TCP-UP
@tcp-up
@tcp-up
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Whilst TCP-UP might remind you of a certain internet protocol, this page is really just a spot for the unpublished music of TCP. The songs here have not...
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Very much enjoying the haunting ambience of this track. I also love all the changes in mood, tempo, and key. Some really cool modern prog here!!!
Who am I to compete with the previous comments of excellence, but I think that art as it has been presented here need not be criticized, just appreciated. That being said, the bass could have been more "present" in the mix. But I could be prejudiced. (Dave Coonrod, alias "fender bender".)
To all those who commented below, and those who might in the future:
We read these comments and take them to heart. The time it takes to listen carefully and jot down your thoughts and assessments are not only much appreciated, the collective wisdom of you, as musicians, are valuable. We can't thank you enough. I hope one of us will be returning the favor in the not too distant future.
As we bring this song down to a final mixdown and master we will be looking at your suggestions. THANK YOU!!
Our best to you,
TCP - Glenn Arpino, Henry Tarnecky, Jack Wright, Blake Tobias
First off...nicely done guys and gal of TCP! It's always a pleasure to hear you songs.
Something bothers me with the female vocal. Her voice is good but it's spread too wide in the stereo field for me. I would like to hear it a bit more centered. It might just be the amount of panned delay, doubling or whatever the effect is that's drawing my focus to it? Although it does work well with Henry's vocal but just doesn't seem as intense.
To my ears, the song could use bit more bass guitar presence.
Piano sounds great and the lyric is well constructed.
Overall great writing and performances from all!
Farrell
I would be way out of my league, trying to be critical of y'alls work... *WAY* out of my league. But you have asked for a critical review, so - with that caveat - there are a couple thoughts I'll share.
I agree with bri, in that the female vocal could use a tiny boost, my ears are guessing somewhere in the 6 to 8kHz frequencies when soloing. Not much though, wouldn't want to smother or compete with the way-cool subtle high-hat. Maybe boost her vocals somewhere in the 6 to 8kHz range during her solo (less than 2dB, maybe even less than 1dB - with a VERY narrow Q, not much at all), let the cymbals (high-hat in-particular) keep the 8 to 12kHz range and continue to present themselves higher in the frequency picture than her voice.
And, in all but the quietest passages, the bass seems a *tiny* bit muddy, at least to my ears. Maybe EQ it down a tiny bit in the 300 to 350Hz range, medium Q? Are you using a low-cut/high-pass on the bass?
It's just a couple of thoughts, though. Neither a big deal, and both simply a matter of personal preference.
But good lord, that's all I got. This is SO nicely done from any perspective, and such a joy to hear. This 9:44 goes by very quickly. I am loving the tune, gents, and Ms Nicole. Beautifully done.
kood
...from what perspective is one to listen and critically respond?..as a whole the rich, rounded production has a element of softness that lets the temperament of Henry's vocals remain content/consistant throughout..The female vocal i thought was hidden from the full freq's in the higher registry of the mix. (crisper/ air), ( when soloing) and because of her tonal qualities..i would celebrate them fully.
The orchestra segment (nice) acoustically, (IMO) could of handled a touch
of rawness/edge to protrude out from the mix, creating still a wider presence....hey, Thanks for the critical review posting.
Excellent work!!
Blake, Jack, Henry, Glenn one of the best 9+ minutes of music I have heard in a long long time. It is always special to hear TCP and not just because of the quality of musicianship but also the amount of thought that went into the composition and lyrics are true art.
Masterful and my tip of the hat to Nicole, as well.
All the best,
Phil
These lyrics are just wonderful! I think they moved me more than the lyrics in any previous song you have recorded. I really enjoy the 4/4 "change up" for you guys as well. Very melodic and pretty. The keyboards throughout this song our so delicate and gorgeous. Wonderful direction (or misdirection as the case may be) for you guys.
Hard to be critical here with such a fine production and musicianship.
The arrangement, style and sound are ( for me) set firmly in the late 60's/prog. (Moody Blues?)
My favorite still.
I think it starts getting really good at 135 then the mix gets a bit thick for awhile starting at around 245>, I liked the arrangement of the production as a "piece" I would have like the female voice to be a bit more back in the mix or less compressed? The male vocals for the most part I liked but not until after the first section, The violin and choir sounds I do not prefer-too real for me, but that's just me Im a early Genesis fan, I prefer mellotron strings for these complex pieces as I find it harkens me back to the early days of this genre-
Overall a really fine production. I enjoyed the guitar work-great sound with good feel.
I little bit more work simplifying the second section of lyric and I think would make it seem less cluttered to the overall impression. I donot like to be distracted by complex lyrical passages that seem to jump out and disturb my mood...I guess I mean a few words didn't seem to fit or got confusing and ruffled the tightness of the atmosphere of the piece, but that's getting rather nit picky in this day and age-
overall a great job really!!