Author Topic: OK you're asked to produce U2's Next Album  (Read 3868 times)

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Offline HarlemsAngel94

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Re: OK you're asked to produce U2's Next Album
« Reply #15 on: June 20, 2011, 04:48:16 PM »
Take 12 Achtung Baby B-sides, polish 'em up, put them out... And expect the success to rival HTDAAB and blow NLOTH out of the water...

Offline Starman

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Re: OK you're asked to produce U2's Next Album
« Reply #16 on: June 20, 2011, 05:23:31 PM »
Option 1: I would have them take the album on a more techno/industrial path, with drum loops and stuff. It would be like Pop.

Option 2: Have them release an album of covers of crappy pop songs (like Friday and stuff) and release it for free on April Fools Day.

Option 3: Have them rerelease ATYCLB on April Fools Day.

satellitedog01

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Re: OK you're asked to produce U2's Next Album
« Reply #17 on: June 20, 2011, 05:48:28 PM »
Option 3. :-)

Boom Cha!

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Re: OK you're asked to produce U2's Next Album
« Reply #18 on: June 20, 2011, 05:50:00 PM »
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Option 1: I would have them take the album on a more techno/industrial path, with drum loops and stuff. It would be like Pop.

I could go for an industrial-like U2 album. Trent Reznor could produce.  8)

Offline Zooropa Baby Pop

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Re: OK you're asked to produce U2's Next Album
« Reply #19 on: June 20, 2011, 05:52:54 PM »
option 2

satellitedog01

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Re: OK you're asked to produce U2's Next Album
« Reply #20 on: June 20, 2011, 05:55:34 PM »
I want an all vuvuzela U2 album. I want Vuvuzealots.
A b-side could be an update of Vertigo.

Offline Starman

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Re: OK you're asked to produce U2's Next Album
« Reply #21 on: June 20, 2011, 05:59:31 PM »
Yeah, but Bono is horrible with instruments. There's no way he could play a vuvuzela.

satellitedog01

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Re: OK you're asked to produce U2's Next Album
« Reply #22 on: June 20, 2011, 06:03:27 PM »
If he blows it he blows it.

Offline Starman

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Re: OK you're asked to produce U2's Next Album
« Reply #23 on: June 20, 2011, 06:06:16 PM »
 :D

Offline Midnight is Where the Day Begins

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Re: OK you're asked to produce U2's Next Album
« Reply #24 on: June 20, 2011, 06:29:06 PM »
First off, I would find a location where outside hustle and bustle wouldn't be a factor or get in the way of recording. This way, no outside distractions would divert the band's attention away from the music, like all of Bono's charity work or the now infamous Spiderman musical.

Second, I would go one on one with each band member, and find out the kind of music each one of them personally favor, and the styles and directions they would prefer on going. And using this, I'd attempt to find a central theme on what to work on, that combines elements from all four of them.

And a few other things I would do I'll just make into a list...

- Bring back the power in Larry's drumming, like how the drums in Atomic Bomb were. No Line messed around with Larry's sound too much, I'd like to hear a hundred percent Larry playing, no effects.

- Take away delay and echo from Edge, and have him work on and find sounds that do no incorporate the classic U2 delay sound. This way, you'd most likely hear more innovative tones from him.

- Support and encourage Adam's more groovy style of playing. I like what he's been doing recently, and would love to hear him get really groovy on the next album if they allow it. And also maybe just for a little bit, bring back a bit of the slap bass, example Gloria.

- Encourage Bono to return to his lower register for a good portion of the album, and regain the strength in singing in that lower register. He's stays in the higher range of his voice for the past decade, and it'd be nice for him to sing at a normal level.

- Also for Bono, I'd like to give him one room, with walls lined with blank paper and a black sharpie, and just write whatever comes to mind. From there, turn some of what he wrote into lyrics.

- For the whole band, as CTB already mentioned on, to use their full dynamic range, and lower the compression.

- Also for the whole band, to encourage the direction of NLOTH, especially the sparse Moroccan influences in tracks like FEZ.  

- For the recording process, DO NOT over do or over record a track. I would have them take tracks and record it once, and give them only 1 chance to re-record said track. I am willing to bet that No Line had a lot more experimental sounds in the beginning of it's recording than after all the changes and commercializing they did to it.

- These three men are not allowed near the recording premises. Brian Eno, Danny Lanois, and Steve Lillywhite.

I wouldn't exactly make the band stick to a certain sound, because that would defeat the purpose to me. If I had to choose a sonic route for them, I'd like to see music that sounds like a mashup between ATYCLB, Moby in the 2000s, Arcade Fire, and Passengers. Kind of an experimental but modern sound at the same time.

Sorry for the extremely long post  :D
« Last Edit: June 20, 2011, 06:37:43 PM by Midnight is Where the Day Begins [Dr. Middy] »

Offline HarlemsAngel94

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Re: OK you're asked to produce U2's Next Album
« Reply #25 on: June 20, 2011, 07:23:55 PM »
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First off, I would find a location where outside hustle and bustle wouldn't be a factor or get in the way of recording. This way, no outside distractions would divert the band's attention away from the music, like all of Bono's charity work or the now infamous Spiderman musical.

Second, I would go one on one with each band member, and find out the kind of music each one of them personally favor, and the styles and directions they would prefer on going. And using this, I'd attempt to find a central theme on what to work on, that combines elements from all four of them.

And a few other things I would do I'll just make into a list...

- Bring back the power in Larry's drumming, like how the drums in Atomic Bomb were. No Line messed around with Larry's sound too much, I'd like to hear a hundred percent Larry playing, no effects.

- Take away delay and echo from Edge, and have him work on and find sounds that do no incorporate the classic U2 delay sound. This way, you'd most likely hear more innovative tones from him.

- Support and encourage Adam's more groovy style of playing. I like what he's been doing recently, and would love to hear him get really groovy on the next album if they allow it. And also maybe just for a little bit, bring back a bit of the slap bass, example Gloria.

- Encourage Bono to return to his lower register for a good portion of the album, and regain the strength in singing in that lower register. He's stays in the higher range of his voice for the past decade, and it'd be nice for him to sing at a normal level.

- Also for Bono, I'd like to give him one room, with walls lined with blank paper and a black sharpie, and just write whatever comes to mind. From there, turn some of what he wrote into lyrics.

- For the whole band, as CTB already mentioned on, to use their full dynamic range, and lower the compression.

- Also for the whole band, to encourage the direction of NLOTH, especially the sparse Moroccan influences in tracks like FEZ.  

- For the recording process, DO NOT over do or over record a track. I would have them take tracks and record it once, and give them only 1 chance to re-record said track. I am willing to bet that No Line had a lot more experimental sounds in the beginning of it's recording than after all the changes and commercializing they did to it.

- These three men are not allowed near the recording premises. Brian Eno, Danny Lanois, and Steve Lillywhite.

I wouldn't exactly make the band stick to a certain sound, because that would defeat the purpose to me. If I had to choose a sonic route for them, I'd like to see music that sounds like a mashup between ATYCLB, Moby in the 2000s, Arcade Fire, and Passengers. Kind of an experimental but modern sound at the same time.

Sorry for the extremely long post  :D


That's a mortal sin...

Offline Midnight is Where the Day Begins

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Re: OK you're asked to produce U2's Next Album
« Reply #26 on: June 20, 2011, 08:26:03 PM »
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First off, I would find a location where outside hustle and bustle wouldn't be a factor or get in the way of recording. This way, no outside distractions would divert the band's attention away from the music, like all of Bono's charity work or the now infamous Spiderman musical.

Second, I would go one on one with each band member, and find out the kind of music each one of them personally favor, and the styles and directions they would prefer on going. And using this, I'd attempt to find a central theme on what to work on, that combines elements from all four of them.

And a few other things I would do I'll just make into a list...

- Bring back the power in Larry's drumming, like how the drums in Atomic Bomb were. No Line messed around with Larry's sound too much, I'd like to hear a hundred percent Larry playing, no effects.

- Take away delay and echo from Edge, and have him work on and find sounds that do no incorporate the classic U2 delay sound. This way, you'd most likely hear more innovative tones from him.

- Support and encourage Adam's more groovy style of playing. I like what he's been doing recently, and would love to hear him get really groovy on the next album if they allow it. And also maybe just for a little bit, bring back a bit of the slap bass, example Gloria.

- Encourage Bono to return to his lower register for a good portion of the album, and regain the strength in singing in that lower register. He's stays in the higher range of his voice for the past decade, and it'd be nice for him to sing at a normal level.

- Also for Bono, I'd like to give him one room, with walls lined with blank paper and a black sharpie, and just write whatever comes to mind. From there, turn some of what he wrote into lyrics.

- For the whole band, as CTB already mentioned on, to use their full dynamic range, and lower the compression.

- Also for the whole band, to encourage the direction of NLOTH, especially the sparse Moroccan influences in tracks like FEZ.  

- For the recording process, DO NOT over do or over record a track. I would have them take tracks and record it once, and give them only 1 chance to re-record said track. I am willing to bet that No Line had a lot more experimental sounds in the beginning of it's recording than after all the changes and commercializing they did to it.

- These three men are not allowed near the recording premises. Brian Eno, Danny Lanois, and Steve Lillywhite.

I wouldn't exactly make the band stick to a certain sound, because that would defeat the purpose to me. If I had to choose a sonic route for them, I'd like to see music that sounds like a mashup between ATYCLB, Moby in the 2000s, Arcade Fire, and Passengers. Kind of an experimental but modern sound at the same time.

Sorry for the extremely long post  :D


That's a mortal sin...

The key idea behind that is to make Edge get out of his comfort zone.

The last decade hasn't seen much in the way of sonic originality from Edge, and doing this would make him find sounds he normally wouldn't

Would I completely abandon delay? No, but I'd like a change of scenery for him.

Offline pinman78(I love this town even if that doesn't ring true)

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Re: OK you're asked to produce U2's Next Album
« Reply #27 on: June 20, 2011, 08:28:45 PM »
I want to hear the Edge play the banjo!

Offline HarlemsAngel94

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Re: OK you're asked to produce U2's Next Album
« Reply #28 on: June 20, 2011, 08:44:51 PM »
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First off, I would find a location where outside hustle and bustle wouldn't be a factor or get in the way of recording. This way, no outside distractions would divert the band's attention away from the music, like all of Bono's charity work or the now infamous Spiderman musical.

Second, I would go one on one with each band member, and find out the kind of music each one of them personally favor, and the styles and directions they would prefer on going. And using this, I'd attempt to find a central theme on what to work on, that combines elements from all four of them.

And a few other things I would do I'll just make into a list...

- Bring back the power in Larry's drumming, like how the drums in Atomic Bomb were. No Line messed around with Larry's sound too much, I'd like to hear a hundred percent Larry playing, no effects.

- Take away delay and echo from Edge, and have him work on and find sounds that do no incorporate the classic U2 delay sound. This way, you'd most likely hear more innovative tones from him.

- Support and encourage Adam's more groovy style of playing. I like what he's been doing recently, and would love to hear him get really groovy on the next album if they allow it. And also maybe just for a little bit, bring back a bit of the slap bass, example Gloria.

- Encourage Bono to return to his lower register for a good portion of the album, and regain the strength in singing in that lower register. He's stays in the higher range of his voice for the past decade, and it'd be nice for him to sing at a normal level.

- Also for Bono, I'd like to give him one room, with walls lined with blank paper and a black sharpie, and just write whatever comes to mind. From there, turn some of what he wrote into lyrics.

- For the whole band, as CTB already mentioned on, to use their full dynamic range, and lower the compression.

- Also for the whole band, to encourage the direction of NLOTH, especially the sparse Moroccan influences in tracks like FEZ.  

- For the recording process, DO NOT over do or over record a track. I would have them take tracks and record it once, and give them only 1 chance to re-record said track. I am willing to bet that No Line had a lot more experimental sounds in the beginning of it's recording than after all the changes and commercializing they did to it.

- These three men are not allowed near the recording premises. Brian Eno, Danny Lanois, and Steve Lillywhite.

I wouldn't exactly make the band stick to a certain sound, because that would defeat the purpose to me. If I had to choose a sonic route for them, I'd like to see music that sounds like a mashup between ATYCLB, Moby in the 2000s, Arcade Fire, and Passengers. Kind of an experimental but modern sound at the same time.

Sorry for the extremely long post  :D


That's a mortal sin...

The key idea behind that is to make Edge get out of his comfort zone.

The last decade hasn't seen much in the way of sonic originality from Edge, and doing this would make him find sounds he normally wouldn't

Would I completely abandon delay? No, but I'd like a change of scenery for him.

I understand and actually like your way of thinking. I've advocated before to have U2 do acoustic stuff, because I am much more partial to the acoustic guitar, and that would certainly be an even further step away from Edge's sound.

Offline Midnight is Where the Day Begins

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Re: OK you're asked to produce U2's Next Album
« Reply #29 on: June 20, 2011, 08:48:19 PM »
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First off, I would find a location where outside hustle and bustle wouldn't be a factor or get in the way of recording. This way, no outside distractions would divert the band's attention away from the music, like all of Bono's charity work or the now infamous Spiderman musical.

Second, I would go one on one with each band member, and find out the kind of music each one of them personally favor, and the styles and directions they would prefer on going. And using this, I'd attempt to find a central theme on what to work on, that combines elements from all four of them.

And a few other things I would do I'll just make into a list...

- Bring back the power in Larry's drumming, like how the drums in Atomic Bomb were. No Line messed around with Larry's sound too much, I'd like to hear a hundred percent Larry playing, no effects.

- Take away delay and echo from Edge, and have him work on and find sounds that do no incorporate the classic U2 delay sound. This way, you'd most likely hear more innovative tones from him.

- Support and encourage Adam's more groovy style of playing. I like what he's been doing recently, and would love to hear him get really groovy on the next album if they allow it. And also maybe just for a little bit, bring back a bit of the slap bass, example Gloria.

- Encourage Bono to return to his lower register for a good portion of the album, and regain the strength in singing in that lower register. He's stays in the higher range of his voice for the past decade, and it'd be nice for him to sing at a normal level.

- Also for Bono, I'd like to give him one room, with walls lined with blank paper and a black sharpie, and just write whatever comes to mind. From there, turn some of what he wrote into lyrics.

- For the whole band, as CTB already mentioned on, to use their full dynamic range, and lower the compression.

- Also for the whole band, to encourage the direction of NLOTH, especially the sparse Moroccan influences in tracks like FEZ.  

- For the recording process, DO NOT over do or over record a track. I would have them take tracks and record it once, and give them only 1 chance to re-record said track. I am willing to bet that No Line had a lot more experimental sounds in the beginning of it's recording than after all the changes and commercializing they did to it.

- These three men are not allowed near the recording premises. Brian Eno, Danny Lanois, and Steve Lillywhite.

I wouldn't exactly make the band stick to a certain sound, because that would defeat the purpose to me. If I had to choose a sonic route for them, I'd like to see music that sounds like a mashup between ATYCLB, Moby in the 2000s, Arcade Fire, and Passengers. Kind of an experimental but modern sound at the same time.

Sorry for the extremely long post  :D


That's a mortal sin...

The key idea behind that is to make Edge get out of his comfort zone.

The last decade hasn't seen much in the way of sonic originality from Edge, and doing this would make him find sounds he normally wouldn't

Would I completely abandon delay? No, but I'd like a change of scenery for him.

I understand and actually like your way of thinking. I've advocated before to have U2 do acoustic stuff, because I am much more partial to the acoustic guitar, and that would certainly be an even further step away from Edge's sound.

See that's exactly the type of stuff I was going for.

Just taking the delay out makes it sound very different, and I'd love to see more inclusion of acoustic guitars.