Entourage Paul Tucci
EntourageForum Replies Created
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Jesse, My first reaction when I opened this post was visual. “I know this place!” Sure enough Joshua Tree. It’s a subtle, understated magic that occurs there. And when I listened I recognized the suggestions that took root for you. My chopped up version of thoughts I sent to you turned into fluid music. I love the way you carved out a big space in the middle for just the bass, the drums. and your vocal. It really sounds wide and compelling with the synth/keys off to the edges, like the sky and the horizon out that-a-ways. Mid-Side thinking or processing?? Beyond happy, I’m proud to have helped you, in a small way, to have birthed this baby. I was there for my son’s birth too. Fortunately he did not arrive in a hoodie and a big old beard. 🙂 For your viewing entertainment, there’s a couple of my favorite photos from the visit to the park. Like I said, understated magic happens there if you just tune into it. PT
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Nathan, Another country heard from here. Bang-bangistan to be precise. I loved the forward nature and different ambience of the toms. I took that to mean that for a brief moment in the conflict, someone or some idea took control and was winning. PT
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Nathan, Congrats man! What an accomplishment. So I grabbed some popcorn from the bag above the fridge, turned the lights off, settled into my chair, and put the headphones on. My first listen felt a good bit quieter than a movie theater presentation. Second listen was maybe 6dB louder and that felt kinda pocket level. The intro translated as present, the dynamic peak later in the song translated as in my face. Perfect, I’m in. Now for tonality. The perceived the overall tonality as slightly dark. This was later confirmed on an RTA running during playback. There’s a definitive rolloff above 1K. But what might the correct long term frequency response be for a hybrid orchestral piece look like anyways? It’s a different genre than I listen to. Being a tinkerer I busted out an EQ and applied a high freq shelf, 2.5dB tops. What I liked about that result was that more of orchestra presented itself. The woodwinds and horns had more clarity and could play alongside the wall of bass. The idea of orchestral and electronic instruments aurally melded together for me. I’m thinking that concept has some importance to the intent of this piece. A little more clarity went a long way. Perhaps I should have said that first instead of coming dangerously close to sounding like a pompous ass in the previous paragraph. Congrats again! PT
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Patrick, I reckon his is a delicate good night song to a little one. As such, the bass guitar suggest something different than a comforting voice. That’s a “voice” for a monsters under the bed song. I could hear gentle finger picking leading to the soothing vocal carrying most of the song. The chorus build might could be from another acoustic stringed instrument delicately echoing a figure you’re already playing. This is a sweet sentiment of a song that me thinks should be treated gently. I’m glad we get to see its inception and look forward to see it grow. -PT zzzzzzz
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Roy, Love this piece of compelling music. It’s short and to the point . I like the brevity, conciseness, the decided sense of change within a short song, the edges of bandwidths explored, and the whack-a-doodle ear candy. I was always interested in what’s next. I gave a shot at mastering it and tweaked the lower two and uppermost two octaves for some more drama and sizzle, squeezed another 4LUFS out of it, added a/ little digi saturation, and then spread out the low/mid, mid, and high bands with the “Imager” in my mastering suite. It’s a little hyped up. I’m not sure if I made it better. Yea man, it’s SOLID! PT
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Yes, I will repost the screenshot. I wrestled with getting that to save as an appropriate file format and lost. Fortunately I saved the DAW session so it is available.
PT
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Patrick, I think this piano has a whole lotta joy just trying to bust out and tell stories; much like a precocious kid with undiagnosed ADHD. There’s undeniable infectious enthusiasm presented by the sound of the piano, the song choice, and your playing. It’s a strong character. To help that “Voice” speak more clearly, I did a little EQ. A high pass filter, two cuts, and a high shelf as shown in the attached screen shot. To my ear, that cleaned up the low end and allowed the piano to speak more articulately without crossing over into unnaturally bright for an old time piano. The biggest improvement occurred when I tamed the big S T E R E O S P R E A D that your mic placement caused. I mono-ed everything below 1K ish but kept your hard panning intact to leave some tasteful width. I have an ‘Imager” plug in that made quick work of that. The piano now speaks with a focused voice and is a more transparent storyteller because of these changes to my ear. Some Mid-Side micing voodoo might get you there also. I’ll leave that discussion to others. -PT
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Nathan, Oh hell yea! I put my cans on, closed my eyes and went for the ride your composition offers the listener. Even though I knew the drums were coming eventually, when they entered I involuntarily gasped. Originally I said I didn’t mind the drums poking out as they did. I very much like that shock value in a live audio presentation. That’s where my perspective has been for decades so I’m comfy there. Comparatively, the recording world is so nuanced. One has to fit all that sound in a little speaker. Fortunately, you get many attempts to refine the presentation. I think your compositional skills are so strong, and your layering subtle. I have learned something about my own self from interacting with the community conversation of the piece. Thanks. Are you familiar with nitrous-oxide? Not the recreational usage, that;s none of my business. Rather the use as an accelerant for internal combustion engines. Think drag racing. The entrance of the drums, then choir is a powerful emotional peak of
the song. I was asking myself “Do I want a smidge more vocal or just
the tonality of the vocal to match the drums and strings/synth?” I think the choir entrance with either the high end character of the strings would light the rocket even more so. PT -
I read it on the internet.
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I think i can speak for those that engaged in this conversation and say we’d love to listen to the new 2.1 version to see where you landed. The tech talk translation I spoke of can be understood like this. is the frequency range from 20 – 40 Hz and 40 – 80 Hz is the lower two octaves of the frequency spectrum (20 – 20KHz) we hopefully hear. The upper two octaves are the 5KHz to 10KHz range and the 10KHz to 20KHz frequency range. Abuse of hearing and old age can shorten the high end range of hearing. I simply boosted the low lows and the high highs in my experiment. The term octave you most likely know from music. Do re mi fa so la te do ends an octave higher than from where it started. In frequency terms its a doubling of frequency number. ie, 20 Hz to 40 Hz, 40 Hz to 80 Hz. 5KHz to 10KHz, and 10KHz to 20KHz The term K would be a thousand worth of. Hz is the abbreviation for Hz, the scientific term for cycles per second coined in 19th century Germany by <g-bubble jscontroller=”QVaUhf” data-ci=”” data-du=”200″ data-tp=”5″ jsaction=”R9S7w:VqIRre;” jsshadow=”” __is_owner=”true”>Heinrich Rudolf Hertz who later started the rental car business. PT
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I’m aiming for Informative AND Entertaining! … seems to be working. PT
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Patrick, I must have missed this post earlier. Do I produce? Not exactly. I’m semi retired from my career in live audio where I mixed some bands all over the place. Traveled enough to get my million miles in. You know that nearly 50% of men who think they could land the plane in an emergency?? That’s how I feel about producing. I am happy to share my perspective here at Mix Protagonist. PT
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Jermy, Thanks. I was feelin’ that one and easy to write about because you know, revolution. ✊