Entourage Paul Tucci
EntourageForum Replies Created
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JLew, During my time in the live audio world an important lesson was learned that I believe is applicable to your question. The lesson Bob McCarthy, a world class system tuner taught was the concept of the ART / SCIENCE line. The band mixer’s responsibility was to create the best sounding presentation in terms of balance and especially, tonality. That is on the ART side of the ART / SCIENCE line. In this example, that line is an electrical signal handed to a PA system engineer. His responsibility is to accurately deliver that to the audience members. This arrangement put the onus on the mixer to get it right. There’s a very symbiotic relationship in play between the two. If the band mixer delivers a bright sounding (electrical) mix is it the responsibility of the PA system guy to tone it down to make it correct for the listening audience?? What if the opening act’s mixer has a different sensibility, and both his mind and preferred tonality leans dark? Mr. McCarthy say that Ii the speaker system is linear, neutral sounding, and accurate, a good and appropriate mix from the console should translate to the audience members. I’m in the weeds here, but the analogy I’m aiming for is this. The mixer is the artist that should make the ART as best he or she can. If master bus compression, tonal shaping, or intentional distortion of the electrical signal is part of the artist’s intent, it should be implemented before the mastering process. All that said, a professional mastering engineer who specializes in eeking out the last bit of level and super polish can make a huge difference and get your art noticed. FYI, I’ve been tinkering with the iZotope Ozone mastering product.
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Michael, I spent my day learning some new mastering software and let’s see if this result addresses any of the mentioned suggestions. Ozone 11 is a mastering suite in the digital domain. There are many modules that range from analog simulations, digital EQs, compressors of different flavors, limiters with or without parallel processed grit, AI powered shapers that try to aim the frequency response to a reference. There’s even a variable band-with EQ low frequency that can identify transient or sustained sounds and accentuate on or the other. I used that one to bump the Bass Guitar up a couple dB to be more audible against the kick. Another module can identify the Vocals and treat them separately from the rest of the two track. (Unlike the RIP-x mentioned the other day which does stem separation.) I gave the Vocals +.8 boost. I think it makes your work take a step into a poppier place. See if anything moves you. -PT
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Michael, Hello or welcome, not sure if I’ve heard anything or yours yet. This is a pretty damn good pop song to my ear. I am in agreement with some of the comments already made. Save the vocal distortion treatment for the final spoken. Between the telephone eq and some grit the angst will be huge. Your arrangement has movement. The guitar bass interplay varies verse to verse and thats good. I can hear deeper into the music when the bass and guitar play more sparsely. The musical stabs they play have impact and leave open space. I understand your words of “more pop than punk.” If its a pop song, and I do truly believe it is, let the lady’s vocal shine through without having to compete with your overly energetic guitarist, especially in the first verse where the tone is trying to be set. Eighth notes from the bass and the guitarist feels too heavy to me. That might feel gentler if they combined to one sound. Bass notes but with the fuzz of the guitar slightly on top. I love the couple stops in arrangement. At that quick tempo even a measure of silence is so refreshing. Once again, I favor the space. The chorus is dense. Love the BGVs and its spread and level behind the lead vocal. I get confused where my attention is being drawn to. The lead vocal? The counter melody slightly underneath? That “energetic” guitarist again? Then again, I am old, closer to dead than my prime. I also come bearing gifts. I took your tune and ran it through some AI software I’ve been playing with. It can take a two track and separate out 5 stereo stems of BASS, DRUMS, GUITAR, PIANO, VOCAL, and a catchall, OTHER. I might just be able to easily experiment with some of these ideas and quickly implement a VOCAL up GUITAR down, etc version. Here’s three snippets of your catchy composition. I wanted to see if recombining the separated stems had audible artifacts compared to your original. I think the RIP-X stem version fared very well. (No processing done other than mixing the stems back together at unity.) Then I went nutty and said “I wonder if we can tell the difference if one version presented here had a channel (L) from the original and the other channel (R) from the post RIP-X recombined. Michael, I had a great day going down this rabbit hole. Thank you. Far more productive than the Taylor Swift conspiracy from last week. -PT
