he does get away with a lot of stuff... being 'big' helps.

Lets face it - as cool as 'the fragile' is.. half that album would be scrapped by a major label if it weren't him. They'd say 'yeah - kill all the experimental stuff and pick the 9 best radio songs'.

He has a name for being experimental and people dig that about his music, so they let it slide.

Doesn't the new U2 single have all the guitars panned hard left?
"-)

Listened to Sgt. Pepper's lately?

boheme6 wrote:
Doesn't the new U2 single have all the guitars panned hard left?
"-)

i heard vertigo the other day at fnac and i noticed that! the quality sound is amazing but it's a bit strange earing only one guitar hard left

rasputin7095 wrote: he gets away with many things which one would normally get kicked for; for example in the song "hurt" he has vocal at 2 o'clock, guitar ar 3 o'clock, broken up lo-fi guitar at 11 o'clock, and a sweeping pink noise panned hard left. And he makes it sound good...

What about the "rubbing voice-coil sound" from the Left channel during the verse? I have to check my left mids everytime I hear that song!!! P.S - I know you have heard the Johnny Cash version of "Hurt", right? That is one hell of a compliment to Trent IMO.

He does use some very non-standard techniques. His extremely "direct" distorted guitars can sometimes bite your head off, but thet still strangely "fit" into his vision of the song (and I think it works in context, too).

I really like the "huge" drum overdub in "PIG" (Nothing can stop me now). Very over-the-top.

He gets my nod (not that he or any of you should care what lowley ol' me thinks)...

:cool:

David French wrote: Listened to Sgt. Pepper's lately?

But that was more due to limitations back then, wasn't it?

While on it, has anyone noticed how bad some of Mike Oldfields distorted guitars sound sometimes?
He just lines it directly from a dist pedal to the mixer and then record (at least it sounds that way :shock: ).
It's an awful sound IMO, but somehow he makes it fit (mostly).

My guess is that Trent often gets away with a lot of stuff that's not considered normally acceptable in those producer circles. Although the guy practically lives in a studio, I believe his approach to producing is much more from the perspective of a musician rather than the, perhaps, more technical perspective of a producer. Or, at least, that's the idea I'm getting from reading interviews with him and listening to his music.

boheme6 wrote: he does get away with a lot of stuff... being 'big' helps.

Lets face it - as cool as 'the fragile' is.. half that album would be scrapped by a major label if it weren't him. They'd say 'yeah - kill all the experimental stuff and pick the 9 best radio songs'.

You don't really need to be big to have a following. If you like "experimental" mixing and very "real" producion, check out David Bazan's work with his band "Pedro the Lion". Insanely simple but effective use of panning and placement. Check out his production notes for his latest album "Achellies Heel". Good stuff, it is...
http://www.pedrothelion.com