Andy Sneap

[anomaly]

Anyone else think he sucks the life out of every album he produces?

I mean, he never fails at making every band he produces sound alike tonally. No character at all. He needs to stop.

 

[Code001]

I'm a big fan of Sneap's work, personally. I also like Nordström's work a ton, too.

 

[anomaly]

I'm a big fan of Sneap's work, personally. I also like Nordström's work a ton, too.

I just don't understand it. Everything he produces has no character to it. It all sounds generic to me.

 

[Code001]

I'm a big fan of Sneap's work, personally. I also like Nordström's work a ton, too.

I just don't understand it. Everything he produces has no character to it. It all sounds generic to me.

I can see what you mean, but to me, whenever I hear his work, I hear the tone he wants to hear out of bands. It's a more modern tone, and he seems to excel at it.

 

[Gainfreak]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

 

[Sacha]

Obviously he must be getting the sounds the bands want or they wouldn't continue to hire him? Hopefully good clear production isn't just a trend. I think his productions are awesome for the most part, they do have a style to them though.

 

[PeteLaramee]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

I agree, but I don't think it's specific to modern producers. A perfect example would be Kevin Shirley - he used Firehouse drum samples for all of Portnoy's drum sounds on Images and Words. It doesn't always work.

 

[DannyM]

Testament and Exodus latest albums that he did seem to lack warmth.
The sound good....but could have been warmer in guitar tone imo.

 

[danhops]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

I agree, but I don't think it's specific to modern producers. A perfect example would be Kevin Shirley - he used Firehouse drum samples for all of Portnoy's drum sounds on Images and Words. It doesn't always work.

Shirley cam along later than that. That was David Pratter (I think)who produced both that record and the Change of Season CD. He also did Firehouse.

 

[mrp5150]

I have no problem with Sneap's work, but Fredrik Nordstrom's work is far better as far as the style of music they generally produce IMO. Sneap's best work is probably Caliban's Opposite From Within album. I've always loved that tone.

 

[Digital Jams]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

It does seem that many of today's guitar players have lost any sig tone that they may have had, before you could pick out who was playing in a second and what they were playing as well. Today with the quad tracking it just sounds like WHHHHAAAAAAAAAAAAAAAAA, no articulation and core voicing gets lost.

 

[Code001]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

It does seem that many of today's guitar players have lost any sig tone that they may have had, before you could pick out who was playing in a second and what they were playing as well. Today with the quad tracking it just sounds like WHHHHAAAAAAAAAAAAAAAAA, no articulation and core voicing gets lost.

I've noticed that with some of Mercenary's albums. It's mastered so hot and tracked so much that it almost sounds like a wall of noise at times. Hearing specific note articulation can be pretty hard. Then again, I'm not a big fan of their tone. It reminds me of a modeler a lot of times.

 

[DannyM]

Not saying sneaps bands or he do this or sound like this.....


but quad tracking, re-amping the re-amping, and multi cab impulses, etc, etc.........
no wonder you cant hear the core tone/voicing or dynamics of the player and amp.

 

[K Odell]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

It does seem that many of today's guitar players have lost any sig tone that they may have had, before you could pick out who was playing in a second and what they were playing as well. Today with the quad tracking it just sounds like WHHHHAAAAAAAAAAAAAAAAA, no articulation and core voicing gets lost.

I agree with this too a certain extent. Not very many bands these days can I say who they are off of their tones, but there are the choice few I can. I.E. Soilwork, Killswitch, Arch Enemy, Unearth, Meshuggah, etc..., but its not nearly as many as say what came from the 70's and 80's.

 

[nwright]

I have no problem with Sneap's work, but Fredrik Nordstrom's work is far better as far as the style of music they generally produce IMO. Sneap's best work is probably Caliban's Opposite From Within album. I've always loved that tone.

Man, I could not disagree more. I went from Arch Enemy stuff from Sneap to Nordstrom (old and the ROTT) and it sounds horrid, IMO. The latest AE disc is so strong to me personally as far as playing and writing go (and the vox), but the mix is god awful. I like the core guitar tone I think, but the drums are piss poor in sound and there seems to be an upper mid harshness on the whole mix that makes it hard to listen to.

I've read so much about the Clayman sound and old IF and whatnot, and every album I've bought that was done by Nordstrom has been a letdown.

I far prefer Andy's work to just about anyone out today, save maybe Colin Richardson.

I dunno, I think you can hear a signature clarity and mix "style" on Sneap's work (and Colin's), but I think I can hear very distinct differences in other aspects of the bands Sneap does.

The ones that sound the most similar to me are bands that are, uh, similar sounding to each other.

Take a listen to Tempo by Exodus, Incinerate by Dew Scented, and the stuff Andy did with Caliban and tell me they "all sound the same"...

Also, anomaly, are you "thefyn" on HCAF or Sneap's forum? If so, I can totally see why you post this here

 

[PeteLaramee]

I think the problem that you are hearing with some of the more modern producers is that they use a lot of the same sounds and they custom tailor the sound or tone on there recordings to what they know will work instead of experimenting with other sources.

I have a love hate relationship with some of the production that is going on today. I love how killer, agressive and crisp some things sound but on the other hand, Im starting to hear a lot of stuff that just sounds the same, so I kind of understand what you are talking about.

~R~

I agree, but I don't think it's specific to modern producers. A perfect example would be Kevin Shirley - he used Firehouse drum samples for all of Portnoy's drum sounds on Images and Words. It doesn't always work.

Shirley cam along later than that. That was David Pratter (I think)who produced both that record and the Change of Season CD. He also did Firehouse.

You are correct, sir. Pratter did IAW (and Change of Seasons) after doing Firehouse.

 

[mrp5150]

I have no problem with Sneap's work, but Fredrik Nordstrom's work is far better as far as the style of music they generally produce IMO. Sneap's best work is probably Caliban's Opposite From Within album. I've always loved that tone.

Man, I could not disagree more. I went from Arch Enemy stuff from Sneap to Nordstrom (old and the ROTT) and it sounds horrid, IMO. The latest AE disc is so strong to me personally as far as playing and writing go (and the vox), but the mix is god awful. I like the core guitar tone I think, but the drums are piss poor in sound and there seems to be an upper mid harshness on the whole mix that makes it hard to listen to.

I've read so much about the Clayman sound and old IF and whatnot, and every album I've bought that was done by Nordstrom has been a letdown.

I far prefer Andy's work to just about anyone out today, save maybe Colin Richardson.

I dunno, I think you can hear a signature clarity and mix "style" on Sneap's work (and Colin's), but I think I can hear very distinct differences in other aspects of the bands Sneap does.

The ones that sound the most similar to me are bands that are, uh, similar sounding to each other.

Take a listen to Tempo by Exodus, Incinerate by Dew Scented, and the stuff Andy did with Caliban and tell me they "all sound the same"...

Also, anomaly, are you "thefyn" on HCAF or Sneap's forum? If so, I can totally see why you post this here

Different strokes man. Nordstrom is a legend in my book. One look at all the classic albums he's produced and nothing else needs to be said. Sneap honestly can't compare IMO.

* At the Gates - Terminal Spirit Disease, Slaughter of the Soul
* Arch Enemy - Black Earth, Stigmata, Burning Bridges, Burning Japan Live 1999, Wages of Sin, Rise of the Tyrant
* Armageddon - Crossing The Rubicon
* Bleed In Vain - Say Everything Will Be Fine (only guitars, bass and mixing)
* Bring Me The Horizon - TBA
* Contrive - The Meaning Unseen
* The Crown - Deathrace King
* Dark Tranquillity - Of Chaos and Eternal Night, The Gallery, Enter Suicidal Angels, The Mind's I, Projector, Haven, Damage Done, Character (mixing)
* Darkest Hour - Hidden Hands of a Sadist Nation
* Dream Evil - Dragonslayer, Evilized, the Book of Heavy Metal, United
* Dimmu Borgir - Puritanical Euphoric Misanthropia, Death Cult Armageddon, In Sorte Diaboli
* Dragonlord - Black Wings of Destiny
* Eternal Oath -Righteous, Wither.
* Exhumation - Dance Across the Past, Traumaticon
* Ever Since - Between Heaven And Hell
* Firewind - The Premonition
* The Fifth Sun - The Moment Of Truth, The Hunger To Survive
* HammerFall - Legacy of Kings, Glory to the Brave
* The Haunted - The Haunted, One Kill Wonder, rEVOLVEr
* The Hollow Earth Theory - Rise Of Agarth
* I Killed the Prom Queen - Music for the Recently Deceased
* In Flames - Lunar Strain (engineering, mix), Subterranean (engineering), The Jester Race, Whoracle, Colony, Clayman
* Lord Belial - Enter the Moonlight Gate
* Lyzanxia - Unsu
* Memory Garden - Forever, Tides
* Misanthrophe - Visionaire, Libertine Humiliations
* Nightrage - Sweet Vengeance, Descent Into Chaos
* Norther - Till Death Unites Us, N
* Old Man's Child - In Defiance of Existence, Vermin
* Opeth - My Arms, Your Hearse, Still Life, Blackwater Park (mix)
* Pagan's Mind - Celestial Entrance, Enigmatic: Calling
* Powerwolf - Return in Bloodred, Lupus Dei
* Rotting Christ - Sanctus Diavolos (mastered)
* Septic Flesh - Revolution DNA
* Septic Flesh - Sumerian Daemons
* Septic Flesh - Communion
* Skitsystem - Levande Lik
* Soilwork - The Chainheart Machine, Steelbath Suicide
* Sinergy - Beware the Heavens, Suicide by my Side
* Spiritual Beggars - Mantra 3, Ad Astra
* Splitter - En Sorglig Historia
* Sacrilege - Lost in the Beauty You Slay, The Fifth Season
* SLUDGE - Yellow Acid Rain, Scarecrow Messiah
* Malevolence (band) - Martyrialized
* Zyklon - Aeon

 

[j666]

i thought a producer's job was to take the band's vision of how the songs should sound and make it happen...maybe throw in a suggestion or two along the way. so how much of this is on the band itself and not on the producer? do alot of bands not have any idea what THEY want the album to sound like? do they just walk in there and say "make it loud and fat bro!"? i think some of this HAS to be on the band for letting it happen. altho, maybe sneap has a big head and is one of those bootcamp producers...who knows?

on a side note...i love sneap and nordstrom's work...all of it. everybody hits a clam every now and then