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Producers Studios (pg. 4)
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| quote: | Originally posted by thecYrus
no, tiesto does nothing for the "tiesto-tunes". he doesn't design synth-patches or writes melodies, lyrics, ... he only gives ideas/feedback from the dj gigs to the producers. |
yeh.. that makes real good sense.. :rolleyes:
I bet that in the old days.. he hadd someone to "make" the tracks "Stray Dog - Chapter Two" and "Allure - Rejected" ...
and credited his real name "Tijs Verwest" as the producer..
just so he could get really famous.. come on.. he makes music.. accept it!
in the old days trance producers liked to use aliases for their tracks.. nowadays.. they are only using their own names.. like Ferry Corsten, Armin van Buuren.. |
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| wink |
| Actually you just have to read the fine print on his records. There are other producers doing records for tiesto. If you read magazines where tiesto talks about production it's hilarious. He has no idea what he's talking about. I remember reading a REMIX awhile back and he was talking about how important and how much fun turning the release knob is to make his tracks sound wide and big. It was just funny because it's soo obvious. The same is true with Sasha.. He hires tons of other producers to help him write all his material. Just read you guys!! I'll try and find some links online. |
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| wink |
| I'm sure Tiesto has a studio full of equiptment because he got tired of renting out both the studio engineers, producers and physical studio space with equiptment. So now he just hires the engineers and producers to help him in his own. |
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| electron |
| quote: | Originally posted by thecYrus
btw tiesto is not a producer he's "only" a dj! he doesn't produce the things under his name. that's done by different producers..
so long
cYrus |
I just watched his DVD 'a day at the office' and in the interview he describes how he did the lead part in the track Flight 643 and how he changed it from a melodic tune to just using a single note for the lead. And also, most of his songs have a similar kind of structure. Don't know if your statement is entirely true, maybe he uses other producers for the polishing up but he definitely has input. I still wish he would have done everything tho |
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| Derivative |
| i guess im just a bit shocked cuz urban train was one of the songs i studied voluntarily. tried to replicate all of the synths and rhythym patterns and effectively rebuild the track from scratch to see how it worked and how i could make my tunes better. i did the same with for an angel and saltwater. oh well. i guess that makes me a better producer than tiesto. ha! |
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| auujay |
Why does this always happen. When some person (DJ/producer) gets famous everyone suddenly assumes they don't make their own tunes, or even worse, never did.
While I am aware that Sasha usually gets a fair amount of support with his tracks (if you read the song credits it is usually him and at least someone else) and it would not supprise me if Tiesto does not have as nearly an active role in his producitons as he used to. But I find it beyond comprehension that people think simply because they are famous they can't produce. Scooter is another example, of course I am not a fan of their "music" but I don't get why people find it so hard to believe that they actually produce the songs. Scooter has the skills if you look at Ratty and I don't hear people claiming they didn't really produce that track.
Anyway, I guess I have made my point. I might understand if people are making the argument that Tiesto is not as involved as he used to be but to say "tiesto is not a producer he's "only" a dj! he doesn't produce the things under his name." Please...
PS - I am not a huge Tiesto fan and I know Traffic has the same "melody/lead" as some old techno tune. |
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| Derivative |
| the stuff off scooter's 'and the beat goes on' is really good i thought. songs like waiting for spring and rhapsody in e were awesome. ive got the cd and they are creditted as the writers and producers. its showing its age in production terms but it was great for the time it was released. |
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| thoughtlessjex |
| quote: | | I'm sure Tiesto has a studio full of equiptment because he got tired of renting out both the studio engineers, producers and physical studio space with equiptment. So now he just hires the engineers and producers to help him in his own. |
I don't even like Tiesto all that much, but I have to say that you don't seem to really know what you're talking about.
First off, auujay's right about making the assumptions you're making in the first place. I'm going to sort of bring it around further to say that not only did they have to start out on their own, but when they got big, they could afford to have someone else do the annoying parts. That's what the sound engineers are for. Personally, I'd rather have someone else master my tracks because it's a tedious and frustrating process that really only makes me hate the track.
| quote: | | he was talking about how important and how much fun turning the release knob is to make his tracks sound wide and big. |
That's certainly what it sounds like he's doing.
| quote: | | Actually you just have to read the fine print on his records. |
Maybe you should do the same. If you did, you'd see that for every track where someone else's name appears in the writing, composition and production credits, "Tiesto" appears right there with him/her. |
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| Derivative |
id like to see that interview with the release knob. cuz envelope release doesnt make sounds become wider or bigger. the release rotary on the amp envelope determines the rate at which a note decays to 0 volume after the note is released. theres also one for the filter that controls the rate at which the filter cutoff releases.
sounds become wide when you hard pan them left and right together or alter its position in the stereo field with stereo separation. or they can sound wide if you modulate the phase of a sound which can make certain parts of a sound appear to sound further away or closer to you depending on what other frequencies are in opposite phase. or you can make sounds bigger by detuning, increasing the number of oscillators or the number of voices per oscillator or by forcing a sound to alias, or by making a mid range cut on an EQ whilst bringing up the highs and lows which makes the sound have a separate high and low component.
although i find it incredibly hard to believe that tiesto doesnt do any of his own production or never did any of his own production in the first place, suggesting that the release rotary makes sound wide and big is ridiculous. |
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| meDina |
| wow im surprised how much some of these people know about tiesto and other famous producer/dj's you would think it was tiesto himself revealing his secrets lol... i supposed you want to tell me that bt cant "really" edit audio for now too right? |
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| electron |
| Ferry Corsten's Studio. I still can't find it! Does anyone have photos or his kitlist? |
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