Overproduction (music)

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Overproduction is the excessive use of audio effects, layering, or digital manipulation in music production.

Uses of the term[edit]

It is not always clear what critics mean by "overproduction", but there are at least a few common uses of the term:

  • A reference to heavy use of audio processing effects such as reverb, delay, or dynamic range compression.
  • A reference to heavy layering or multitracking; in the context of pop and rock music, this may refer to the addition of elements such as chorused vocals or backing strings.
  • A reference to radio versions of songs pushed to be more "pop" through the use of loud drum beats or other instrumentation changes.
  • A reference to heavy use of pitch correction, time correction, or quantization.
  • A reference to records overseen by a producer who "imposes" his or her own distinctive "sound" or techniques on a band or artist; Producers frequently accused of this kind of "overproduction" include Phil Spector,[1][2] Mutt Lange,[3] Mitch Miller, and Chet Atkins.
  • Doing any of the above to hide a performer's lack of talent or to take a common theme or idea and make it "different"

All six of these meanings share the idea that a record producer or mastering engineer has made "unnecessary" additions or changes to a record in the production process, and in doing so has decreased the quality or enjoyability of the music.

In general there is little consensus among music critics or producers about when the use of an effect or production technique becomes excessive. For this reason, some producers consider the term unhelpful, confusing, and subjective.[4]

Current trends[edit]

The extensive use of dynamic range compression has recently been bemoaned by critics as part of a "loudness war". In August 2006, Bob Dylan criticized modern recording techniques, saying that modern records "have sound all over them" and that they sound like "static".[5] Those responding to Dylan's comments seemed to assume that he was referring to the trend of increasingly compressed music.[6][7]

The use of the Auto-Tune audio processor for pitch correction has become pervasive in pop music since the late 2000s, and has elicited criticism.

In spite of the decreasing cost and increasing availability of professional or near-professional recording software and techniques, musicians and producers in some genres consciously set themselves against the idea of "overproduction" and attempt to make music with a rough or "lo-fi" sound.

See also[edit]

Notes[edit]

  1. ^ "The Beatles Let It Be...Naked". Retrieved 2 April 2008. 
  2. ^ "Let It Be - Beatles (The) - Review - Goodbye, George Martin--Hello, Phil Spector". Retrieved 2 April 2008. 
  3. ^ "Mutt Lange". 
  4. ^ "Record Production and the "Over Production" Myth". Retrieved 2 April 2008. 
  5. ^ "Dylan rubbishes modern recordings". BBC News. 23 August 2006. Retrieved 2 April 2008. 
  6. ^ "The Death of High Fidelity". Retrieved 2 April 2008. 
  7. ^ "Music + digital + compression = atrocious sound?". Retrieved 2 April 2008.