quote:

Originally posted by HALO555 Litening to the first few tracks of this CD, I kept expecting to hear Lethal Industry, but instead mixed in Traffic. Do you think the CD would have had better flow if Traffic and Lethal Industry had switched positions ?

No, Lethal Industry is always good mid to late in the mix, never that early. Traffic works fine where it is.

It can safely be said that the majority of people on this board know of one thing to attribute to trance these days: BITCHING(AND COMPLAINING)

This CD is fucking off the hook...awesome energy from start to finish. While mixing is subpar, the arrangment is good, and an infectiously unique sound make this CD worthwhile.

Last edited by dJohn on Oct-12-2004 at 22:16

quote:

Originally posted by Pio haha, music appreciation is so subjective. For me that was absolutely the best transition of the whole cd. A typical Tiësto harsh contrast transition that fires up the dancefloor like none other. The way Tijs did it was pretty well thought out and musically coherent in terms of harmonic and rhythmic juxtaposition, it created tension in a way that no other superstar dj could do with these sort of tracks, let alone some amateur bedroom dj.

I'm not of the opinion that bringing in a track 2 bars late, galloping the beats and not bothering to fade out the previous one create any kind of tension.

Has anyone actually recieved their CD yet?

Is it actually any different from the "promo" version i assume everyone has, I mean the quality of the mixing?

Some of the mixing in this CD is horrible and really puts a damper on the whole CD IMO. It would be great if the actual release fixed up the terrible mixing.

quote:

Originally posted by isoterra I'm not of the opinion that bringing in a track 2 bars late, galloping the beats and not bothering to fade out the previous one create any kind of tension.

Because your music values are socially constructed and limited to some sort of non-existent formalism when applied to 21st century avant-garde artists such as Tiesto. There is no such thing as being late according to some sort of prefixed bar enumeration. This is not formulaic musicmaking. The unresolved dissonant cadence created by not fading out at the precise moment when the extended low synth is mixed in is what creates tension. From my perspective, it is genius and what makes Tijs crude (but very musical ) mixing so unique.

quote:

Originally posted by Pio Because your music values are socially constructed and limited to some sort of non-existent formalism when applied to 21st century avant-garde artists such as Tiesto. There is no such thing as being late according to some sort of prefixed bar enumeration. This is not formulaic musicmaking. The unresolved dissonant cadence created by not fading out at the precise moment when the extended low synth is mixed in is what creates tension. From my perspective, it is genius and what makes Tijs crude (but very musical ) mixing so unique.

That is a lot of big words to describe a horrible transition. There is one that sticks out like a sore thumb, probably the one isoterra was refering to, where he seems to be off a few bars. The "unresolved dissonant cadence" interupts the flow but honestly it doesn't detract too much from the overall enjoyable production of the tracks themselves.

quote:

Originally posted by flavdave ... but honestly it doesn't detract too much from the overall enjoyable production of the tracks themselves.

Yep. I'm taking this as an album. Not a mix-CD. Therefore, I don't care about the mixing.

quote:

Originally posted by flavdave That is a lot of big words to describe a horrible transition. There is one that sticks out like a sore thumb, probably the one isoterra was refering to, where he seems to be off a few bars. The "unresolved dissonant cadence" interupts the flow but honestly it doesn't detract too much from the overall enjoyable production of the tracks themselves.

Perhaps, but i love Tiësto transitions like that one. From my point of view, there's no such thing as being off a few bars in the mix. Tijs does it purposely with much poetic license, and it works in the dancefloor and on my eardrums with much more effectiveness than what any traditional Dutch trance dj does (bore me).

quote:

Originally posted by Pio Perhaps, but i love Tiësto transitions like that one. From my point of view, there's no such thing as being off a few bars in the mix. Tijs does it purposely with much poetic license, and it works in the dancefloor and on my eardrums with much more effectiveness than what any traditional Dutch trance dj does (bore me).

You really think the beatmatching was bad and being a few bars off was on purpose??

quote:

Originally posted by Pio Perhaps, but i love Tiësto transitions like that one. From my point of view, there's no such thing as being off a few bars in the mix. Tijs does it purposely with much poetic license, and it works in the dancefloor and on my eardrums with much more effectiveness than what any traditional Dutch trance dj does (bore me).

Then you would LOVE my mixing!

quote:

Originally posted by stamper You really think the beatmatching was bad and being a few bars off was on purpose??

Yes, I think he was 'off' on purpose. I don't think that his beatmatching is bad, it is crude and creative. I've always seen Tiësto's mixing as pretty complex from a musicologist perspective. Much more unique than say Armin or Ferry, that's for sure. PvD is my other favorite in trance mixing, but for totally different reasons: technical precision and constant energy. Tijs is inconstant and imprecise, but he uses that as an asset from my point of view.

quote:

Originally posted by Pio Perhaps, but i love Tiësto transitions like that one. From my point of view, there's no such thing as being off a few bars in the mix. Tijs does it purposely with much poetic license, and it works in the dancefloor and on my eardrums with much more effectiveness than what any traditional Dutch trance dj does (bore me).

now is it just me or was that one thrown armin's way...

bravo if it was!