Green Day is already going straight into the studio?

[gaslight13]

I have no issues with RevRad's production, but even if I did, the most important thing is that the songs are good. Whatever they gotta do to make that happen, I'm good with. @Hermione yeah that annoys me a bit too but the same could be said for F.O.D. on dookie. I think in the case of like Bang Bang, they did that hoping it would knock people out of their seats when it comes in. Obnoxious as they are 

I'd be interested in Billie doing a solo acoustic album if he truly challenged himself. His acoustic performances in the past (exception being Good Riddance) have been too much just like someone swapped his guitar (electric to acoustic) without him changing anything. The artists who are really great at this completely switch up their vocal delivery in a way that sucks you in to the emotion of every last word. The guitar seems to hide in the background and yet it enhances everything because it's played beautifully (even if simple)  not as intensely as possible. I think he'd be amazing at this if he tried it. Not sure if I'm explaining this well but for examples, compare acoustic vs electric versions of The Gaslight Anthem's Great Expectations or compare the electric and acoustic versions of Springsteen's Born to Run. 

If he did do this though, I'd love it to be an album of covers of GD songs rather than all new stuff because I'd rather not wait a whole 'nother album cycle for new GD and I think he could make some of those songs resonate on another level. But I'll listen to anything he puts out. This is just how I envision a perfect solo acoustic record by him  

[Hermione]

18 minutes ago, gaslight13 said:

I have no issues with RevRad's production, but even if I did, the most important thing is that the songs are good. Whatever they gotta do to make that happen, I'm good with. @Hermione yeah that annoys me a bit too but the same could be said for F.O.D. on dookie. I think in the case of like Bang Bang, they did that hoping it would knock people out of their seats when it comes in. Obnoxious as they are 

 

Oh yeah I'm sure that's why but I feel like that can be achieved in other ways than actually just having the volume much louder. Like I don't know how it's technically done but I've definitely heard songs that go from "quiet"/more subdued to "loud"/blowing you away where it wasn't literally just the volume going up loads and I didn't have to reach over to turn it up and down. If I have to change the volume to hear something/not hurt my ears they've done it wrong imo  

[pacejunkie punk]

15 minutes ago, Hermione said:

Oh yeah I'm sure that's why but I feel like that can be achieved in other ways than actually just having the volume much louder. Like I don't know how it's technically done but I've definitely heard songs that go from "quiet"/more subdued to "loud"/blowing you away where it wasn't literally just the volume going up loads and I didn't have to reach over to turn it up and down. If I have to change the volume to hear something/not hurt my ears they've done it wrong imo  

But is that part of production or the job of the engineer and mixer? I thought production was in getting the overall sound and musical arrangements how they wanted but the technical aspects are down to the engineer and the person who mixes the final product.

[Joe.]

1 hour ago, Hermione said:

The only thing that bothers me about the sound of Rev Rad is some of the quiet parts are so much quieter than the loud parts that I have to turn the volume up to even hear them and then turn it down again for the rest of the song to be at a non-deafening volume. That is ridiculous and shouldn't have happened. Other than that it sounds fine though so if they can avoid that I don't mind if the next album is self produced . Especially if it's something they find really works for them and allows for more creative freedom or better self expression or a better atmosphere while making the album etc, it's not purely about the sound quality. 

Yeah thats a bad thing, the whole "loudness war" thing, the fact that Mike's bass is lost in the mix, billie's vocal treatments... the list goes on

6 minutes ago, pacejunkie punk said:

But is that part of production or the job of the engineer and mixer? I thought production was in getting the overall sound and musical arrangements how they wanted but the technical aspects are down to the engineer and the person who mixes the final product.

The producer oversees it all and is ultimately responsible, which in this case is the band. Im not blaming them or anything, but they will have heard the album before it goes out and given it the all clear

[LaughingClock]

54 minutes ago, JoeFrusciante said:

Yeah thats a bad thing, the whole "loudness war" thing, the fact that Mike's bass is lost in the mix, billie's vocal treatments... the list goes on

The producer oversees it all and is ultimately responsible, which in this case is the band. Im not blaming them or anything, but they will have heard the album before it goes out and given it the all clear

Joe is absolutely dead on with the "it's wha they wanted" thought.  I haven't read the thread but the "loudness war" term is the exact one and Green Day have been doing this and moreover, Rob has been doing this since Dookie and many bands have done it and it works.

I still "fall for it".  American idiot, Bang Bang have the same half measure of almost tinny nothing power chords and then you get smashed with the power chords which gives you just enough time to turn it up.

They will also do it with other tracks to a greater extent and when it comes later in the song (and I don't just mean like in FOD when suddenly it's a different song), I mean with tracks that just kick in after playing low or as Joe correctly called the term everyone uses (including producers) "the loudness war" which also is sometimes just referring to the war of over compressing music to make it louder.

A good example of what GD, whether they are producing or Rob or Vig.  If you listen to umm, let's say EJN.  That song plays thin for the first several measures at least if memory serves and then the bass kicks in and the kick goes lower and then guitar louder.  It's sort of a "trick" to get you to turn that shit up.

See, I wouldn't consider "Outlaws" which goes through the first verse very low and then screams the chorus.  To me that is just the song.  More to the point are on songs like Bang Bang and American Idiot which pretty much (engineering wise) have the exact same desires. I am not saying the Billie and the boys are Rob Cavallo because for sure they are not but they certainly learned a lot from him.

I am not going to tell someone what should or shouldn't sound good to your ears but for the most part, it's quite purposeful and I dig it but I can understand some people not.  I could sit here and list of a bunch but you guys know every song and each one that does either a "trick" or just a Green Day staple which is to calm the crowd and then blow them away.  The only time they differ from that is live.  Live they come out (as most rock band should) with a couple rocking tracks to get the crowd up as fuck but the most hardcore moments at a Green Day show are on songs like JOS when it goes from quiet to crazy and when the quiet and the crazy are perfection like JOS, you get pandemonium.  

Not necessarily what you want when your listening in your car which is a wholly different experience but I love to feel chill and then be injected with some Green Day adrenaline and I'll take my fix however they want to feed it to me.

 

 

[Joe.]

22 minutes ago, LaughingClock said:

Joe is absolutely dead on with the "it's wha they wanted" thought.  I haven't read the thread but the "loudness war" term is the exact one and Green Day have been doing this and moreover, Rob has been doing this since Dookie and many bands have done it and it works.

I still "fall for it".  American idiot, Bang Bang have the same half measure of almost tinny nothing power chords and then you get smashed with the power chords which gives you just enough time to turn it up.

They will also do it with other tracks to a greater extent and when it comes later in the song (and I don't just mean like in FOD when suddenly it's a different song), I mean with tracks that just kick in after playing low or as Joe correctly called the term everyone uses (including producers) "the loudness war" which also is sometimes just referring to the war of over compressing music to make it louder.

A good example of what GD, whether they are producing or Rob or Vig.  If you listen to umm, let's say EJN.  That song plays thin for the first several measures at least if memory serves and then the bass kicks in and the kick goes lower and then guitar louder.  It's sort of a "trick" to get you to turn that shit up.

See, I wouldn't consider "Outlaws" which goes through the first verse very low and then screams the chorus.  To me that is just the song.  More to the point are on songs like Bang Bang and American Idiot which pretty much (engineering wise) have the exact same desires. I am not saying the Billie and the boys are Rob Cavallo because for sure they are not but they certainly learned a lot from him.

I am not going to tell someone what should or shouldn't sound good to your ears but for the most part, it's quite purposeful and I dig it but I can understand some people not.  I could sit here and list of a bunch but you guys know every song and each one that does either a "trick" or just a Green Day staple which is to calm the crowd and then blow them away.  The only time they differ from that is live.  Live they come out (as most rock band should) with a couple rocking tracks to get the crowd up as fuck but the most hardcore moments at a Green Day show are on songs like JOS when it goes from quiet to crazy and when the quiet and the crazy are perfection like JOS, you get pandemonium.  

Not necessarily what you want when your listening in your car which is a wholly different experience but I love to feel chill and then be injected with some Green Day adrenaline and I'll take my fix however they want to feed it to me.

 

 

For me bands that do it right would start with a cleaner guitar/bass tone before adding say, another guitar track, rather than just cranking the volume. I feel that both the songs on the trilogy and RevRad were let down by the production of them - they sound good live!

Id like to see GD work with someone like Greg Kurstin, who made the new Foo Fighters album sound VERY crisp, despite being a 'pop' producer. A more left-field approach would be to work with Josh Homme, who produced Arctic Monkey's Humbug which is well-produced, although I can't see that happening.

[RedundantIdiot]

I think Billie is either demoing new songs or perhaps he's doing some mixes as all that's been released so far is Fell for You. 

[BilIie Joe Armstrong]

35 minutes ago, RedundantIdiot said:

I think Billie is either demoing new songs or perhaps he's doing some mixes as all that's been released so far is Fell for You. 

That would be great. I loved the first remix

[86edBurnout]

I know what it is for a fact and IT'S NOT Green Day. It is not even his project... I will say it'll be an interesting departure and it's going to be more 70's styled rock. No I am not joking. 

[BilIie Joe Armstrong]

Just now, 86edBurnout said:

I know what it is for a fact and IT'S NOT Green Day. It is not even his project... I will say it'll be an interesting departure and it's going to be more 70's styled rock. No I am not joking. 

#oneweek 

[86edBurnout]

Just now, Jane Lannister said:

#oneweek 

You know about it too?

[pacejunkie punk]

2 minutes ago, 86edBurnout said:

I know what it is for a fact and IT'S NOT Green Day. It is not even his project... I will say it'll be an interesting departure and it's going to be more 70's styled rock. No I am not joking. 

Coverups record? 😄

[BilIie Joe Armstrong]

Just now, 86edBurnout said:

You know about it too?

I know everything

[86edBurnout]

2 minutes ago, pacejunkie punk said:

Coverups record? 😄

that would be cool, but it's not what green day fans would consider as a big deal. But I think it's cool.  He's recording with his brother. It's his brother's music, he's simply playing on it.

[The Bellie]

4 hours ago, Hermione said:

The only thing that bothers me about the sound of Rev Rad is some of the quiet parts are so much quieter than the loud parts that I have to turn the volume up to even hear them and then turn it down again for the rest of the song to be at a non-deafening volume. That is ridiculous and shouldn't have happened.

I agree the quiet parts are much quieter than the loud parts (for me the better example on RevRad is Too Dumb To Die, I love Billie's voice at the beginning so I want to make sure I hear it well) but to me it doesn't go to the point that I have to turn the volume down on headphones. I find a level of volume where I can hear the quiet parts clearly, and then listen to the loud parts without my ears being hurt. And I enjoy it a lot, when it's very loud but not too loud. It depends on where I am : if I'm walking, or on the subway, it's even easier to let the volume high. 

4 hours ago, Hermione said:

Other than that it sounds fine though so if they can avoid that I don't mind if the next album is self produced . Especially if it's something they find really works for them and allows for more creative freedom or better self expression or a better atmosphere while making the album etc, it's not purely about the sound quality. 

Agreed.

4 hours ago, gaslight13 said:

The artists who are really great at this completely switch up their vocal delivery in a way that sucks you in to the emotion of every last word. The guitar seems to hide in the background and yet it enhances everything because it's played beautifully (even if simple)  not as intensely as possible. I think he'd be amazing at this if he tried it. 

I'm sure he'd be amazing, what you described already reminds me of the way he uses his voice in many songs (where the guitar is played intensely and beautifully). To me the first strong point in Green Day songs are Billie's vocals and the way he puts it forth.

2 hours ago, LaughingClock said:

I am not going to tell someone what should or shouldn't sound good to your ears

I think that's the point, it's subjective... I have no problem to let the song blast in my ears at a certain level where I can hear every part of it (while at one level higher, I would have a problem) but everybody's level of hearing tolerance (and enjoyment) is different.

10 minutes ago, Jane Lannister said:

I know everything

Okay, are you gonna explain the #oneweek thing? I suck at Instagram stuff

[BilIie Joe Armstrong]

4 minutes ago, Kuromignonne said:

Okay, are you gonna explain the #oneweek thing? I suck at Instagram stuff

It's actually a gdc thing  A while before revrad came out, somebody appeared and made a post saying "One week". We were freaking out for a week...and then found out it was a joke. Good times 

[pacejunkie punk]

8 minutes ago, Jane Lannister said:

It's actually a gdc thing  A while before revrad came out, somebody appeared and made a post saying "One week". We were freaking out for a week...and then found out it was a joke. Good times 

Was it a joke? I thought a week later was when Bang Bang was released or something.

[BilIie Joe Armstrong]

40 minutes ago, pacejunkie punk said:

Was it a joke? I thought a week later was when Bang Bang was released or something.

I think it turned out to be a joke, but I'm not sure. 

[Christian's Inferno!]

1 hour ago, pacejunkie punk said:

Was it a joke? I thought a week later was when Bang Bang was released or something.

I'm pretty sure it was just a random guy who posted it and then came back like a few days later or something unaware of the chaos he caused 

[LaughingClock]

5 hours ago, JoeFrusciante said:

For me bands that do it right would start with a cleaner guitar/bass tone before adding say, another guitar track, rather than just cranking the volume. I feel that both the songs on the trilogy and RevRad were let down by the production of them - they sound good live!

Id like to see GD work with someone like Greg Kurstin, who made the new Foo Fighters album sound VERY crisp, despite being a 'pop' producer. A more left-field approach would be to work with Josh Homme, who produced Arctic Monkey's Humbug which is well-produced, although I can't see that happening.

I'm with you. They should totally take a left turn with their next engineers and producer.

Of course the name that gets thrown around a lot because everything he touches is masterful is Rick Rubin.  Even crazier and nobody that knows him would understand why I would want to see this but for the same reason, is Alan Parsons.  I would LOVE to see what Parsons who is just one of the best producers alive would do with GD although I don't think they would mix philosophically but Rubin I've been a fan of since he was making records for Public Enemy and Run DMC in his NYU dorm room to when he did Cash's record. 

I would LOVE for them to do an album with Rubin at Sound City in Van Nuys, LA

 

Rubin's Discography! Run DMC's King of Rock to Petty's Wild Flowers  (and Neil Diamond, Clash, LL Cool J, Slayer, AC/DC) and these are good records from these guys.  I would love a no holds barred Rubin produced record where they just did what he said.

1981: The Pricks – The Pricks

1983: Hose – Hose

1984: T La Rock & Jazzy Jay – "It's Yours"

1984: LL Cool J – "I Need a Beat"

1985: Beastie Boys – Rock Hard

1985: Run-DMC – King of Rock (mixing)

1985: Jazzy Jay – "Def Jam/Cold Chillin' In The Spot"

1985: Jimmy Spicer – "This Is It / Beat The Clock"

1985: Hollis Crew – "It's The Beat"

1985: LL Cool J – Radio

1986: Run-DMC – Raising Hell

1986: Slayer – Reign in Blood

1986: Beastie Boys – Licensed to Ill

1986: Original Concept – Can You Feel It?

1987: Public Enemy – Yo! Bum Rush the Show (exec.)

1987: The Cult – Electric

1987: Run-DMC - "Christmas in Hollis"

1987: Various – Less Than Zero Soundtrack

1987: LL Cool J – "Jack The Ripper"

1988: Public Enemy – It Takes a Nation of Millions to Hold Us Back(exec.)

1988: Slayer – South of Heaven

1988: Danzig – Danzig

1988: Run-DMC – Tougher Than Leather

1988: Original Concept – Straight from the Basement of Kooley High! (exec.)

1989: Masters of Reality – Masters of Reality

1989: LL Cool J – Walking With a Panther

1989: Wolfsbane – Live Fast, Die Fast

1989: Andrew Dice Clay – Dice

1990s[edit]

1990: The Black Crowes – Shake Your Money Maker

1990: Andrew Dice Clay – The Day the Laughter Died

1990: Danzig – Danzig II: Lucifuge

1990: Slayer – Seasons in the Abyss

1990: Geto Boys – The Geto Boys (supervisor)

1990: Trouble – Trouble

1990: Wolfsbane – All Hell's Breaking Loose Down at Little Kathy Wilson's Place

1991: Red Hot Chili Peppers – Blood Sugar Sex Magik

1991: Slayer – Decade of Aggression

1991: Andrew Dice Clay – Dice Rules

1991: The Four Horsemen – Nobody Said It Was Easy

1991: Dan Baird – Love Songs for the Hearing Impaired

1992: Sir Mix-a-Lot – Mack Daddy (exec.)

1992: Trouble – Manic Frustration

1992: Danzig – Danzig III: How the Gods Kill (exec.)

1992: The Red Devils – King King

1992: Andrew Dice Clay – 40 Too Long

1992: Red Hot Chili Peppers – What Hits!?

1993: Flipper – American Grafishy (exec.)

1993: Mick Jagger – Wandering Spirit

1993: Raging Slab – Dynamite Monster Boogie Concert (exec.)

1993: The Cult – The Witch (CD, Single)

1993: Danzig – Thrall: Demonsweatlive

1993: Joan Jett and the Blackhearts – Flashback

1993: Tom Petty and the Heartbreakers – Greatest Hits

1993: Messiah – 21st Century Jesus (exec.)

1993: Andrew Dice Clay – The Day the Laughter Died, Part II

1993: Digital Orgasm – Do It (exec.)

1993: Barkmarket – Gimmick (exec.)

1993: Various – Last Action Hero: Music From The Original Motion Picture

1994: Johnny Cash – American Recordings

1994: Sir Mix-a-Lot – Chief Boot Knocka (exec.)

1994: Slayer – Divine Intervention (exec.)

1994: Danzig – Danzig 4

1994: Tom Petty – Wildflowers

1994: Andrew Dice Clay – Dice Live at Madison Square Garden

1994: Deconstruction – Deconstruction (exec.)

1994: Milk – Never Dated (exec.)

1994: Lords of Acid – Voodoo-U (exec.)

1994: Red Hot Chili Peppers – Live Rare Remix Box

1994: Red Hot Chili Peppers – The Plasma Shaft

1995: God Lives Underwater – God Lives Underwater (exec.)

1995: Nine Inch Nails – Further Down the Spiral

1995: Red Hot Chili Peppers – One Hot Minute

1995: AC/DC – Ballbreaker

1995: God Lives Underwater – Empty (exec.)

1995: Jazz Lee Alston – Jazz Lee Alston (exec.)

1996: Slayer – Undisputed Attitude (exec.)

1996: Tom Petty and the Heartbreakers – She's the One

1996: Sir Mix-a-Lot – Return of the Bumpasaurus (exec.)

1996: Donovan – Sutras

1996: LL Cool J – All World: Greatest Hits

1996: Johnny Cash – Unchained

1996: Barkmarket – L. Ron (exec.)

1996: Raging Slab – Sing Monkey Sing (exec.)

1996: Kwest tha Madd Ladd – This Is My First Album (exec.)

1997: System of a Down - Demo Tape 3

1997: Various – Private Parts: The Album

1998: Slayer – Diabolus in Musica

1998: Johnny Cash & Willie Nelson – VH1 Storytellers

1998: System of a Down – System of a Down

1998: Lucinda Williams – Car Wheels on a Gravel Road (mixing)

1998: Various – Chef Aid: The South Park Album

1998: Sheryl Crow – The Globe Sessions

1999: Kula Shaker – Peasants, Pigs & Astronauts

1999: Tom Petty and the Heartbreakers – Echo

1999: Red Hot Chili Peppers – Californication

1999: Various – Loud Rocks

1999: Melanie C – Northern Star

1999: Mr. Hankey Poo – Mr. Hankey The Christmas Poo

1999: Various – Mr. Hankey's Christmas Classics (exec.)

2000s[edit]

2000: Johnny Cash – American III: Solitary Man

2000: Rage Against the Machine – Renegades

2000: Eagle-Eye Cherry – Living in the Present Future

2000: Paloalto – Paloalto

2001: Saul Williams – Amethyst Rock Star

2001: American Head Charge – The War of Art

2001: System of a Down – Toxicity

2001: Slayer – God Hates Us All (exec.)

2001: Macy Gray – The Id (exec.)

2001: Nusrat Fateh Ali Khan – The Final Studio Recordings

2001: Krishna Das – Breath of the Heart

2002: Aerosmith – O, Yeah! Ultimate Aerosmith Hits

2002: Red Hot Chili Peppers – By the Way

2002: Johnny Cash – American IV: The Man Comes Around

2002: Audioslave – Audioslave

2002: System of a Down – Steal This Album!

2002: Rahat Nusrat Fateh Ali Khan – Rahat

2003: The Jayhawks – Rainy Day Music (exec.)

2003: The Mars Volta – De-Loused in the Comatorium

2003: Limp Bizkit – Results May Vary

2003: To My Surprise – To My Surprise (exec.)

2003: Joe Strummer & The Mescaleros – Streetcore

2003: Jay-Z – The Black Album

2003: Red Hot Chili Peppers – Greatest Hits

2003: Rage Against the Machine – Live at the Grand Olympic Auditorium

2003: Johnny Cash – Unearthed

2003: Paloalto – Heroes and Villains

2003: Krishna Das – Door of Faith

2003: Manmade God – Manmade God (exec.)

2004: Johnny Cash – My Mother's Hymn Book

2004: Slipknot – Vol. 3: (The Subliminal Verses)

2004: The (International) Noise Conspiracy – Armed Love

2004: Lil Jon & the East Side Boyz – Crunk Juice

2004: T.H. White – More Than Before (keys)

2005: Weezer – Make Believe

2005: System of a Down – Mezmerize

2005: Audioslave – Out of Exile

2005: Shakira – Fijación Oral Vol. 1 (exec.)

2005: Limp Bizkit – Greatest Hitz

2005: Neil Diamond – 12 Songs

2005: System of a Down – Hypnotize

2005: Shakira – Oral Fixation Vol. 2 (exec.)

2006: Red Hot Chili Peppers – Stadium Arcadium

2006: Dixie Chicks – Taking the Long Way

2006: Johnny Cash – American V: A Hundred Highways

2006: Slayer – Christ Illusion (exec.)

2006: Justin Timberlake – FutureSex/LoveSounds

2006: God Dethroned – The Toxic Touch

2006: U2 – U218 Singles

2007: Linkin Park – Minutes to Midnight

2007: Poison – Poison'd!

2007: Luna Halo – Luna Halo (exec.)

2007: Gossip – Live in Liverpool (exec.)

2007: Dan Wilson – Free Life (exec.)

2007: Kanye West, Nas, KRS-One, Rakim – "Classic (Better Than I've Ever Been)"

2007: Vanessa Carlton - "Heroes & Thieves"

2007: Coheed and Cambria - "Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow"

2008: Ours – Dancing for the Death of an Imaginary Enemy

2008: Neil Diamond – Home Before Dark

2008: Weezer – Weezer

2008: Jakob Dylan – Seeing Things

2008: Metallica – Death Magnetic

2008: The (International) Noise Conspiracy – The Cross of My Calling

2009: Gossip – Music for Men

2009: Pete Yorn – Back & Fourth (exec.)

2009: The Avett Brothers – I and Love and You

2009: Brandi Carlile – Give Up the Ghost

2009: Slayer – World Painted Blood (exec.)

2009: Type O Negative – Bloody Kisses "Top Shelf" edition (2009 re-release) "Summer Breeze" (Rick Rubin Mix)

2010s[edit]

2010: Johnny Cash – American VI: Ain't No Grave

2010: Gogol Bordello – Trans-Continental Hustle

2010: Linkin Park – A Thousand Suns

2010: Josh Groban – Illuminations

2010: Kid Rock – Born Free

2011: Adele – 21

2011: Red Hot Chili Peppers – I'm with You [1]

2011: Metallica – Beyond Magnetic

2011: Linkin Park – A Thousand Suns+

2012: Linkin Park – Living Things[2]

2012: Howlin' Rain  - The Russian Wilds (exec.)

2012: ZZ Top – La Futura

2012: The Avett Brothers – The Carpenter

2012: Lana Del Rey – Paradise

2012: Red Hot Chili Peppers – Rock & Roll Hall of Fame Covers EP

2013: Linkin Park – Living Things +

2013: Black Sabbath – 13

2013: Kanye West – Yeezus (exec.)[3]

2013: Eminem – The Marshall Mathers LP 2[4]

2013: Jake Bugg – Shangri La

2013: Linkin Park – Recharged

2013: Lady Gaga – Artpop

2013: The Avett Brothers – Magpie and the Dandelion

2013: Red Hot Chili Peppers – I'm Beside You

2014: Jennifer Nettles – That Girl

2014: Ed Sheeran – X[5]

2014: Angus & Julia Stone – Angus & Julia Stone

2014: Damien Rice – My Favourite Faded Fantasy

2014: Linkin Park & Alec Puro - Mall

2014: Wu-Tang Clan – A Better Tomorrow

2014: Yusuf – Tell 'Em I'm Gone

2015: GoldLink – And After That, We Didn't Talk

[Hermione]

17 hours ago, pacejunkie punk said:

But is that part of production or the job of the engineer and mixer? I thought production was in getting the overall sound and musical arrangements how they wanted but the technical aspects are down to the engineer and the person who mixes the final product.

I actually have no idea haha, maybe the engineer and mixer should be blamed. Whoever it's down to they just need to make sure it doesn't happen again  

[LaughingClock]

22 hours ago, pacejunkie punk said:

But is that part of production or the job of the engineer and mixer? I thought production was in getting the overall sound and musical arrangements how they wanted but the technical aspects are down to the engineer and the person who mixes the final product.

In a nutshell, this is absolutely correct. In reality, the producer doesn’t even need to know the technical bits but thats an era that doesn’t exist anymore.

Most producers spent some time as an engineer of sorts. They are two didferent careers though. There are lifer engineers who have no desire to be producers.

 

(In this example “Fred” is the engineer)

i.e. “Hey after, drop the kick down a little and raise the backing harmonies about a half decimal and let’s finish this take already” - is something a producer would say to his engineer.

Ideally the producer knows the technical methods to do this himself if he had to and some producers prefer to but the engineer is not  there to make any creative choices although that is also sort of changing over the years. It was once even taboo for an engineer to make a suggestion even but most major producers use engineers they know and use all the time and trust their judgement so there are no hard and fast rules but yeah, generally the engineer is a technical person and the producer is a creative.

17 hours ago, 86edBurnout said:

that would be cool, but it's not what green day fans would consider as a big deal. 

Speak for yourself.

On 2/1/2018 at 6:19 AM, Thatsername said:

Billie also said that they made or are about to make more Otis remixes of songs when Fell For You was released, and that's a while ago. So who knows what they're doing.

But I still think it's possible they're working on new stuff already. We heard from reliable sources that they want to make a new record rather sooner than later, so it's a possibility. A new album in 2019 would be just

I would say definitely by 2019. Hopefully even fall of 2018 I’m hoping. Certainly possible.

Next album is almost definitely Billie’s last in his 40s. Just sayin’. (Did I just use that phrase?)

[Thatsername]

8 minutes ago, LaughingClock said:

I would say definitely by 2019. Hopefully even fall of 2018 I’m hoping. Certainly possible.

Oh and one other thing:

21 hours ago, LaughingClock said:

I love to feel chill and then be injected with some Green Day adrenaline and I'll take my fix however they want to feed it to me.

Can I have this tattooed?

[That Dude]

On 2/27/2018 at 4:52 PM, LaughingClock said:

I'm with you. They should totally take a left turn with their next engineers and producer.

Of course the name that gets thrown around a lot because everything he touches is masterful is Rick Rubin.  Even crazier and nobody that knows him would understand why I would want to see this but for the same reason, is Alan Parsons.  I would LOVE to see what Parsons who is just one of the best producers alive would do with GD although I don't think they would mix philosophically but Rubin I've been a fan of since he was making records for Public Enemy and Run DMC in his NYU dorm room to when he did Cash's record. 

I would LOVE for them to do an album with Rubin at Sound City in Van Nuys, LA

Rick Rubin!  

I can imagine him talking with the guys, Jason included.  He says "Push the limits of what Green Day can be.  Push the boundaries past the breaking point, piss fans off.  But at the same time, keep it simple."   

 

[Teenage Kicks!]

On 2/27/2018 at 9:32 AM, Hermione said:

The only thing that bothers me about the sound of Rev Rad is some of the quiet parts are so much quieter than the loud parts that I have to turn the volume up to even hear them and then turn it down again for the rest of the song to be at a non-deafening volume. That is ridiculous and shouldn't have happened. Other than that it sounds fine though so if they can avoid that I don't mind if the next album is self produced . Especially if it's something they find really works for them and allows for more creative freedom or better self expression or a better atmosphere while making the album etc, it's not purely about the sound quality. 

OOOOOOOOOOOOO outlaws is so bad with that quiet loud quiet shit

On 2/27/2018 at 9:32 AM, Hermione said:

The only thing that bothers me about the sound of Rev Rad is some of the quiet parts are so much quieter than the loud parts that I have to turn the volume up to even hear them and then turn it down again for the rest of the song to be at a non-deafening volume. That is ridiculous and shouldn't have happened. Other than that it sounds fine though so if they can avoid that I don't mind if the next album is self produced . Especially if it's something they find really works for them and allows for more creative freedom or better self expression or a better atmosphere while making the album etc, it's not purely about the sound quality. 

OOOOOOOOOOOOO outlaws is so bad with that quiet loud quiet shit