thinking of the music.

SHOKK and Flutlicht came about in that era where everyone still used hardware but they didn't. ANd nobody would believe them. I don't think it was until like 2004 that the myth you can't make a releasable track with software was squashed.

But listen to their sound design. I then think of the year it was made and the software there was.

this track is a masterpiece. I mean they don't use the same patterns everyone does, the form is different, the melody is there, i mean everything is there. And they pretty much invested the rolling bass line.

quote:

Originally posted by Looney4Clooney face it, you had an orgy with leg warmer wearing gogo dancers and thru that met your girl and when you think of it, you aren't really thinking of the music. SHOKK and Flutlicht came about in that era where everyone still used hardware but they didn't. ANd nobody would believe them. I don't think it was until like 2004 that the myth you can't make a releasable track with software was squashed. But listen to their sound design. I then think of the year it was made and the software there was. this track is a masterpiece. I mean they don't use the same patterns everyone does, the form is different, the melody is there, i mean everything is there. And they pretty much invested the rolling bass line.

It was actually a bunch of guys in golden thongs and when I went for the reach around, I realized it was a girl. It was at the moment I said "I don't care if she's really a girl, I love her and so be if that makes me hetro".

Back OT, As I said, I think they're good producers and that is a good track but they simply don't hold a candle to the likes of the artists I posted up before, and it stands tor reason that most of guys I mentioned are still around whereas Natron and Reverb disappeared when their particular brand became dated.

2004 and is not the date when you could make a track entirely in the box - it may be when the masses caught on, but not the artists and producers did.

At that audio retailer in the UK, in 2002 we were desperately trying to sell off EMU and Akai samplers (at the time the best spec/brand ones you could get) and we just could not shift them - in the end we marked them down to 40% of their RRP and even then it was a pain to shift them. So it was already over by 2002. Don't forget Reason was released in 2000, and it although I hate it, there's no denying you could make a good track from scratch without ever leaving the program.

By 2002, you had cubase, logic, sonar, reason, Ableton Live, FL...shit there were tons of programs that were fully self sufficient. People hung to hardware that already had it, but you could make a track ITB long before 2004.

I think this thread is more about the fact you have a boner for swiss men. Is it the lederhosen and dindel? or the fact they can Yodel "hunnybuns" to you in at least three languages?

Hey, what the fuck - You changed the track from Icarus to another while I was replying? Both are wicked though, I just think you rate them so heavily because this was your era of discovering or at least getting in to trance music (let's face it, it really didn't exist much in north America prior to this period).

icarus was a mistake. I don't really like that one.

But every track they made until Guardia left was like prime time track. IT was the track of the night. I mean they made about 15 tracks and they are all monsters.

Yes there were programs bur nobody was releasing was saying they use software. They really were one of the firsts. There was pages and pages of talk that it just wasn't possible to get the sounds they did without fancy synths. And all there sounds were stuff you never really heard before. So it was kinda surreal.

And back then , i mean just to get a kick like they have was a task in itself. THere were no libraries. There really was no help or forums to help others. Just a bunch of noobs asking how the fuck they do it with nobody answering.

and the youtube videos just don't do it justice as they are awful vinyl rips.

quote:

Originally posted by Looney4Clooney icarus was a mistake. I don't really like that one. But every track they made until Guardia left was like prime time track. IT was the track of the night. I mean they made about 15 tracks and they are all monsters. Yes there were programs bur nobody was releasing was saying they use software. They really were one of the firsts. There was pages and pages of talk that it just wasn't possible to get the sounds they did without fancy synths. And all there sounds were stuff you never really heard before. So it was kinda surreal.

I dunno. Must be different tastes, I think they made great music but it just sounds like everything else from that period. Most of my mates were making breakbeat and DnB which just sounded so damn fresh and they were all PC based. In fairness though, clubbing had kinda lost it's shine for me slightly by that point so I wasn't too enthused or really following at that point by the stars of that period, or really looking at what quality trance there was out there.

EDIT: Fuck me you edit a lot. By the time I can post yours has changed like three times!

the standard for dnb at that time was fucking low.

quote:

Originally posted by Looney4Clooney the standard for dnb at that time was fucking low.

Standard for most EDM was pretty damn low. They were just doing the more interesting stuff, borderline IDM etc.

not for the stuff coming out of germany at that time. I mean there was so much stuff that at the time was a big deal. Like not using a 909 kick. or hihat, I know it seems silly now but the germans really started doing EDM in a way that was experimental but still enjoyable.

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