Entourage Paul Tucci
EntourageForum Replies Created
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Hey Joe,
I love Xmas music, so your solo guitar post got my attention, especially knowing what a gunslinger player you are. I was two songs into it when the YouTube-suggested backstory of the recording started speaking to me. I diverted thatta way, then got pulled into the rabbit/whole K1/Visa/pandemic/U-Haul/road-trip adventure and never got back to enjoying the music. Perhaps tonight, definitely before Xmas. 🎅
PT
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This reply was modified 1 day, 9 hours ago by Paul Tucci.
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This reply was modified 1 day, 9 hours ago by
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Jesse,
Hell yea it’s a good idea, however, I don’t think the most important point of the “Only mid-range” story is the most important one to be considered.. Certainly listening to a bandwidth limited mix will show you if the killer kick drum you’ve created that is shaking the NBA’s balls even makes an appearance in a small speaker listening environment. There’s harmonics of the low stuff and attack of the kick that can be used to imply the presence of the kick without the low end present. Does the musical story get told if the speaker system is less than ideal, and probably more typical of many listeners’ situation?
My takeaway is that the actual topic is about changing perspective whilst listening. The small mono speaker on the shelf listened to off axis or even from outside the room is like downing a couple slices of ginger to cleanse the palate when you’re out for sushi. New perspective to be sensitized to the new taste. …From the audio perspective, if I let go the attachment and pride I feel about inflating up those basketballs to above league standard and listen with fresh ears…am I still in the game? For the football fans amongst us, and Patriot fans in particular, it Deflate-Gate, but reverse polarity.
I used a version of this thinking in my years being responsible for making sure that what was in the preacher lady’s heart made it to the audience members’ hearts. Highly intelligible was the goal. When walking around the outer concourse and poking my head into every seating entrance area I could check my success. Also I could see which vendor had the freshest pretzels. A man has got to have hobbies, you know.
PT
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MP MVP All Stars,
It’s art, you’re moving the listener. Period.
I have nothing else to offer up other than suggesting perhaps shifting some of the production budget from the fancy ass helicopter shots to wardrobe. A rugged button down shirt or at least a wrinkle-free t-shirt.
With nothing but love,
PT
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Nate,
This sounds like a job for a detective. The YLM screenshot of the other song is a mere 10 seconds long. Not sure if that’s an issue here or not. I’ll go listen in on Spotify to both and see what you’re chasing.
PT
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Jesse, yes. I’ve had this one in the lineup for a good long while. It’s free, and if you use a fractional octave setting you’re comfortable with…useful. The Slope editor function is the Devil.
PT
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Drew,
There’s nothing like a big ol’ bass bomb from Phil or an acoustic bass to grab peoples’ attention. There’s a certain joy to be had with a big PA and subwoofers 🙂 . That acoustic bass can own the low end, especially in your genre.
So the lowest fundamental of an open E on the 4 string bass is 41Hz. Capturing it is a different story. You have to have those freqs recorded on tape/in the computer before you can can process them to fit in the music. EQ alone may not work if the relative level of 40 is way lower than the 100Hz area as your graphs showed. Multi-band compression won’t help much if there’s precious little content down there.
One trick I’ve used in similar circumstances is when the kick drum doesn’t really have deep bass but I want deep bass (without utilizing a sample) is to low pass a duplicate channel of the problematic instrument so that only low freqs are present. Then drop it down an octave via whatever tuning effect you have available. Where you low pass (high cut) the dupe channel is critical. If you want more below 50 Hz, I’d aim that low pass filter at 100ish Hz with a steep filter. Feather the newly created deep bass into the mix against the original. High passing (low cut) the original bass channel may clear some mud from the combination of sounds. It’s a cheat but effective if you can’t capture the low end off the pickup or microphone of the original recording.
PT
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Joe,
So far over the line into awesomeness, both your playing and visually. I can definitely see a collaborative effort between you and Jesse. It would be unquestionably tasty. The only question would be if you play in 7 or 4. That and the inclusion of natural sounds. I kinda dig the calming effect of rushing water. Just gorgeous!!
PT
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You know it’s true.
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Drew,
Happy to help and look forward to putting an ear to your creation. Do me a favor though, if Dana and my name are in the same sentence, please do put his name first. Know what I’m sayin? We are, after all, in his house. 🙂
-PT
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Joe, et al,
So i did the separation stem experiment today. Rather than use one of @dana ‘s pieces of work I used an old favorite mashup.
The idea is the same…
1) Listen to the original,
2) Listen to the post-separated stems recombined to see if it differs noticeably
3) The null test. Listening to original and the reconstructed stems simultaneously. (With the reconstructed stems version out of polarity added to the original would yield just the difference and should be evidence of any level overall change AND the artifacts of the separation process.
The level change and artifacts appear! Voila. science still works. At least through the end of the year .🇺🇸
4) Bonus track is the post-separated recombined stems with the vocal stem boosted 2 dB to see how far you can push the level.
5) Separated vocal stem to see the damage done
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This reply was modified 1 week, 4 days ago by Paul Tucci.
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This reply was modified 1 week, 4 days ago by
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Thanks Joe. I started the stem separation journey last year and find it fascinating. You can do musical revisionist history and make yourself a better mixer now than you were then. It’s good for the ego. As Dana noted, there are some audible artifacts. I think I should do an experiment. Take a song that Dana recorded and knows well, and compare it to that same song but after having it go through only the stem separation process (without mix or EQ changes) then recombine those separated parts to see if they add back together cleanly by doing a null test between the time and level matched original and the stem separated recombo version. The artifacts would be left over after combining the two version with one out of polarity. (-1.x) + (1) = x. The artifact being the x schmutz.
Better yet, I’ll do your recently posted song if you’re game.
PT
PT
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Muchos grac! It’s easy to get carried away with the EQ now to get a more modern sound. The old one had a certain lo-fi vibe that had its own charm.
PT
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Bar,
Thank you for lettin’ me in your kitchen. I’m glad the external observations offered up rang true to your vision of the song. I would offer to master this for you when you’re done if you have such a need. In fact, I’m gonna tinker with this version right now.
PT
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Bar,
Thank you and Dana for the well wishes. Honey is doing just fine already. I had the same knee replacement surgery a year ago and came home from the hospital a mess. We’ll see what happens on her day three when the pain really kicks in and at which point I was hallucinating giant spiders.
Bar, your song is beautifully haunting. You sing like a raven-haired sorceress, I trust you’re using your power for good. I love the tempo and instrumentation.( I am curious if a sparingly played acoustic bass wouldn’t add some grounding bass.) All strong choices that support the vibe. It’s so moody that it will find a good home. Once again, I can barely decipher a word but the phrasing is your signature evocative.
I agree with I do have a question about the bazoukiMix-Master D when he questioned the vocal placement. I dropped the vocal level 2dB in my DAW (I can do magic too:)) to help put it in the song rather than atop the song. I react to your vocal level more akin to a pop song than the intended (?) conjuring.
I I do have a question about the bazouki in the outro, What was the thinking to have the bazouki play the ending lick by itself instead of the resolve with the guitar? It made me think rather than just feel the completion of whatever-the-event-was-we-just-stumbled-upon.
More verb across everything might just add the right flavor to the soup you’ve got cooking in the cauldron. Wait. What? Is that me talking? I fear one of those painkillers may have slipped into the spaghetti sauce I had with dinner.
PT ish