MrBrau1 said:
Opinions on production are just as subjective as opinions on the tunes themselves. It just makes someone look cooler to say, "the mix sucks, the production sucks" blah, blah, blah. Also note, many of those bashing the production have very few positive posts about the band.
Actually, I think that is a very disingenuous response. Production quality can be measured both objectively and subjectively. I agree with you on the subjective part; however not on the objective half.
The production and mastering of this album is very much objectively a disgrace. I am not a new poster. I have been around this forum specifically for several years and have followed and defended U2 through ups and downs since I became enchanted by them during AB. I went to 15 Elevation tour shows. This band means the world to me.
Yet, I am embarrased for U2 with this album. The production quality, and moreover the mastering quality of the album, is very objectively and technically abysmal. I have another post detailing a few of the technical reasons why. I have since discovered more (average RMS, square sine waves, digital distortion, overused compression)
And, the sad thing is I'm only an amateur in the field of audio recording and engineering. But I know enough, technically, and it doesn't take anything but a halfway descent ear to hear the rediculous flaws in this album. And, I hate to pull the 'my friends' card too, but yeah OK I do have a couple of friends in the field and they all spot the exact same recording errors. Errors so bad, that any engineer would have been laughed at and fired on the spot would this have been only a couple of years ago.
But that is not the trend. The trend is to make incredibly shitty but LOUD recordings at any and EVERY cost. It is a phenomenon well known in the audio engineering industry and everyone agrees it is shameful and unfortunate. But the reality is the engineers don't own the music, effects or soundtrack, and they are no longer able to make such decisions. It is a short-sighted mandate from record executives that CDs be mastered and produced this way these days.
I always thought U2 had enough influence, and/or rights that something like this would never happen. But it did. And I have to wonder- did U2 agree to it (unlikely), or was it a mandate from Interscope (who releases nearly everything this way these days). If U2 did authorize the mastering of this CD, then I'm very deeply saddened to say that in my mind, at least- they have disgraced themselves in my eyes for the first time. Because, there is simply no reason for audio to be ruined the way it has.
BTW, you will never see a classical recording mastered using the methods and techniques used these days for pop/rock/rap/etc... Why? Not necessarily because it is a different genre, but because classical listeners tend to have very well trained ears, and as audiophiles would never put up with a release whose audio has literally been mangled and trashed the way it has on these other releases.
This is a very serious problem to add to the numerous other problems the recording industry faces. Hopefully it will be a self-correcting problem, as none of this audio will stand the test of time. The music itself is another story, and I hope we see a remastered version of How To Dismantle An Atomic Bomb in the future.
