#also the sound design

[catmask]

does anyone have like an anti aesthetic. like something you look at and can recognize as a complete fashion/interior design/artistic movement and understand it but it makes you shudder seeing it. i am not talking like “its morally bad” “its poorly structured” like just sheerly devoid of joy for you actually invites a repulse response.

[wojtekaneko]

Haha I've got a whole minute (out of 11) of this Part 47 animatic!!! It's not much, and idk when I even finish it, but I just wanted to post this c: Animating Yorick yapping was my favourite part ^^

[lylahammar]

Zorella, the centaur pop queen ✨

Thank you to everyone who helped me by voting on her final design in the poll from last week! I'm so so so happy with how she turned out 🥰

[prokopetz]

Does your retro game really capture the zeitgeist of the mid 1980s PC gaming scene if it doesn't prominently feature a monophonic square wave rendition of Beethoven's Moonlight Sonata?

[tickfleato]

what if they put harpies in ultrakill

[thepenguisalive7]

Whoops

Clip

[keferon]

Ey Kef about your thinking about some way to reverse the mecha pilot jazz au

Some mecha media has like, dudes outside the mechs helping their assigned pilot on the radio with navigation and locating enemies. Maybe that would be a role that could suit Prowl pretty well

I couldn't stop thinking about this part of Odds of survival

I feel like Prowl being a support class Mecha has some very interesting potential 🤔

[fictionadventurer]

I love libraries.

I'm browsing the WWI shelves (as you do) and notice a very old book about the war. I glance at the first pages that talk about how one day the war will be over and we'll look at this place and not see any signs of the battlefield.

Then it hits me. And I check the publishing date.

This book was printed before the war's end. Not written. Printed. The physical object was created in 1918, while the war in question was raging and the end was as yet uncertain.

Now I'm standing on the other side of the apocalypse, with this physical link to that era in my hands. I'm living proof that the war did end and life did go on and we can all look at the end of the world as a long-ago memory.

Reading old books is cool enough, connecting our minds and hearts through the ideas of people who lived long ago, but there's something extra profound about holding a copy of the book that comes from the time that it was written. It's a physical link between the past and the present connecting me to those long-ago people. A piece of the past come into the future that gives me the chance to almost take the hand of some long-ago reader, to hold something they could have held, connecting not just mentally but physically to their era, a moment of connection across more than a century.

Excuse me while I go weep.

[lucabyte]

my favourite big-hatted not-men with giant holes in their brains where their memories should be (and their kinda-dead doubles called loop/lup)

+bonus doodles because thinking about the taz balance cast for 0.2 seconds reminded me how much i like themmmm

[vaimetanyx]

@themolluscasometimes said she wanted a Skinhe plush and now this skin creature lives in her home because I asked 'how much do you want one?' and everything spiraled from there. The most interesting part of all this has been explaining who and what he is to people not in the know - stay insane svsss fandom

[polaritydisturbed]

Ok no, I have to get it out of my system, Conrad is bad at podcasting. And just recording anything in general.

The sound padding is doing absolutely nothing. Sure, they’ve got it slapped on the walls, but it’s off to the side. Not behind them. Not in front of them. Just... chilling. Which is useless. You want that padding facing the source of the sound so it can catch the waves before they start bouncing all over the place.

Since both Ruby and Conrad are facing forward with the padding off to the side, her voice is bouncing off the wall behind him and hitting his mic again a split second later. That would be making the audio sound muddy and hollow. Having the foam off to the side like that is like putting a bandage next to your cut and wondering why you’re still bleeding.

Right now, the foam is just there for vibes. Bad vibes.

And who told this man to record in a glass box? Glass is terrible for audio. Everything bounces. Nothing gets absorbed. It turns your voice into a pinball machine. You could have a thousand-dollar mic and it would still sound like you’re talking inside a fishbowl. Plus, that room looks like it’s in the middle of an office space? Why, Conrad, you amoeba-brained sycophant, would you record anything there ever?? The background noise alone would be hell on Earth to try to edit out.

Pop filter and foam windscreen (mic cover)??? Both are designed to reduce plosive sounds—like "p" and "b"—by dispersing the air before it hits the microphone diaphragm. While it’s not wrong to use both, it’s redundant unless you're outdoors or in a particularly plosive-heavy environment. Stacking them can even dull the audio a bit.

Your mic doesn’t need two hats. Calm down.

Not an audio note but a soft box light in the shot?? No. Just no. They should be behind the camera, pointing at you. Or at least off to the side, not pointing directly down the middle. And what really gets me? There are windows. Real, working windows with actual sunlight. And what did Conrad do? He covered them with that useless sound padding. So now it’s badly lit and echoey.

He blocked out free, natural light to keep in the bad sound.

"But what if the sun’s there right when he’s trying to record?" some might say. That’s why curtains exist. And the soft box would still be in a bad spot.

Also, his camera audio is peaking like crazy. Even if he's not using the camera mic for the final cut, it’s still useless to record it like this. You know that Xbox early Halo/COD mic sound? That’s what this would sound like.

This happens when the input gain is too high, causing the audio to clip. Basically, the mic can’t handle it and the sound gets distorted. Ideally, you want your audio levels to peak in the yellow zone, around -12 dB to -6 dB. Not constantly slamming into the red at 0 dB. That’s reserved for 13-year-old prepubescents cursing you out for ruining their kill streak. And that’s it.

On top of that, both the left and right channels on the camera audio look identical, meaning the audio’s been merged into a single mono track. Which isn’t wrong for speech, but it kills any sense of space or direction. For dynamic audio, especially in a two-person setup, you don’t want everything crammed into one lane. (OR they’re both just peaking at the same time continuously, even when they’re not talking, which means it’s picking up background noise at a level so loud it’s pushing the mic into clipping.)

And to make things worse, the little "LIVE" tag in the bottom corner implies this is a livestream. But there doesn’t seem to be any livestream software open on his laptop, so I’m assuming there’s either a second offscreen computer handling the stream, or it’s hooked up to broadcast natively.

Either way, unless those mics are also connected to the camera or that other computer, that peaky, crunchy camera audio is what people are actually hearing.

Finally... it really helps if you hit the record button. He’s just playing back audio. I think that’s more of a “show” thing, but still.

(look I got a fancy degree in this stuff and I have to use it somehow)

[artilite]

fuck you *lethal companies your in stars and time*

(long) exposition under cut (spoilers for ISAT + lethal company logs)

This au takes place around the time of sigurd's logs/before them (i haven't decided if Sigurd's crew exists here or not yet)!

Siffrin was someone who used to live on the Golden Planet before it got eaten. They may not remember anything beyond being found in an escape pod, but they're still paralyzed by fear when getting close to the selling window. He's always first in the facilities, making jumps, braving traps, and heading as deep as he can for scrap.

Mirabelle and Isabeau are the medic and fighter respectively, who both came from the same moon colony. They were both pressured into taking jobs by a work-based society, and applied for the company under the impression that it was a short, high-paying internship with nebulous risks.

Odile is their resident ship manager. She keeps a watchful eye over everyone and relays information about monsters, scrap, etc. In absolutely dire situations, she may come help with scrap. Despite claiming to be a first-timer, her badge says Leader??

Nille and Bonnie ended up with the crew after taking a chance to run away from their parents. Seeing a high-paying job that provided everything and would take them far away sounded too good to pass up. Nille lied about Bonnie's age to take them with her. After seeing the reality of this job, though, she regrets not finding another way out. Bonnie is permanently on ship-duty; they mainly type in whatever numbers Odile tells them. Nille is also a fighter, though she prefers the weighty stop sign as opposed to Isabeau's shovel.

Loop, after hundreds upon thousands of quotas, dying every possible death, learning everything they could- even the real identity of The Company- realizes there was one thing they've never done before. They've never died to The Company. Desperate for a way out, and haunted by the whispers and screams beyond the wall, they give themselves up. Maybe that would finally satisfy the monster- to have devoured every last piece of the Golden Planet. Maybe their crew could finally rest easy that way. Well, they didn't loop back. But through the dark and damp, there's static on the walkie talkie. Loop picks up, and hears their own voice just beyond the wall.

(Loop's design is the most different by far, since instead of consuming a star, they themselves are slowly getting digested. They're inspired by the visual of red crying faces from the logs :D)

[yutokusumi]

he's aura farming, your honor

[shummthechumm]

NICKELODEON/BACKYARDIGANS OFFICIAL HIRE ME I CAN HELP YOU!!!!

[donutfrost]

playing around with the idea of noise form neku

[elijah-loyal]

im gon keep yapping about the sound design for the magnus protocol because its driving me insane

the difference between the two podcasts is so drastic its FRIGHTENING

The Magnus Archives intro/outro: high-pitched, screeching, eerie, dies off with what sounds like a stone tumbling into the depths and lights turning on/off, water, sounds like the darkness of a cave that you must descend into even though you're terrified, but you do it anyway

The Magnus Protocol intro/outro: LOUD, deep, bone-chilling/shaking, foreboding, it sounds like darkness in a different way, like the great throat of some unknown beast that is hundreds of times larger and older than us and will swallow us whole; it's fear that hunts us, instead of us hunting it

-

also, side note/addition because i realized i forgot to add WHY it freaked me out

long story short, i was around 50% deaf in my right ear until I was 12 years old (reconstructive surgery truly is something I am so grateful for) and now I'm back to a fairly normal hearing range.

The problem?

I can't hear low tones as easily.

the magnus protocol is heavily reliant on lower tones, so what I hear is likely not how most people hear it, but for me it sputters, almost, parts of it are kind of missing, and I know I'm not hearing it right, which freaks me the fuck out.