why people keep posting thoose threads is probably because the main part of all the producers here consider themselves not good enough to create their own stuff and what they base that on is just that when they do anything on their own it doesn't sound like the trance you hear today

I think it's a pitty that people don't trust their own skills more because trance would be a lot more varied then it is today if everyone just thought more about their own productions then on what others do...

now what I'm saying isn't that everyone that copy someone elses sounds are bad persons, I just think that every producer should be intrepid (is that the word?) when it comes to producing, have the courage to try something new, have the courage to show the stuff that sounds different to other people then yourselves

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Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

Trying to recreate synths is a great way to learn though. Its hard to sit infront of a synth and get something out of it when you don't know what you're doing. Buy copying other people's stuff, you can learn how everything works and where everything fits in. Once you understand it all, then you are free to start making your own sound.

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Originally posted by Vizay I think it's a pitty that people don't trust their own skills more because trance would be a lot more varied then it is today if everyone just thought more about their own productions then on what others do...

Very well said. The trance sound of today is becoming more and more stereotypic, it's not just the "supersaw phenomena", but also in the way people produce basslines, percussion and the whole arrangement of track parts as well. More experimental trance tracks would definetly fit well in today's trance scene, which day by day seems to be going more to the wrong direction that to the right. Perhaps trance producers of today should take a look at the past of trance to learn about its future?

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Originally posted by hey cheggy Trying to recreate synths is a great way to learn though. Its hard to sit infront of a synth and get something out of it when you don't know what you're doing. Buy copying other people's stuff, you can learn how everything works and where everything fits in. Once you understand it all, then you are free to start making your own sound.

very true.

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i writed a song.

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Originally posted by Trancevision Since I am here on this forum for a long time, I just thought about. that things haven't changed much within years. Always the same topics: 1. A:I want to make the ferry / Tiesto / Armin / Cosmic Gate Lead sound B: Try to get your own style.. not use everyone elses" A: When I learn how the pro's sounds are made, I can improve in creating my own style. B: Just tweak around with your synth. You learn much doing this !

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Originally posted by Vizay ... have the courage to try something new...

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Originally posted by hey cheggy ...Buy copying other people's stuff, you can learn how everything works...

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Originally posted by hey cheggy Trying to recreate synths is a great way to learn though. Its hard to sit infront of a synth and get something out of it when you don't know what you're doing. Buy copying other people's stuff, you can learn how everything works and where everything fits in. Once you understand it all, then you are free to start making your own sound.

True, so long as they don't stay in the same rut and make all the same stuff [supersaws, typical synths], and not be creative.

es

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Originally posted by kewlness 2) When composing a track, don't write the melody first... Take several chords, that sound good (read up some music theory first) start arranging the track according to that... And finally add the melody... Why?? Because this tends to make the producer focus more on the sound and structure of the track instead of some one-line riff that repeats itself over and over again... If you take a listen to the classic tunes such as suburbain train and cafe del mar, the melodies in those tracks are simple yet effective?? Why?? Because the way it fit the rest of the track... not how the rest of the track fit the melody...

that's very good advise.. when I do a track I tend to think of everything as it's own song... the percussion, bass, pads, etc etc.. if a producer concentrates too much on the melody then the melody will empower everything else on the track and the song will.. well.. blow

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Originally posted by kewlness 2) When composing a track, don't write the melody first... Take several chords, that sound good (read up some music theory first) start arranging the track according to that... And finally add the melody... Why?? Because this tends to make the producer focus more on the sound and structure of the track instead of some one-line riff that repeats itself over and over again... If you take a listen to the classic tunes such as suburbain train and cafe del mar, the melodies in those tracks are simple yet effective?? Why?? Because the way it fit the rest of the track... not how the rest of the track fit the melody...

Some of the best advice I've seen on here, this is definitely something to keep in mind

Yes, this really is good advice. What I typically do is get an eight chord progression going, with the second four chords of the eight being a slight variation of the first four. Then comes the bassline that follows the root and sometimes the fifth of the chords. Then the melody.

One thing to keep in mind when making the melody is to avoid using notes that are a semitone away from the notes in a chord. For example, when creating an accompanying melody for a Cmajor chord, don't use F in the melody (might be ok to use it briefly) because F is a semitone away from the third of Cmajor, E. I learned this from the Raven Spiral guide.

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So now we'll have badly chosen chordprogressions (cuz as you say, it difficult) AND skimpy melody-lines. Thanks.

Its an advice thought by many, altho not very apparent in our Trance-world. And i think this aplies most to the amature/startout producers. Its not a problem in the music/artist i listen to anyhow. Playing any melody-line, over and over, thruout a song is a generally bad idea in any genre
But its really up to the producer, what fits his/her's work/idea-flow.
Read up on everything, and go for what sounds good in the end.

My own workflow varies. If i come up with a kickass beat, i go from there, if i come up with a kickass chordprogression, i go from there, as with a melody. Or combine them all. It depends.

Just my $2

Cheers.