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I'd say U2 do, I can't think of any other Irish punk bands
How do you define producer?
Hannett became closely associated with Joy Division. Hannett's production incorporated looping technology to treat musical notes with an array of digital filters and both Melos analogue and digital and AMS digital delay units of which Hannett owned three. The Melos tape and BBD echo units were at the opposite end of the price spectrum to the AMS delays but Hannett still loved using their crude echo effects. The first synthesizers Hannett and Joy Division guitarist Bernard Sumner both used were Transcendent 2000s and then ARP Omnis. Hannett also liked to feed sounds through his Marshall Time Modulators and the three AMS delays he had, along with a fourth owned by Strawberry Studios. Much of Hannett's studio effects units and synths are now in a private archive.
As a producer, Hannett obsessed over drum sounds, never being content until they completely coincided with the sounds in his head. Legend has it that he once forced Joy Division drummer Stephen Morris to take apart his drum kit during a recording session and reassemble it to include additional parts from a toilet. He also reputedly had Morris set up his kit on a first floor flat roof outside the fire escape at Cargo Recording Studios, Rochdale. The studio was used for the recording of "Digital", "Glass", "Atmosphere", "Dead Souls" and "Ice Age". Hannett's unorthodox production methods resulted in drum sounds mixed with synthesisers that were both complex and highly distinctive. According to Hannett: "There was a lot of space in [Joy Division's] sound. They were a gift to a producer, because they didn't have a clue. They didn't argue. A Factory Sample was the first thing I did with them. I think I'd had the new AMS delay line for about two weeks. It was called 'Digital'. It was heaven sent."[8] Hannett was instrumental in the early development of these particular AMS delays asking the engineers in the company to try to recreate within the electronics the sounds he was hearing in his head. Hannett had a fascination for working in three particular studios, Pennine Studios in Oldham, Cargo Studios in Rochdale and Stockport's Strawberry Studios. Hannett and Chris Hewitt designed Peter Hook's Joy Division/New Order bass equipment set up, the Alembic, Amcron, and Gauss system which Hook used for around twenty years.
Hannett also produced two albums by Magazine, as well as working extensively with John Cooper Clarke and (briefly) with U2. He also produced many early Factory Records bands including Orchestral Manoeuvres in the Dark, A Certain Ratio, The Durutti Column, Section 25, ESG, Minny Pops, Stockholm Monsters, Crispy Ambulance, The Names and Tunnelvision. However his role as in-house producer at the legendary label diminished in importance after New Order, A Certain Ratio and The Durutti Column all elected to produce themselves.
I've never considered any band I've recorded with to have had a producer.
And,with producers,I always ,right or wrong,think their job is to make the record sell better. And that is not a particular concern of mine.
god fucking forbid someone would enjoy listening to something to the point of spending money on it.
SRLSY. Any record i've had any hand mixing, my primary concern has been how good can i make it sound, and still sound good 100 listens later. Of the producers i know, the majority think about that, not about unit sales.
Ahh..I think..and I might be full of shite on this..I often am....but their job is to make shit rock more.
There's also the very important point of how much the person entrusted to make it sound better can actually be trusted. If someone was producing a band I was in and made it sound like ,I dunno, U2/Coldplay/Therapy?/Green Day or even whatever happens to be popular right now then they can fuck right off.
Having something sound better is very open to opinion.
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