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Visiter ce site : http://www.hands.fr
Hands est un groupe de musique français produisant de la musique électronique et particulièrement de la musique Trance.
921, route Imperiale
34670 Baillargues FR
Extrait du site web http://www.hands.fr en date du 2008-05-13 :
So beautiful, A trip from chillout to trance ! The new album from Hands. chillout, chillout band, chillout beats, chillout cds, chillout dance hits, chillout downloads, chillout hits, chillout mixes, chillout mp3, chillout music, chillout music cd, chillout music vinyl, chillout music downloads, chillout playlists, chillout podcasts, chillout remix, chillout singers, chillout song list, chillout songs, chillout video, trance, trance proressive, trance band, trance beats, trance cds, trance dance hits, trance downloads, trance hits, trance mixes, trance mp3, trance music, trance music cd, trance music vinyl, trance music downloads, trance playlists, trance podcasts, trance remix, trance singers, trance song list, trance songs, trance video, trance, trance band, trance beats, trance cds, trance dance hits, trance downloads, trance hits, trance mixes, trance mp3, trance music, trance music cd, trance music vinyl, trance music downloads, trance playlists, trance podcasts, trance remix, trance singers, trance song list, trance songs, trance video, eurodance, dance, dance band, dance beats, dance cds, dance dance hits, dance downloads, dance hits, dance mixes, dance mp3, dance music, dance music cd, dance music vinyl, dance music downloads, dance playlists, dance podcasts, dance remix, dance singers, dance song list, dance songs, dance video, so beautiful new album, from chillout to trance, electro french touch, electro trance concept, electro trance attitude, allthefingers, gregfingers, rodfinger Hands, The electro French Touch! La trance est un genre de musique électronique dont l'origine remonte aux sources de la techno et de la house. Elle se caractérise par une recherche systématique de lignes mélodiques répétitives et planantes. L'esprit de cette musique vient du fait que la musique et la danse peuvent altérer la perception sensorielle (comme dans le cas des derviches tourneurs de la religion islamique) et transporter l'auditeur dans un état d'extase hypnotique et méditative, la transe (sens premier de trance en anglais). La trance voit le jour au début des années 1990 à Francfort-sur-le-Main (Allemagne). Comme témoins du Frankfurter Trance Sound, on trouve notamment Sven Väth ou encore DJ Dag qui collabore avec Jam El Mar sur le projet Dance 2 Trance. A Francfort, le Frankfurter Trance Sound se trouve au Dorian Gray, un club attitré. Avec Thorsten Fenslau, elle trouve une voie vers la commercialisation. Mais la trance n'est pas exclusive à une ville. À la même époque, un autre mouvement de trance se développe à Berlin autour d'artistes tels que Paul van Dyk. Après quelques années de gestation en Allemagne, la trance évoluera au Royaume-Uni et aux Pays-Bas avant de s'étendre à toute l'Europe. Parmi ses illustres DJ, on citera DJ Tiësto et Paul Oakenfold. Si les plus célèbres DJ de trance sont allemands ou hollandais, c'est pourtant en Grande-Bretagne que la trance retrouve une seconde jeunesse en devenant progressive et underground. Voici quelques grands noms actuel de la scène trance mondiale : Paul van Dyk, DJ Tiësto, Armin van Buuren, Nu Nrg, Johan Gielen, Ferry Corsten, etc. Selon certains, la trance serait morte cinq fois de suite, mais aurait émergé à nouveau à chaque fois… Acid Trance: L'acid trance est un genre de musique électronique dérivé de l'acid house et de la techno, historiquement l'un des premiers sous-genres de la trance, apparu au tout début des années 1990. Il se caractérise par le son acid typique du synthétiseur Roland TB-303, et présente les traits caractéristiques des débuts allemands de la trance : des thèmes répétitifs et planants, un rythme proche de celui de la techno, mais une mélodie plus présente, en vue de créer un effet hypnotique. Trance is a style of electronic dance music that developed in the 1990s. Trance music is generally characterized by a tempo of between 124 and 148 bpm, featuring repeating melodic synthesizer phrases, and a musical form that builds up and down throughout a track, often crescendoing or featuring a breakdown. Sometimes vocals are also utilized. The style is arguably derived from a combination of largely techno and house. 'Trance' received its name from the repetitious morphing beats, and the throbbing melodies which would presumably put the listener into a trance-like state. As this music is almost always played in nightclubs at popular vacation spots and in inner cities, trance can be understood as a form of club music. Origins Early electronic art music artists such as Klaus Schulze have proven to be a significant influence on trance music. Throughout the 1970s Schulze recorded numerous albums of atmospheric, sequencer-driven electronic music. Also, several of his albums from the 1980s include the word "trance" in their titles, such as the 1981 Trancefer and 1987 En=Trance. Elements of what became modern club music also known as trance music were also explored by industrial artists in the late 1980s. Most notable was Psychic TV's 1989 album Towards Thee Infinite Beat, which featuring drawn out and monotonous patterns with short looping voice samples and is considered by some to be the first trance record. The intent was to make sound that was hypnotic to its listeners, this would also lead to a strain of trance known as Euphoria being developed which caused an uplifting sensation among its listeners who became somewhat euphoric during listening. These industrial artists were largely dissociated from rave culture, although many were interested in the developments happening in Goa trance which is a much 'heavier' sound than what is now known as trance. Many of the trance albums produced by industrial artists were generally experiments, not an attempt to start a new genre with an associated culture — they remained firmly rooted culturally in industrial and avant-garde music. As trance began to take off in rave culture, most of these artists abandoned the club style. Trance begins as a genre The earliest identifiable trance recordings came not from within the trance scene itself, but from the UK acid house movement, and were made by The KLF. The most notable of these were the original 1988 / 1989 versions of "What Time Is Love?" and "3 a.m. Eternal" (the former indeed laying out the entire blueprint for the trance sound - as well as helping to inspire the sounds of hardcore and rave) and the 1988 track "Kylie Said Trance". Their use of the term 'pure trance' to describe these recordings reinforces this case strongly. These early recordings were markedly different from the releases and re-releases to huge commercial success around the period of the The White Room album (1991) and are significantly more minimalist, nightclub-oriented and 'underground' in sound. The trance sound beyond this acid-era genesis is said to have begun as an off-shoot of techno in German clubs during the very early 1990s. Frankfurt is often cited as a birthplace of Trance. Some of the earliest pioneers of the genre included DJ Dag (Dag Lerner), Oliver Lieb, Sven Väth and Torsten Stenzel, who all produced numerous tracks under multiple aliases. Trance labels like Eye Q, Harthouse, Superstition, Rising High, FAX +49-69/450464 and MFS Records were Frankfurt based. Arguably a fusion of techno and house, early trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. This early music tended to be characterized by hypnotic and melodic qualities and typically involved repeating rhythmic patterns added over an appropriate length of time as a track progressed. Of worth to note, the album that is generally accepted as THE definition of the frankfurt trance sound, and which subsequently influenced all of the early pioneers mentioned above, was the Pete Namlook "4Voice" album. Of note, one of the studio engineers who worked on this pioneering effort was one Maik Maurice, otherwise known as ½ of Resistance D, the famed Hard Trance duo. If you are a fan of the frankfurt sound, this album is the beginning. At about the same period of time in the late 1980s and early 1990s, a musical revolution was happening in Goa, India. Electronic body music (EBM) bands like Cabaret Voltaire and Front 242 came to Goa and began influencing artists like Goa Gil, Eat Static, Doof, and Man With No Name who heard the psychedelic elements of EBM, expanded on them minus the vocals and guitars to create Goa trance. Goa music is heavily influenced by Indian culture and psychedelic drugs, as seen in numerous references to both in track and album titles. The sound of modern trance By the mid-1990s, trance, specifically progressive trance, which emerged from acid trance much as progressive house had emerged from acid house, had emerged commercially as one of the dominant genres of dance music. Progressive trance set in stone the basic formula of modern trance by becoming even more focused on the anthemic basslines and lead melodies, moving away from hypnotic, repetitive, arpeggiated analog synth patterns and spacey pads. Popular elements and anthemic pads became more widespread. Compositions leaned towards incremental changes (aka progressive structures), sometimes composed in thirds (as BT frequently does). Buildups and breakdowns became longer and more exaggerated. The sound became more and more excessive and overblown. This sound came to be known as anthem trance. Immensely popular, trance found itself filling a niche as 'edgier' than house, more soothing than drum and bass, and more melodic than techno, something that makes it accessible to many people. Artists like Paul van Dyk, DJ Tiesto, Ferry Corsten, and Armin van Buuren came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Many of these producers also DJ'd in clubs playing their own productions as well as those by other trance DJs. By the end of the 1990s, trance remained commercially huge, but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s had, by the end of the decade, abandoned trance completely (artists of particular note here are Pascal F.E.O.S. and Oliver Lieb). In the mid 2000s, other new bands like Tony Reed and Synthetik FM began to fuse rave styles of music with synthpop and new wave and use the new medium of the internet to distribute their music. Trance in the mainstream As trance has entered the mainstream it has alienated many of its original fans. As the industry became bigger, companies (especially Ministry of Sound) and DJs began to alter their sound to that of a more pop based one, so as to make the sound more accessible to an even wider, and younger, audience. Vocals in particular are now extremely common in mainstream trance, adding to their popular sound. Trance and drugs Trance developed alongside the increasing use of the drug ecstasy in the club scene. Ecstasy invokes a feeling of intense optimism and goodwill, and when taken while listening to loud trance music the feeling can become euphoric and highly energetic. The structure of trance music came to develop, deliberately or not, so that it became ever more effective at provoking these euphoric feelings. The metronomic beat, simple distorted waveforms drenched in large amounts of reverb, and long build-ups with snare rolls leading out of a breakdown all trigger a huge predictable response from ecstacy users. At the end of the 1990s, it is likely that a majority of clubbers in clubs such as Gatecrasher in Sheffield and Passion in Coalville (both in the UK) were using ecstasy. Drug use in the trance scene is rarer today than it was at the turn of the millennium. Ecstasy use has become part of a subculture within the scene rather than one of the major aspects of it, and many trance fans do not regularly use ecstasy or have never tried it. Trance production Trance employs a 4/4 time signature, and has a BPM of 130-160 beats per minute, somewhat faster than house music. Early tracks were sometimes slower. A kick drum is placed on every downbeat, a snare or clap on each second beat, and a regular open hi-hat on the off-beat. Some simple extra percussive elements are usually added, but, unusually in dance music, tracks do not usually derive their main rhythm from the percussion. The 909 drum machine is widely used to create the drum sounds. Synthesizers form the central elements of most trance tracks, with simple saw sounds used both for short pizzicato elements and for long, sweeping string sounds. Rapid arpeggios and minor scales are common features. Trance tracks often use one central "hook" melody which runs through almost the entire song, repeating at intervals anywhere between 2 beats and several bars. Much, but by no means all, trance music contains minimalist vocals. The unwavering drum mechanism may be constantly tweaked with for effect, with the Attack, Decay, Sustain, Release (ADSR) all given liberal treatment. Trance is produced with keyboards, computerized synthesizers, drum machines, and music sequencer software connected via MIDI. Trance records are almost invariably heavily loaded with reverb and delay effects on the synth sounds, vocals and often parts of the percussion section. This provides the tracks with the sense of vast space that trance producers tend to look for in order to achieve the genre's epic quality. Flangers, phasers and other effects are also commonly used at high settings - in trance there is no need for sounds to seem in any way authentic, so producers have free rein. Like much dance music, trance tracks are usually built with sparser beginnings and ends to the tracks in order to enable mixing more readily. As trance is more melodic and harmonic than much dance music, this is particularly important in order to avoid dissonance between tracks. Acid trance A style of trance music emerged in the late '80s early '90s and focuses on utilising the acid sound. The trademark sound of "acid" is produced with a Roland TB-303 by playing a sequenced melody while altering the instrument's filter cutoff frequency, resonance, envelope modulation, and accent controls. This real-time tone adjustment was not part of the instrument's original intended operation. A descendant of acid house, since the genre of trance had not yet been invented during the advent of acid house (or acidhouse). The first volumes of Trancemaster compilations contains a few tracks in acid trance style, just as classic trance tracks. The difference is, while acid trance tracks focus more on the changing TB-303 lines, classic trance (e.g. Dance 2 Trance, Cosmic Baby, Age of Love & Jam & Spoon) tracks are more atmospheric, they use "softer" synth-lines, oftenly stings and other ambient music elements. The line between these two styles is quiet blurred, they also emerged about the same time. Uplifting trance Uplifting trance, also known as anthem trance, is a subgenre of trance music that emerged in the wake of progressive trance in the late 1990s. Characterized by extended chord progression in all elements (lead synth, bass chords, treble chords), extended breakdowns, and relegation of arpeggiation to the background while bringing wash effects to the fore. Genre Uplifting trance, while commonly referred to as "anthem trance" or "epic trance", is a subgenre of trance electronica forming in the late 90's. Uplifting trance is derived partially from progressive trance, but is characterized by its own unique chord progressions. Uplifting trance songs usually have longer breakdowns than progressive trance, and contain melodies that are similar to that of happy hardcore, giving it the nickname "happy trance". They tend to keep a steady beat around 140 Beats per minute throughout the song
So beautiful, A trip from chillout to trance ! The new album from Hands. chillout, chillout band, chillout beats, chillout cds, chillout dance hits, chillout downloads, chillout hits, chillout mixes, chillout mp3, chillout music, chillout music cd, chillout music vinyl, chillout music downloads, chillout playlists, chillout podcasts, chillout remix, chillout singers, chillout song list, chillout songs, chillout video, trance, trance proressive, trance band, trance beats, trance cds, trance dance hits, trance downloads, trance hits, trance mixes, trance mp3, trance music, trance music cd, trance music vinyl, trance music downloads, trance playlists, trance podcasts, trance remix, trance singers, trance song list, trance songs, trance video, trance, trance band, trance beats, trance cds, trance dance hits, trance downloads, trance hits, trance mixes, trance mp3, trance music, trance music cd, trance music vinyl, trance music downloads, trance playlists, trance podcasts, trance remix, trance singers, trance song list, trance songs, trance video, eurodance, dance, dance band, dance beats, dance cds, dance dance hits, dance downloads, dance hits, dance mixes, dance mp3, dance music, dance music cd, dance music vinyl, dance music downloads, dance playlists, dance podcasts, dance remix, dance singers, dance song list, dance songs, dance video, so beautiful new album, from chillout to trance, electro french touch, electro trance concept, electro trance attitude, allthefingers, gregfingers, rodfinger Hands, The electro French Touch! La trance est un genre de musique électronique dont l'origine remonte aux sources de la techno et de la house. Elle se caractérise par une recherche systématique de lignes mélodiques répétitives et planantes. L'esprit de cette musique vient du fait que la musique et la danse peuvent altérer la perception sensorielle (comme dans le cas des derviches tourneurs de la religion islamique) et transporter l'auditeur dans un état d'extase hypnotique et méditative, la transe (sens premier de trance en anglais). La trance voit le jour au début des années 1990 à Francfort-sur-le-Main (Allemagne). Comme témoins du Frankfurter Trance Sound, on trouve notamment Sven Väth ou encore DJ Dag qui collabore avec Jam El Mar sur le projet Dance 2 Trance. A Francfort, le Frankfurter Trance Sound se trouve au Dorian Gray, un club attitré. Avec Thorsten Fenslau, elle trouve une voie vers la commercialisation. Mais la trance n'est pas exclusive à une ville. À la même époque, un autre mouvement de trance se développe à Berlin autour d'artistes tels que Paul van Dyk. Après quelques années de gestation en Allemagne, la trance évoluera au Royaume-Uni et aux Pays-Bas avant de s'étendre à toute l'Europe. Parmi ses illustres DJ, on citera DJ Tiësto et Paul Oakenfold. Si les plus célèbres DJ de trance sont allemands ou hollandais, c'est pourtant en Grande-Bretagne que la trance retrouve une seconde jeunesse en devenant progressive et underground. Voici quelques grands noms actuel de la scène trance mondiale : Paul van Dyk, DJ Tiësto, Armin van Buuren, Nu Nrg, Johan Gielen, Ferry Corsten, etc. Selon certains, la trance serait morte cinq fois de suite, mais aurait émergé à nouveau à chaque fois… Acid Trance: L'acid trance est un genre de musique électronique dérivé de l'acid house et de la techno, historiquement l'un des premiers sous-genres de la trance, apparu au tout début des années 1990. Il se caractérise par le son acid typique du synthétiseur Roland TB-303, et présente les traits caractéristiques des débuts allemands de la trance : des thèmes répétitifs et planants, un rythme proche de celui de la techno, mais une mélodie plus présente, en vue de créer un effet hypnotique. Trance is a style of electronic dance music that developed in the 1990s. Trance music is generally characterized by a tempo of between 124 and 148 bpm, featuring repeating melodic synthesizer phrases, and a musical form that builds up and down throughout a track, often crescendoing or featuring a breakdown. Sometimes vocals are also utilized. The style is arguably derived from a combination of largely techno and house. 'Trance' received its name from the repetitious morphing beats, and the throbbing melodies which would presumably put the listener into a trance-like state. As this music is almost always played in nightclubs at popular vacation spots and in inner cities, trance can be understood as a form of club music. Origins Early electronic art music artists such as Klaus Schulze have proven to be a significant influence on trance music. Throughout the 1970s Schulze recorded numerous albums of atmospheric, sequencer-driven electronic music. Also, several of his albums from the 1980s include the word "trance" in their titles, such as the 1981 Trancefer and 1987 En=Trance. Elements of what became modern club music also known as trance music were also explored by industrial artists in the late 1980s. Most notable was Psychic TV's 1989 album Towards Thee Infinite Beat, which featuring drawn out and monotonous patterns with short looping voice samples and is considered by some to be the first trance record. The intent was to make sound that was hypnotic to its listeners, this would also lead to a strain of trance known as Euphoria being developed which caused an uplifting sensation among its listeners who became somewhat euphoric during listening. These industrial artists were largely dissociated from rave culture, although many were interested in the developments happening in Goa trance which is a much 'heavier' sound than what is now known as trance. Many of the trance albums produced by industrial artists were generally experiments, not an attempt to start a new genre with an associated culture — they remained firmly rooted culturally in industrial and avant-garde music. As trance began to take off in rave culture, most of these artists abandoned the club style. Trance begins as a genre The earliest identifiable trance recordings came not from within the trance scene itself, but from the UK acid house movement, and were made by The KLF. The most notable of these were the original 1988 / 1989 versions of "What Time Is Love?" and "3 a.m. Eternal" (the former indeed laying out the entire blueprint for the trance sound - as well as helping to inspire the sounds of hardcore and rave) and the 1988 track "Kylie Said Trance". Their use of the term 'pure trance' to describe these recordings reinforces this case strongly. These early recordings were markedly different from the releases and re-releases to huge commercial success around the period of the The White Room album (1991) and are significantly more minimalist, nightclub-oriented and 'underground' in sound. The trance sound beyond this acid-era genesis is said to have begun as an off-shoot of techno in German clubs during the very early 1990s. Frankfurt is often cited as a birthplace of Trance. Some of the earliest pioneers of the genre included DJ Dag (Dag Lerner), Oliver Lieb, Sven Väth and Torsten Stenzel, who all produced numerous tracks under multiple aliases. Trance labels like Eye Q, Harthouse, Superstition, Rising High, FAX +49-69/450464 and MFS Records were Frankfurt based. Arguably a fusion of techno and house, early trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. This early music tended to be characterized by hypnotic and melodic qualities and typically involved repeating rhythmic patterns added over an appropriate length of time as a track progressed. Of worth to note, the album that is generally accepted as THE definition of the frankfurt trance sound, and which subsequently influenced all of the early pioneers mentioned above, was the Pete Namlook "4Voice" album. Of note, one of the studio engineers who worked on this pioneering effort was one Maik Maurice, otherwise known as ½ of Resistance D, the famed Hard Trance duo. If you are a fan of the frankfurt sound, this album is the beginning. At about the same period of time in the late 1980s and early 1990s, a musical revolution was happening in Goa, India. Electronic body music (EBM) bands like Cabaret Voltaire and Front 242 came to Goa and began influencing artists like Goa Gil, Eat Static, Doof, and Man With No Name who heard the psychedelic elements of EBM, expanded on them minus the vocals and guitars to create Goa trance. Goa music is heavily influenced by Indian culture and psychedelic drugs, as seen in numerous references to both in track and album titles. The sound of modern trance By the mid-1990s, trance, specifically progressive trance, which emerged from acid trance much as progressive house had emerged from acid house, had emerged commercially as one of the dominant genres of dance music. Progressive trance set in stone the basic formula of modern trance by becoming even more focused on the anthemic basslines and lead melodies, moving away from hypnotic, repetitive, arpeggiated analog synth patterns and spacey pads. Popular elements and anthemic pads became more widespread. Compositions leaned towards incremental changes (aka progressive structures), sometimes composed in thirds (as BT frequently does). Buildups and breakdowns became longer and more exaggerated. The sound became more and more excessive and overblown. This sound came to be known as anthem trance. Immensely popular, trance found itself filling a niche as 'edgier' than house, more soothing than drum and bass, and more melodic than techno, something that makes it accessible to many people. Artists like Paul van Dyk, DJ Tiesto, Ferry Corsten, and Armin van Buuren came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Many of these producers also DJ'd in clubs playing their own productions as well as those by other trance DJs. By the end of the 1990s, trance remained commercially huge, but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s had, by the end of the decade, abandoned trance completely (artists of particular note here are Pascal F.E.O.S. and Oliver Lieb). In the mid 2000s, other new bands like Tony Reed and Synthetik FM began to fuse rave styles of music with synthpop and new wave and use the new medium of the internet to distribute their music. Trance in the mainstream As trance has entered the mainstream it has alienated many of its original fans. As the industry became bigger, companies (especially Ministry of Sound) and DJs began to alter their sound to that of a more pop based one, so as to make the sound more accessible to an even wider, and younger, audience. Vocals in particular are now extremely common in mainstream trance, adding to their popular sound. Trance and drugs Trance developed alongside the increasing use of the drug ecstasy in the club scene. Ecstasy invokes a feeling of intense optimism and goodwill, and when taken while listening to loud trance music the feeling can become euphoric and highly energetic. The structure of trance music came to develop, deliberately or not, so that it became ever more effective at provoking these euphoric feelings. The metronomic beat, simple distorted waveforms drenched in large amounts of reverb, and long build-ups with snare rolls leading out of a breakdown all trigger a huge predictable response from ecstacy users. At the end of the 1990s, it is likely that a majority of clubbers in clubs such as Gatecrasher in Sheffield and Passion in Coalville (both in the UK) were using ecstasy. Drug use in the trance scene is rarer today than it was at the turn of the millennium. Ecstasy use has become part of a subculture within the scene rather than one of the major aspects of it, and many trance fans do not regularly use ecstasy or have never tried it. Trance production Trance employs a 4/4 time signature, and has a BPM of 130-160 beats per minute, somewhat faster than house music. Early tracks were sometimes slower. A kick drum is placed on every downbeat, a snare or clap on each second beat, and a regular open hi-hat on the off-beat. Some simple extra percussive elements are usually added, but, unusually in dance music, tracks do not usually derive their main rhythm from the percussion. The 909 drum machine is widely used to create the drum sounds. Synthesizers form the central elements of most trance tracks, with simple saw sounds used both for short pizzicato elements and for long, sweeping string sounds. Rapid arpeggios and minor scales are common features. Trance tracks often use one central "hook" melody which runs through almost the entire song, repeating at intervals anywhere between 2 beats and several bars. Much, but by no means all, trance music contains minimalist vocals. The unwavering drum mechanism may be constantly tweaked with for effect, with the Attack, Decay, Sustain, Release (ADSR) all given liberal treatment. Trance is produced with keyboards, computerized synthesizers, drum machines, and music sequencer software connected via MIDI. Trance records are almost invariably heavily loaded with reverb and delay effects on the synth sounds, vocals and often parts of the percussion section. This provides the tracks with the sense of vast space that trance producers tend to look for in order to achieve the genre's epic quality. Flangers, phasers and other effects are also commonly used at high settings - in trance there is no need for sounds to seem in any way authentic, so producers have free rein. Like much dance music, trance tracks are usually built with sparser beginnings and ends to the tracks in order to enable mixing more readily. As trance is more melodic and harmonic than much dance music, this is particularly important in order to avoid dissonance between tracks. Acid trance A style of trance music emerged in the late '80s early '90s and focuses on utilising the acid sound. The trademark sound of "acid" is produced with a Roland TB-303 by playing a sequenced melody while altering the instrument's filter cutoff frequency, resonance, envelope modulation, and accent controls. This real-time tone adjustment was not part of the instrument's original intended operation. A descendant of acid house, since the genre of trance had not yet been invented during the advent of acid house (or acidhouse). The first volumes of Trancemaster compilations contains a few tracks in acid trance style, just as classic trance tracks. The difference is, while acid trance tracks focus more on the changing TB-303 lines, classic trance (e.g. Dance 2 Trance, Cosmic Baby, Age of Love & Jam & Spoon) tracks are more atmospheric, they use "softer" synth-lines, oftenly stings and other ambient music elements. The line between these two styles is quiet blurred, they also emerged about the same time. Uplifting trance Uplifting trance, also known as anthem trance, is a subgenre of trance music that emerged in the wake of progressive trance in the late 1990s. Characterized by extended chord progression in all elements (lead synth, bass chords, treble chords), extended breakdowns, and relegation of arpeggiation to the background while bringing wash effects to the fore. Genre Uplifting trance, while commonly referred to as "anthem trance" or "epic trance", is a subgenre of trance electronica forming in the late 90's. Uplifting trance is derived partially from progressive trance, but is characterized by its own unique chord progressions. Uplifting trance songs usually have longer breakdowns than progressive trance, and contain melodies that are similar to that of happy hardcore, giving it the nickname "happy trance". They tend to keep a steady beat around 140 Beats per minute throughout the song
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