How many Irish diy punk bands work with a producer? (1 Viewer)

[GO]

I'm just wondering.

 

[Fuckoff]

I'd say U2 do, I can't think of any other Irish punk bands

 

[GO]

I'd say U2 do, I can't think of any other Irish punk bands

no way..I didnt know u2 went diy punk..thats awesome..I always liked their early stuff

 

[Space]

How do you define producer?

 

[falsemonkey]

Someone who sticks their beak into your business. If you know what you want your music to sound like, don't use a producer.

 

[GO]

How do you define producer?

Ermm..I dunno..like that bloke who produced Never Mind The Bollocks..

 

[Vadge]

Great thread

 

[GARYXKNIFEDX]

I've never considered any band I've recorded with to have had a producer.

 

[ann post]

This is just from wiki, but there is a fair bit more out there about martin hannett/joy division stuff.

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.

 

[GO]

I've never considered any band I've recorded with to have had a producer.

No me neither...but I'm reading up all about Chris Thomas and Mike Shipley etc...and theres definitely a case for it I think.

Mind you..East Bay Ray produced Fresh Fruit..so..I suppose its just down to having someone who can look at the big picture.

I dunno.

I mean...I think people are justified in wanting to make records as good as NMTB etc...why not?

 

[GARYXKNIFEDX]

I'm not opposed to it. I just don't know anyone who's suggestions would improve (to me) what I or the band in question have wanted. That's not to say it's all been perfect,and in retrospect some things came out better than others. Then the other thing is ,I don't really care what other people think so it would be hard for them to get involved,opinion wise,and yet having said that,I don't mind hearing criticism.

There's a lot of contradictions,I know.

 

[GARYXKNIFEDX]

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.

 

[ann post]

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.

 

[GO]

Ahh..I think..and I might be full of shite on this..I often am....but their job is to make shit rock more.

Anyone concerned with selling records is'nt a real artist.They're just jobbers.

 

[GARYXKNIFEDX]

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.

I did say "right or wrong"

Also,of course I want the recording to sound good,but it's all reative to the budget. 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.

 

[GARYXKNIFEDX]

Ahh..I think..and I might be full of shite on this..I often am....but their job is to make shit rock more.

On paper I'm sure it is. And I'm generalising way more than I should,but I've heard too many records by bands I loved that sucked,and generally it's been the one they recorded with the great "producer".

 

[GO]

Just thinking on it..I reckon any band that went ahead..and used a producer and made a record that was just fucking enormous..would get fucking slated left and right on Eirecore.

I think I remember the Golden Horde fucking sucked when they started being over produced on record.

 

[ann post]

are them lads in waterford DIY producers? I'm vague about that place, i know it exists, i don't know what it does.

 

[ann post]

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.

Well nobody is going to hire a producer that they don't like the sound of and if they do, its probably their own fault for not checking out stuff first. There isn't a band on the planet that doesn't have an aspiration of sounding like something or a combination of somethings and 'sounds better' is usually landing somewhere between these markers. Getting a producer who has done that consistently over a few records is going to make that easier.

 

[closed groove]

I think someone's suggestion on an improvement of sound to make a bands sound more distorted, heavier, whatever by using different amps, medals, instruments and everything to create a better sounding record would be great but to change a sound into something else is something entirely different.