#tyler joseph layout

[piastrisluvr]

messy blue - My Blood - twenty one pilots headers || like or reblog if you save.

[ohdearlucifer]

I remember certain things, what I was wearing; the yellow dashes in the street...

I prayed those lights would take me home, then I heard,

🗣️ ⎯⎯ "hey, kid, get out of the road!!"

[warspalock]

›› ⭐ like or reblog if you save/use, credits bawkugos ⭐

[tylerpnk]

twenty one pilots headers

Like or reblog !

[f0linasahl0]

I changed my layout from twenty one pilots to jesse pinkman. don't forget me i'm still here !!!

[optionalblue]

New theme alert!! I love the lovely reference :D Also the cloudssss

hell yeaaaahhhhhh Tyler left side profile singing into the mic and clouds will forever be my brand :))

[r-edecorate]

⊹L𖦹UIS T㋡MLINSON & TWENTY ØNE PILØTS ⊹

★. . .reblog if u liked!!

★. . .please don't repost!!

[mulberrydoubt]

hey so I made a discord server that I literally only use to make profile layouts cause I’m too scared to change my regular layout so uh here’s the two I have so far, I’ll add to it when I make more lol

Art in the good day dema one is by sunnysatvrn on instagram‼️‼️

[alien-girl-21]

I need routines in the night by tøp in my veins I am not joking

[warmglowofsurvival]

Twenty One Pilots’ Josh Dun Builds His Dream Studio, Part 2

Drums rule inside the Boom Boom Room, the new home facility of Twenty One Pilots drummer Josh Dun and his wife, voice artist Debby Ryan.

By: Steve Harvey

Ever since its 2015 breakthrough album Blurryface, Twenty One Pilots has been flying high with a string of platinum-selling albums and worldwide arena tours. There’s no knowing when the creative urge will strike, however, so both drummer Josh Dun and lead vocalist and multi-instrumentalist Tyler Joseph have home studios. Don’t pass up Part 1, which explores how Dun worked with Charlie Griffey of Griffey Remodeling, Josh Dun, TJ Bechill of NEAT Audio, and Gavin Haverstick of Haverstick Designs to create his ideal home facility, The Boom Boom Room; now let’s dive into how he puts the studio to good use.

SETTING UP TO RECORD

“Tyler and Josh don’t work with engineers; they work by themselves,” Bechill observes, noting that during his technical design process, he likes to understand an artist’s workflow and what tools they need. “I always build around the concept of the artist being able to walk into a room and ‘put pen to paper’ as quickly as possible.”

Bechill quizzed Dun about the favorite drum tones he had recorded in his favorite rooms before deciding what gear to load into the control room’s Dangerfox desk. “A lot of them featured vintage Neve consoles,” he recalls. “Josh has API and Audient pre’s in his studio in California, and he said, ‘I want transparency, but I also love the vintage vibe of a Neve console and the glue that you get from the transformers.’”

The desk’s lefthand bay houses two Rupert Neve Designs 500 Series racks holding 14 of the manufacturer’s 511 mic pre modules, with variable Silk control. “The Coles 4038 overhead mics go into a pair of 517 preamps, into 1176s and then into the converters,” he adds.

Mike Picotte, senior sales engineer, artist relations at Sweetwater, also consulted on gear choices, then tuned the control room with Smaart and optimized the DSP on the room’s PMC 6-2 main monitors. “PMC checked all the boxes and has been an incredible system,” Bechill says. “We don’t really mix in there, but we wanted an accurate reference. You can do multiple EQ settings, so we created two zones—one for the mix position and a second for the couch, if friends come in to listen to music.”

Picotte also dialed in the drum sounds. “After 15 minutes, Mike leans back and says, ‘Well, there you go,’” Bechill recalls. “There’s no processing on the tracks; it’s just a great room, great microphones, and solid preamps and conversion, so we saved it as a template. We’ve got a Furman sequencer, so now Josh walks in, turns one key and the whole studio turns on. Within seconds, he can press Record and sit down and play.”

Sweetwater sales engineer Patrick Cobley supplied much of the equipment and, with NEAT sales engineer John Krempel, helped assemble the control room during the two-day installation. Ryan’s brother, Chase, who works on the video side, designed the audio patchbay. “I love having a normalized patchbay where I don’t have to use cables if I don’t need to,” Bechill comments.

Speaking of patching, Bechill installed a dedicated Rupert Neve Designs Shelford Channel for Ryan’s voice work so that she didn’t have to disturb Dun’s signal flow. “She’s an absolute professional, but I wanted a channel strip so we could give her dynamic control in case she got too animated or too close to the mic. I really like the FET-style compressor in the Shelford, and I’ve always loved 1073-esque tones.”

Haverstick included a small vocal booth in the studio layout, which doubles as an amp closet for visiting guitarists, but Ryan can also take a shotgun or a lav mic into the live room: “She can do ADR in that room if her producers don’t want a completely sterile vocal booth environment.”

TRACKING DRUMS

The tracking space, a room-within-a-room design, looks out onto the woods surrounding the house and features a floating floor. Although Dun has tracked in big rooms like EastWest in Hollywood, Haverstick says, “He wanted a controlled but not too dead-sounding live room, because Twenty One Pilots do get more of a controlled sound on their drums.”

And what about those drums? Dun wanted something special for his home studio setup, so Mike Ciprari, owner of SJC Custom Drums, his longtime supplier, ran with Dun’s treehouse concept (he proposed to Ryan in a treehouse in New Zealand). The all-wood kit, with moss and leafy accents, uniquely features a completely wooden front head on the kick drum. “No joke, it actually sounds pretty solid; I was shocked,” Bechill laughs.

Bechill’s idea was to mike the drums using just two or three stands, making the most of the design flexibility and weight capacity of Triad-Orbit’s products. An Audix D6 and a Solomon Mics LoFReQ hang off one stand, he reports, with multiple Sennheiser MD 421 tom mics hanging off another. “If you were to try to do that with any other stand, it would just tip over,” he comments. “I spent $1,500 on three mic stands, but we had committed so heavily to an aesthetic that I wanted them.” The Coles overhead mics are supported by two ceiling-mounted boom arms.

During construction, after Dun mused about what his drums might sound like in the 20-foot-high sunroom, Bechill had Griffey install a four-inch conduit so that he could run a Whirlwind 24-channel snake to a stagebox upstairs. “John [Kremple] did all the wiring with me, and it took us four hours just to get the W2 mass connect from the second floor down to the studio. I don’t know if Josh will ever actually track up there, and, if he does, if it’ll ever be used—but for some reason, in the moment, it felt like the most important thing,” he chuckles. “After that, everything else was easy.”

It seems likely that Twenty One Pilots fans will hear the results of all that hard work soon enough. Previously, while Joseph could work in his own studios, Dun had to go to a commercial room to track his drums. Now, Bechill says, “Between this studio and Tyler’s two studios, we can track and mix in these rooms—although I believe they’ll still send their sessions out to be mixed—because we have the proper environments.”

[esonetwork]

'Men's Adventure Quarterly - Vol 1 No 3' Book Review By Ron Fortier

New Post has been published on https://esonetwork.com/mens-adventure-quarterly-vol-1-no-3-book-review-by-ron-fortier/

'Men's Adventure Quarterly - Vol 1 No 3' Book Review By Ron Fortier

MEN’S ADVENTURE QUARTERLY Vol 1 No 3 Edited by Robert Deis & Bill Cunningham Pulp 2.0 153 pgs

We came home from Vietnam in July of 1968. We were only too happy to return to civilian life and put that last year behind us. By March of 1969, we were working in a shoe factory and attending college at night. Sometime that month, we picked up a paperback novel called “The Executioner – War against The Mafia” by Don Pendleton. It was to be the first in a series from a new publisher named Pinnacle. A few weeks later they released, “The Destroyer” by Richard Sapir and Warren Murphy. After reading both of these initial adventures, we had one thought – the pulps were back! After having been a comic book readers since childhood, we eventually picked up some knowledge of those 30s and 40s yellow paged magazines that had entertained folks during the Great Depression. Reading Mack Bolan and Remo Williams, it was only too evident that they were new, modern “pulp” heroes for a new generation.

Sure enough, within months, the drugstore racks were overflowing with new “hero” series ala the Death Merchant by Joseph Rosenberger, Piers Anthony’s Judomaster, Marc Olden’s Black Samurai, Paul Kenyon’s The Baroness. It seemed every possible classic pulp genre was covered to even including the occult ala Frank Lauria’s Doctor Orient books. Oh yeah, for the next decade, we readers would be the benefactors of the newest incarnation of pulps, which had morphed from the classic 40s volumes into the MAMs of the 50s and 60s and now the paperback boom of the 70s. We loved the stuff.

Whereas The Executioner books were by far our favorites and we followed them loyally from Pinnacle to Gold Eagle. Even enjoying the spin-off series as they emerged. At one point we actually corresponded with one of the ghostwriters on Able Team. In the end, we’d amassed well over two hundred paperbacks with the name Pendleton painted across the covers before selling the lot in a yard sale to an employee of the Portsmouth Naval Shipyard in New Hampshire, whose purpose was to divvy them up amongst his co-workers there. So we were delighted they’d found a new and worthy home.

Now Bill Cunningham and Bob Deis have turned their magnificent creative spotlight on The Executioner phenomenon with the third issue of their “Men’s Adventure Quarterly” and it is by far their best issue so far. The volume is jammed packed with not only the history of this fantastic ground-breaking series and its creator but includes several excellent articles and pictorials. The piece on action-adventure writer Chuck Dixon is great and details his own work on such iconic characters as the Punisher and Batman in the comics to his own Levon Cade paperback adventures. There are also several short stories in the same vein such as the over-the-top “The Amputee Vengeance Squad’s Mafia Wipeout” by Jack Tyler. They also feature not one, but two “book bonus” reprints of the first two Executioner novels in their entirety as they appeared in two different MAMs.

As always Cunningham has an artist touch with his beautiful layouts; our favorites being the spread of Gil Cohen cover paintings and further into the issue the reproduction of the first dozen Executioner covers from Pinnacle. Seeing those unleashed a flood of great memories for this reviewer. Linda Pendleton’s memoir of her life with Don relives the early days when Mack Bolan was just an idea that had to be born. Wrap this all up with a little Bettie Page spread and you end up with one of the slickest, expertly produced magazine packages ever assembled. Kudos to the Deis – Cunningham team. You boys are 3 for 3 at bat. Now that’s a damn impressive record.

[piastrisluvr]

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[tylerpnk]

The boys' Twitter layouts!

[fqiryning]

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[thepowerofla]

tyler joseph everybody.