Entourage Paul Tucci
EntourageForum Replies Created
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Christopher, I’m wondering, if with such a sparse, open musical arrangement with interesting and compelling ear candy happening, could you not take advantage of that open frequency range in the low end and really have a wall of low end when the bass comes in, effectively making it one of the lead musical characters? Bass/handclaps/lead vocal atop the ear candy talks to me. Good luck with the track! PT
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Jesse This is cool, and I’m assuming we have moved away from down by the river. Just when I was thinking “Would auto-tuning the whistle drift be a good idea?” you drop some seriously blue notes and a whack-a-doodle chord or two and then I said to myself… “Self, chill! The birds are flying up there for me as I watch the clouds drift by. It’s relaxing. The birds don’t fly along human-designated highways, the guitarist can follow their lead.” Very chill, effective, and dramatic simultaneously. PT
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Your ears so are damn good that you can just sense the “bringing back memories” experience I have from having worked for Franki Valli. That was 25 years ago and the live set was all about the hits, and they were at least 20 years old then. What a pleasure to help present his music to adoring, but aging fans reminiscing their youth. And the rock sound thing I’ve got going on in the drums… I was going for realism and grit as I recall the evening, but a more traditional hip hop sound on the kick will get me to a deeper and tactile bass which this version lacks. I’m excited to get to that revision. I have another song from that session that will benefit from the suggestions offered. Thanks. PT
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Alex, I am not an actual doctor, but I feel qualified to play one on the internet. I have a quick observation after a few listens that I’ll give you now, the rest after I dissect your specimen. I’m wondering if your arrangement would work better if you turned it around, meaning this. The outro, where the bass/drum riff breaks down to just the bass (or is it KB?) and ends with the explosion might make an engaging opening line. It’s slow moving, inviting, and intriguing AF compared to the busy, staccato, ping pong match currently offered. The on-ramp of a song can lure you in or be a bumpy impediment. The most effective ones draw you in. PT
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David, That’s a good find that I guess I missed on their educational website. Tonight’s reading for sure. Thnx PT
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David, Thanks. I solved my non flat mixing environment by going into headphones and using Sonarworks, the software that makes the frequency response neutral for hundreds of models/brands of headphones. Coupled with the tonal balance feature of Ozone that has amassed gadzooks of measurements to get a genre-specific target goal helping to we can get in the ballpark pretty quickly. Love that technology and the stabilizer too. That one is a dynamic EQ that keeps the overall tonality closer to the target curve offered up by the tonal balance even when the song’s frequency response changes somewhat.Have you explored that feature if it exists in your version? PT
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Muchos gracias, but naw bruh, that’s from the show itself, not soundcheck. The off axis sound of the audience response through open vocal mics isn’t worth putting in at the end of the song. IMO It’s an old picture of the theatre and fortunately, I have an appropriately sized PA now. I’m happy to share more when something good happens and I can get permissions. PT
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I stand by my statement that I had no clue what the song was about but I am now impressed you rhymed a line with “Mixing garden bowls and kidneys.” That’s impressive, I trust your talking beans. I agree, the song definitely feels and listens more whole now. Good one! PT
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Pete, Significant growth in this iteration! The vocal de-essing has greatly improved vocal intelligibility. The music seems to have a better loping movement throughout different sections.
In general, I like contrast of intensity and density during a song. It helps to grab and keep the attention of the listener, and that is paramount. If, for example, a musician plays the same riff front to back of the song it’s boring. Did the world learn nothing from the Beatles? If the musician develops the riff throughout the song, I find that appealing and worthy of attention. On the vocal side, that can be accomplished by using a single voice to convey intimacy, the doubling it later in the next verse to make it different. Different being potentially better. I suggest, you decide. And finally, I don’t know what the song is about, but the middle section breakdown where the drama happens, it seems like you added another (new to this version) line in the protagonist’ voice to further the story and add “flavor.” It works, even if I don’t intellectually grasp the intent. I wonder if you struggled with that decision. -PT
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The changes you made to this piece of music changed it dramatically. I actually listened to it and reacted differently. The fidelity it now has is the smooth on ramp to the song, to continue my analogy. Lesson to be noted re bandwidth: All frequencies matter. PT
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Thx, truth be known it’s all in the box, 57 on a banjo, KBs direct into a cheap DI, a large diaphram MXL on vocals, the NEVE console channel strips everywhere on the DAW, a couple flavors of saturation on select channels, soft clipping in the mastering process, and most importantly, judicious use of space in the arrangement.
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Don’t forget the Sonarworks headphone correction software.
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I was hopeful that the mixer’s opinion was in play. It only makes sense to me that if the band chooses the producer who hires the mixer, the producer ought to “let the mixer cook” as the kids say. Each level of mgt finding the right people who in turn, find the right peep for that intended flavor of presentation. If everyone is aligned, the magic might could happen more easily. I’ve only experienced that on the live audio side of the world and it’s a pleasure to work with those that ask for you (me), provide the tools, and clear the path for you (me) to do your thing. Cool, I crossed three generation in wordplay. PT (me/he/him)
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So I’m curious. In your experience, what’s the politics of who chooses the mastering engineer? Logically, that task should fall in the producer’s realm. But if the producer is much more musical than technical, who’s opinion matters most?
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Jesse, from my non-professional mixer perspective, I would ask the mastering guy what he or she would prefer in terms of peak and perceived loudness levels (True Peak and LUFS) and give said mastering engineer headroom to work with compared to my finalized version.