#drum programming

[lyrasky]

Olivia Rodrigo【Vampire】和訳 自虐的女子.元カレに反撃 詳しく解説 Ex-boyfriend's true nature revealed

Olivia Rodrigo【Vampire】和訳 自虐的女子.元カレに反撃 詳しく解説 Ex-boyfriend's true nature revealed Lyraのブログへ #OliviaRodrigo #Vampire #guts #和訳 #自虐的女子 #元カレ #反撃 #詳しく解説 #Ex #exboyfriend #boyfriend #true #nature #revealed #DanNigro #production #songwriting #vocalproduction #guitar #BenjaminRomans #PaulCartwright #SamStewart #electricguitar #SterlingLaws #SerbanGhenea #BryceBordone #mixingassistance

本当、面白い子だよ Olivia Rodrigo〜♪ 最高だよ Olivia Rodrigo〜♪ ここまで吐き出すなんて潔い 自虐的〜歌詞で勝負なんて素晴らしい こんな最悪な彼氏〜 この世にいるって信じられない〜 まだ18歳〜 ヴァンパイアみたいな元カレに復讐し 貴方はヴァンパイア・ハンターに転生〜♪ (But I can’t figure out the feeling) Continue reading Untitled

[sleepanonymous]

Once again, a round of applause for Mr. Lever. You will see an obscure photo of Vessel and II if you click that link, fyi. I actually can't find Vessel, but II and George are def in it, and a friend says Vessel is too. For obvious reasons, I did not include the photo while formatting this post.

Full Production, Mixing & Mastering catered to by George Lever here at G1 .

Prelude

Working with Sleep Token is always a pleasure. I get this deep seated selfish enjoyment when we start new projects, mainly because I’m safe in the knowledge that the experience is going to be beautifully intense and incredibly rewarding.

Tracking

We started working on ‘Two’ just before winter started in 2016. Working on maturing the structure and fleshing out tones. Its no surprise that when it came to the final tracking that we changed the sonic balance almost completely (this is a running theme by the looks of things) Time restrictions led to us using programmed drums, however we took samples of the real kit to sequence so that it didn’t ‘feel’ completely robotic or lost. Guitars last time around resulted on leaning on my Kemper, however this time we used a live amp and cab for the majority, the momentum from the tubes / movement of the cab is something I’ve had to accept is difficult to recreate ITB. Its easier just to go down the most direct route. I had recently purchased a one of a kind Randall modded amp from a friend in the states. It turns out its an early prototype from when Fortin partnered up with Randall, its not a looker but its a box of pure filth. The Fortin was fed into my Mesa OS, placed an SM57 on the cap joint of the cone and off we went, pretty straight forward really! Bass is a hybrid setup between two real basses and then a 3rd lane of audio from a programmed bass. Because of the way the song’s have been written, keeping the sub lows consistent is vital to ensuring the song flows without feeling disjointed section to section / genre to genre. Vocals is where the most change happened (from a tracking perspective). Originally we had finished and finalised everything with my go-to setup. Modded Oktava > Germanium Chandler > Empirical Labs Distressor. And for the most part it worked. However halfway through the process I bought a Slate VMS. A modelling microphone. Without going into too much detail, its a microphone that can imitate more expensive vintage setups and it does it without any issue whatsoever. Obviously when testing it out and comparing, the VMS won without breaking a sweat. So back to tracking all the vocals again. (The vocalist is amazing however, the repeat performances were just as good, if not better than the original final takes) 

Gear Used

Guitars

Ibanez Prestige (7 string) – Bare Knuckle Aftermaths Fortin Modded Randall Diezel Einstein Mesa Oversized Cab Beyerdynamic m201 & 57

Vocals

Slate VMS – AKG C12 Emulation into Neve Pre

Drums

Sampled the original kit, programmed performances.

Bass

Fender Jazz Customshop Dingwall Combustion

Synths / Samples

Logic Stock Omnisphere Spitfire Albion LA Scoring Strings

Mixing

Everything with Sleep Token (from a mix perspective) is orientated around the vocal. The vocal here is god and attempting to get the mix to flow any other way would have been very strange indeed. Sleep Token were very clear and concise about the structure for the mix, Vocals, Samples, Drums then everything else equal after the fact. Very much like how pop is built actually. It turned out to be the most happily balanced mix I’ve worked on. I expected to have a harder time balancing moving between a few different genres through out the track but in all honesty, it just worked. Which in itself is testament to the quality of the song writing. We worked on a few different ‘perspectives’ for the mixes, however in all honesty. The mixes came together with very little effort and the tracking stage defined a lot of the movements that would happen later down the line.

Testimonial

“Worship” Vessel doesn’t give quotes. – ST

Mastering

I ended up going against my usual workflow for the master chain, trying out new things always lends to another perspective / approach / result. The signal chain looked something like this;

FG-Bomber Slate VMR – Neve EQ Focusrite Red 3 Slate VMR – Custom EQ UBK-1 (the density control on this is awesome!) Izotope Limiter FabFilter Limiter

Lastly…

If you haven’t already checked out Sleep Tokens first release ‘One’. You should. ‘One’ was also produced here at G1 but resulted in a darker sound overall! – G

[mouse-fantoms]

Twas watching Jatp performance clips with a friend right (as one does) and Bright come on and I just had this thought.

In my own experience in band class through the like 7 years it was my life (that’s wild to think about omg), when we did have a drum set for pieces that was all the percussion section. If a piece didn’t require the drum set though, the percussionists knew how to play other instruments like xylophone, triangle, slapstick, chimes etc. So I’m just wondering if Alex is the same way 👁️

Is he a percussion player who just knows drums bc that’s possible too or is he one that knows the other instruments in that same group as well? And if so, is only his drums the instrument that’s like connected with him or do the other ones apply? Bc Luke said he thought of his guitar and it just came in his hands. HOWEVER is that only bc Luke played guitar for Sunset Curve and is the only one he knows bc with Alex is it the same logic that his drums are only connected to him bc that’s what he played in Sunset Curve or does he have the ability to bring other instruments too even though he didn’t play them in the band?

Do they just test it one evening like “wait Julie can you get Flynn for a second we need to test something 👁️” bc Julie would just be able to constantly see and hear what Alex has so that’s not helpful in that case, they need someone to say whether they can see and hear Alex and the instrument that’s not the drums.

Like what if there’s a Julie and the Phantoms song that they need like Alex on triangle for? Imagine being an audience member for their band and you’re so excited and you know it’s a big moment whenever the phantoms come on stage and you’re so pumped and when they poof on stage you just see the drummer standing there with this lil triangle 💀

[vidapon]

call w the bf went a bit off the rails

[nintendonut1]

Another fun art stream, despite connection hiccups! Got a little work done today, including...

Commission for HarrisBoyBX of Mallow jammin' on the drums!

Monthly Patreon Sketch for MSKirby of Willow helping his OC Dwi examine flowers!

Enjoy!! And thank you!!!

(Started on another small ref sheet as well, will post once i'm done with it lol)

[the-scarlet-witch-22]

actually writing for the first time in weeks... conductor!agatha is home <3

(actually working on a standalone one shot set after chaconne but before lark, introducing Agatha's insane cello playing ex wife)

[saltynsassy31]

Frye Fest - Final Countdown

<- Previous - Part 14 - Next ->

[14/20]

🎸🍟Team Guitar/Consommé (JP)🍟🎸

Splatfest 23-03-2024

[Master Post]

[dook-s-dad]

Showtape Intermission Banter:

“All Eyes on Dook”

After 40 years of playing in the band, Dook gets confronted that he’s been doing it wrong the whole time.

- written by Yoshi

FATZ: (looks at Dook) ya know what Dook?

DOOK: (looks at Fatz, puzzled) what?

FATZ: people sayin’ yor not playin’ those drums correc’lay

DOOK: huh?

FATZ: (assertive) they sayin’ yor not hold’n those drum sticks ya got in yo hands right

DOOK: (confused) well how am I suppose’ tuh hold ‘em?

FATZ: in your hand—

DOOK: (cuts off Fatz, raises voice) I am! look! they’uh in mah hands. What are you gettin’ on about Fatz?

FATZ: (shaking head in disapproval) no no no no no, you didn’t lemme finish

DOOK: (annoyed, raises voice) I’m hold’n ‘em in my hands!

FATZ: (calmly and quietly) Dook.

DOOK: (responds calmly) yeah.

FATZ: they’uh sayin’ that yor holdin’ them like how a caveman would hold uh spoon

DOOK: huh, what’s that suppose’ tuh mean? What’s a caveman, what’s a spoon? Yo makin’ no sense to me Fatz.

FATZ: basic’lay, you’uh hold’n em too tight… and at the wrong angle too

DOOK: (confused) what does that have tuh do wit cavemen and spoons?

FATZ: never mind the cavemen and spoons, I shouldn’t have brought that up, had I known you’d get so confused

DOOK: what’s that suppose’ tuh mean? You sayin’ I’m stupid? (Looks around center stage) Guys, yo’ not gonna let Fatz talk tuh me like this, right?!

MITZI: (quietly and politely engages) well… I mean Fatz may be onto something

BEACH BEAR: (calm and collective, talks slowly) listen Dook, there’s nothing wrong with learning that you’re not particularly the greatest at something

DOOK: (raises voice) what?! Are you guys bein’ serious right now?!

BEACH BEAR: I think we’re making a polite attempt to articulate to you that it maybe time you start considering the steps to improve yourself as a drummer, that’s all

DOOK: (regular volume, but rude) Beach Bear, do I even need tuh get started on yo’ guitar playin’ oh’vuh there. Ya know, I try to stay quiet bout it cuz it don’t really mattuh, but if this is what we’re gettin’ at today, then—

FATZ: (cuts Dook off) alright alright, we’re gettin’ off track, let’s get back tuh what we was talking bout earlier

BEACH BEAR: yeah, let’s get back to that Fatz

DOOK: (still not over it, continues conversation) ok… you told me that all I gotta do is hit this drum in front of me with these sticks, and occasionally hit dis metal thing on the side too, dats it… and dats what I’ve been doin’

FATZ: When did I say that?

Dook: when you picked me up off thuh streets, remembuh? I was lookin’ for a gig to help save up fo’ a trip tuh space… then you came along sayin’ yor in a band or somethin’, and that band needed a drummuh… I didn’t know what dat was, but you was like, “no problem man, can you pick up these sticks and hit this drum in front of ya?”, and I said “really, that’s all I gotta do?”, then you gave me the gig… and here we are 40 years latuh and now you’re complainin’??

FATZ: is that really how it went?

DOOK: yes.

FATZ: I find that very hard to believe, but I would rather not keep this conversation goin’ any longer

DOOK: no Fatz, you started it. You insulted me. You know how sensitive I am about y’all making fun of me

FATZ: Dook, Dook, Dook, no one is making fun of you

MITZI: Yeah Dook, we’re not making fun of you

DOOK: you are.

FATZ: no I am not, I am providing you with the people’s constructive criticism

DOOK: (confused) construction wha’?

FATZ: constructive criticism… it’s how you learn to improve

MITZI: yeah, I think they’re just trying to be helpful

DOOK: by insultin’ me?

FATZ: no, that’s not what they’uh doin’

DOOK: so what do they want me tuh do?

FATZ: I think we need to teach you how tuh properly drum, that’s what they sayin’

DOOK: 40 years latuh man?? You can’t teach this old dog new tricks. Where was dis conversation 35 years ago??

FATZ: Dook don’t act like you wouldn’t be actin’ the exact same way have we had this conversation 35 years ago

DOOK: umm… ak’shuallllyyyy—

FATZ: (cuts Dook off) do you want the money or not?

DOOK: (begrudgingly complies) fine.

FATZ: very well, we’ll continue this discussion later. Sorry to keep you folks wait—

DOOK: (cuts Fatz off) hold up, you are not apologizin’ to them for somethin’ you started?!

FATZ: (ignores Dook) folks, I apologize fo’ that delay in our show, we are gettin’ started—

DOOK: (shakes head) unbelievable.

FATZ: (Fatz continues speaking ignoring Dook) with our next medley that we’ve been working on perfecting for y’all

DOOK: (begrudgingly looks away from Fatz towards stage right)

[willlmesh]

i think my computer is haunted or smth

[kil9]

fanart for matt from don broco

[vimbry-moved]

I want something to hit as well as the songs after completing portals 1 & 2 again. valve. please.

[jd-mp3]

[vidapon]

yay

[1o1percentmilk]

writing a paper on why cs majors shouldn't use chatgpt or cheat on assignments and having it be based on fairness and the integrity of the IT profession is really hard when you're also a mid programmer

like i feel like i don't really have a right to speak on people using chatgpt since theyre usually people who have happier lives than me because they're able to complete assignments quicker and have more free time for things. maybe i'm just being miserable?

[dead-set-goat]

Some jams from when I got my first (and only) electric guitar a few months ago. In order of recording, the 3rd one is the most Demo-ish of any of these.

⚠️ The sound quality is all over the place, you may hear nothing or blast your brain at the same volume level. I mean, it is not so bad, I just love using that emojii up there

(feat. my budgies)

Aestethic break

(feat. PC editing and me!)

And a bonus drum-only track! This had a guitar jam as well but I found no recording of it worth posting yet I still like this as a short loop-thing

[one-of-many-journeys]

Day 66

Banuk Encampment

I left the camp just before dawn in furs appropriate for the journey north.

I was jumped by a bunch of bandits on the way, making short work of them. Do they have some sort of bounty out on my head? I assume if they did know who I was and what I'd done to every bandit clan from here to the Jewel, they would stay away.

On the path to the Cut.

Sekuli's painting is even more impressive in the daylight.

Riding north to Ourea's retreat.

On the way, I stopped to help a group of huntresses take down some Scrappers and harvest their parts.

Past the ruins of Deep Din and ancient highways, then up the steep climb. The retreat, or the 'auxiliary data centre', was empty when I arrived, which I was thankful for. As interesting as it would be to observe how Cyan deals with the Banuk's faith when speaking to them, I don't plan to stay here long.

I told Cyan all I'd learnt about Zero Dawn and what happened to Gaia. She didn't know what could have sent the signal that woke Hades, only speculated along the same lines that I already had. Another human settlement with advanced technology, maybe one that had been able to learn from Apollo, or another advanced AI gone rogue somewhere in the world. Maybe if I can gather more data at Gaia Prime, Cyan will be able to make sense of it.

Given what I'd learnt about Hephaestus, Cyan was able to understand the programming directives that had seemed nonsensical when she was enslaved to it. Since it created Gaia's machines, it seems logical that, given sentience and emotional capacity all of a sudden, it would feel protective over those creations and want to preserve them. Seeing human hunters kill and strip machines for parts, it must have first made those machines defend themselves more aggressively, then began to engineer new machines that could further deter hunters and reduce their overwhelming numbers. I can't see all the tribes the world over giving up on hunting anytime soon—assuming there were survivors in the other Cradles at all. Machine parts are essential for our way of life. Our only option is to stop Hephaestus.

I aired a few of my theories to Cyan. First, about the signal that had been making the machines docile just south of the Cut. She agreed that it was likely a piece of Gaia, perhaps ejected in the explosion that destroyed her. Gaia would have had complete control over the machines, even if by default they acted more wary and protective than the machines I found at the encampment. It must have been a piece of her core intelligence, given the signal was coming from a processor core used to hold AIs like Cyan in the Old World. I also asked Cyan about the metal flowers, and she said these were likely a consequence of the erratic terraforming system and their newly self-aware sub-functions. The poetry must have been uploaded to the sub-function's codebase during its development, and now the function was building its mechanical flowers surrounded by real ones, those it was built to seed, embedded with this poetry. Maybe it has the capacity to understand it now. Given what I know about Gaia's functions, I'm guessing the culprit is Demeter.

Cyan said that things with the Banuk were going well. She was trying to acknowledge their faith while giving them scientific explanations for their convictions. The blue light, for example, and the mechanics behind its emission. I wouldn't mind hearing that explanation myself, but I had to keep moving. I doubt the Nora will be receptive to that technique if I try to employ it myself.

Back on the mountain roads, my Charper was pounced on by a Sawtooth. I didn't stay and fight; just tied it down and rode on my way. All the snow makes falls like this so much more pleasant.

Passing across the salt flats, warmed by rising steam, I made my way back south, tending east toward Longnotch to meet with Varga.

On the way, I was attacked by bandits for the second time today! Somehow they're still crawling around these parts even after I turned Stone Yield back over to the Banuk. Looking for a way south, maybe—wait until they hear that I've been there too.

More fishing on the lake by Longnotch, this time with my bow. The stitchers around here seem to prefer fish in exchange for repairing my satchels.

I handed over my Stormslinger to Varga once I arrived in Longnotch, along with the Stormbird talon I picked up outside Free Heap. Once again, I watched Varga work with awe and interest as night fell. She turned what was a weapon I'd been avoiding in favour of my war bow and sling into a deadly deliverer of shock blasts powerful enough to fell any machine. Dangerous though; the coils could easily overload after successive blasts, building up force in the weapon itself. I could fry myself from my fingertips inward if I'm not careful.

Varga didn't even charge me for her three fine pieces of work. Burgrend would be mortified, but I didn't want to protest the chance away. Varga enjoys her work and is certainly the best weapons maker I've come across, except perhaps for Petra. I told Varga to head to Free Heap and seek out its mayor if she was ever inclined.

Bedded down in the camp after dark. Tomorrow I'll put this new Stormslinger to a proper test at the Hunting Grounds. It'll be the perfect opportunity to beat Aratak's Chieftain's trial time as well.