I found that comment as being both insightful, and straight to the point. I`m... also somewhat of a wannabe producer/I dunno how to describe it, myself. And ive been wondering about what production actually is, and the producers role in it. Thank you very much for your reply! that was lovely :)

( http://www.musicbanter.com/games-lis...litz-game.html )

If you've ever used the phrases "overproduced", "well produced" or "badly produced", how can you live with yourself if you can't give a good explanation to the OP's question?

Any uncontrovertible examples to illustrate what production actually is ? And how about "underproduced" ? Is that a thing too?

I just use it as an all inclusive phrase to refer to various aspects of recording, post-production and sound engineering.

The recording equipment used, the microphone placements, instrument settings, added reverb, compression, equalization, etc. etc. etc.

If I fault an album for its "production", it means I think it sounds bad for reasons not having to do with songwriting or the performances of the involved musicians and singers.
If you check out some metal albums produced by Andy Sneap and compare them to albums produced by Rick Rubin, for example, it will be clear that there's more to the sound of an album than who plays what on it.

I don't really have any rules, though. What works for one album doesn't for another. I do like a nice, clean, dynamic album, but some albums work really well with something muddy and rough sounding, for example.

Perhaps I care more about this than most people in here. It's not uncommon that I refer to various aspects of the "production" of an album when praising it/complaining about it.

^ Well, I can't really improve on that detailed definition!

My concept of production is grounded in the work of prob the most famous producer of them all, George Martin. Especially apparent on Sgt.Pepper, he put together all the bits that weren't played by The Beatles. It's generally considered that he did an excellent job, and anyone can listen to how he meshed together a whole bunch of extra musicians and sound effects. What remains a puzzle to me is that presumably he also did an excellent job on Please, Please Me, etc. It's just that on those albums his work is all but invisible. Back in the old days, it seems, production was either competent or not; these fancy gradings of "over-produced" etc only began to be used in the 'seventies or (as per tore's post) 'eighties.

For anyone curious, here's the song that apparently has "gated drums." What are we listening for ?! The kind of slightly muffled, non-resonating drum beats, I suppose.

I ****ing hate that song so much but I have to give it props for the gated reverb thing.

^ Yeah, I don't like it either. It's too slick for it's own good and was so overplayed when it came out - and for the entire succeeding year. ugh!

Too bad that's one of the greatest pop songs ever, you losers. And yes that does hurt me as a Genesis hater, but it is what it is.

More like poop songs right fellas? :rofl:

*stumbles on Frownland's musical incompetence and pukes on his mother's shoes*

Musical incompetence? This from the guy who's clearly confusing familiarity with quality. And you think Risk is a good album.