The Trans-Siberian Orchestra (often abbreviated as TSO) is a rock orchestra founded by Paul O’Neill, Robert Kinkel, and Jon Oliva in 1996. The band’s musical style is often described in different terms, incorporating progressive rock, symphonic metal, and heavy metal, with influences from classical music. The group is based in New York City, but frequently tours worldwide. The Trans-Siberian Orchestra is known for its renditions of traditional Christmas songs. During December, these awesome holiday songs become popular online downloads and are the perfect choice for your next cell phone ringtone. Christmas Eve/Sarajevo 12/24 is one of the most popular songs in the world on iTunes right now. Click on the link below and sign up to download the Christmas Eve/Sarajevo 12/24 Ringtone now:

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Some of their best known works include such songs as “Christmas Eve/Sarajevo 12/24″ (a rendition of “Carol of the Bells” and “God Rest Ye Merry Gentlemen” originally featured on Savatage’s 1995 album, Dead Winter Dead), “Christmas Canon”, and “Wizards in Winter”, all of which are popular selections of radio DJs during the Christmas season. The Christmas Eve/Sarajevo 12/24 Ringtone is an awesome choice for your next ringtone to celebrate the holiday season. Simply click on the link below and sign up – you will instantly be able to download the Christmas Eve/Sarajevo 12/24 Ringtone and other popular Trans-Siberian Orchestra Ringtones. Don’t wait, download these cool Christmas ringtones by

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That said, click tracks and drum machines are two of the worst things ever to happen to popular music. First, drum machines like all machines are expressionless in the true sense. No human being is behind the sound at the moment that sound is made. Of course, the technology is a human artefact, and the programming carries human intention that may contain aesthetic expression. But it is the machine that executes the actual music. The essential
link in the moment of performance between the soul and sound waves is not there. The music is literally “soul-less”. It is a huge irony that “beatboxes” came to dominate a type of music that once termed itself “soul”.

Second, both click tracks and drum machines force an inhuman straitjacket onto music-making. Much of the prejudice against popular music that exists in the field of so-called “serious music” is based on a mixture of ignorance, cultural brainwashing and an inadequate critical vocabulary with which to describe how popular music achieves its greatest effects. But with regard to tempo, for once, the reaction of the classical musician is right on the money. If you suggested to an orchestra that they could improve their performance of a Beethoven symphony or a Rachmaninov piano concerto with a click track, so they would all be perfectly in time, they would fall off their stools laughing. When they recovered, they would insist that your click track idea would, at one digital stroke, remove all the expression from the music. In order for music to “breathe”, performers must be free to pause slightly before a chord or modulation or phrase. Classical scores are full of terms such as accelerando, ritenuto, rallentando,a tempo all of which indicate departures from strict time. In other words, “TPV” is an essential element of music performance. Why should popular music be any different?