I'll Remember
E.Q. Muzic Vol.2 Lyrics


This lovely day will lengthen into evening
We'll sigh goodbye to all we ever had
Alone where we have walked together
I'll remember April and be glad

I'll be content you loved me once in April
Your lips were warm and love and spring were new
I'm not afraid of autumn and her sorrow
For I'll remember April and you
The fire will dwindle into glowing ashes
For flames live such a little while
I won't forget but I won't be lonely
I'll remember April and smile

Lyrics © THE HUB MUSIC COMPANY
Written by: GERRY MULLIGAN

Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Genre not found
Artist not found
Album not found
Song not found
Most interesting comments from YouTube:

Justin Colletti

Upright bass is notoriously difficult to get right, especially in the earlier stages of one’s career.

Part of it is that the room is such a significant factor. And so is the instrument.

Another part of it is that for a variety of reasons, it doesn’t really lend itself to being compressed very transparently. So any amount of compression can make it sound a little plasticky and un-idiomatic if you are looking for a very natural, classic upright bass sound.

Most of your favorite natural and organic sounding upright basses were likely recorded on very very expensive instruments in very very expensive rooms, with very little compression and limiting.

Unfortunately, this makes it difficult to adapt them into more modern production contexts.

My general recommendation for this setting is to use a DI for the primary portion of the base sound, and use the actual upright bass recording as a more bandlimited addition to the texture, rather than trying to be too precisely realistic about it. But that is a stylistic choice, and it can be exactly the right or exactly the wrong thing to do depending on what you are going for.

I thought about talking about this more in the episode, but realize that I would have to have yammered for like 20 minutes! :-)

For this track, I figured that the productions not really supposed to sound super natural. It is supposed to sound hyper real and “produced”. So having a bass sound that is not perfectly natural doesn’t bug me too much in this context. But it is the other thing I wish I had brought up a little bit more in my critique to flesh out my thoughts on it.

If you are going for a really natural-based sound, I like a great instrument with a great player and a great room, and then I like a large diaphragm condenser pointed at one of the F hole from at least a foot or more back, and then an small diaphragm condenser suspended in the bridge with rubber bands pointing upward at the fingerboard for “air” and detail.

Hope that helps!



Blacklowe

Hey Justin, thanks for this session.

I have listened these in 5m x 7m untreated living room (with little furniture) with Iloud MTMs (moderate levels). Disclaimer: I’m not a pro, not even close to being proficient in mastering.

First song: I felt too much bass in here and it was resonant too. It just swallowed all the details that you wanted to bring forward. I agree with your comments on back vocals, it was spot on. The lead vocal sounded a little thin also, not sure if this could be fixed in the mastering stage.
Second song: This was really good overall but I think the vocal is fighting for space and not sure if half a db cut in mids/low-mids and half a db boost in mids/higher mids would help. I also think that highs could be a little prominent in this one, especially during melody sections.
Third one: This felt good overall, may be focus should be a little more on the vocal if its possible.

This was my experience from this session and hope it provides you additional insight.



Justin Colletti

I agree. You should not use mastering to try and steamroll your song into sounding like some other song!

At the mastering stage, references should really just be used to get a sense for where the boundaries are. Are you generally too bright, too dark, too compressed, to uncompressed?

It really pays to have at least three reference tracks from three different albums, so you don’t fall into the trap of trying to make the mix sound too much like any one of them.

References should be there to help set the boundaries of what sounds “good”. They should NOT be used as a preset template for mastering!

Here are my full thoughts on how referencing should and shouldn’t be used when it comes to recording, mixing, and mastering:

https://youtu.be/U7x1IEIxxtk

I get what you were saying about working with mastering engineers and then being unhappy with the end result. Especially in that price range! I’ve been there.

That’s actually want the whole podcast episode coming out later today is about. Maybe you will like it :-) Stay tuned for that in an hour or two.

One of the ways that I get around this is to offer free unlimited revisions. But there are a few other things to keep in mind to avoid this outcome too.

Hope that helps!



Justin Colletti

Agreed, level matching is extremely useful! I did a whole spiel about it in the prior installment of this new series.

I guess I should mention it every single time in case people are only watching one video out of the series. I hadn't thought of that yet! :)

As much as I am a strong proponent of level matching, it's also essential to note that realistically, there is no such thing as "perfect" level matching—even with a very fancy plugin to help you with it.

If you master a track and bring up the level of the quietest sections, and then level match those, the loudest sections may no longer be ideally level matched, and vice versa.

In some cases, the louder sections may actually be limited or clipped by the level matching plugin, such as with iZotope's level matching function, which I still find quite useful anyway. Level matching is not perfect, and cannot be in principle, whenever dynamic control is applied to the track in question.

That said, it is still very helpful, and it is essential to do level matching when mastering to help ensure that you are not making things sound "worse but louder" which is actually VERY common on less than ideal mastering jobs, unfortunately.

Finally, it's worth acknowledging that loudness is indeed part of the impact of a piece of recorded music, even in a auto-normalized streaming world.

With that in mind, a small part of the difference between masters for the first track is the ability to get a louder master without sacrificing any additional fidelity. But beyond that small increase in level, which will change our perception to some degree, there are clear sonic differences.

In the case of the first track, in which I was purposely NOT careful to level match, I wanted to show off the idea that you can have the effect of bringing up the level of SOME elements in the mix and not others as part of a master—but I probably should have explained the reasoning and philosophy behind it more fully.

Unfortunately, when I do that kind of thing, I get the reverse criticism, which that I go on WAY too long about things—as I'm doing in this reply—so it's an eternal balancing act!

Thanks for watching and for the feedback. :)



All comments from YouTube:

Cartoon Lizard

Ritchie here - Such priceless lessons learned here thank you sooo much.

Thomas Tran Dinh

Yes this was very interesting!! And I like that he didn't show anything, so we had to listen to everything (although I'd like to see what he actually did!) thanks Justin! Edit:he actually showed a bit in the end aha

Styrofoam Ghost

I really liked your song

Sean .McKenzie

Sounding good guys!

BluesLicks101

I'm going to bet money that one thumbs down is the other mastering engineer.

Rooftop Recording

Listening and getting in the mindset is way more valuable than tools and settings. Thanks for these! Looking forward to more.

David Johnson

Hey Justin-- I'm really enjoying this series. I'm finding the critical listening to be extremely helpful.

Dale Laushman

The format is great!

Jonathan Segar

Hey, loved the video. Would be great to get a track featured at some point

SonicScoop

Pitch us a link! Paste it here or email Justin. He gives his address at the end of the video and you can find him at his website too: http://justincolletti.com

More Comments

More Videos