New DT album 2015?

[Mosh]

I was listening to Moving Pictures the other day and noticed that the chorus to TLG is actually pretty similar too. They're developed in a similar fashion: First just clean guitar arpeggios building into distorted major chords in straight 8th notes. It's very similar sounding.

[Lucien]

Yeah, I think he was talking about SC/BCSL

[erwinrafael]

Ugh, let's not go back to the very metal sound.

Just sayin', but when have they not had metal as one of the elements of their sound? Even the albums are generally less heavy (FII, Octavarium?) still have heavy bits on certain songs or sections. There's not a single DT album that doesn't have some metal riffing somewhere. So I believe for the most part, it will almost always remain a part of their sound.

He's not asking for 0 metal, he's asking for less metal. Black Clouds and Silver Linings, for instance, could be called VERY metal, whereas Falling Into Infinity or even Images and Words aren't very metal in comparison. Obviously Dream Theater has had metal in its blood since the very beginning, and the beast loads up on iron more on some albums than others. He's simply asking the beast to load up on it less. 

Yeah but, Dream Theater (self titled) already is 'less metal' if you asked me. That's why I thought it needed pointing out that they've always had this element  . Yeah it still sounds heavy and big and it's got some heavy riffs in there, but change the guitar tone and and it's not exactly a hardcore heavy metal album. Far less than BL&SL and at least a similar amount as WDADU. In fact, the only 2 songs that even stay 'heavy' for the length of the song would be The Enemy Inside and Enigma Machine.

Unless the comment is specifically referring to the SC/BL&SL era, but I assume it was directed at DT12.



And another thing, I don't have a problem with DTs Rush influences, I love Rush so if DT were to use them as a blueprint then I'm probably still gonna like it, but I still can't believe people consider The Looking Glass is a ripoff of limelight. If TLG borrows anything, it's about 2 notes and 2 chords in common with Limelight. Not to mention TLG develops it's riff for another couple of bars, Limelight just repeats the same pattern. The similarities start and end with the major sounding guitar chords. Furthermore, if TLG really is some sort of 'spiritual successor' to Limelight and JP stole all the ideas, then the end result was a much more interesting and developed piece (imo) than Limelight. So much, to the point where I can't identify it as being related other than some familiar notes in the opening guitar riff.

My statement was in reply to red barchetta's post about giving him something metal with harmonies. I have read his post in another thread and he aired his sentiment that DT12 is not metal enough. Thus, the context of mu comment.

I agree with you on TLG. It has Rush influences but it is not a ripoff. I think it is more of a tribute.

[Nearmyth]

I was listening to Moving Pictures the other day and noticed that the chorus to TLG is actually pretty similar too. They're developed in a similar fashion: First just clean guitar arpeggios building into distorted major chords in straight 8th notes. It's very similar sounding.

This is actually really interesting, I see a lot of similarities/parallels between DT12 and Moving Pictures. By a lot I mean a few songs, but still. TLG is very similar to Limelight, and Enigma Machine is actually very similar to YYZ in song structure. Surrender To Reason is just overall very Rush-y.

What they do well is having those influences and nodding towards them while making it sound different enough and still sound like Dream Theater.

[YtseCullen]

Definitely better sounding drums. I couldn't stand the snare on the last one. MP's Tama set and Sabian cymbals kicked so much ass compared to MM's Pearl kit with Zildjian cymbals. MM's kit sounds dead where as MP's kit has punch.

[wolven74]

Definitely better sounding drums. I couldn't stand the snare on the last one. MP's Tama set and Sabian cymbals kicked so much ass compared to MM's Pearl kit with Zildjian cymbals. MM's kit sounds dead where as MP's kit has punch.

You make a good point. I'm a drummer and have loved MPs sound on all DTs previous albums--with the possible exception of Octavarium, which I thought the drums sounded tinny. I've always thought the difference in the drum sound from MP to MM was because of the production more than the equipment. Tama's kits are beautiful instruments, but i've heard Pearl sound just as good. But, the one thing I've found lacking most from MM is cymbal work. I've had to listen hard to hear what he's doing on the stacks and splashes. It makes sense. I've never liked Zildjian. They don't sound as clean to me. Zildjian's top of the line cymbals don't hold a candle to Paiste's mid range line.

Though I do think production has a lot to do with the lack of power in the cymbals. I've always come back to the fact that MP was a producer. He naturally put the drums higher in the mix. MP is more humble, so is more comfortable being behind the others in the mix.

[Sycsa]

Definitely better sounding drums. I couldn't stand the snare on the last one. MP's Tama set and Sabian cymbals kicked so much ass compared to MM's Pearl kit with Zildjian cymbals. MM's kit sounds dead where as MP's kit has punch.

I've always thought the difference in the drum sound from MP to MM was because of the production more than the equipment. Tama's kits are beautiful instruments, but i've heard Pearl sound just as good.

Yeah, it's silly to attribute the drum sound to the brand rather than the setup & production, even with cymbals. In that regard, DW snobs are the worst, but Tama fanboys are not far behind. Dennis Chambers also plays the Pearl - Zildjian combo and he had one of the best drum sounds I've ever heard on the latest Niacin album. I've been at recording sessions in studios and the final drum sound often hardly resembles the actual acoustic sound of the kit. MM's cymbals were the weak link for a few releases, but they sounded excellent when I saw them live and I also like them on the upcoming live album. There are also plenty of albums in the metal genre where Tamas sound underwhelming. It's the nature of the production. I've played on quite a few mid-high tier drum kits (incidentally, mostly Pearl and Tama) and there are differences even when they're made out of the same wood, but with setting them up properly, they all sound excellent.

[nikatapi]

Yeah i guess it's more a production issue, and maybe it has to do with the positioning of the cymbals and how they are recorded, let's not forget the uniqueness of Mike's kit, some cymbals are very near to each other so it might be a problem to record them clearly.

The worst part in my opinion are the china cymbals and hihats, although the new live album seems to have improved the hihats, as it is evident on the solo section of The Looking Glass. Still, i don't think they have enough clarity and power compared to MP's sound, especially the closed hihat and how defined it is.

To be honest i was hoping someone would co-produce along with JP, since he doesn't seem to have a great taste in sound, as it is evident from all the productions since Mike left.

[Xenon]

To be honest i was hoping someone would co-produce along with JP

This.

[Kotowboy]

@Wolven. You mean MM is more humble

[Kotowboy]

So assuming new album late 2015 ...


It will be Manginis third album with the band and his fifth anniversary.

[Xenon]

So assuming new album late 2015 ...


It will be Manginis third album with the band and his fifth anniversary.

Already 5 years? God, time flies.

[tofee35]

Yeah i guess it's more a production issue, and maybe it has to do with the positioning of the cymbals and how they are recorded, let's not forget the uniqueness of Mike's kit, some cymbals are very near to each other so it might be a problem to record them clearly.

The worst part in my opinion are the china cymbals and hihats, although the new live album seems to have improved the hihats, as it is evident on the solo section of The Looking Glass. Still, i don't think they have enough clarity and power compared to MP's sound, especially the closed hihat and how defined it is.

To be honest i was hoping someone would co-produce along with JP, since he doesn't seem to have a great taste in sound, as it is evident from all the productions since Mike left.

The way that MM and MP hit the drums is totally different too. I guess you can compare it to a guitarist's tone being in his/her fingers as much as it is in the equipment. MM's hits are very calculated, concise and even (which is a technical explanation for why some consider him to be robotic with little groove or feel... me not included). MP's feel is loose and he has more fluid dynamics (range of soft to hard hits). The attack and tooone of the drumheads and cymbals can sound totally different from drummer to drummer even with the same equipment. Another difference is that MM sits on the beat (or slightly behind) and MP is in your face ahead of the beat. Its cool how their playing styles translate to their personalities too.

-Tof

[nikatapi]

The way that MM and MP hit the drums is totally different too. I guess you can compare it to a guitarist's tone being in his/her fingers as much as it is in the equipment. MM's hits are very calculated, concise and even (which is a technical explanation for why some consider him to be robotic with little groove or feel... me not included). MP's feel is loose and he has more fluid dynamics (range of soft to hard hits). The attack and tooone of the drumheads and cymbals can sound totally different from drummer to drummer even with the same equipment. Another difference is that MM sits on the beat (or slightly behind) and MP is in your face ahead of the beat. Its cool how their playing styles translate to their personalities too.

-Tof

That is true, even though most of my issues have to do with the sonic quality which is more a matter of production when we're talking about drums. MM has great dynamics (Outcry is a demonstrative example) but it's production choices that i think don't work really well in making the drums clear sounding.

[tofee35]

The way that MM and MP hit the drums is totally different too. I guess you can compare it to a guitarist's tone being in his/her fingers as much as it is in the equipment. MM's hits are very calculated, concise and even (which is a technical explanation for why some consider him to be robotic with little groove or feel... me not included). MP's feel is loose and he has more fluid dynamics (range of soft to hard hits). The attack and tooone of the drumheads and cymbals can sound totally different from drummer to drummer even with the same equipment. Another difference is that MM sits on the beat (or slightly behind) and MP is in your face ahead of the beat. Its cool how their playing styles translate to their personalities too.

-Tof

That is true, even though most of my issues have to do with the sonic quality which is more a matter of production when we're talking about drums. MM has great dynamics (Outcry is a demonstrative example) but it's production choices that i think don't work really well in making the drums clear sounding.

It's no doubt a sonic issue. I remember reading or seeing an interview with MM about how he was absolutely crushing the drums and JP commented on how he should hit that hard for the recording. That didn't come through at all due to engineering and production.

[adamack]

I would love it if DT could create another album similar to ADToE, song-structure-wise. But with a few changes. 7 total songs on the album.

I would love for it to be something like this:

- A 9-ish minute song similar structurally to OTBoA. Metal riffs with an epic chorus, and an instrumental section of course.

- A 12 minute beautiful progressive song similar to Breaking All Illusions

- An 11 minute song, with similarities to Learning To Live, but with orchestral elements similar to the instrumental section of Sacrificed Sons.

- One 20+ minute epic. I'd want the epic to be a LOT more like Octavarium than Illumination Theory. Something which builds and builds, and explodes into an epic orchestrated section at the end.

- A 7-8 minute, all-out progressive metal song similar to Panic Attack and The Enemy Inside. Fast tempo, and hard Petrucci riffage.

- A contemporary length ballad, 4-5 minutes, like Beneath The Surface

- Another 10-11 minute song, with a mixture of experimental styles. Something with a lot of fresh electronic patches from Jordan. Extremely experimental and fresh. Conceptually similar to "The Great Debate", with a central message in reference to an important political issue or modern problem.


That would be my preferred formula for what the new album will sound like.

[TheLordOfTheStrings]

I would love it if DT could create another album similar to ADToE, song-structure-wise. But with a few changes. 7 total songs on the album.

I would love for it to be something like this:

- A 9-ish minute song similar structurally to OTBoA. Metal riffs with an epic chorus, and an instrumental section of course.

- A 12 minute beautiful progressive song similar to Breaking All Illusions

- An 11 minute song, with similarities to Learning To Live, but with orchestral elements similar to the instrumental section of Sacrificed Sons.

- One 20+ minute epic. I'd want the epic to be a LOT more like Octavarium than Illumination Theory. Something which builds and builds, and explodes into an epic orchestrated section at the end.

- A 7-8 minute, all-out progressive metal song similar to Panic Attack and The Enemy Inside. Fast tempo, and hard Petrucci riffage.

- A contemporary length ballad, 4-5 minutes, like Beneath The Surface

- Another 10-11 minute song, with a mixture of experimental styles. Something with a lot of fresh electronic patches from Jordan. Extremely experimental and fresh. Conceptually similar to "The Great Debate", with a central message in reference to an important political issue or modern problem.


That would be my preferred formula for what the new album will sound like.

If they did that, then everyone here would complain about how they rewrote OTBOA, BAI, LTL, 8VM, PA, BTS, and TGD instead of just being happy that DT released ANOTHER killer album for them to listen to and enjoy.

Though, I personally would probably thoroughly enjoy that album.

[YtseJamittaja]

Actually, I think nobody agree with me but I would not like to see another +20 min epic on their next release. These "epics" would start to seem worthless if they bring another one in their every new album. My hope is that they do more 6-8 min songs, as on DT12. TBP, BtV and StR are all good examples.

[BlobVanDam]

Actually, I think nobody agree with me but I would not like to see another +20 min epic on their next release. These "epics" would start to seem worthless if they bring another one in their every new album. My hope is that they do more 6-8 min songs, as on DT12. TBP, BtV and StR are all good examples.

The epics still always feel like a special part of their respective albums, and IT is the saving grace of DT12 imo. That's not to say the rest of the album is bad by any means, it's just that it would have felt lacking without something to fill that more typical "epic" role, because the other songs didn't really give me that side of DT.

I'm not saying they need a 20 minute epic to achieve that, but the 6-8 minute songs on DT12 didn't give enough variety for me alone. Even the 11/12 minute style of song like ADTOE would hit the spot perfectly. Actually, I felt that album had about the perfect balance of track lengths. Even though they both have exceptions, DT12 and BCASL feel like they're too far in opposite extremes, and both suffer somewhat for it imo.

I know you're not suggesting they only do 6-8 minute songs, but I hope they have a bit more variety of song lengths and structures for future albums.

[Mosh]

I agree. We know they can write concisely now, lets see them apply that to longer song forms next time.

[Podaar]

I want two 2:32 songs bookending a 48:57 song!

[UncleBurntApostrophe]

I've not read much of this thread yet (to see what others have said), but I'm in agreement with the quota that appreciates the Dream Theater wheelhouse, and likes having them as a solid, dependable band, for outputting quality, after quality release (if not, ostensibly, taking huge departures in territory explored)...they are eclectic enough, that different inflections of similar terrain, are still excellent enough, for me, as a consumer, and, ultimately, I'm all for artists doing what they choose to (and if it interests me I'll follow it/take from it what I enjoy and appreciate about it).

Having said that, however, with a big, established, heavy-weight band, such as Dream Theater, it can go the other way, and experimenting and risks are undertaken less, to- consciously, or otherwise- maintain their success- and income- from keeping close to a formula that has been/will likely be positively received by it's fanbase, at large (rather than taking a chance on significant deviations)...

Personally, I'd like a band to be honest to what they'd like to do, first and foremost- and that can include balancing personal interest, vs tailoring towards what fans might want/be successful), and, probably to be bold and experimental, and diverse, to really stimulate me (with longevity, as their own source/entity).

Dream Theater, as I've said, have a fairly high level of diversity, within quite a fixed, signature sound stream, that staying quite close to that, release to release, is usually adequate enough for me (and I did feel a fairly significant, postive evolution of sound, in their last, self-titled release, finding it warmer, and smoother, and somehow endearingly enriched).

That, being said, purely on a personal, consumer level, I'd probably embrace seeing them diversify more, and try bolder direction departures, more loyal to unbridled artistry, and creative freedom, than otherwise (but this is conflicted, for me, somewhat, at this point, too, against the identity/legacy of such a mainstay, big band- do you want to mess with that too much/pull a wider breadth into it, or should you keep it more rigid, and use other outlets for greater experimentalism?).

I think a stronger balance, in terms of experimental departures, for this outfit, can be found, however, whilst stll keeping a core grounding in Dream Theater's identity, and so, yeah, I'd be game for some stronger departures/experimentalism!

P.s// I'm probably craving something more metal-dominant, and heavy from them, currently- seeing them live for the first time, in Feburary, I was so impressed by how satisfyingly heavy their live sound was! Awesome.

P.s.2// I've not reached a point of accute, conscious analysation of Dream Theater with Portnoy, and Dream Theater with Mangini, but my naturally attained impression is of liking Mangini- as an individual musician, as a fit in the band, and as a person/personality- and I think he's blended in organically, giving a different flavour that I like.

[Podaar]

Dear MeatWeinie(')

I, not only approve, of your handle, I'm amazed, that you managed, to incorporate it, into, your, posting style! 

[YtseJamittaja]

Actually, I think nobody agree with me but I would not like to see another +20 min epic on their next release. These "epics" would start to seem worthless if they bring another one in their every new album. My hope is that they do more 6-8 min songs, as on DT12. TBP, BtV and StR are all good examples.

The epics still always feel like a special part of their respective albums, and IT is the saving grace of DT12 imo. That's not to say the rest of the album is bad by any means, it's just that it would have felt lacking without something to fill that more typical "epic" role, because the other songs didn't really give me that side of DT.

I'm not saying they need a 20 minute epic to achieve that, but the 6-8 minute songs on DT12 didn't give enough variety for me alone. Even the 11/12 minute style of song like ADTOE would hit the spot perfectly. Actually, I felt that album had about the perfect balance of track lengths. Even though they both have exceptions, DT12 and BCASL feel like they're too far in opposite extremes, and both suffer somewhat for it imo.

I know you're not suggesting they only do 6-8 minute songs, but I hope they have a bit more variety of song lengths and structures for future albums.

I agree with you Blob. I didn't say only 6-8min songs as you mentioned. I think ADTOE is really a good example of what the album lengths should look like. DT is a band that needs bigger songs, longer songs to show their skills and music. The whole progressive scene needs epics. Just saying there's no need for another +20min song, 10-15min songs are just perfect lengths for DT song. Your last sentence says it all, more variety in future.

[IdoSC]

I want it to be a familiar surprise like DT12. I loved ADTOE to death, but DT12 had the same levels of awesomeness while bringing news twists to the table and blowing me away with surprises and great musical moments.

[aprilethereal]

I've not read much of this thread yet (to see what others have said), but I'm in agreement with the quota that appreciates the Dream Theater wheelhouse, and likes having them as a solid, dependable band, for outputting quality, after quality release (if not, ostensibly, taking huge departures in territory explored)...they are eclectic enough, that different inflections of similar terrain, are still excellent enough, for me, as a consumer, and, ultimately, I'm all for artists doing what they choose to (and if it interests me I'll follow it/take from it what I enjoy and appreciate about it).

Having said that, however, with a big, established, heavy-weight band, such as Dream Theater, it can go the other way, and experimenting and risks are undertaken less, to- consciously, or otherwise- maintain their success- and income- from keeping close to a formula that has been/will likely be positively received by it's fanbase, at large (rather than taking a chance on significant deviations)...

Personally, I'd like a band to be honest to what they'd like to do, first and foremost- and that can include balancing personal interest, vs tailoring towards what fans might want/be successful), and, probably to be bold and experimental, and diverse, to really stimulate me (with longevity, as their own source/entity).

Dream Theater, as I've said, have a fairly high level of diversity, within quite a fixed, signature sound stream, that staying quite close to that, release to release, is usually adequate enough for me (and I did feel a fairly significant, postive evolution of sound, in their last, self-titled release, finding it warmer, and smoother, and somehow endearingly enriched).

That, being said, purely on a personal, consumer level, I'd probably embrace seeing them diversify more, and try bolder direction departures, more loyal to unbridled artistry, and creative freedom, than otherwise (but this is conflicted, for me, somewhat, at this point, too, against the identity/legacy of such a mainstay, big band- do you want to mess with that too much/pull a wider breadth into it, or should you keep it more rigid, and use other outlets for greater experimentalism?).

I think a stronger balance, in terms of experimental departures, for this outfit, can be found, however, whilst stll keeping a core grounding in Dream Theater's identity, and so, yeah, I'd be game for some stronger departures/experimentalism!

P.s// I'm probably craving something more metal-dominant, and heavy from them, currently- seeing them live for the first time, in Feburary, I was so impressed by how satisfyingly heavy their live sound was! Awesome.

P.s.2// I've not reached a point of accute, conscious analysation of Dream Theater with Portnoy, and Dream Theater with Mangini, but my naturally attained impression is of liking Mangini- as an individual musician, as a fit in the band, and as a person/personality- and I think he's blended in organically, giving a different flavour that I like.

I'd love to be able to understand what you're trying to say.

[adamack]

I would love it if DT could create another album similar to ADToE, song-structure-wise. But with a few changes. 7 total songs on the album.

I would love for it to be something like this:

- A 9-ish minute song similar structurally to OTBoA. Metal riffs with an epic chorus, and an instrumental section of course.

- A 12 minute beautiful progressive song similar to Breaking All Illusions

- An 11 minute song, with similarities to Learning To Live, but with orchestral elements similar to the instrumental section of Sacrificed Sons.

- One 20+ minute epic. I'd want the epic to be a LOT more like Octavarium than Illumination Theory. Something which builds and builds, and explodes into an epic orchestrated section at the end.

- A 7-8 minute, all-out progressive metal song similar to Panic Attack and The Enemy Inside. Fast tempo, and hard Petrucci riffage.

- A contemporary length ballad, 4-5 minutes, like Beneath The Surface

- Another 10-11 minute song, with a mixture of experimental styles. Something with a lot of fresh electronic patches from Jordan. Extremely experimental and fresh. Conceptually similar to "The Great Debate", with a central message in reference to an important political issue or modern problem.


That would be my preferred formula for what the new album will sound like.

If they did that, then everyone here would complain about how they rewrote OTBOA, BAI, LTL, 8VM, PA, BTS, and TGD instead of just being happy that DT released ANOTHER killer album for them to listen to and enjoy.

Though, I personally would probably thoroughly enjoy that album.

Oh yeah, for sure. It most definitely wouldn't please those who did not care for ADToE.

I'd also actually be open to another concept album. It'll have been 16 years since the last one from DT, and I'd love at least one more before they hang up the gloves.

[UncleBurntApostrophe]

Dear MeatWeinie(')

I, not only approve, of your handle, I'm amazed, that you managed, to incorporate it, into, your, posting style! 

Haha! I'll take that as a compliment; I picked the name with some consciousness, and have certainly been aware that it's actually, somewhat, befitting of my expression style- or at least offers a bit of self-deprecating wink at!

I was aware I was taking a bit of a chance with such a freely-linguistic post, lol, but, after typing it, I couldn't be bothered with adapting it, so I thought I'd see what came back...

It wasn't my most coherrent comment like- as I lost something from what I had originally intended to say (when the point of a band being true to what they want to do, etc, came to me), and I may of bitten off a little more than I could chew, too well, in that moment- but, having re-read it, I feel there's still a valid thought line there.

It was a bit Frank Zappa like, I suppose (in terms of not pulling too many linguistical punches), haha!

Essentially, I dig Dream Theater's sound, but would welcome bolder departures from it/experimentalism.

[Woodworker1]

 At least one keyboard dominated song with JP taking more of a backup role.

[TheLordOfTheStrings]

At least one keyboard dominated song with JP taking more of a backup role.

I'd love to hear Jordan do a piano version of Along For The Ride. I can only imagine him arranging JP's acoustic intro for a piano. 

[Moor]

I've not read much of this thread yet (to see what others have said), but I'm in agreement with the quota that appreciates the Dream Theater wheelhouse, and likes having them as a solid, dependable band, for outputting quality, after quality release (if not, ostensibly, taking huge departures in territory explored)...they are eclectic enough, that different inflections of similar terrain, are still excellent enough, for me, as a consumer, and, ultimately, I'm all for artists doing what they choose to (and if it interests me I'll follow it/take from it what I enjoy and appreciate about it).

Having said that, however, with a big, established, heavy-weight band, such as Dream Theater, it can go the other way, and experimenting and risks are undertaken less, to- consciously, or otherwise- maintain their success- and income- from keeping close to a formula that has been/will likely be positively received by it's fanbase, at large (rather than taking a chance on significant deviations)...

Personally, I'd like a band to be honest to what they'd like to do, first and foremost- and that can include balancing personal interest, vs tailoring towards what fans might want/be successful), and, probably to be bold and experimental, and diverse, to really stimulate me (with longevity, as their own source/entity).

Dream Theater, as I've said, have a fairly high level of diversity, within quite a fixed, signature sound stream, that staying quite close to that, release to release, is usually adequate enough for me (and I did feel a fairly significant, postive evolution of sound, in their last, self-titled release, finding it warmer, and smoother, and somehow endearingly enriched).

That, being said, purely on a personal, consumer level, I'd probably embrace seeing them diversify more, and try bolder direction departures, more loyal to unbridled artistry, and creative freedom, than otherwise (but this is conflicted, for me, somewhat, at this point, too, against the identity/legacy of such a mainstay, big band- do you want to mess with that too much/pull a wider breadth into it, or should you keep it more rigid, and use other outlets for greater experimentalism?).

I think a stronger balance, in terms of experimental departures, for this outfit, can be found, however, whilst stll keeping a core grounding in Dream Theater's identity, and so, yeah, I'd be game for some stronger departures/experimentalism!

P.s// I'm probably craving something more metal-dominant, and heavy from them, currently- seeing them live for the first time, in Feburary, I was so impressed by how satisfyingly heavy their live sound was! Awesome.

P.s.2// I've not reached a point of accute, conscious analysation of Dream Theater with Portnoy, and Dream Theater with Mangini, but my naturally attained impression is of liking Mangini- as an individual musician, as a fit in the band, and as a person/personality- and I think he's blended in organically, giving a different flavour that I like.

I'd love to be able to understand what you're trying to say.

Oh, let me explain that: he appreciates the Dream Theater wheelhouse outputting quality that can include balancing personal interest, while being more loyal to unbridled artistry, against the identity/legacy of such a mainstay conscious canalization of Dream Theater.

Got it? 

[Dublagent66]

They should let Jordan create atmospheric tracks for some tracks, like periphery do with Jake Bowen, for example. We know Jordan Masters the art of atmospher-ing (?) and also he is very interested in electronic music aswell. That could be refreshing.

Case in point, the intro of Behind The Veil.

That's exactly why I wrote that. But there's plenty of examples of Jordan doing this.

Yes, and I think JR's atmospherics are awesome.  BTV is a great song with a great intro.  But, for the love of christ, why did he have to use the same exact effect he used at the beginning of TGD (SDOIT)?  It's takes the exclusivity away from the original usage when JR has a multitude of different sounds at his disposable.

[JediKnight1969]

They should let Jordan create atmospheric tracks for some tracks, like periphery do with Jake Bowen, for example. We know Jordan Masters the art of atmospher-ing (?) and also he is very interested in electronic music aswell. That could be refreshing.

Case in point, the intro of Behind The Veil.

That's exactly why I wrote that. But there's plenty of examples of Jordan doing this.

Yes, and I think JR's atmospherics are awesome.  BTV is a great song with a great intro.  But, for the love of christ, why did he have to use the same exact effect he used at the beginning of TGD (SDOIT)?  It's takes the exclusivity away from the original usage when JR has a multitude of different sounds at his disposable.

I read somewhere that the intro of BTV was played with a Seaboard, a new instrument designed by JR, which it was not fully developed at the time, but Richard Chycki encouraged him to use it anyway.

[fischermasamune]

I would like to hear a Metropolis Pt 3 or a Dream Theater 2!

[rumborak]

I just looked at the Seaboard. Man, unless they're drastically bringing down the price, I doubt they will sell the device a lot. A 3-octave version costs two thousand dollars,  and a full-size one sets you back nine thousand.