Overproduction (music)

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

Uses of the term

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] and Mutt Lange,.^[3]

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

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

• Wall of Sound

Notes

Music production Techniques Engineering Audio filter Audio mastering Audio mixing Critical distance Effects loop Diffusion Overdubbing Ping-ponging Punch in/out Post-processing Pitch shift Auto-Tune Chorus effect Compression Delay effect (STEED) Distortion Double tracking (ADT) Ducking Equalization Exciter effect Farkle effect Flanging Octave effect Noise gate Phaser Pumping Reverberation Reverse echo Formulas Hip hop production Overproduction Wall of Sound Xenochrony Luminaries Brian Eno Bruce Fairbairn Trevor Horn Quincy Jones Mutt Lange Jeff Lynne George Martin Joe Meek Les Paul Lee "Scratch" Perry Sam Phillips Conny Plank Rick Rubin Todd Rundgren Phil Spector Bill Szymczyk Tony Visconti Brian Wilson Tom Wilson Other Loudness war Remix Music technology