#lo-wav delay

[thesmallmeggles]

〰️ Lo-Wav Delay 〰️ (LWD for short)

Another Role Swap AU!? The idea initially sparked after seeing @gorochuva 's Vandelay Sibling swap and I wanted to push it further. I know @magmalaz also has a role swap au, but it'd be weird for me not to share mine when I mentioned it in my playlist post. So here we go. 🙃

What's This All About?

Roxanne and Kale lead Vandelay Technologies together, with Kale developing SPECTRA in secret. Unlike in canon, Roxanne discovers it early on and fires Kale on the spot.

The corporate culture at Vandelay is healthier than canon, but there's an undercurrent of unease. Misbehaving employees return from Human Resources listless, robotic. It has not escaped Kale's notice. He looks into it, discovering to his horror that Roxanne revived SPECTRA and that she plans to include it inside Project Armstrong applicants' prosthetics.

Kale and his team has a month to shut down SPECTRA before Project Armstrong launches. Assuming they can get their act together.

The Protagonists

Mimosa, Social Media Account Manager for Vandelay Tech and a former pop star. Assumes Chai's role. She joins the team after an interrupted HR referral. (Girl dodged a bullet.)

Kale Vandelay , disgraced former Vice President. The Peppermint to Mimosa's Chai and 1/2 of Mission control (shared with Roquefort). An important detail to note is that none of his teammates knows he created SPECTRA in the beginning.

Roquefort, retired economic advisor and Kale's business mentor. He hasn't been converted into a robo-werewolf so he is... fragile.

W01F-G4NG, Roquefort's robotic service dog (commissioned by Kale). 100% Certified Good Boy. Like 808, Wolfie acts as Roquefort's eyes and ears on the field in addition to being the squad telephone.

Zanzo, an eccentric engineer evading disciplinary measures by hiding in a storage area he converted into an office. He's in Macaron's role, but with Korsica's mechanics. Zanzo alternates between a walker and wheelchair because of his Cerebral Palsy (headcanon go brr). He doesn't have cybernetics as he can't afford them.

Rekka, a Production supervisor with a near flawless conduct and output records. The Korsica of the team (with similar mechanics to Macaron), as she needs further convincing to go against Vandelay.

Also a secret temporary teammate who I'm not going to name. 🤫

The Antagonists

Roxanne Vandelay, founder and CEO of Vandelay Technologies. Assumes Kale's role. Foils Mimosa in a similar way to Chai and Kale.

Chai, newly hired Brand Ambassador for the pending Project Armstrong. Works closely with the Head Of Marketing. Might still have musical and magnetism powers, only on purpose this time.

808, pretty much the same except she can turn into a panther mech.

Peppermint Vandelay, favored younger Vandelay sibling (according to Kale). Officially on record as a programmer, but her role in the company is closer to VP. Peppermint heads Vandelay Tech's "secret security force" which consists of her, 808, Chai, Macaron, CNMN, and Korsica.

Macaron, Head of Research and Development.

CNMN is considered the co head of R&D. He also helps out in Human Resources.

Korsica, heads Security after the previous head quit without notice. She's still getting used to her position six months on.

Also OC department heads for Production, Marketing, Finance, and Human Resources

The AU Name

Hi-Fi RUSH -> Lo-Wav Delay

Subtle reference to Ultra Low Frequency. Definition: Ultra Low Frequency (ULF) is a low frequency electromagnetic wave band that can penetrate the earth. It's used for communications in mines and might aid in predicting earthquakes in the future.

If LWD were a game, I see its gameplay as being more stealth and social engineering based. Also puzzles and Space Channel Five type rhythm sections (since Mimosa is the player character).

[lomoadventures]

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[masonzhang]

Today I made several ambiences sounds from the previous field recording. I have also made three weapon sounds from the field recording, the door locker sound on a vehicle. As shown in Figure 1, this is the vehicle I recorded. It is the 2019 Toyota Corolla. Firstly, I put the equaliser to attenuate the rumbling noise on the original recording. Then I found the sound became the character’s weapon sound if adding a delay on it. Secondly, I recorded this delay track and playback with the original delay track. As shown in Figure 2, I play the recorded and auxiliary tracks at the same time. Another weapon sound came out. As shown in Figure 3, I put the harmonic plug-in, Lo-Fi, on the original door locker recording. It seems like back to the 1980s or 1990s 8bits era and makes an ancient sound. I decided to make a unique 8bits weapon sound with the reverse reverb. If you listen to Weapon 8.wav under the character weapon folder, the sound will bring you back to the 1980s era.

[thatsnakeman]

►►► DL FULL SAMPLE PACK: https://ift.tt/2Gqm7Jt ►► DL DEMO SAMPLES: https://bit.ly/2IXod4J ►► MORE FUTURE/TRAP: https://ift.tt/2hvfQQi "Combining lo-fi and hazy sounds with modern day Trap production techniques, this pack features synths, basslines, foley fx, floaty vocals and much more to inspire your next Trillwave production!" Welcome to Trillwave! This brand new Prime Loops release takes inspiration from the lo-fi, hazy sounds of Trillwave & Cloud Rap, merging the trap sounds of Atlanta with dreamy glo-fi and melancholic Chillwave soundscapes! Looking inside, you will find an inspired selection of Cloud Rap drum loops; from deep and heavy, to subtle and percussive, textural and Foley inspired SFX, tremor-inducing basslines, hazy, ethereal synth loops, floaty, delayed vocals and an inspiring selection of one shots; from murky guitars and dusty chimes to ambient vocals and shimmering harps! Everything you need is covered to get you creating ambient textures and hazy melodies, delivered to you in ultra-high quality 24 Bit WAV format, compatible with all major DAW's and formatted to be as flexible as possible and stretch to the tempo of your tracks. Into the sound of Yung Lean, ASAP Rocky or Clams Casino? Open this up and get Trill! Download contains: 56 x Drum Loops 13 x SFX Loops 23 x Basslines 51 x Synth Loops 10 x Vocal Samples 77 x One-Shots 24 Bit 44.1kHz WAV Format 70-85BPM 569MB (ACID/WAV Format) 576MB (Apple Loops Format) 394MB (REX Format)

[wlldvs-blog]

State of the Nation 28/05/19

As the infrastructure and a sort of working version of the software exists already, I’ve been taking the time this week to try and pin down the sound world I want this project to exist in, as well as the way that I personally categorise individual sounds so that I can start building a personal semantic dictionary.

Pintrest for sounds

One of the ways in which I’ve beem doing this is through writing a piece (of sorts) to act as a kind of ‘sonic mood board’, and set out some of the sounds I want to be able to pull from the software. The piece isn’t compositionally tight in any way, but this is fine as it’s intended to focus on the sounds and motifs I want to work with rather than how the outputs will sound. The main thing to note with this piece is that it was written and sound designed in Logic, due to my fluency with it, and the speed with which one can pull complex sounds out of it. All sounds in the final project will be generated on the fly in Max, so are unlikely to be exact replicas of a lot of the sounds heard here.

The draft (wav available here)

In order to tackle the breadth of timbres, textures and moods in the piece I’ve broken it up into each instrumental track. It should be noted that each semantic tag also includes any synonym that might allude to it.

Piano (https://mega.nz/#!P91igYqB!A9hZr0aze1julHVTV4w3la54jIJ__9BpJP7ZJKmu-SI)

The piano is what gives the track 90% of any harmonic interest it might have, but doesn’t change timbre at all.

SemanticTags_Timbre: soft, warm, natural, organic, nostalgic(?), quiet, small, old, bell, strike, wonky

SemanticTags_Content: dischordant, crunchy, forboding, melancholy, minor, simple, flowing

Bass Synth (https://mega.nz/#!Cs92FIYb!IeVb23SZIC-JPoY8Bbe7QCEUFiQozXJXOijKiwkVBlU)

This is a really bass heavy bass/bell sound built in Matt Tytel’s Helm synth. It’s driven by cross modulated sine waves, and passed through a bass amp emulator to be super low and rumbly. Rather than strip the part to be simple like I might normally with a bass part, I found that feeding it chords in parts makes the notes beat against eachother real nicely.

SemanticTags_Timbre: low, deep, bass, fuzz, noise, beating, oscilations, mess, hiss

SemanticTags_Content: thick, thin, simple, complex, monophonic, polyphonic

‘Juno Synth’ (https://mega.nz/#!j4sAGASQ!Dh-z0irr9G2tSXGRFtS9WRpqOFh_dpe24HpZmYRniOE)

This again is built in 'Helm’, and designed to be a nice warm pad type sound, emulating a patch I found on a Juno 60 once. The only interest in the part writing is the difference between exploring the high part of the range, producing a thin, almost distorted ebow style sound, and the middle and lower parts of the range, which is much more noisy, fuzzy and warm

SemanticTags_Timbre: warm, retro (gross), analgoue, noisy, fuzzy, soft, cold, distorted

Lead Synth 1 (https://mega.nz/#!291G0I4B!ioSYpP0rilSpftoH9Yd9c74Y0UdC-HYorYEPpNzhqxs)

SemanticTags_Timbre: clean, resonant, amplified, siren, bright

Strings (https://mega.nz/#!mx8QnSDL!_7uEXkS2-Uqd5n70XjUqYkukzY6TiinGkdv6TM4c2t0)

Spitfire Labs’s 'Frozen Strings’ sample library played through a spring reverb emulation.

SemanticTags_Timbre: eerie, organic, live, natural, wonky, harsh, scraping, long, pads, soft, resonating

Static Synth (https://mega.nz/#!b0kinYRR!MWv04BMQsQj3uUzL_sgmubDq3xKmRgsXiAbz65YgpkI)

THe descdending noise bursts are from a sound built in Helm, with just a little bit of pitch information mixed in. It’s processed through a descending pitch delay, a glitching/stuttering plugin, and a spring reverb.

SemanticTags_Timbre: noise, static, falling, rusty, spooky(?), glitchy, stuttering

Vocal Sampler (https://mega.nz/#!mg9CXSLA!9RVUZu7OYmwZT3UwPqX19Q13_gu7WSM5KD06RQkLv90)

Lo-fi vocal sample pitched about using exs-24

SemanticTags_Timbre: lofi, uncanny, eerie, glitchy, digital, natural, organic

Spoken Samples (https://mega.nz/#!W9kCCSqZ!0EoIcP8lkFRql-1B6_bGB9ixClaJcGiwFUFj9sfwChA)

The voice of googles dictionary sampled and chopped up

SemanticTags_Timbre: lofi, uncanny, eerie, glitchy, digital, natural, organic

Tags

I’ve collected the tags and entered them into a spreadsheet with potential parameters that they could be linked to:.

[msid704mn-blog]

Code for Project 1

#include <WaveHC.h> #include <WaveUtil.h>

SdReader  card;  // This object holds the information for the card FatVolume vol;   // This holds the information for the partition on the card FatReader root;  // This holds the information for the volumes root directory FatReader file;  // This object represent the WAV file for a pi digit or period WaveHC    wave;  // This is the only wave (audio) object, -- we only play one at a time #define error(msg) error_P(PSTR(msg))  // Macro allows error messages in flash memory

#define ADC_CHANNEL 0 // Microphone on Analog pin 0

// Wave shield DAC: digital pins 2, 3, 4, 5 #define DAC_CS_PORT    PORTD #define DAC_CS         PORTD2 #define DAC_CLK_PORT   PORTD #define DAC_CLK        PORTD3 #define DAC_DI_PORT    PORTD #define DAC_DI         PORTD4 #define DAC_LATCH_PORT PORTD #define DAC_LATCH      PORTD5

uint16_t in = 0, out = 0, xf = 0, nSamples; // Audio sample counters uint8_t  adc_save;                          // Default ADC mode

// WaveHC didn't declare it's working buffers private or static, // so we can be sneaky and borrow the same RAM for audio sampling! extern uint8_t  buffer1[PLAYBUFFLEN],                   // Audio sample LSB  buffer2[PLAYBUFFLEN];                   // Audio sample MSB #define XFADE     16                      // Number of samples for cross-fade #define MAX_SAMPLES (PLAYBUFFLEN - XFADE) // Remaining available audio samples

// Keypad information: uint8_t  rows[] = { A2, A3, A4, A5 }, // Keypad rows connect to these pins  cols[] = { 6, 7, 8 },        // Keypad columns connect to these pins  r      = 0,                  // Current row being examined  prev   = 255,                // Previous key reading (or 255 if none)  count  = 0;                  // Counter for button debouncing #define DEBOUNCE 10            // Number of iterations before button 'takes'

// Keypad/WAV information.  Number of elements here should match the // number of keypad rows times the number of columns, plus one: const char *sound[] = {  "breath" , "destroy", "saber"   , // Row 1 = Darth Vader sounds  "zilla"  , "crunch" , "burp"    , // Row 2 = Godzilla sounds  "hithere", "smell"  , "squirrel", // Row 3 = Dug the dog sounds  "carhorn", "foghorn", "door"    , // Row 4 = Cartoon/SFX sound  "startup" };                      // Extra item = boot sound

//////////////////////////////////// SETUP

void setup() {  uint8_t i;

 Serial.begin(9600);          

 // The WaveHC library normally initializes the DAC pins...but only after  // an SD card is detected and a valid file is passed.  Need to init the  // pins manually here so that voice FX works even without a card.  pinMode(2, OUTPUT);    // Chip select  pinMode(3, OUTPUT);    // Serial clock  pinMode(4, OUTPUT);    // Serial data  pinMode(5, OUTPUT);    // Latch  digitalWrite(2, HIGH); // Set chip select high

 // Init SD library, show root directory.  Note that errors are displayed  // but NOT regarded as fatal -- the program will continue with voice FX!  if(!card.init())             SerialPrint_P("Card init. failed!");  else if(!vol.init(card))     SerialPrint_P("No partition!");  else if(!root.openRoot(vol)) SerialPrint_P("Couldn't open dir");  else {    PgmPrintln("Files found:");    root.ls();    // Play startup sound (last file in array). //    playfile(sizeof(sound) / sizeof(sound[0]) - 1);  }

 // Optional, but may make sampling and playback a little smoother:  // Disable Timer0 interrupt.  This means delay(), millis() etc. won't  // work.  Comment this out if you really, really need those functions.  TIMSK0 = 0;

 // Set up Analog-to-Digital converter:  analogReference(EXTERNAL); // 3.3V to AREF  adc_save = ADCSRA;         // Save ADC setting for restore later

 // Set keypad rows to outputs, set to HIGH logic level:  for(i=0; i<sizeof(rows); i++) {    pinMode(rows[i], OUTPUT);    digitalWrite(rows[i], HIGH);  }  // Set keypad columns to inputs, enable pull-up resistors:  for(i=0; i<sizeof(cols); i++) {    pinMode(cols[i], INPUT);    digitalWrite(cols[i], HIGH);  }

 while(wave.isplaying); // Wait for startup sound to finish...  startPitchShift();     // and start the pitch-shift mode by default. }

//////////////////////////////////// LOOP

// As written here, the loop function scans a keypad to triggers sounds // (stopping and restarting the voice effect as needed).  If all you need // is a couple of buttons, it may be easier to tear this out and start // over with some simple digitalRead() calls.

void loop() {

 uint8_t button = digitalRead(13);

  if(button == HIGH) {    // If no new sounds have been triggered at this point, and if the    // pitch-shifter is not running, re-start it...    if(!wave.isplaying && !(TIMSK2 & _BV(TOIE2))) startPitchShift();  } }

//////////////////////////////////// HELPERS

//// Open and start playing a WAV file //void playfile(int idx) { //  char filename[13]; // //  (void)sprintf(filename,"%s.wav", sound[idx]); //  Serial.print("File: "); //  Serial.println(filename); // //  if(!file.open(root, filename)) { //    PgmPrint("Couldn't open file "); //    Serial.print(filename); //    return; //  } //  if(!wave.create(file)) { //    PgmPrintln("Not a valid WAV"); //    return; //  } //  wave.play(); //} //

//////////////////////////////////// PITCH-SHIFT CODE

void startPitchShift() {

 // Read analog pitch setting before starting audio sampling:  int pitch = analogRead(1);  Serial.print("Pitch: ");  Serial.println(pitch);

 // Right now the sketch just uses a fixed sound buffer length of  // 128 samples.  It may be the case that the buffer length should  // vary with pitch for better results...further experimentation  // is required here.  nSamples = 128;  //nSamples = F_CPU / 3200 / OCR2A; // ???  //if(nSamples > MAX_SAMPLES)      nSamples = MAX_SAMPLES;  //else if(nSamples < (XFADE * 2)) nSamples = XFADE * 2;

 memset(buffer1, 0, nSamples + XFADE); // Clear sample buffers  memset(buffer2, 2, nSamples + XFADE); // (set all samples to 512)

 // WaveHC library already defines a Timer1 interrupt handler.  Since we  // want to use the stock library and not require a special fork, Timer2  // is used for a sample-playing interrupt here.  As it's only an 8-bit  // timer, a sizeable prescaler is used (32:1) to generate intervals  // spanning the desired range (~4.8 KHz to ~19 KHz, or +/- 1 octave  // from the sampling frequency).  This does limit the available number  // of speed 'steps' in between (about 79 total), but seems enough.  TCCR2A = _BV(WGM21) | _BV(WGM20); // Mode 7 (fast PWM), OC2 disconnected  TCCR2B = _BV(WGM22) | _BV(CS21) | _BV(CS20);  // 32:1 prescale  OCR2A  = map(pitch, 0, 1023,    F_CPU / 32 / (9615 / 16),  // Lowest pitch  = -1 octave    F_CPU / 32 / (9615 * 2)); // Highest pitch = +1 octave

 // Start up ADC in free-run mode for audio sampling:  DIDR0 |= _BV(ADC0D);  // Disable digital input buffer on ADC0  ADMUX  = ADC_CHANNEL; // Channel sel, right-adj, AREF to 3.3V regulator  ADCSRB = 0;           // Free-run mode  ADCSRA = _BV(ADEN) |  // Enable ADC    _BV(ADSC)  |        // Start conversions    _BV(ADATE) |        // Auto-trigger enable    _BV(ADIE)  |        // Interrupt enable    _BV(ADPS2) |        // 128:1 prescale...    _BV(ADPS1) |        //  ...yields 125 KHz ADC clock...    _BV(ADPS0);         //  ...13 cycles/conversion = ~9615 Hz

 TIMSK2 |= _BV(TOIE2); // Enable Timer2 overflow interrupt  sei();                // Enable interrupts }

void stopPitchShift() {  ADCSRA = adc_save; // Disable ADC interrupt and allow normal use  TIMSK2 = 0;        // Disable Timer2 Interrupt }

ISR(ADC_vect, ISR_BLOCK) { // ADC conversion complete

 // Save old sample from 'in' position to xfade buffer:  buffer1[nSamples + xf] = buffer1[in];  buffer2[nSamples + xf] = buffer2[in];  if(++xf >= XFADE) xf = 0;

 // Store new value in sample buffers:  buffer1[in] = ADCL; // MUST read ADCL first!  buffer2[in] = ADCH;  if(++in >= nSamples) in = 0; }

ISR(TIMER2_OVF_vect) { // Playback interrupt  uint16_t s;  uint8_t  w, inv, hi, lo, bit;  int      o2, i2, pos;

 // Cross fade around circular buffer 'seam'.  if((o2 = (int)out) == (i2 = (int)in)) {    // Sample positions coincide.  Use cross-fade buffer data directly.    pos = nSamples + xf;    hi = (buffer2[pos] << 2) | (buffer1[pos] >> 6); // Expand 10-bit data    lo = (buffer1[pos] << 2) |  buffer2[pos];       // to 12 bits  } if((o2 < i2) && (o2 > (i2 - XFADE))) {    // Output sample is close to end of input samples.  Cross-fade to    // avoid click.  The shift operations here assume that XFADE is 16;    // will need adjustment if that changes.    w   = in - out;  // Weight of sample (1-n)    inv = XFADE - w; // Weight of xfade    pos = nSamples + ((inv + xf) % XFADE);    s   = ((buffer2[out] << 8) | buffer1[out]) * w +          ((buffer2[pos] << 8) | buffer1[pos]) * inv;    hi = s >> 10; // Shift 14 bit result    lo = s >> 2;  // down to 12 bits  } else if (o2 > (i2 + nSamples - XFADE)) {    // More cross-fade condition    w   = in + nSamples - out;    inv = XFADE - w;    pos = nSamples + ((inv + xf) % XFADE);    s   = ((buffer2[out] << 8) | buffer1[out]) * w +          ((buffer2[pos] << 8) | buffer1[pos]) * inv;    hi = s >> 10; // Shift 14 bit result    lo = s >> 2;  // down to 12 bits  } else {    // Input and output counters don't coincide -- just use sample directly.    hi = (buffer2[out] << 2) | (buffer1[out] >> 6); // Expand 10-bit data    lo = (buffer1[out] << 2) |  buffer2[out];       // to 12 bits  }

 // Might be possible to tweak 'hi' and 'lo' at this point to achieve  // different voice modulations -- robot effect, etc.?

 DAC_CS_PORT &= ~_BV(DAC_CS); // Select DAC  // Clock out 4 bits DAC config (not in loop because it's constant)  DAC_DI_PORT  &= ~_BV(DAC_DI); // 0 = Select DAC A, unbuffered  DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  DAC_DI_PORT  |=  _BV(DAC_DI); // 1X gain, enable = 1  DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  for(bit=0x08; bit; bit>>=1) { // Clock out first 4 bits of data    if(hi & bit) DAC_DI_PORT |=  _BV(DAC_DI);    else         DAC_DI_PORT &= ~_BV(DAC_DI);    DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  }  for(bit=0x80; bit; bit>>=1) { // Clock out last 8 bits of data    if(lo & bit) DAC_DI_PORT |=  _BV(DAC_DI);    else         DAC_DI_PORT &= ~_BV(DAC_DI);    DAC_CLK_PORT |=  _BV(DAC_CLK); DAC_CLK_PORT &= ~_BV(DAC_CLK);  }  DAC_CS_PORT    |=  _BV(DAC_CS);    // Unselect DAC

 if(++out >= nSamples) out = 0; }

[thesmallmeggles]

I Caved... And now visuals for Lo-Wav Delay and potential Post Canon versions of Kale exist

//Image Description: A pencil drawing of an alternate universe Kale Vandelay. He has longer, messier hair compared to his counterpart and sparse facial hair. He is also wearing a collared shirt//

My guiding sense for LWD!Kale was that he should look unkempt and wear flannel. (I did not draw the flannel pattern 😄) So basically Grunge Kale. Considering that he could have brown hair, not decided yet.

Kale serves as a Peppermint equivalent in LWD, and one half of Mission Control with Roquefort. Part of his character arc is learning to chill, take initiative, and cooperate with others. (Not that he isn't already taking initiative with the whole "taking down SPECTRA" thing. It's the start of a long journey)

In my post canon AU, Kale is the only boss who legitimately exploded... And lived to tell the tale to everyone's surprise including his own. So he likely has some scarring, I'm not yet sure to what extent. The doodle below is a full facial situation apart from his eyes. This Kale is wearing a wig.

//Image Description: A pencil drawing of an alternate universe Kale Vandelay with pronounced facial burn scarring//

Post Canon Kale is a grumpy guy who wants to be left alone - but he makes an exception for Roquefort. (The terms of their sentencing forbid the bosses from speaking to each other, however the reason this is possible is because Roquefort made a deal with Roxanne. And then the Dinner Club strikes, opening up contact with everybody else.)

[thesmallmeggles]

Head Canons about The Vandelay Bosses (and Roxanne)

Some of these ideas are based on a role-swap AU that I may developed further, dubbed Lo-Wav Delay. Zanzo and Korsica don't have major focuses here.

General

I headcanon Rekka, Zanzo, and Korsica as being from less affluent backgrounds compared to Mimosa, Roquefort, and Kale. This could just be my own bias talking so IDK whether I'd stick to it.

It's reasonable to assume that each boss had to have sampled their branded beverages. Carte Blanche has one dedicated drinker and it's Zanzo himself. The handful of brave souls who've tried it before it went on market says it tastes "neon green" or "like licking a game cartridge".

Rekka

I'm changing this to 40s because I realize I might be bad at determining ages. 35 years old (unless John Johanas says otherwise)

She was that one kid in school who kept everyone else on track. Likely ran for student council, hall monitor

Lost her hands in a childhood misadventure. May have involved fireworks.

Had more guy friends than girl friends growing up. Not for "drama" reasons, she just had more interests in common with them.

Mimosa

HFR equivalent of Slavic Mimosa (inspired by mimosa salad). Also French, but did not live in France at any point.

Touch adverse (Inspired by the mimosa flower). Haven't thought of an origin for it at this point in time. Could be related to the next point below ⬇️

Mimosa was a singer/dancer before working at Vandelay. A spinal injury cut her career short so she switched to Marketing, another passion of hers.

Roquefort

Dresses like a vacation dad outside of work. (I just think he'd look good in patterned button ups, okay?)

Cat dad! They are well cared for and very spoiled. They have designated climbing areas.

Kale Vandelay

I have this idea that Kale got a full body robot suit from the same incident that Peppermint lost her leg in. However, he upgraded to the one he has in game later. This is a more AU specific HC though.

Roxanne Vandelay

Roxanne owned a Bulldog, which became the inspiration for CUT-WAN.

The device on her chest is a pacemaker.

She worked an office assistant job before Vandelay Solutions got off the ground. It was an *awful* experience. (Kale made Roxanne his secretary while she was SPECTRA'd. We know he's not going to handle that paperwork himself.)

[thetapelessworld]

Hello Samples Release Sweet Chords 4 Organic Modular Chords

Hello Samples Release Sweet Chords 4 Organic Modular Chords

Sweet Chords is back for its fourth instalment, more deep and wise than ever.

This time we’ve put together a collection of chords fed by our modular system as the centrepiece, but also coexisting with our beloved Rhodes keyboard, various synths and custom vinyl textures and soundscapes.

This library is divided in three main categories: Raw Modular, EPxModularxSynth and Re-SamplingxModular. The first one, is a set of chords sampled using exclusively our modules without any additional external processing; the second one, is an array of Electric Piano chords processed through our modular system, adding complementary synths (hardware and VST's) and on top of that some modular chords; and last but not least, we have a batch of resampled music from friends and custom vinyl pressings processed through our modules, giving to it a singular granular texture. Pure bliss!

Rugged textures blending with saw-tooth and square waves, saturating an analog filter’s input with a smooth envelope. Ambient chords using sine waves together with abstract textures and background foley and delays, creating hypnotic rhythms. Wowed Electric pianos (that sweet effect that old vinyl players make when they get subtly out of tune and tempo) nurturing a reverb with it’s feedback set to the infinite, creating a space in your mind that evokes the future but smells like the past.

A total of 1500+ different WAV chords arranged in 69 different construction kits (as many modular patches that were put together in the making). These construction kits have also been put together as Groups for Maschine and Instruments for Ableton with our custom macro programming. Also, due to popular demand, we’ve analysed all chords through a super-intelligent-algorithm (which also makes mistakes) and labeled them with their corresponding keys, for ease of use.

What else can you ask for? We can only hope that you trust your guts to take this trip with us to let your creativity go places!

You can get it now with a 20% discount until May 29th. PROMO CODE: SWEETC4 (Valid until May 29th, 2017)

http://www.hellosamples.com/sweet-chords-vol-4

Gear Used

Modular Synths: Befaco Rampage, Moog Mother 32, Mutable Instruments Rings, Make Noise Telharmonic, Make Noise Erbeverb, Qu-Bit Chord, Rossum Evolution Filter, ZVEX Instant Lo-Fi Junky, Ornament & Crimes (in Quantermain mode) + lots of other utility modules…

Other Synths: DSI Pro 2, DSI PolyEvolver, AAS Ultra Analog VA-2, NI Reaktor.

Other Gear: Sound Skulptor MP573, Pre-amp UA 2192 AD/DA and custom vinyl.

BUY THE SOUNDS  http://www.hellosamples.com/sweet-chords-vol-4

Complete Bundle(Compatible with Ableton Live Suite 9.7, Maschine 2.4.6.4 and most WAV samplers)

Content: · Ableton Live Pack · Maschine Pack · WAV Pack

Size: ~9.4GB (24-bit/44.1Hz)

€34(VAT not incl.)

Ableton Live(Compatible with Ableton Live Suite 9.7)

Content: · 1510 WAV Samples · 182 Presets (91 Drum Racks +  91 Simpler “Select Series” Instruments)

Size: ~3.16GB (24-bit/44.1Hz)

€29(VAT not incl.)

Maschine(Compatible with Maschine 2.4.6.4)

Content: · 1510 Chord Samples · 95 Groups

Size: ~3.12GB (24-bit/44.1Hz)

€25(VAT not incl.)

WAV(Compatible with most samplers)

Content: · 1510 WAV Samples Size: ~3.1GB (24-bit/44.1Hz)

http://www.hellosamples.com/sweet-chords-vol-4

[thetapelessworld]

SAMPLE LOGIC Release TRAILER XPRESSIONS - CINEMATIC MADE EASY

SAMPLE LOGIC Release TRAILER XPRESSIONS - CINEMATIC MADE EASY

Introducing our latest product: TRAILER XPRESSIONS - CINEMATIC MADE EASY TRAILER XPRESSIONS delivers a new approach to cinematic scoring and sound design. Developed for the industry-standard Native Instruments Kontakt sampler, TRAILER XPRESSIONS contains over 1,000 sampled sounds, each of which has been meticulously programmed into 26 instruments and organized within ready-made construction kits making it easy to find that perfect sound for your next trailer or cinematic music track. From suspenseful atmospheres, drones, risers, stingers, and scrapes, to gut wrenching wooshes, brams, impacts, and reverses, this toolkit is geared for your next cinematic production. Cinematic made easy! From September 13, 2017, this new product will be available at an introductory price of $129 for a limited time.

Get It Here https://www.samplelogic.com/products/trailer-xpressions/

AT A GLANCE Contains 26 Kontakt cinematic construction kit Instruments Over 1,000 audio files recorded in .wav format at 44.1kHz/24 bit 4.2 GB sample library MIDI controllable user interface to morph, tweak, and favorite sounds Lifetime user license to use the sounds on any production

WHAT IS TRAILER XPRESSIONS?

TRAILER XPRESSIONS delivers a new approach to cinematic scoring and sound design. Developed for the industry-standard Native Instruments Kontakt sampler, TRAILER XPRESSIONS contains over 1,000 sampled sounds, each of which has been meticulously programmed into 26 instruments and organized within ready-made construction kits making it easy to find that perfect sound for your next trailer or cinematic music track. To develop TRAILER XPRESSIONS, Sample Logic met with trailer music composers and sound designers to determine what they need to achieve the sound they crave with ease. This resulted in Sample Logic teaming up with trailer music composer and sound designer Claudio Pelissero who co-developed the dynamic and creative sonic content of TRAILER XPRESSIONS. From suspenseful atmospheres, drones, risers, stingers, and scrapes, to gut wrenching wooshes, brams, impacts, and reverses, this toolkit is geared for your next cinematic production. Cinematic made easy!

1 PART VIRTUAL INSTRUMENT + 1 PART SOUND FILES = 2 PARTS AWESOME!

Most trailer sound element products and trailer albums require that each sound be licensed on a per use basis, and or are only available as an audio file library. With TRAILER XPRESSIONS our goal was to simplify the creative process by delivering the best of both worlds, a library of license free expressive audio files and a dynamic virtual instrument. Once you buy the product, you own a lifetime license to use it and all of its contents without any licensing or royalties fees. Our main focus is to deliver a world-class product that provides amazing trailer sounds with the flexibility to cater to anyone’s workflow with ease. Not only are the sounds programmed into 26 different construction kit instruments with a UI tailored for morphing and sculpting sounds, but also contains direct access to over 1,000 .wav format audio files that can be directly imported into any DAW. Each audio file name is indicated right inside the instrument, so as you play you can easily see a reference to the sound file location in the samples folder.

THE INTERFACE

Through deep research and long discussions with leading trailer and film composers Sample Logic was able to decode, define, and implement the core set of controls composers use and require. This includes: master hi-cut and lo-cut filters to easily shape the overall sound mix. A real time waveform view that displays the sound being performed along with an adjustable sample start slider to edit the start part of the sample playback. Attack and release knobs to adjust the envelope of the sound over time. A pitch slider that can transpose up and down 1 octave. A delay module with multiple presets. The UI also contains a very important convolution reverb section to send the sound through over 25 different convolutions.

In addition to these amazing effects and parameters, Sample Logic specifically developed proprietary mastering effects for TRAILER XPRESSIONS called Energizer and Polisher – multiprocessor effects for dynamic and dramatic sound shaping. The Energizer brings an edge to the sounds, while polisher adds a final enhanced sparkle. All of these global controls can easily be assigned to a midi controller slider, knob, or wheel and are an integral part of the UI. None of this would be complete without an easy way to access your favorite sounds. In TRAILER XPRESSIONS, as you play through each of the 1,000 sounds, simply hit the heart button to earmark your favorites within each construction kit. Doing so will make each sample’s key on the keymap red so the instrument will recall the sounds that you like the most every time you use the product.

Get It Here https://www.samplelogic.com/products/trailer-xpressions/