[Paul Tucci]

Jeremy,

So I downloaded “Birds” into my DAW before listening to your new creation. I thought we were headed back to the zoo with the other “Animals.” Little did I know we were actually going to outer space. That first vocal intro is gorgeous. It’s lush, spacious in its phrasing and a slower tempo from your previous bangers. That’s more my pace at this point in my life so it really captured my interest though the instrumental intro confused me.

I’m guessing your storytelling wanted the intro to transport us into the cosmos and then add the actual words. I had the idea to tell the story differently. I separated the vocals away from the music and remixed so as to let them shine upfront. (+1dB ) There’s enough space in your signature verb to believe we’re somewhere out there in the cosmos.. Now when the music enters, it is a gentle piano chord entrance, unlike the rocket ship ride as currently presented. One man’s opinion…

All that good tension you built into the last 30 seconds or so that peaks at the final word (?) “There” almost feels anti climactic. Metaphorically speaking, I think there’s room for an effective piece of ear candy that mimics the little sparkle-y fireworks that finish the July 4th celebration big bangs and booms each year.

PT

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[Dana Nielsen]

Love this reimagined intro, Paul! Very compelling, anticipatory, and exciting! The loudness was thrilling too. Had me leaning in, ready to hear what comes next. 🙌

It may be more “production-y” than @shimmerisland hoped for from us, lol, but I thoroughly enjoyed your take on it! Great ideas as always, man!

@shimmerisland: I do also love the way you have your intro, as-is. Music is not binary; there are a million fantastic intro options, and you have already crafted a great one. Just thought I’d clarify that my excitement about Paul’s intro option does not mean that I am not excited about your current intro! ❤️‍🔥

[Paul Tucci]

Dana,

Thanks, I just tried to make it more of what I think it is. Exercising my “taste’ choices on other folks’ art hopefully makes me smarter in this game. It’s analogous to improvisational comedy where the correct reaction is “Yes, and…”

I’m definitely smarter now than when I brought Neil Young’s version of the song “On Broadway” onto the bus and asked my employer, the guy who won a Grammy for his version thought about it. That was awkward and certainly reinforces your idea of music not being binary. There are however, choices that are better than some others. That’s timely advice here on the first Monday of November. 📡 🇺🇲

PT

[Dana Nielsen]

Re NY “On Broadway” scenario: 😂
Re binary November: 😩

[Dana Nielsen]

Really gorgeous, man! Always such a treat to hear what you’re cookin up, and always such a fun musical journey!

Here are the things that struck me while listening at medium-low volume on my living room stereo while the Santa Ana winds blow through an open window at midnight with all the lights off:

• try turning down the whoosh sfx in the intro. I love that effect and the way it pans across the stereo field and sets the stage for the song! But I felt like its volume skewed my perspective once the vocal entered, making the vocal seem too quiet. My hunch is that if u tucked in that effect so that the vocal entrance is big, proud, and upfront as a “you have arrived at your destination” moment, then all will be well.
• If I were producing this (which I am not, so, as with everything that tumbles out of my brain and onto these forums, take or leave as u wish!) I would spend an hour in Melodyne buffing and polishing the lead vocal — in a totally natural-sounding way, of course, per my Natural Vocal Production course, so that your listener cannot tell it’s been worked on. I would also tighten up the timing of the main tom/percussive rhythm pattern that drives the song. It’s a bit rushy-draggy, especially when it first enters. I find that gently, lovingly touching up things like rhythm, timing, and pitch – without going too far – gives the listener a sense of calm and confidence in the record, which really goes a long way.
• As the song progressed I was searching for more “bass instrument”. I was like, “where’s the root?” Part of my auditory confusion was probably due to the resonant notes of the toms that ring out – and are very cool. But I wanted some kind of bass guitar or bass synth holding down the root notes, even louder than the tom notes, to more easily identify the chord changes. I’m sure you’ve got something in the mix doing that, but it just wasn’t coming across at low-ish volume in my living room. So maybe turn up the bass and/or, if it’s a super sub-y bass, try adding some harmonic distortion to the bass which will often create partials/harmonics that accentuate the pitch and perceived loudness of the instrument, helping it pop on smaller speakers or on large speakers at low volume.

Anywho, that’s what I got for ya! Excellent work homey! You AND @nate! This is sounding really cool already, man. I look fwd to hearing it out in the world soon!! ⚡️🤘🤓

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Natural Vocal Production

Grammy-nominated producer, mixer, engineer, Dana Nielsen teaches how to comp, tune, and mix natural-sounding vocals and acoustic guitar.