PG Music Home Forums General Discussion User Showcase Do You Remember (w/ JM)

Floyd,

It's all been said, but this really is beautiful! Just a darn fine job. Janice sounds great too, but then I could listen to her all day.
Someone else mentioned the Disney movie thing and I felt the same way when I first listened.

Really Great Job!

Greg

Hi Floyd.

Could this be the Rock Ballad that I've been waiting for? Yes, I believe it is.

Proving once and for all that you can move out of the Country chart and still produce the same wonderful end product. The problem with picking this up late is that it's very hard to say anything original, so I'll just say that I've enjoyed listening to this track almost more than anything else you've done.

As usual, everything technical is just right - the recording, arrangement, mix - and then the performances are perfect.

Please let's have some more of this stuff.

ROG.

Charlie - thanks for all of that. I know you would not that if you didn't mean it... really appreciate that.



Thanks, Trevor. Always nice to have you drop by. Appreciate the nice words. It is nice to have Janice along for the ride on this one...



Thanks, guys! Appreciate that... I'm pressed for time at the moment - so later today, I'll discuss my set up a bit... see a then?

Rob and Ann-Marie - hi guys! back again... so, here are some details. If I'm not hitting on the right things, let me know...

I have been using Presonus Studio One Professional for about nine months now. I REALLY like it. The plugins that come with it are top-notch and for the most part very intuitive. I had used Sony Acid Pro prior to that (a good DAW), but it turns out that one of my neighbors is a "big-wig" at Presonus...

To tell you the truth, I have never really thought about sample rate. I am using 44.1 kHz - because that is the default in S1 (I had to go look). I now use 24bits because the Focusrite Scarlett 8i6 that I use would not work at 16 - which is what I used to use on my old XP machine (Gina 20 interface). So, as you might guess, it's not something that I give a lot of thought to... when I create an mp3 to upload to my site, that is done at 256 Kbps.

When I export tracks out of BIAB, I always set the pan to 0 and the volume to max (127). I most often leave the reverb that is set when an instrument is loaded (although, lately I have turned it off on acoustic guitars and piano tracks to add my own later).

I do a quick mix in the DAW and copy that out to a hard disk recorder to do vocals there (a Roland VS-880EX - but the disk failed in that this past weekend - so I am in a panic about that!). I do that for 2 reasons. I like having old style buttons to push when I'm recording vocals. Record. Stop. Rewind. Record. etc... And I can record with reverb and no latency in my phones (I have not figure out if that is possible in a DAW). I use an AT 4033a condenser mic - into an Aphex 107 pre then through an Alesis 3630 compressor - those are all 20 years old. The combination gives a very warm sound... I transfer the vocals (dry) back to the DAW for mixing with the tracks...

Typical processing of tracks...
Drums - I use a Studio One preset FX Chain that includes the Pro EQ (their standard EQ - it ends up on everything) and a Multiband Dynamics (4 segment compressor). I often bump small bands of EQ to add snap to the snare or stick - I like a lot of snap to drums. I will often drop the highs some because I don't like a lot of hi-hat or ride. It is a trend in modern Country to really bury (or eliminate) the hi-hat - which I have always tried to do...

Bass - maybe a very slight compressor - often none - usually the EQ with a slight bump where it gives the bass some definition - I like to "hear" the bass playing - not a mushy bass. Often, I will drop the very low end out (EQ).


Most of the processing I do involves EQ and a lot of it is eliminating the low end (shelf) and adding a slight bump somewhere that brings out the definition of an instrument. If you pile on a bunch of RTs without removing the low EQ it can get muddy real fast.


Acoustic guitars - drop the low EQ a bunch and a wider bump of highs (so you can hear the strings)

Piano - Drop the low end out (EQ). Sometimes bump the mids, sometimes the high end. It depends on the RT. The pianos vary a lot. Some are dripping in reverb - even if you set the reverb to 0. (the older ones mostly). I have started using the MIDI SuperTracks more and more so I can control the piano sound more. I just used a TruePiano vst for a song and it was awesome!

electric guitars - often I add some hi EQ (drop some low) to get them to cut through.

I begin all mixes using headphones (ATH-M40fs). Then when I have a "finished" mix there, I listen through a pair of Yorkville YSM-1 (25 years old). They aren't well known, but were often compared to Yamaha NS-10's. They will often reveal that the headphone mix is a little muddy in some areas - so, back to the EQ setting for most of the tracks. Dropping some more lows, adding highs here and there... not always - sometimes the headphone mix sounds just right through the monitors - again, depends on the song and the combination of instruments. But a good "monitor mix" always sounds good in the phones (and elsewhere)....

I've probably left out a lot of stuff... but that's what I could think of for starters, regarding "clarity"...

Questions?

Thanks, Ian... always good to see you drop by! How is the hand? We were on the island last weekend for 3 days... try to make it to Duffy's for a beer and a burger (they only take cash - so bring some).



Thanks, Dani... appreciate that!

Hi Floyd,

Thanks for your extensive info. I think the HDD recorder and condensor mic are definitely a big factor in your recordings, the same goes for your mic pre-amp and compressor.
Thanks for your tips on EQ in Biab! We'll keep this in mind.
We will also check out the vst true pianos.
The sound quality of your recordings is even more surprising, since the are being compressed to mp3 for your website.

Regards,
Rob and Anne-Marie

Patrick - Thanks for all of that. Kind of a no-brainer to ask Janice to sing this with me, eh?...



Thanks, Mario... I would have to say we are...



Speak of the devil!... (just an expression of course)...

Janice - it is SUCH a pleasure to sing with you... or to have you sing with me... Thank You X a bazillion.

Greg - always nice to see you around here! (haven't seen a Disney movie in a long time)... I know Janice will have appreciated that as well...

Beautiful song. Singing, lyrics, playing, harmonies excellent....

ROG - I enjoy your reviews almost as much as Noel's... So, I get to check the big-ballad-checkbox with this one? Cool. I'll try to continue mixing it up now and again... One of the great things about BIAB - it let's you stretch... a lot!

Thanks for your delightful visit!

Hi Floyd. This is my first post to you and all I can say is what a beautiful song and excellent production on this one! Every time you post I run to hear what you have done and I never have been disappointed with any of them. You have a great gift and passion for writing. Small wish. I would have liked to hear Janice do some solo work on this one or maybe one in the future. You sing a verse. she sings a verse or answers, or whatever combination you feel.You get the idea. I think it would take it to the next level. My 2 cents.
John Konkle

Floyd and Janice ...

How simply beautiful! I loved the way the layers drifted in as the song progressed. And loved the "Stop!" I agree with another post that this is something you might find in a Disney movie. You have a magnificent voice, as does Janice. A fabulous vocal blend!

Definitely different but a wonderful treat! And yes, will go that post on the other forum and add our names to the list for more strings. Still in awe of this song ...

Alan & Di

Ok, I teared up not long into this. There, I said it.

The fact that this is a brilliant song in other respects (quality of lyric, arrangement, chord changes, lead vocal emotion, vocal harmonies, engineering, etc, etc) moves to the background when a song does the business and communicates on this level.

John

Scott - thanks! good to see ya back around...




John - Appreciate all of that. I do love working with Janice and Bud - and we have been looking for more duets to work on... and I did consider having Janice sing one of the verses to this, but felt the song is better left as a single narrator... but we will definitely keep looking...



DI & Alan - thanks, guys! It is a joy to sing with Janice... we appreciate the kind words...




John - that is one of my favorite "reviews". It doesn't get better than to be able to "touch" someone with a song... thanks for dropping by...

Howdy floyd!

I've been listening to “Do You Remember?” two or three times a week since you first posted it. It's such a great song and so easy on the ears. The emotional contour that shapes the arrangement's development is awesome. It's easy to hear that you've spent a lot time massaging this mix into shape. Also, I have to say that Janice and you continue to be a formidable and delightful force as a vocal duo.

Each time I've listened, I come away thinking that this song is a terrific testimony to your strengths across each and every aspect of writing, arranging, performing and mixing. If you were a poker player, “Do You Remember?” would have to be a royal flush. I don't think it gets any better than this!

Out of interest ...

A number of years ago, I remember reading in a songwriting book that if a lyricist wanted to create a comic effect, using the the rhyme scheme found in limericks is one way to achieve this. This caused me a bit of thinking at the time because I wasn't convinced that humour was simply the result of rhyme movement. I'd forgotten all about those thoughts until I listened to “Do You Remember?”. In these lyrics, you've elegantly addressed the above misconception that rhyme alone creates comedy. Even though your song uses the rhyme scheme found in limericks, there is no sense of the comical at all. Quite the contrary, in fact. The rhyme scheme works hand-in-glove with the music, the arrangement and the lyrics to create a very, very satisfying emotional journey. The apex of this emotional journey is the bridge and into the last chorus. It's incredibly emotive songwriting.

I also like the way that you've once again used apostrophe as a design device. My interpretation of these lyrics is that the singer is lying in bed and singing to the empty space beside him as if it were his partner. That's the 'now' of the song. As I mentioned in "Eric , Whaddaya Say” (link), apostrophe, as a lyric writing device, is a great technique for developing lyrics that ring with truth and sincerity. Twice in a row you've now showed us how to do it!

Lastly, all those “w” sounds in “when we would kiss; the world would stop” are impressive and definitely effective at sonically gluing the line together.

OK. It's back for another listen now.

All the best,
Noel

P.S. As others have already noted, and I totally agree, the line “I need a touch of once upon a time” is lyric inspiration at it's best.

This is an outstanding song, beautifully performed and produced; outstanding! Thanks for sharing!

Noel...

It always fascinates me (and pleases me) the way you so carefully listen to a song. You pick up writing nuances that few people ever notice. They, of course, should not be "noticeable" for the most part - typically only to writers who understand the use of such conventions whether naturally (not many) or "learned" (which often means "figured out" over time - but can, occasionally, be found in learning materials).

It is a delight to read your assessments, always, on the forum. You are, as they say, a gentleman AND a scholar!

Thank you.





Robert - thanks for stopping by for a listen... always appreciated..

Hi floyd,

It's interesting that you say ...


There are so many songwriting books out there on the market but so few of them actually understand the techniques of lyric writing and even less of them understand lyric development. For the most part, what bits and pieces I've picked up over the years have come from many non-songwriting books and only three or four authors of songwriting books.

• For example, who'd have thought that Dr Robert Cialdini's book, Influence: The Psychology Of Persuasion, would contain some information that turned out to be useful in regards to writing lyrics!

Anyway, I'd better not get side-tracked. It could turn into a post that's WAY too long. Thank you for letting me exercise my grey cells on your lyrics. I very much appreciate the opportunity they give me

All the best,
Noel

Masterful. Sentimental and tender without being sappy. Beautiful harmonizing. Very polished. In other words,

..........................I HATE IT !!!

Come on, dude, you know I just be kiddin' around I don't think you're biologically capable of turning out a bad tune. Even if you tried.

Dean

Thanks again to all of you kind folks for mentioning my small part in this. It was a pleasure!

Janice