Remastered “Behind the Door” from Odes to My Triceratops, Vol. 3

As you should know if you’ve been checking out my stuff, I’ve learned how to master audio properly, messing around with frequency bands and such. That has allowed me to remaster a couple of songs from the third volume of Odes to My Triceratops, and this time I wanted to improve “Behind the Door,” that may be my favorite among the seventy-five or so songs I’ve produced. For those of you who have read my novella Motocross Legend, Love of My Life, this song is partially inspired by it. I think it’s quite the haunting piece about behind haunted by memories that will never come alive again.

I made this song before Udio, the AI service I use to produce music, improved its output quality, but hopefully it isn’t that noticeable in the remastered version. This is one you should check out wearing headphones.

Remastered “Fuck You, Life (cabaret version)” from Odes to My Triceratops, Vol. 3

Recently I opened up about my shameful troubles regarding audio mastering. Well, it seems I’ve hit my stride with what I learned by remastering “Go Away, Stay Away,” because I’ve pretty much nailed the last song of the album (I’m not remastering them in order), the grandiose, operatic “Fuck You, Life (cabaret version).”

I hope you enjoyed it. And if you didn’t, what’s wrong with you? Don’t you like good stuff?

Remastered “Go Away, Stay Away” from Odes to My Triceratops, Vol. 3

In the last post, I went on about my recent discovery of audio mastering techniques. It included my first remastered song whose band frequencies I had molested. Listening back, it was quite a mess. I decided that Audacity, instead of my abilities, was mainly responsible, so I acquired better audio editing software (namely iZotope RX, recommended by good ol’ castrated AI ChatGPT). Thanks to it, I have remastered the song “Go Away, Stay Away” into a version that I wouldn’t know how to improve anymore. Check it out.

I’d say it sounds quite polished. The trick this time was to pick a segment of the song as the “baseline” for frequency band manipulation, and from then on slightly altering the bands of other segments up and down, making sure that the leadings in and out of that segment didn’t clash with the change in frequencies.

Anyway, I’ve got seventeen goddamn other songs to master, and that’s just in this album. I should also return to writing my novella one of these days.