Production?

[AEON]

I was wondering what everyone thought of the production of Songs of Innocence?

So far, I think it is perhaps the best production of a U2 album since Zooropa. It's very crisp, quiet/loud when it needs to be. The rhythm seems perfectly placed in the mix. The Edge is a bit "buried" - but I think this is intentional and a distance with the vocals. Bono's voice hasn't sounded this sharp since Joshua Tree. They did a great job of "masking" the weak spots in his voice, but left enough imperfection to keep it human, soulful.

Just a few thoughts

Also - I am so thankful there are no real showstoppers with the lyrics (there are no cockatoo, scent of baby's head moments) - I like to think the producers had some veto power.

 

[Niceman]

I'm not going to judge from an iTunes file. I'll wait until I have the CD and LP.

 

[dan_smee]

Lp mastering


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[RoKKeR]

Too much Bono, not enough Edge. Which is a bummer, because I think Edge is much better on this album than NLoTH. (though he still isn't as much of a centerpiece as I'd like)

Last three songs, which are Danger Mouse produced exclusively, are damn amazing and I want more.

Production is very tight overall.

Oh, and I do think there is one "lolBono" lyrical moment in "You live here or is this a vacation?" I laugh every time I hear it.

 

[corianderstem]

I'm disappointed that the distortion/compression creeps in at the very end of The Troubles. I was so pissed when the distortion showed up. They ALMOST made it all the way through without the compression thing. Dagnabbit.

Hopefully it won't be as noticeable in other formats.

 

[prbiker15]

Production is very tight overall.

I agree.

 

[Nick66]

I'm disappointed that the distortion/compression creeps in at the very end of The Troubles. I was so pissed when the distortion showed up. They ALMOST made it all the way through without the compression thing. Dagnabbit.

Hopefully it won't be as noticeable in other formats.

I was thinking the same thing...listening I was so relieved at how good it sounded...no clipping, brickwalling, distortion, etc. Then...bam...the last minute of The Troubles. You're right, they almost made it. I'm glad I wasn't the only one who noticed.

And unless there's some correction in the master prior to the physical release coming out, I wouldn't get my hopes up that it won't be the same on the CD. For all the limitations of compressed music, iTunes AAC is actually pretty good, and I don't think the ACC compression is the culprit here.

The vinyl, however, may have a different master and sound better (see Bomb). Though overall I was pleased with the production on this record. A very nice, easy listen that didn't physically fatigue my ears like Bomb or parts of NLOTH.

 

[dan_smee]

Have to say, I am so happy that Declan Gaffney produced some tracks - I've been saying for years (since the Fish Out of Water remixes came out) that I wanted to see what he'd do at the helm. Sole producer of Volcano, and lead producer of Raised by Wolves and California.

 

[owl]

They've allowed the music to breath & given it some space.

Incredibly tight production throughout. So refreshing on the ears.

 

[gweeps]

Who's to say the distortion at the end of The Troubles isn't intentional? Especially given there's precious little of it throughout the album as a whole?

 

[chrissybaby]

Much better than HTDAAB! Sounds clean and fresh to my ears.


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[dan_smee]

Yep - soooo much going on in the background too. Each listen reveals more.

 

[AndrewCowley]

This thread is getting mastering and production mixed up.

 

[birdman]

This thread is getting mastering and production mixed up.

What's the difference?

 

[AndrewCowley]

What's the difference?

Production is creating the songs, all the tracks and layers.

Mastering is post production, the process of creating a mix that is true to how the band and producer want it to sound.

 

[birdman]

Production is creating the songs, all the tracks and layers.

Mastering is post production, the process of creating a mix that is true to how the band and producer want it to sound.

Do we have enough information, yet?

 

[Headache in a Suitcase]

Hope for more tracks on the next release from that dude Danger Mouse

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[purpleblackeye]

Hope for more tracks on the next release from that dude Danger Mouse

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imagine if Danger Mouse was the only producer? He seems to be the lead on tracks 6 to 11 and, to me, it's clearly the second half of the album that shines.

EBW-California-Song for Someone are the Crazy-Stand Up-Boots portion of the album only in terms of the obvious grab for mainstream appeal, but I actually really like those songs though and they don't damage the album in any way like those other three did with NLOTH. But I wonder what they sounded like in early form without the Epworth-Tedder tweaking.

 

[corianderstem]

Who's to say the distortion at the end of The Troubles isn't intentional? Especially given there's precious little of it throughout the album as a whole?

It would bug me if it were intentional as well.

 

[Reggie Thee Dog]

imagine if Danger Mouse was the only producer? He seems to be the lead on tracks 6 to 11 and, to me, it's clearly the second half of the album that shines.

EBW-California-Song for Someone are the Crazy-Stand Up-Boots portion of the album only in terms of the obvious grab for mainstream appeal, but I actually really like those songs though and they don't damage the album in any way like those other three did with NLOTH. But I wonder what they sounded like in early form without the Epworth-Tedder tweaking.

I was not thrilled about the Tedder/Epworth collaboration, but I have to say that the songs they produced give U2 what they were looking for; an avenue into today's music mainstream...all without sounding desperate or contrived.

California is a great 'pop' song...I think those of you who like the darkness of the 2nd half of the album are knocking this song because it sounds fresh and light. It's a great song, and might even be single material.

 

[Nick66]

It would bug me if it were intentional as well.

 

[morgan1098]

I don't know how they achieved this with so many different producers and musicians, but this album sounds tight and unified. The production credits on HTDAAB are massive, and you can hear it in the music. The production credits on this album are massive, too, but the music doesn't reflect that as much, and that's a good thing. Would you believe that "Miracle" and "Iris" each have FIVE keyboard players on them? The music is much more simple and direct than the liner notes would suggest.

I like how the Rolling Stone review sums it up: "But the extra hands and textures are thoroughly embedded in the memoir. There is no time when the telling sounds like it was more than the work of the four who lived it."

I, too, am dismayed by the distortion on the final track. So close!

 

[Nick66]

I don't know how they achieved this with so many different producers and musicians, but this album sounds tight and unified. The production credits on HTDAAB are massive, and you can hear it in the music. The production credits on this album are massive, too, but the music doesn't reflect that as much, and that's a good thing. Would you believe that "Miracle" and "Iris" each have FIVE keyboard players on them? The music is much more simple and direct than the liner notes would suggest.

I like how the Rolling Stone review sums it up: "But the extra hands and textures are thoroughly embedded in the memoir. There is no time when the telling sounds like it was more than the work of the four who lived it."

I, too, am dismayed by the distortion on the final track. So close!

Very well said, and I agree with all of this.

 

[prbiker15]

I don't know how they achieved this with so many different producers and musicians, but this album sounds tight and unified. The production credits on HTDAAB are massive, and you can hear it in the music. The production credits on this album are massive, too, but the music doesn't reflect that as much, and that's a good thing. Would you believe that "Miracle" and "Iris" each have FIVE keyboard players on them? The music is much more simple and direct than the liner notes would suggest.

I like how the Rolling Stone review sums it up: "But the extra hands and textures are thoroughly embedded in the memoir. There is no time when the telling sounds like it was more than the work of the four who lived it."

I, too, am dismayed by the distortion on the final track. So close!

Great post. I agree - it baffles me that there were so many producers and the album sounds pretty consistent from start to finish.

 

[Gonna Run 2 U]

According to Rolling Stone Tedder and Epworth produced Iris which is my favorite off the album go figure


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[Headache in a Suitcase]

I was not thrilled about the Tedder/Epworth collaboration, but I have to say that the songs they produced give U2 what they were looking for; an avenue into today's music mainstream...all without sounding desperate or contrived.

California is a great 'pop' song...I think those of you who like the darkness of the 2nd half of the album are knocking this song because it sounds fresh and light. It's a great song, and might even be single material.

I like California overall, but I hate the bar bar barbara entry.

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[littleheartsuitcase]

imagine if Danger Mouse was the only producer? He seems to be the lead on tracks 6 to 11 and, to me, it's clearly the second half of the album that shines.

EBW-California-Song for Someone are the Crazy-Stand Up-Boots portion of the album only in terms of the obvious grab for mainstream appeal, but I actually really like those songs though and they don't damage the album in any way like those other three did with NLOTH. But I wonder what they sounded like in early form without the Epworth-Tedder tweaking.

I'm glad someone started this thread, as I was thinking about it quite a lot! I do like the new album but am inclined to agree with you purpleblackeye, the second half of the album is what really made me sit up as I was listening to it. The first couple songs? Nice, but eh, somewhat forgettable.... I remember more the lyrics than the sound.

What I think this album lacks in production (or mastering, whatever) is atmosphere. I feel like it is too "tight" in a sense. And I do think the second half of the album sounds drastically different than the first. It's almost distracting.

Also, there is another Bono moment here, what about the "body is a toilet wall" thing? I actually like that lyric, though...

 

[AEON]

This thread is getting mastering and production mixed up.

Mastering is a part of production. It's not separate from it.

 

[AEON]

I am trying to find out how they recorded/mixed/tweaked Bono's voice. In my opinion - this is the best he's sounded since JT. I'm not suggesting his voice here is artificial (auto-tuned) - only that the producers have done something new with it, something Eno/Lanois haven't done.

I think I recall Eno stating somewhere that they (he and Lanois) usually didn't tweak Bono's voice too much - other than compression.

I don't hear too much reverb/echoes/multi-tracking - while there are hints of some of that - his vocals sound too sharp, close, and clear for that to be the complete answer. Can it just be EQ?

 

[BVS]

Mastering is a part of production. It's not separate from it.

Yes and no


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