There is more interesting questions that pop into my mind though.... the phenomena behind the Magikal Remakes and stuff.

And yeah I do agree... within certain realms of Tiesto remixes, there are some remixes that have similar samples, and some that are totally different or come from a different sample set or influence.

Ie...

Flesh, Silence, Suburban Train, You Take My Breath Away, Kid Vicious song, all have a similar sound to each other. I'd assume that this is the style of HW Mallon & Waakop-Reijers duo.

Then a different set of remixes with a different sound of influence...

Sparkles (Magikal Remake), Destination Sunshine (Power Mix)

and then... in some cases, some songs by Yahel have similar sounding samples to the Sparkles (Magikal Remake) & Destination Sunshine (Power Mix). The songs by Yahel like Voyage.

------------------------------------------

My theory but and totally offtopic but.... I think during the 98-04 era of Tiesto's success... HW Mallon specialized on his particular talent, and Waakop-Reijers focused on his and each of the two patched up weaknesses of holes that the others lacked.

I don't know why, but I have a STRONG feeling that Waakop-Reijers focused more on the powerful synths... like (I can't explain very well but please bear with me), I think Waakop focuses on those long synths that play right after the drop of Silence and Suburban Train. Waakop just has that talent of pressing down on the piano for extended amount of seconds and makes it sound euphoric, uplifting, epic, or like "an anthem."

As for Mallon? I think Mallon focuses on the build up of the track, and the layering of other random samples that build the track together to have more texture, background samples, and I believe is role probably adds more layers to the "anthem synth" parts that Waakop does.

I strongly believe that Waakop does most of the "breakdown" sounds as well... he just has that talent in making that emotional or mellow-dramatic synth sound. (Ten Seconds Before Sunrise, Suburban Train synths, Silence synths, etc)

Have you heard his extended remix of "surrounded by lights" on the kaleidoscope album? okay please bear with me, that album isnt so great..... but listen closely:

quote:

Details of "Surrounded By Light Music written by T.Verwest & D.J. Waakop Reijers-Fraaj. Published by Musical Freedom / Allure Muzik. Produced by Tiësto. Co-produced by T.Verwest & D.J. Waakop Reijers-Fraaj. Assistan engineering by M. Brouwer. Mixed by T. Verwest & D.J. Waakop Reijers-Fraaj. Mastered by E. Lazar & J. Laporta. At the Lodge.

Now the track posted above... it has Waakop Reijers who made that sone... which has that "mellow-dramatic, hypnotic" sound in the breakdown. this song has some talent behind it, but it seems just plain. it has a good breakdown, and an okay melody, but it *lacks* that other half that Mallon probably would've completed the rest of the track to make it sound complete, and have the "buildup with extra layers of samples in the background"

did you notice that surrounded by light extended mix had NO real build up for that track? that track was literally only like... bass bass and then breakdown.... they needed Mallon to build up the track

oh god this theory thing is fascinating me but it when all boils down to something....

1) Reijers probably focused on the anthem/epic/breakdown parts...

2) and Mallon probably focused on the buildup of the track and the complexity of layers.

Actually you are wrong about the "Destination Sunshine Powermix", it was the first track ever produced by Hw Mallon & Reijers.

I wasn't behind the mixing desk with those guys, but from what I've read in the past, Hw Mallon left because he never got the proper credits, and Reijers was Tiesto's choice for crediting (along with Geert Huinink)

Personally I don't care, Tiesto's gone crap ever since Hw Mallon stopped working for him. But I'm pretty sure Reijers is still in his production team.

Hah and it would be great if Hans Willem Mallon returns to the forums and post some Tiesto facts, lol

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quote:

Originally posted by Col However, EDM seems to be political for some people - it's not about the music itself but it's about what the music symbolises, where the music came from, who spins it and how obscure it is.

quote:

Originally posted by BlueSky Actually you are wrong about the "Destination Sunshine Powermix", it was the first track ever produced by Hw Mallon & Reijers. I wasn't behind the mixing desk with those guys, but from what I've read in the past, Hw Mallon left because he never got the proper credits, and Reijers was Tiesto's choice for crediting (along with Geert Huinink) Personally I don't care, Tiesto's gone crap ever since Hw Mallon stopped working for him. But I'm pretty sure Reijers is still in his production team. Hah and it would be great if Hans Willem Mallon returns to the forums and post some Tiesto facts, lol

Oh I just meant to say that Sparkles Magik Remake and Yahel Voyage kinda have similar samples to Destination sunshine powermix, or vice versa.

But yeah I agree Mallon is/was very fabulous engineer.

Without Mallon, Tiesto's Trance sound will only have Waakop-Reijers sound in it. and according to my theory, Reijers can only specialize in intros, breakdowns, anthem/epic synths.

I dont think Reijers has that build up talent that I believe Mallon had. Mallon was probably responsible for most of the snares in a track too.

that surrounded by light ext mix is a perfect example of production (Waakop) without Mallon.

The excuse of being very busy is one of the sad parts, it's like if the other djs didn't have a full schedule... now i think he has several hired producers, he releases one track each week

quote:

Originally posted by Rodri Santos The excuse of being very busy is one of the sad parts, it's like if the other djs didn't have a full schedule... now i think he has several hired producers, he releases one track each week

Well you got a point there, but I don't think it was his main excuse for not being in the studio.

For example, check those 1997 DJ Tiesto tunes where he was truly on his own:




And the next two years, 1998-99, 'he' comes out with these:
Balearic Bill - Destination Sunshine (DJ Tiesto Power Mix)
Theme From Norefjell
& etc.
Obviously its 1998 when those guys started producing for Tiesto, maybe he ain't that talented (as those two are), there's nothing wrong about it if he admitted it - "Yes, I use those guys, because I'm not that good on my own". He actually tried to do that, but didn't give a credit to his whole production team (who is pretty much responsible for his worldwide success and what he is today, not only Dennis or Geert as we can read in his old interviews).

Anyone wondered what happened to his 'best' friend DJ Montana? There is a text printed in the sleeve of Magik 4 which says:

quote:

I wouldn't be where I am today without my 4 brothers Ahmet, Arny Wilfried and William. Love and respect, June 5th 1999, DJ Tiesto

I'm starting to think that he just doesn't know how to treat people from his own team, maybe thats why the best ones left him a long time ago.

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quote:

Originally posted by Col However, EDM seems to be political for some people - it's not about the music itself but it's about what the music symbolises, where the music came from, who spins it and how obscure it is.

that 1997 tracks are completely different style but i can appreciate that are considerably weaker than what came after, everyone who has ever met him says he is an arrogant prick it must be hard to do the job for him while he is bitching around the clubs and not get any credit.

This proves something however, the brand is very important there are a lot of great producers that don't succeed because of this, thinking now in Benno vs Armin i think Rank 1 should be more sucessful with solid productions and a cool live set but hey the simplistic Armin set is more powerful and this guys behind tiesto are a wasted talent.

....

Fuck Tijs.

Can't believe what he's done to his people. I don't have much respect as I used to have for him anymore.

quote:

Originally posted by Rodri Santos that 1997 tracks are completely different style but i can appreciate that are considerably weaker than what came after, everyone who has ever met him says he is an arrogant prick it must be hard to do the job for him while he is bitching around the clubs and not get any credit. This proves something however, the brand is very important there are a lot of great producers that don't succeed because of this, thinking now in Benno vs Armin i think Rank 1 should be more sucessful with solid productions and a cool live set but hey the simplistic Armin set is more powerful and this guys behind tiesto are a wasted talent.

Who's a prick?

who else coudl be so arrogant to make this album cover?

Jesus, Tijs will be happy with all this attention as he knows that it doesn't matter whether it's good or bad.

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Longest (classic) Trance playlist on YouTube (5000 tracks released up to and including 1997), click here

Anything produced under Tiesto brand from 2003 (2004 tops) and on is just rubbish..

Of course it is more than obvious that tiesto's influences on the tracks he released from 1999 and on are from few to zero.

Some time ago i read in the tiestotracklist forum that it is a natural evolution the change of the genre for the tracks he is producing cause the today's youth (16-24) is not familiar with trance music (90's-00's) and it would sound to their ears like the disco 80's tracks to ours.
-shit i must practice my fucking English more often..-

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TRANCE MUSIC
Sebastian Brandt + Aly Fila Addict
Music is Like SEX,Its Better When Its FREE

He had some decent mixed CDs like Magik 6/7 (at least he's mixing live there), some decent sets as well. Everything, first his sets, then 'his' music started to suck from the mid 2003. But think about that - if those two guys never worked with/for him, he wouldn't be what he is today. That's why he's an arrogant prick, we all can see how unthankful he is. He's got a douchebagonomics degree, that's for sure

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quote:

Originally posted by Col However, EDM seems to be political for some people - it's not about the music itself but it's about what the music symbolises, where the music came from, who spins it and how obscure it is.