dj GT We all know that to accomplish goals or dreams in life, we must work hard; and nothing says working hard like teaching yourself to mix music. But DJ GT never saw mixing as work; just simply his passion. With musical influences from artists, such as Modern Talking, CC Catch, Savage, Sandra, Erasure, and many others in the "New Wave" genre, it was not until after his first introduction to electronic music, at a warehouse party in 1998, that GT found his love and, now, addiction for trance music.

In his exploration of various genre-specific music such as dance, house, and techno, nothing gave him more satisfaction and fulfillment than trance. And, even after immersing himself in the best trance music around, something always seemed to be missing for GT. He knew that good music is the kind that makes you feel something inside, and for GT, feeling that extra something meant vocals.

Despite his tireless searches for mixes, consisting solely of vocal trance, GT was left with only one option: make his own. In 2000, GT bought his first pair of turntables, which marked the beginning of a journey that he hasn't looked back through since. Teaching himself to mix proved to be a difficult task, but after many vinyls and countless hours of determination, GT successfully compiled his first series entitled "Generation Trance" in 2001.

Striving to improve his style and discover new techniques with mixing, GT met his "partner in crime" and fellow DJ, Project C, for the first time in 2003. Because of the instant bond that these two young adults formed, GT began to dedicate more of his time and heart into mixing. Soon after, he began his signature "Voices Of…" series, dedicated to each season of the year, which consist of some of the best vocal trance music available. Shortly thereafter in 2004 GT and Project C joined forces and started their "brotherhood" collaboration, which became a monumental turning point in both of their lives.

Playing some local clubs in his home town of Los Angeles, California, blowing up the stage at a popular club called "The Stock Exchange" in September 2004, and having his mixes played on Digitally Imported radio, one of the largest Internet radio stations dedicated to many popular genres of electronic music, GT has gained a large and loyal fan base that recognized good music, and acknowledged his mixing skills as being outstanding.

"What kept me going were the fans," GT says. "Once people actually started to enjoy and appreciate the work that was put into these mixes, it made it even more worthwhile. It's good to see that there are others all over the world who seem to have the same tastes in music as I do."

Through all the frustration, aggravation, and countless hours of self-taught mixing, keeping the end result in mind was what pulled GT through, and the reason we have his groundbreaking vocal mixes to grace out ears with today is because of that determination to please everyone.

Project C has had a deep love for music all his life, especially while growing up in the 1980s. From playing the piano for 5 years as a child to making mix tapes with no transitions, his tastes were broad and varied, but despite the variety, early in his life, he discovered his love for electronic music. Because of the harmonic synths that were used by artists like Depeche Mode, Erasure, and Pet Shop Boys, a path was laid that Project C liked and knew he wanted to follow.

In 1998, however, Project C heard the track "Remember" by BT, a well-known electronic music artist, which became a turning-point in his life where he realized he wanted to do more than just listen to great trance mixes…he wanted to create them.

With no real direction or the know-how to begin, Project C was unable to start his new journey until 2003,when he met his mentor, DJ GT. Following closely aside GT, Project C not only learned how to mix music, he also gained a new passion for trance music all together. While GT's own developed style was smooth, this did not stop Project C from developing a style of his own, incorporating more aggressive transitions and higher energy trance.

During his journey of mixing, the roads were not always smooth. Having the guidance of DJ GT was a major plus in Project C's life, but through countless hours of frustration, it was he, alone, that had to press on to create mixes he could be satisfied with. However, when the old saying "practice makes perfect" became Project C's new motto, he knew that his ambitions were worth every drop of sweat.

Striving to perfect his newfound craft, his addiction for mixing grew stronger. He credits days of no sleep and mixing the night away with friends, these of course being nicknamed "The Superstar Weekends". To him, these, along with other unforgettable memories, are the most important practice he got.

"For me," Project C says, "the addiction was to hear two perfect beats on top of each other. Then adding more elements of different tracks…it's just beautiful. In the beginning, it was pretty frustrating but I knew what the rewards were when I heard awesome sets."

In 2003, Project C compiled his first solo mix with pride, entitled "The Phase 1 (Time of our Lives)". Playing local clubs in his hometown of Los Angeles, California, teaming up with DJ GT in September 2004 at a popular club "The Stock Exchange", and having his mixes played on Digitally Imported radio, one of the largest Internet radio stations dedicated to many popular genres of electronic music, things simply began falling into place.

While Project C's heart lays with vocal trance, recently, his tastes have broadened in regards to his mixes. Experimenting with alternative progressive and progressive/house sounds, coupled with an open mind and willingness to try new things, is the reason Project C's mixes are always fresh, original, and something to look forward to.

You can find their mixes being played on the largest internet radio station in the world,!

Trance music is a subgenre of electronic dance music (EDM) that developed in the 1990s. Perhaps the most ambiguous genre in the realm of electronic dance music, trance could be described as a melodic, more-or-less freeform style of music derived from a combination of techno and house. Regardless of its precise origins, to many club-goers, party-throwers, and EDM adherents, trance is held as a significant development within the greater sphere of (post-)modern dance music.

While there is no strict definition for "trance," songs of this genre are usually characterized as being accessible and having "anthemic" qualities. Using that as a starting point, a basic trance track could then be described as being comprised of a particular melodic and/or vocal hook which is given presence over an uncomplicated bassline, a simple drum pattern (which often includes snare and/or kick drum rolls to mark "big moments"), and perhaps one or two other semi-quantified aural elements to provide texture and enhance the rhythm. Trance also usually features more complicated chord progressions and melodies than were found in the music at the time, including 4 chord progressions symptomatic of 80's new wave music. However, not all trance fits that profile, and often times a song's classification as "trance" has just as much to do with who is playing it as what it sounds like.

* Goa trance
* Psychedelic trance
* Minimalist trance
* Progressive trance

A Brief History of Trance
Elements of what would become trance music were being explored by industrial artists in the late 1980s. Most notably, Psychic TV's 1989 album Towards Thee Infinite Beat, featuring drawn out and monotonous patterns with short but repeating voice samples, is considered by some to be the first trance album. The intent was to make sound that was hypnotic to its listeners.

These industrial artists were largely dissociated from rave culture, and their trance albums 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 became to take off in the rave culture, most of these artists abandoned the genre.

As a genre in its own right, trance is said to have begun as an off-shoot of techno in German clubs during the early 1990s. The name derived in 1991 from a project of Dag Lerner (DJ Dag) and Rolf Ellmer (Jam El Mar) called Dance2Trance. Their song We Came In Peace is considered by many to be the song that set the definition of trance. 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. (Interestingly enough, that style of house was referred to as "club" or "Euro.") However, the melodies in trance differed from Euro/club in that although they tended to be emotional and uplifting, they did not "bounce around" in the same way that house did.

This early trance tended to be characterized by the anthemic qualities described above, and typically involved a break-down portion of the song in which the beat was dropped for a few bars to focus on the melody before bringing the beat back with a renewed intensity. The sounds used in trance tended to be produced by analog synthesizers (or recently, digital simulations of analog synthesizers, often called virtual analog synthesizers), with lush "strings" providing the basis for the melodies and pads, while similar analog equipment was used to produce basic bass notes and the regimented "four-on-the-floor" drum loops. This style became instantly popular in Europe and spread very quickly. Before long, trance was spawning sub-genres such as dream trance, acid trance, hard trance, and Goa. (Note: Goa and psy-trance are arguably older, with their characteristic sounds purportedly emerging in Israel as far back as 1991).

The Sound of Modern (Progressive) Trance
The basic formula of trance became even more focused on the anthemic qualities and melodies, moving away from predictable arppegiated analog synth patterns (aka acid synth lines). Acoustic elements and spacey pads became popular, compositions leaned towards incremental changes (aka progressive structures), someimes composed in thirds, buildups and breakdowns became more elaborate and intense. The sound became more and more ethereal and heavenly in sound. This sound came to be known as epic trance (sometimes called melodic trance or anthem trance), and became the foundation of what the modern progressive trance sound is today.

By the mid-1990s, trance (or progressive trance specifically) had emerged commercially as one of the dominant genres of EDM. Immensely popular, trance found itself filling a niche as edgier than house, more soothing than drum-n-bass, and more accessible than techno. By this time, trance had become synonymous with progressive house and both genres essentially subsumed each other under the commercial banner of "progressive." 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 were, by the end of the decade, branching out with more experimental work. Perhaps as a consequence, similar things were happening with the DJs as well.

At present (and as alluded to earlier), trance is as much about who plays the music as it is about what it sounds like. Many artists described as producing a very powerful trance sound have most recently released tracks more suggestive of techno; DJs known for spinning scintillating trance anthems in 1996, turn to a darker, housier sound in 2000. All the while, new artists and DJs enter the fold, either taking over the vacancies left in the anthemic, "progressive" arena, or else introducing new forms, modes, and themes. (From The Free Dictionary)
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