#i copied my copy of my copy of my original for that chromatic effect

[pixzelin]

pspsps chronicle 0 art pspsps (design by overtireddoodlr, pose reference by mellon_soup on tiktok)

[e-vay]

Looking back at your aurora and sage besties comic (its one of my favorites, only being beaten by were amy and sonic being a Simp) and I've got to ask, HOW DID YOU DO SAGES GLITCHING SO FRANKEN WELL??? IT LOOKS AMAZING AND I PERSONALLY LOVE HOW THOSE GLITCHS TURN RED WHENEVER SHES ON NEFARIOUS TIMING ARVDGDBABA

YOU ARE MY FAVORITE SONIC ARTIST.

...just wanted to say and ask.

You are so kind, thank you! I'm so happy you like them!

I do a lot of experimenting in Procreate until I find a technique I like. To achieve Sage's glitch, especially if she's doing something a little more wicked so her "red" side is showing, I'll start by drawing her in her blue version and her red version:

I'll select random rectangles from the red version and mask them/cut them out, so she's mostly blue but some red is showing:

I'll duplicate this layer and keep a copy of the "clean version" and apply effects to the duplicate. In Procreate, I'll use the "Glitch" effect and use the “Artifact” setting and mess with it until it achieves a result I like:

This may take several passes.

I duplicate the layers again, because again I always want to be able to go back if I don't like it. Then I'll play around with "chromatic aberration" under the “displacement” setting. She only needs a little for a subtle glitch effect, but if she's meant to look more menacing then I can go hardcore with it:

Then, I'll turn that original "clean" layer back on and I mask out the effect layer so only parts of it are coming through. When computers glitch, normally most of the image stays in tact and only some parts are scattered/messy so that's why I only have the effect in some areas.

I might even slide bits of those rectangles to the left or right. It's just a matter of playing with it until I like how it looks.

I hope that explanation was easy enough to follow along!

Again, thank you so much! I'm really really happy you enjoy my art and stories 🥰 (and I'm delighted to hear you're a fan of Were!AmyXSimp!Sonic hehehe)

[conceiteddemon]

I feel like Ashlyn and her parents WERENT dragged into a rift on the night of her birth, actually. Based on the way rifts work with the sbg kids and their injuries not transferring over from one dimension to the other, I guess I could see how Ash got her hearing altered as a tiny baby if she was fully born in the phantom dimension, because there wasn’t any body of hers to shift back to when the rift closed so the hearing damage copied over from the ‘original’. But there’s a discrepancy with the idea that I haven’t seen anyone point out yet: Mike.

He did not have his iconic facial scar before the encounter!

If this attack happened in the phantom dimension, then logically, the wound would have disappeared when they shifted back into the human reality.

So either there was something different about the nature of this rift than the one in the weed sorrel house, or, in my opinion: the Banners didn’t shift at all that night.

This is the first panel where a phantom shows up, and based on the red lighting, you could infer that they went into the phantom realm. BUT, the lighting at the abandoned building doesn’t have a solid blue to solid red chromatic abberation, like shifts are indicated earlier. Instead, there’s a much more gentle gradient.

Combined with the lack of the 3-D effect on the family, and Mike’s permanent facial scar as well as Ashlyn’s hyperacutitus being present always, not just when reality thins out, I don’t think they went into the phantom dimension at all! Instead:

This thing came out

[theothin]

MTG Math: Dealing massive finite damage with 10 cards on turn 1

MTG can hit some pretty big numbers. There are a lot of ways to create infinite loops, as well as ways to hit strikingly large non-infinite numbers.

Perhaps the best-known example of the latter is the Turn 1 megacombo posted in 2015. Using 60 carefully chosen cards, it sets up a complicated chain of token generation that spirals out into unimaginably huge numbers, while avoiding unbounded loops to keep the achievable damage finite.

Following some recent discussions about it, I decided to try my hand at something a bit more compact, to see what we could accomplish with a smaller number of cards. In particular, I wanted to try avoiding some elements I've seen objections to: the inclusion of Omniscience, and the use of "nearly infinite" loops that only fall short of infinite due to unusual downsides some of the cards were specifically selected for. Personally, I've never been bothered by those things, but it got me thinking about ways to deal massive damage on turn 1 that wouldn't use them.

This strategy uses 10 cards, the smallest number I've found that can reach the scale I'm looking for. 10 in the starting hand, plus a 3 card library - or the top three cards of our library, if we assume there's a full deck under it. Both Omniscience and the "nearly infinite" loops are absent - with such a small number of cards, I'm not even sure how viable it would be to use those effectively in the first place. Here, our cards go from library to hand, hand to battlefield, hand to graveyard, battlefield to graveyard, and graveyard to exile, never reversing direction. But they'll be doing some pretty wild things as they go.

The overall goals are still the same: we're working with a Vintage-legal card pool (updated with another 7 years' worth of cards), and assuming that we draw our perfect hand, aiming to have the maximum possible turn 1 damage be huge but finite. We're not going to get numbers quite as high as the 2015 megacombo, but it should be a bit easier to follow and still deal some pretty enormous amounts of damage. In particular, we'll be taking some inspiration from this recent "3 cards + unlimited mana" strategy, but going a bit bigger.

That all said, let's begin!

---

Step 1: Black Lotus + Channel + Chromatic Orrey

We play Black Lotus for free, sacrifice it for three green mana, and spend two of it to play Channel. A classic start for doing ridiculous stuff. We'll be leaning heavily on Channel to convert life to mana, but it's all colorless, so we use our remaining mana and 6 life to play Chromatic Orrey and allow us to use the colorless mana to pay any mana costs.

This puts us at 14 life, 4 cards in hand, and 3 cards in our library.

---

Step 2: Devilish Valet + Verdant Sun's Avatar + Djinn Illuminatus + Cackling Counterpart

Now we use that life to cast the remaining cards in our hand. Devilish Valet doubles its power every time another creature enters the battlefield, which will be key for racking up our numbers. Verdant Sun's Avatar, meanwhile, gives us life equal to the toughness of each creature that enters, which we'll be feeding into Channel. Casting those two costs 10 life, then the Avatar immediately gives us 5 back, putting us at 9. We spend 7 on Djinn Illuminatus and gain 5, putting us at 7.

We're getting low on life, but Cackling Counterpart can increase our lifegain rate by copying the Avatar. Meanwhile, since it's an instant, Djinn Illuminatus gives it replicate, letting us duplicate it by paying its cost repeatedly. It costs 3, so we can afford to cast it twice, getting two more Avatars. Each one triggers all of our Avatars, so the first gives us 10 life and the second gives 15. (The replication window is at the point when we cast the original spell, so we can't just turn that additional life into more duplicates.)

We now have creatures of three colors (red, green, and blue), so with our hand empty, we can now use the Orrey to draw our last three cards. This costs 5 life, putting us at 21.

---

Step 3: Elemental Mastery + Coercive Recruiter

We pay 4 life to put Elemental Mastery on Devilish Valet, allowing it to tap to make Elemental tokens equal to its power. Then we pay another 5 to play Coercive Recruiter, which lets us untap a creature every time it or another pirate enters the battlefield. We'll point the Recruiter's trigger at the Valet, but while it's on the stack, we've got something else to take care of.

Since playing the Valet, five more creatures have entered the battlefield: three Avatars, a Djinn, and a Recruiter. This lets us double its power five times, to 32. We'll have the doubling trigger resolve first, then tap the Valet to make 32 tokens. This causes the Valet's power to double another 32 times, to 137,438,953,472.

At this point, the Recruiter's trigger resolves, untapping the Valet. We could attack for 137 billion damage and win the game instantly, but we're aiming higher than that. Instead, we tap the Valet a second time, making 137 billion more tokens and doubling its power another 137 billion times. This takes us out of the territory of numbers Wolfram Alpha will let me calculate, but what I can say is that the Valet's power is now billions of digits long. (For comparison, the number of elementary particles in the universe is less than 100 digits long.)

Meanwhile, between those two rounds of tokens and the Recruiter, our trio of Avatars has gained us a ton of life, putting us currently over 412 billion. Which is good, because we're just getting started.

---

Step 4: Djinn Illuminatus and Cackling Counterpart (again)

These two first showed up in step 2, but now it's time to see what they're really capable of.

Cackling Counterpart has flashback, so we can play it one more time from our graveyard. Djinn Illuminatus's replicate effect stacks with flashback, and while the flashback costs 7, the copies go by Counterpart's base cost of 3. So by sinking as much of our 412 billion life as possible into Counterpart, we can copy Counterpart 137 billion times, and use them all to clone Coercive Recruiter.

Every time we get a new Recruiter, all of our Recruiters trigger, letting us untap and re-tap Devilish Valet that many times. Considering that we got this far by tapping the Valet just twice, even describing the numbers in terms of how many digits they have isn't going to keep working. Like with the 2015 megacombo, we'll turn to Knuth arrows.

Tapping a Valet with power N doubles its power N times, which means multiplying it by 2^N. Multiplication is getting insignificant at this scale, so we can pretty much represent the Valet's current power as 2^2^32. 32 is a bit more than 2^2^2, so we can approximate this as 2^2^2^2^2. Repeated exponentiation is also known as tetration or superexponentiation, which Knuth arrows let us show by increasing the number of arrows. So five 2s stacked like this become 2^^5. Which is a bit of an underestimate, since 2^^5 only has 19,729 digits. But 2^^6 has 10^19,727 digits, and we're not there yet. That is, not until we tap the Valet for the third time.

Making 137 billion Recruiters gives us about 0.5*(137 billion)^2 untap triggers, which works out to a bit over 9 sextillion. Tapping the Valet 9 sextillion times puts our (lowball) estimate for its power at 2^^(9 sextillion). This also means that we've created about 2^^(9 sextillion) Elemental tokens, and gained about 2^^(9 sextillion) life from our Avatars.

This sets us up perfectly for our final card.

---

Step 5: Parallel Evolution

Parallel Evolution doubles all of our tokens - the 137 billion Recruiters we just made, the two Avatars from the first time we used Cackling Counterpart, and also the absurd number of basic elementals our Valet has made. And it's a sorcery, so like with Counterpart, we can replicate it. To double our tokens 2^^(9 sextillion) times.

To be honest, I don't actually know enough about numbers this large to have a good idea of how to represent them. I think it might involve further increasing the number of Knuth arrows, but I'm not even certain of that much.

Once the last of the copies resolve, we have about 2^2^^(9 sextillion) Avatars, about 137 billion times that many Recruiters (like all multiplication, pretty much insignificant at this scale), and the Valet has untapped an unfathomable number of times to raise its power to even more unfathomable numbers and spitting out that many elementals each time. Also, each of our tokens trigger all of our Avatars, raising our life to absurd heights.

The enormous amount of lifegain has one more chance to be significant, because Parallel Evolution also has flashback.

Our initial volley of 2^^(9 sextillion) copies of Parallel Evolution is nothing compared to the number of times we can copy it now. Again, I literally don't know enough math to even know which notation to use to keep describing this. (If you do know, please tell me.)

Whatever the numbers are, eventually the dust settles. We're left with a ridiculously huge Valet and its enormous army of elementals to swing with, far beyond any conventional definition of overkill.

As enormous as these numbers are, they're still nowhere near the ones achieved in the 2015 megacombo, let alone the more recent revisions. The 2015 megacombo's final damage count has 408 Knuth arrows compared to the handful here, and even after several attempts, I still can't fully wrap my head around half the things it does. In comparison, this is more of a tame, straightforward counterpart - but still plenty ridiculous in its own right!

I don't know if anyone has posted better strategies for this or similar conditions, but if you've seen any, let me know. Thanks for reading, and I hope you enjoyed it!

[doshmanziari]

Most English-speaking people today who are aware of videogame developer T&E Soft only know of them through two titles: the first Hydlide (specifically the, by 1987, dated/inferior NES re-release) and Virtual Hydlide. Both of these have acquired a pretty undue notoriety, mostly encouraged by the exaggerations of e-personalities intent on making everything out to be either AWESOME or LMAO TERRIBLE, since that’s what gets the most attention. It’s better to see Hydlide in its PC-6001/PC-88 context as an innovator of the action-adventure-RPG genre, and the influence for the first two Ys games’ format (also little-known: Ys III: Wanderers from Ys was modeled on the design of Tritorn 2, a game by developer Sein/Xain/Zain Soft; it even copied some of the settings!). Understood as such -- compare the PC releases of Hydlide to, e.g., the original Dragon Slayer, also released for the PC-88 in 1984 --, we can also begin to understand its popularity as a consequence of something more than millions of Japanese citizens being deprived and deluded. Virtual Hydlide is noteworthy too as a strange and perhaps unique attempt at crafting a lightly randomized, score- and time-based 3D arcade game for a home console using the overworld + dungeon crawler format. Its most significant downside is a miserable framerate. I get why this would put people off from playing it, especially since it’s always conflicted with the design’s speedrun-like emphases. But if this were the worst thing you could knock a game for, the medium would be specially positioned among all others for a minimum of faults (hint: it isn’t).

With that preamble out of the way, I’d like to bring to unaware readers’ attention Rune Worth 2 and 3, released for the PC-98 in 1991. As usual, if your only resources on the English-speaking Internet for videogames are Wikipedia and MobyGames, you would probably never know about either of these (Wikipedia cites the first Rune Worth (1989) for the MSX, but says nothing of the sequels; MobyGames does not even cite the former). The Rune Worth series was, by all appearances, T&E Soft’s successor to Hydlide, and while it is formally organized as a trilogy, the three-months-gap between the second and third installment’s release, their discounted price, and the way in which 3 picks up right where 2 leaves off (to the extent of being able to transfer your character data from one to the other), means that, really, there are two full entries. Much of this information was laid out on a dedicated stream for both these games by Macaw45, who has dedicated years to researching, cataloguing, and exposing people to lesser-known videogames. If you can’t read Japanese, or just don’t want to play the games yourself, the embedded video would be your best bet for seeing them in action.

There are many things to say about Rune Worth 2/3 -- the dramatic introductory sequence preceding the main menu, the luxuriant sprawl of its public spaces (one can, for example, go out to the first castle’s rooftop, partitioned into a little pseudo maze, despite no requirement for doing so), its equal emphasis on setting, story, and action -- but since I’ve elected to make this into an image-based post, I want to illustrate how amazing these games look. Even from a distance, many PC-98 games have a distinct and highly abstract composure; and, looking at them up close, where the unlikeliness of certain chromatic and textural decisions make themselves known, it’s a wonder over and over again how representation emerges from what I described in a post about Super Hydlide as “an ornate and time-worn carpet.” The resemblance to a tapestry is especially obvious with Rune Worth 3 and its faded floral border depicting a grape vine. The overall visual splendor of these mosaics on a PC-98 monitor would, of course, be all the subtler and greater.

Over time, a handful of early- to mid-90s Japanese PC videogames have gotten more exposure in the West as the consumption of anime and nostalgic sentiment have grown hand-in-hand (not infrequently to pathologically anti-social effect). The bulk of these have tended to be of the visual novel/eroge type. YU-NO: A Girl Who Chants Love at the Bound of this World, released in 1996 for the PC-98, is a particularly popular example, in part because of its soundtrack by Ryu Umemoto. For me, the in-game artwork for these titles can be technically commendable, but is otherwise not very exciting. When I look at Rune Worth 2 or 3, it sometimes reminds me of looking at artist Kathleen Ryan’s beady sculptures of rotting fruit and marveling at the surprising vibrancy and coloristic range within putrefaction: the intersection of the beautiful and ugly, and its fructifying of the grotesque. This extends to a number of PC-88 titles too, like Sorcerian (Falcom, 1987) and DIOS (Zain Soft, 1989). In some cases, there is a remarkable convergence of visual grit/granularity and fidelity, maybe exemplified best of all by the PC-98 release of Xak III: The Eternal Recurrence (MicroCabin, 1993). But even there I find myself missing the marvelous polychromaticism of these two Rune Worth games. The intention for, say, Super Nintendo games to be played and seen on CRT TVs has never been an impediment to contemporary indie developers mimicking their look for modern LCD monitors. Even if it feels unlikely, then, I wonder if we will one day see a small revival of that fibrous, loom-woven PC-88/PC-98 look.

﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌﹌

You can support my writing, music, and artwork on Patreon.

[theletterwsartflap]

Making the Screenshot/TV look

I ended up compiling this for a Discord server but I’ll share it here too.

Imgur version: https://imgur.com/a/LREsOA9

alright so you got your drawing all nice and finished up but you wanna give it that tv look for an extra pop, eh? This tutorial will be for Krita but the majority of the techniques can be applied to other programs. I'll try to include the workarounds for the odd Krita specific thing. 

As you could see, I had things segmented into quite a few layers. To make things easier on yourself, group things up based on how close they'll be to the viewer/camera. In this instance, closest was the ground (labelled Ground Merge), then Elec Man (char merged), and then lastly the backdrop (bg merged). While layer naming isn't necessary, it'll save you a lot of headaches further down the road. What I've done is duplicated the components and merged the duplicates, and put the originals all in a folder labeled Master. Some of my filtering requires merged components, and some requires individuals, and this'll make it easier to grab them as they're needed.

First, you'll duplicate your character merges 3 times. In Krita, apply each of the Copy layer types to them, normally found in the Misc category. I've moved them to favourites because I use them so much. 

You also move each layer in a different direction, I generally move the CR and CG layers 1-2 px to the right and left, and then the CB layer 1 px down. You want it to just be visible to give that sort of screen burn look. While I haven't made new layers for this tutorial, you will end up with a particularly sharp looking image. 

To remedy the sharpness, on each one you'll be applying a 1-2 px Gaussian blur, depending on your canvas size/dpi. You want it just to start looking out of focus. ( Filters > Blur > Gaussian Blur)

ALTERNATIVE METHOD: Some time after I started doing it this way, Krita added in a filter that does more or less the same thing in the G'MIC-QT filters. I'm not sure what other programs also feature this, but I know there are a few. (Filters > Start G’MIC-qt)

Navigate to the Degradations drop down and select Chromatic Aberrations. You'll prolly want around 2px for each of the values so it just shows like the long method I mentioned above. Again, you'll want to do this on a single duplication of your merged character. You will also apply the small Gaussian Blur to this layer as well. For other programs which are unable to do either method, I -believe- what you can do is a triple duplicate of the merged layer, set each one to Exclusion, shift them so the colour distortion becomes visible, then remerge. It's been awhile, but I -think- that's what I used to do in Photoshop. 

To solve the out of focus issue, re open your Master files and duplicate JUST your ink layer. Move said duplicate to be above the burn layers, and drop it to around 75% opacity. Sometimes setting it to Overlay makes for a more optimal look, usually with overall darker lines. You can experiment with a 1ish px blur if you find it's too sharp, but I don't usually find that necessary. 

These methods are then also applied on the background elements. To push for a feeling of distance, simply apply a heavier blur on the Copy/Chromatic layer(s). 

These were also duplicate layers, each with a different blur applied to them. I don't mess with my base duplicates as it makes it easier to continue duplicating off them instead of remerging the master copies each time. 

The bg DOF (Depth of Field) layer had exactly that applied to it, then dropped down to 60% range opacity. I wanted it to gradually fade off and not overpower the background as a whole. This can also be achieved by using layer masks and a Gaussian Blur... whatever suits your fancy. I also applied this to a duplicate of the foreground concrete he's sitting on. 

If your character has any cool glowy bits, you can put these in here. I place it above the filtered layers and use an Airbrush to get the effect. Usually a more intense version of the colour I want glowing with a lighter core. I tend not to use whites/near whites unless I really want it to come off as piping hot or frigid cold. 

Next, you'll either take a circle gradient or your airbrush in a dark colour (I tend to use blues as I find black to be a bit flattening) and darken the edges. You can set this to either Multiply or Overlay, depending on what kind of vignette you want. This helps sell a camera look, or perhaps an old tv. I rarely leave them on 100% opacity and it's completely fine if you find yourself fiddling with the value to get it just right. I shouldn't have to say it, but I hope you've saved at least a couple times at this point. 

Create a new layer folder and set it to Pass Through, or whatever allows it to apply effects to things below it. Folders simply allow you to turn on and off clumps at your will, which is exactly what I've done to make this image into a tutorial instead of redoing the whole process ;). Create a new layer and fill it with white, and use your HSV (Hue Saturation Value) Adjustment window to drop it to exactly 50% gray. Common Shortcut is Crtl+U. Set the layer to Overlay and it'll basically disappear... you want this for your Noise/grain layer. (Filters > Other > Random Noise)

I tend to leave it at the default settings and use the Opacity to dictate how intensive it actually is. I want it visible in this case, but not so much it feels like an eye migraine. However, there are some cases you may want stronger ones. 

Next, plop a big ol rainbow circular gradient over your image. The width of the loops doesn't matter too much. 

Set this layer to Soft Light (in this case I used Photoshop's Soft Light specifically, though it doesn't matter too much. It's just whatever one I happen to click on.) and drop it to a very, very low opacity, usually under 20, if not 10%. This adds a slight colour distortion over the image, something subtle you don't even usually notice on older TVs. 

For subtitles, type them out in white Arial, centered formatting. 

Then simply add a black outline, either through a Stroke layer style - which I don't believe was actually working at the time I made this image. I instead duplicated the white text layer and flattened it, lowered the value to pitch black and expanded the fill by a pixel or few to get the outline. Whatever suits your workflow. 

And sign your work, you’re done!

sidenote: While I didn't use scanlines on this image (or film streaks), they're really quite simple to do. You can make a pattern with one 50% gray pixel and one white, vertical and apply that, then resize as needed. Setting it to Overlay will make the gray pixel invisible. If you feel the need, you can blur it a bit so they're not quite so harsh... it all depends on how exactly you want it to look. Experiment! For vertical running film streaks like you'd see in really old cartoons, I just use the Krita Filter. 

These methods aren’t concrete, this is just my workflow to achieve the effect.

[2bstudioblog]

Flame vs Katy Perry

So, a terrible thing has happened in the music world and that makes my calling of not pursuing a commercial career more and more evident due to the latest ruling between Katy Perry vs Flame case. First of all let’s go over the points again what it means when it comes to copyright in music.

What can you copyright?

You can copyright lyrics and melodies. That’s pretty much it. Anything else are the building blocks of a song that makes up the genre.

What CAN’T you copyright?

In music we say that melody is never complete without the ornamentation surrounding it, that will say the building-blocks that are required to make up the genre. If we start copyrighting a genre, we wouldn’t have genres to begin with.

A genre is built up with the following things besides the melody:

Chords

Chord-structure

Bass-line

Rhythm (Percussion and drum-patterns, now included MPC based hiphop rhythms)

+ plus any orchestration techniques spanning from the last 300 years.

Music is not a SPORT, it should be enjoyed!

When it comes to writing music, most commercial artists are moving around the circle of 5ths, a kind of a chord-relation-chart that tells you basically which chords are connected that could lead to other 5 chords surrounding the song. But other genres like jazz basically goes beyond the circle of 5ths, trying to explore new grounds. And just like with jazz, in the early days, it all started with taking already existing songs and twists them in a certain way so they became something very different from it’s source. For many people this is a challenge that gives people, who are good at their craft, when crafting a cover, respect. For me, privately, I was never a big Beatles-fan, but I find arranging their simplest songs into something more complex exciting and fun! And if I can take their pop-song like “Day Tripper” and turning it into a slick funk-jazz version, with new harmony and melody and keeping the lyrics, I’m honoring the original material. And of course, when I perform the song I let the audience know that I’m doing a cover, not a copy-band project. And with that said, I contribute to The Beatles royalties by honoring them with a new version of their song.

But taking a 4-chord song like Day Tripper means I can change so many things about the song, but the most important thing I try to not to disturb too much, is the melody, but I do have to compromise with a new voicing, changing the line to match up with the new harmony. But the lyrics have not been changed. So no matter what, this is still “The Beatles” copyright I’m dealing with.

If I would pass this on as my own “original” work, oh boy would I be in trouble.

Song vs Song

There are a few similarities in the song, but also those similarities are broken when we start listening for the things more in detail. Let’s break it down really easily with the first thing that hits our eardrums first.

THE OSTINATO

An unbroken rhythm in 1/8 division. In Flame’s song it starts on C and crawls down to an A on the keyboard, chromatically in the key of A minor (The C-major’s little brother, all white-keys on the piano. The rhythm looks like this: CCCCBBBA.

Katy Perry has a similar thing, but not in a synthlead but with a voice-based synth. It’s in a different key, but let’s pretend that it’s in the same key, her ostinato goes like this: CCCCBBAA

Verdict: Not the same. I consider this to be a RIFF, not a melody.

THE TEMPO

Tempo comes from the Italian word, that basically means “TIME”. You can’t copyright time. Tempo really determines the feel of the song and sets up all the instruments way to be played. On a score-sheet you will see a designated tempo in bpm: 120 bpm (120 beats per minute, or 2 beats per second.) Besides the tempo, you might even get an indication how the beat/tempo should be felt. Like in swing music we usually notate it with 2 8th notes, tied together with a triplet indicator. But to write it all out like that, to simplify the notation with usually write 2 8th-bar notes, then an = sign telling the result on how to read it as a dotted 8th tied to a 16th note, explaining a shuffle-feel.

In this case, both songs are played STRAIGHT. No shuffle what so ever.

Verdict: not the same, but you can’t copyright a TEMPO.

INSTRUMENTATION

Flame’s instrumentation is sparse, very simple. Using prominently a saw-tooth synth with a slow-portamento (glide effect between 2 notes) that actually obscure the “true pitch” in the ostinato.

Katy Perry has a more full-fledged arrangement with more instruments, harmonies and different sound-sources. Her ostinato consists of a more organic, voice like quality sample.

Verdict: This would be silly if we all could copyright instruments. We can’t.

Melody

This would be THE MOST IMPORTANT thing to see if the songs are similar. But they AREN’T.

In Flame’s case, majority of the verses are being RAPPED, without any melodic content to the voice.

Katy Perry actually sings a real melody.

Verdict: Not EVEN CLOSE! Katy Perry is in the SAFE ZONE on this one.

Lyrics

Tightly connected to the voice are the lyrics. Are they the same? Thematic content? DO they line up EXACTLY THE SAME?

In Flame’s song, the lyrics is about Religion.

In Katy Perry’s song it’s about Friendship, wins and gains, not making enemies, of course looking at the video it kinda contradicts the message in a fun way, but that’s what video-producers do.

Remember the fight scene in The Punisher (2004) between The Punisher and the tall Russian? The music behind it is a classic Italian opera, which really turns the gruesome battle into a dark comedy.

Verdict: Katy Perry is SAFE on this one as well.

SAMPLES

On this note, it gets a little bit hairy. The biggest question is, did they use the same phrase, the same wording from FLAME’s recording?

Is it a common phrase used in that genre of music? If so, Michael Jackson would sue everyone for using his classic -”c’mon!” from millions of other artists.

Where the phrase lies in the song is about the same, it’s like the introduction before the artists start singing in both songs.

Biggest question of them all, DID TEAM PERRY STEAL a sample, from a song they claim they haven’t heard? The voice who introduces the song also include Katy Perry and the Rapper Juicy J in his voice. Another voice-actor and not the singer from FLAME’s recording? This is a tough one to break. But it’s only 4 words we are talking about. And it happens in the same area of the song.

It just happens that sometimes, songs overlap each other like stars in the sky, making a perfect line. I know a lot of songs that sounds alike, but nowhere close to be copyrighted because of LYRICAL and MELODIC content.

VERDICT: This is the only point that’s of interest of the discussion. Would love to hear the process of how they both ended up with the same wording and a similar voice on both of the recordings. The voices sounds really close to each other, but the other voice still extends the recording, making me believe it is NOT a SAMPLE but an ORIGINAL RECORDING specially made for KATY PERRY’s SONG. 50/50. But I’m pretty sure it’s an ORIGINAL RECORDING. And copyrighting a COMMON PHRASE would be LUDICROUS. Then Shakespear would OWN THE ENGLISH LANGUAGE!

These were my thoughts.

[davybe777]

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I started to manipulate my image digitally using Procreate.

Image 1 - I copied the image, flipped it and blended it using Multiply. I then distorted the image using the Liquify effect.

Image 2 - I copied the image twice, scaled them down and rotated them to fit on top of the original layer. I then blended them using Subtract.

Image 3 - I copied the image twice, scaled them down and rotated them to fit on top of the original layer. I then blended them using Exclusion.

Image 4 - I edited my original image, increasing the saturation to bring out the colour and also show more of the grain from the scanned image. I then copied and pasted different sections of the image and blended them together using Multiply.

Image 5 - I created this image using two different effects, Halftone to make it look closer to a screen print and Chromatic Aberration. I played around with the scale of the Chromatic Aberration until I got it to a result I was happy with.

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[mtgaddicted]

Budget Mana Base for Commanders: 5 colors decks.

How many times have you heard that a good deck needs to have all original dual lands and fetchlands so its mana base is fine? As long as you are a millionaire or you're playing on Cockatrice that is really easy and possible to do, but, for the rest of us whose budget is limited we have to come up with something else.

In this article I will show you how you can get an effective mana base for a 5 colors commander without having to sell a kidney to do so. It can be used for any kind of deck (2 colors, 3 colors, and 4 colors) but i’m focusing more on 5 colors. A brief disclaimer: This is only my opinion on what works best, so don't take it as a final word, and you can make any changes you like, fitting your needs.

First, we have to cover the basics of every commander deck: Land-No land ratio. I like to run my decks with approximately 34 lands. Recommended are around 36/38, but with mana accelerators i find 34/32 lands fine, 32 the lowest. It really depends on how many accelerators you have and your average CMC for the deck.

The second important point to consider are mana accelerators, which are divided into three: Ramp spells, mana creatures (which I wont cover, as it depends totally on your deck), and mana stones. Some colors have a better chance to ramp than others, being green the master of ramping, so you have to take that into account.

Third are mana fixers, because running 5 colors can get you one color screwed.

And finally, before actually starting, you have to check your commander's color ratio, and see which colors predominate.

Now, the mana base. We're going to start from the most expensive to the cheaper.

 First: The lands.

Yeah, believe it or not, the lands end up being the most expensive cards in a deck (well, there re some ridiculous expensive cards that do not count.) Lands can be divided into:

Multicolor lands: Lands that produce multiple color.

Fetch Lands: Lands that search for other lands.

Utility lands: Lands that can be used for other things beside generating mana.

Basic lands.

 For multicolored lands we have 2 color lands, 3 color lands, and all color lands. I find the all color lands the most important for 5 color commanders, as they can generate any color for anything in your hand or your commander. Depending on your deck, you could have better chances of getting this lands than other decks. Allies decks have Ally Encampment, Dragons have Haven of the Spirit Dragon, Elementals have Primal Beyond , and so on. Among all colors lands we have some really REALLY expensive (Cavern of Souls, and Glimmervoid) that if you have them you can include them, but those are 0 budget friendly.

 Lands that are a total must:

City of Brass

Command Tower

Mana Confluence

Exotic Orchard =  Unless playing against a monocolor deck, this usually generates from 3 to all colors.

Forbidden Orchard =  If you don’t mind giving a token to an opponent.

Grand Coliseum =  Enters tapped, but still really helpful.

These generate any color mana with no restrictions, which is great.

 Conditioned Lands:

Ally Encampment =  For allies tribal.

Ancient Ziggurat =  Only for creatures.

Haven of the Spirit Dragon =  Only for Dragons

Pillar of the Paruns =  Only for Multicolored

Primal Beyond =  Only for Elementals

Sliver Hive =  Only for Slivers

Spire of Industry =  Only if you have artifacts, which you will probably have.

Thran Quarry =  It must be sacrificed if you have no creatures.

 Helpful Lands:

Aether Hub =  If you use energy counters.

Crucible of the Spirit Dragon =  For dragons.

Gemstone Caverns =  To head start.

Lotus Vale =  It's not too cheap, but if you can untap target land…

Mirrodin's Core =  Putting a counter on it can be really useful.

Opal Palace =  Your commander enters with +1/+1 counters.

Tarnished Citadel =  If you don't mind the 3 damage.

Undiscovered Paradise =  For landfall or if you can play more than one land each turn.

 Depending on the ammount of lands and the speed of your deck, you can add the Vivid cycle (Vivid Crag, Vivid Creek, Vivid Grove, Vivid Marsh, and Vivid Meadow) if you think you will need them.

 To avoid:

Transguild Promenade, Rupture Spire =  Enters tapped and cost 1 mana. If your opponent blinks them…

Henge of Ramos, Holdout Settlement, School of the Unseen, Shimmering Grotto, Unknown Shores =  Those are just filters, don’t fill your mana base witht that.

Tendo Ice Bridge =  A single counter isn't worth it, unless you proliferate a lot.

  Multicolored lands are nice, they can generate 2 or 3 colors, which is very versatile. 3 colors are the the most versatile, but they are not fetchable. I would include 2 or 3, with the most predominant colors in my deck.

 3 color lands:

Arcane Sanctum

Crumbling Necropolis

Frontier Bivouac

Jungle Shrine 

Mystic Monastery 

Nomad Outpost

Opulent Palace

Sandsteppe Citadel

Savage Lands

Seaside Citadel

 The exception for this is Murmuring Bosk, which can be fetched.

The Lair lands can be used, but they slow a little bit the game.

 The 2 colors lands are a LOT, but useful budget lands are not that much. Shocklands are very useful, but the price of them is not budget friendly, so, if you have some add them to your deck, otherwise you should include these:

Canopy Vista

Cinder Glade

Prairie Stream

Smoldering Marsh

Sunken Hollow 

 Then, some other useful 2 colors lands:

Choked Estuary

Foreboding Ruins 

Fortified Village 

Game Trail 

Port Town 

 Adarkar Wastes 

Battlefield Forge 

Brushland 

Caves of Koilos 

Karplusan Forest 

Llanowar Wastes 

Shivan Reef

Sulfurous Springs 

Underground River

Yavimaya Coast

 Tainted Field

Tainted Isle

Tainted Peak

Tainted Wood

 Temples are really good if you want to scry, even if the slow the game a little bit.

 To avoid:

Lands that enter the battlefield tapped with no other effect and add 2 colors. Also Gates, unless you're playing them all and Maze's End. Bouncelands can be fine, for fewer color decks, but 5 colors are not worth it.

 Fetch Lands are really important lands, and something I didn’t really understand when I started Magic. It not only helps you fixing your mana, but also reduce the number of lands in your deck so later on in the game you wont be drawing lands. There are some really good fetchlands that are overlooked and budget friendly:

Ash Barrens =  Not really a fetchland, but its cycling is really helpful.

Bad River

Bant Panorama

Blighted Woodland

Esper Panorama

Evolving Wilds

Flood Plain

Grasslands

Grixis Panorama

Jund Panorama

Krosan Verge

Mountain Valley

Myriad Landscape

Naya Panorama

Rocky Tar Pit

Terramorphic Expanse

Terrain Generator =  Not fetching, but helps ramping.

   Utility Lands really depend on your deck. So you have to search them depending on your needs. However, there are some basic utility lands you have to consider:

Arcane Lighthouse =  No hexproof or shroud for your opponents.

Bojuka Bog =  I always add this. Because you don’t know when are you facing a reanimate deck.

Cathedral of War =  Exalted.

Crystal Quarry =  A 5 colors filter is not that bad.

Cascading Cataracts = A 5 mana filter and indestructible.

Darksteel Citadel =  Indestructible.

Ghost Quarter =  Because we are mean and your Cabal Coffers is not fair.

Llanowar Reborn =  Graft.

Mage-Ring Network  =  Mana storage.

Mirrorpool =  Copy things.

Nephalia Academy =  Discarding to Top.

Nykthos, Shrine to Nyx =  Devotion.

Reliquary Tower =  No maximum hand size.

Riftstone Portal =  Put it in the Graveyard.

Scorched Ruins =  Untap it somehow.

Shrine of the Forsaken Gods =  Extra mana with 7 lands.

Temple of the False God =  Extra mana with 5 lands.

Thespian's Stage =  Copy land.

Unstable Frontier =  Turns any of your lands into any basic land.

Untaidake, the Cloud Keeper =  2 colorless only for legendary creatures.

Wirewood Lodge =  Untap target elf.

  Not super Budget but if you can have them…

Urborg, Tomb of Yawgmoth

Vesuva 

 Hideaway lands are excelent depending on the deck you're running.

Manlands are cool too.

  Basic lands should be considered last, but you should keep at least one of each type, specially for ramp spells and fetches.

 With a land base done, everything else depends entirely on your deck. Here are some sugestions you can cosider.

5 colors commanders have the benefit of using all mana stones, so it wouldn’t be a problem. The number of mana rocks really depend on you, but here are some that you must include:

Sol Ring

Chromatic Lantern =  Not too cheap, but it is a must.

Commander's Sphere

Fellwar Stone

Darksteel Ingot

Gilded Lotus =  Went up in price, but it's worth it.

Mind Stone

Star Compass =  If playing enough basic lands.

Coalition Relic =  Not budget friendly, but it is a good card to consider.

 If needed, these are fast accelerators and also generate color if needed:

Talisman of Dominance

Talisman of Impulse

Talisman of Indulgence

Talisman of Progress 

Talisman of Unity

Thought Vessel

  Ramp Spells are usually green, but there are not only green ones.

 The green ones:

Cultivate

Explosive Vegetation

Farseek

Harrow

Journey of Discovery 

Kodama's Reach 

Mwonvuli Acid-Moss =  This one is forest only, but the land destruction is good.

Nature's Lore

Peregrination =  Not too recommended for the cost, use only is necessary.

Rampant Growth

Shard Convergence

Spoils of Victory 

 The non green:

Expedition Map

Gem of Becoming 

Gift of Estates

Knight of the White Orchid

Kor Cartographer

Oreskos Explorer 

Solemn Simulacrum

Sword of the Animist =  An equipment, yes, but very useful.

Tithe 

Wayfarer's Bauble 

  For the mana fixers I only have a couple of suggestion

Prismatic Omen =  Not budget friendly, but it is really good.

Celestial Dawn =  Beware of Iona.

Pulse of Llanowar

The already mentioned Chromatic Lantern for this.

  Again, you don’t have to include everything you see here, but you can get a nice diea on how to fix the mana of your deck :)

So, what do you think? :D

[joannemaly]

Gallery and impressions: The Tamron 100-400mm F4.5-6.3 is light, sharp and stabilized

Shot on the Canon EOS 80D. ISO 800 | 154mm | 1/200 sec | F5.6

The Tamron 100-400mm F4.5-6.3 Di VC USD is a well-priced ($800) telephoto lens with a useful zoom range. Available in both Canon EF and Nikon F mount, this lens is useful on both full-frame and crop bodies, offering a 150-600mm equiv. field of view on the latter. We first saw it at PPE 2017 and were impressed by its reasonable size and weight given its reach – at 1.11 kg / 2.45 lb - it is the lightest lens in its class.

See our Tamron 100-400mm F4.5-6.3 sample gallery Optically, the 100-400mm is constructed of 17 elements arranged in 11 groups, including low-dispersion elements to correct for aberrations. It also features multiple coatings to reduce ghosting and flare, as well as a protective fluorine coating on the front element. Image stabilization is crucial when it comes to long zoom lenses and Tamron's optical Vibration Correction system offers the equivalent of 4 stops of correction (CIPA rated).

Shown with the optional tripod collar attached, sold separately for $130.

Key Specifications:

100-400mm zoom range

150-600mm equiv. field of view on APS-C

F4.5-6.3 maximum aperture

VC Image stablization

Dust and moisture resistant

Silent AF

Florine coating on front element

Minimum focus distance: 1.5m

Maximum magnification ratio: 1:3.6

Filter thread: 67mm

Available in Canon EF and Nikon F mount

Wildlife and outdoor sports shooters can take solace in the fact that this lens is moisture resistant, with eight rubber gaskets, including one at the base of the lens mount. It's compatible with Tamron's TAP-in Console, allowing users to update firmware and/or fine-tune AF. It can also be used with the company's 1.4X and 2X teleconverters. An A035TM accessory tripod collar is sold separately for $130.

Shot on the Canon EOS 5DS R. ISO 200 | 100mm | 1/1600 sec | F4.5

Design and Handling

According to Tamron the lightweight design of this lens is mostly due to its magnesium alloy internal construction, though it is worth noting the outer shell of the lens is plastic (the lens mount is metal). The lens telescopes when zoomed, increasing in length about 50%. At its most compact it is about 20 cm / 7.8 in long.

Well-constructed, solid feeling and well-balanced, nothing rattles around inside the lens when shaken (my favorite test). Zooming from 100mm to 400mm requires a one quarter turn of the large rubberized zoom ring (located at the front of the lens).

Zooming from 100mm to 400mm requires a one quarter turn of the large rubberized zoom ring

'Lens creep' is an annoying fact of life when using telescoping lenses, fortunately it was not an issue during field testing. Just in case, there is a lock on the lens barrel (which can only be used when the zoom is retracted in to 100mm).

Toward the base of the lens barrel you'll find an AF/MF switch as well as as a controller for selecting one's VC (vibration compensation) mode: Mode 1 is for normal stabilization, Mode 2 is for use when panning. Users can also turn off VC completely, which useful if you're on a tripod. Just below the focus ring is the focus distance scale window.

Performance

Hand-held at 400mm, shot using a 1/125 sec shutter because I live in Seattle and it is always dark outside. Shot on the Canon EOS 80D ISO 800 | 400mm | 1/125 sec | F6.3

Tamron is pitching this lens as appropriate for sports and wildlife shooters, two groups that require reliable AF and effective stabilization. Fortunately, our real world usage shows the 100-400mm excelling in both areas.

The image stabilization system proved effective at helping to eliminate camera shake at shutter speeds I'd ordinarily not feel comfortable using, given the focal length used. The moment you engage AF the IS system kicks in – with one's eye to the finder the effectiveness of the compensation is immediately apparent.

Autofocus is both silent (hello ultrasonic drive) and fast (powered by two processors). Acquisition is nearly instant in AF-S and it's equally fast and impressive in AF-C. Users can expect it to maintain focus on the moving subjects they point it at, assuming their camera body is up to the challenge.

Image Quality

The lens is sharp through the zoom range, out of focus areas are also inoffensive. Shot on the Canon EOS 5DS R. ISO 400 | 400mm | 1/500 sec | F6.3

Though this lens has a slow maximum aperture and is best used for daylight shooting, all signs point to it being optically very good. Our copy of the 100-400mm was well-centered and universally sharp across the frame at all focal lengths we shot. Ghosting and flare are rare.

[It is] universally sharp across the frame at all focal lengths we shot

Chromatic aberration is also really well controlled, though it does appears in some images. Lateral CA is easy to correct in Adobe Camera Raw and other Raw processing programs.However axial CA, which you can see in this shot, is much more difficult to correct for. We also noted some vignetting when used on full-frame, but that is also fairly easy to correct in post.

Bokeh is about what we would expect for a complex telephoto lens. It can look nice toward the longer end, when there's good subject separation, but closer to 100mm, it can look a little busy, as is the case in this shot.

Conclusion

For travel photographers looking for a casual, lightweight telephoto lens to explore with, the Tamron 100-400 F4.5-6.3 is a solid choice. Shot on the EOS 5DS R. ISO 400 | 143mm | 1/1250 sec | F5

The Tamron 100-400mm F4.5-6.3 is a great telephoto lens for daylight photography, whether your subjects are moving or not. It offers fast, silent autofocus, good stabilization and is optically impressive at all focal lengths. All that comes in a weather-resistant package that also happens to be the lightest in its class.

We feel comfortable giving it our recommendation

Priced the same as the Sigma 100-400mm F5-6.3 DG OS HSM, the most obvious difference between the two is the Tamron is faster on the wide end, F4.5 vs F5 (and it's also a hair lighter). That aside, the two offer very similar features like image stabilization, multi layer coatings and special elements for dealing with CA. We'll have to revisit the Sigma to see just how well the two compare. But having spent a good amount of time with the Tamron, we feel comfortable giving it our recommendation.

What we like:

Sharp, versatile zoom range on both APS-C and full-frame

Lightest lens in its class

Moisture and dust resistant

Impressive image stablization

Silent AF is fast and accurate

What we don’t:

Slow aperture range

Pricey tripod collar sold separately

Vignettes on full-frame (though easy to correct)

[Read More ...] Gallery and impressions: The Tamron 100-400mm F4.5-6.3 is light, sharp and stabilized was originally posted by proton T2a

[luciegould-blog1]

Lightroom Workshop

We had a Lightroom workshop with Scott which taught us how to edit our photos in Adobe Lightroom after we have taken our raw photos for our portfolio. The benefits of using Lightroom are that you are able to keep all of your photos together in one place and it is a convenient way to store all of your images. Scott described Lightroom as being a cross between Bridge and Finder.

To start using Lightroom you need to create a new catalog and import your photos from your computer or hard drive. The ideal way to import your photos is to copy them from the destination. This way, if you take the memory card out, they’ll still be available on the computer and wont be lost. You then have to choose the destination and can create sub folders for your photos to sit in. Lightroom has different modules but the most relevant are your Library (where you store your photos) and Develop (where you edit your photos). By adding key words to your photos or to a series of photos, it means that you can search for these and find them instantly which is useful when you are looking for a specific project or series. The types of files that you can edit in Lightroom are JPEGs, TIFFs, PNGs, PSDs and Raw files, however you can’t edit Illustrator or InDesign files. Lightroom is unlike the other Adobe programmes in the sense that it doesn’t work with layers, however, you can still turn on and off different effects that you have added.

Snapshots are a feature where you can save a version of an edited photo. This is useful as you can then save multiple versions and decided between them without loosing some versions that you had previously created. You can crop images using the crop overlay on the right hand panel. If you press O whilst doing this you can scroll through different cropping templates. If you click the transform options, you can select “constrain crop” which eliminates the white space around the photo if you’re rotating it.

Depending on which lens you use when taking your photographs, it may distort the image slightly. To rectify this you can enable profile corrections which reduces these distortions. You can also select “remove chromatic aberration” which fixes the colour distortions. There is also an option to change the white balance, however, Scott suggested that it was best to leave this option as “as shot” since you can then edit the exposure and contrast more easily.

Scott told us not to use the sliders when making changes since this could cause you to make drastic changes to the photograph which wouldn’t look realistic. Instead, he suggested to use the up and down arrows once you have selected the value on the right hand side of the slider to change each value notch by notch. If you hold shift whilst you’re using the arrows, you can change each value by an increment of 10.

The next thing Scott talked to us about was curves and told us that the most commonly used curve is an “S” shaped curve. He explained that above the line represents the darks and below the line represents the lights. If you press backslash, you will be taken to your original photo and if you press “Y”, the before and after versions will be displayed next to each other which is useful as you often forget what your original image looked like.

We also learnt about HSL (hue, saturation, luminence) and the fact that there is a joystick feature which lets you click on each section and move up and down to increase or reduce an effect. Scott explained that luminence is the brightness of individual pixels.

Lightroom has a feature where you can select a certain section of the photo and then alter the sharpening of that section. With this feature you can make certain areas seem more detailed than others which is useful if you want to show one particular area more clearly. We then learnt about the Effects section of the right hand side panel which offers effects such as “post crop vignette”, “grain” and “dehaze”. Another feature of Lightroom is the ability to sync effects to more than one photo which is useful if you have shot a series of photos in the same environment and with the same light and background.

There is also the option of applying a graduated or radial filter which can be used to remove vignettes from photos that you didn’t want. This can be done by changing the exposure and creating a mask over the photo. The graduated filter is linear where as the radial filter is radial.

The adjustment brush can be used to brush on effects. The size of the brush can be changed by using the “[” and “]” keys. There is also the option to show the selected mask overlay which makes it clear to see where you have applied the effect to. Finally, we looked at the clone tool which can be used to remove or replace sections of the photo - similarly to Photoshop.

To export a series of photos, you have to select the ones you want to export and then click File -> Export. There are then three options: export, export with previous and export with presets. Scott mentioned that setting up a present is really handy for our portfolio as ideally we want the photos to look similar in their style. You would then export to hard drive and choose “burn full sized JPEGs”. You can then choose a specific folder that you want to export to or you can export to the same folder as the original photo. You can also rename the photo to a custom name and apply a sequence so that the photos are numbered. When exporting, you can also limit the file size which is useful if you are using the photos in emails or on the web as you don’t want it to take ages to load the images. If you are exporting for print, you should keep the original file size as there won’t be any issue with having to load the image. The colour space that you should choose is sRGB. You can also choose the output sharpening for either paper or screen which is vital.

A very useful workshop as I had never used Lightroom before. I learnt a lot from this and feel confident that I could use Lightroom to edit my photos for my portfolio.

[davybe777]

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A post shared by Davy Be's Musical Emporium (@davybe777)

Here's a little snippet of the next tune for the list. I posted the origins a few weeks back when I came up with the original riffs, and now I'm finishing what I started. Finishing it off tonight, but still ironing out a couple of the newer bits. I want them fairly clean for the full play through. *fairly* being the operative word. 😅😅 . . This is my Hardluck Kings Outlaw, tuned to C# standard, going through the Marshall DSL40C and Marshall 2 12 cabinet. . . Signal Chain: Boss TU-3 Chromatic Tuner, Morley Volume Pedal, MXR Micro Amp, Boss LS-2 Line Selector, Ibanez TS9DX Turbo Tube Screamer; in the effects loop: MXR Black Label Chorus, MXR KFK Ten Band EQ, Electro-Harmonix Silencer, MXR Carbon Copy Bright Analog Delay, Electro-Harmonix Cathedral Stereo Reverb. I also have two TC Electronic Bona Fide Buffers, one on each board. This is all into the lead channel on the amp, gain on 5ish, volume at 2, running at half power. Drum machine is a Boss Dr. Rhythm DR-660 at 66 BPM (half speed) going into my Peavey TKO 115 and a 2-10 ext cab. . 🎶🎵🤘 . #hardluckkings #emgpickups #marshallamps #marshalldsl40c #ibanez #mxr #ehx #tcelectronic #bosspedals #guitarist #bassist #musician #originalmusic #metal #rock #hardrock #heavymetal #gothic #doom #popmetal #prog #shoegaze #blackmetal #ambient #nevertooold #cruellogicband #cruellogic @marshallamps_uk @peaveyelectronics @bossfx_us @jimdunlopusa @ehx @tcelectronic @hardluckkings @emgpickups (at Ocean County, New Jersey) https://www.instagram.com/p/ByL65m4HZWE/?igshid=ojps3ig294d7

[davybe777]

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A post shared by Davy Be's Musical Emporium (@davybe777)

I've been working on this one for a few weeks now, on and off. It is hard for me to play smoothly, so I keep slowing it down, and now I'm used to it at this tempo. I listened back to the original, and it was much faster. Now I'm confused 😅😅 . . This is my Chapman MLV Pro, tuned to Drop C, going through the Marshall DSL40C and Marshall 2 12 cabinet. . . Signal Chain: Boss TU-3 Chromatic Tuner, Morley Volume Pedal, MXR Micro Amp, Boss LS-2 Line Selector, Ibanez TS9DX Turbo Tube Screamer; in the effects loop: MXR Black Label Chorus, MXR KFK Ten Band EQ, MXR Carbon Copy Bright, Boss RV-6 Reverb. I also have two TC Electronics Bona Fide Buffers, one on each board. This is all into the lead channel on the amp, gain on 6, volume at 2, running at half power. Drum machine is a Boss Dr. Rhythm DR-660 going into my Peavey TKO 115 and a 2-10 ext cab. . 🎶🎵🤘 . #chapman #mlvpro #marshallamps #marshalldsl40c #ibanez #mxr #ehx #tcelectronics #bosspedals #guitarist #bassist #musician #originalmusic #metal #rock #hardrock #heavymetal #gothic #doom #popmetal #sludge #prog #shoegaze #blackmetal #ambient #lookingforaband #cruellogicband #cruellogic @marshallamps_uk @bossfx_us @jimdunlopusa @ehx @chapmanguitars (at Ocean County, New Jersey) https://www.instagram.com/p/BuulpRXn0p9/?utm_source=ig_tumblr_share&igshid=cq6662oh91jh

[thesunlounge]

Reviews 101: Isorinne

I almost missed this one, only acquiring it through the sincere generosity of the folks at Origin Peoples, who included the LP as a bonus in a recent order. This was incredibly fortunate, as the Wave Stuff of Michel Isorinne is utterly spellbinding. In some respects I am reminded of label mates Tommy Awards, given that Isorinne explores a similarly wondrous mix of cold space music, classic chill out, and Kranky indebted post-rock. But Wave Stuff is also its own thing, adding shades of neon hued 80s pop and meditative new age as well, with each side flowing together and wrapping the body in narcotic layers of synthesizer and drum machine bliss.

Isorinne - Wave Stuff (Origin Peoples, 2018) The droning bass synths of “Wave 1” underly chords ascending in slow motion prog majesty, with arpeggios gentle as morning dew fading in alongside. Repeating bass guitar notes sit far back in the stereo field and towards the end, the entire mix is swallowed in cavernous reverb. Then comes “Wave 2” with a cell phone ringing in isolation over woven layers of heart-aching pads locked into heroin paced polyrhythms. A hypnotic chill-out beat led by double time clicks and atonal cymbals pushes things into cinematic territory, with sparkling high pitched leads and fat spacious synth melodies hovering overhead in a neon pink haze…think Cliff Martinez, Angelo Badalamenti, and even Chromatics. For “Wave 3,” kosmische clouds swirl around a skipping robotic breakbeat while head spinning arp webs flow at the speed of glaciers and twinkling synthesized pianos evoke youthful fantasies. Contrast this with “Wave 4” and its lonely synth arpeggio drifting over the sounds of the ocean…as if placid blues and seashore greens have been mysteriously transformed into sound. The first half of our journey ends with “Wave 5” and a sharp cut into a another skipping beat. Cymbals and snare lock in harsh syncopation over an off-time kick flow, while feverish deep house pads wrap starlight sequences in a melancholic fog. There are strong shades of Maricopa to my ears, especially when those siren like synth wails fall down from the celestial heavens.

“Wave 6” is my favorite moment here, so strongly does it evoke the early days of Mogwai (Young Team and EP most specifically). Cold wavering bell tones waft in dreamy ambient progressions, while melodic bass lines sit aside skittering primitive drum machines. There are abstract snippets of conversation floating about and high pitched euphoric tones circling in the golden sky, everything coming together and hitting me square in the chest with waves of nostalgic emotion. The whole effect is overwhelming, beautiful, and transcendent, recalling as well those blissed out horizontal sections from Tommy Awards’ Sessions II. This mesmerizing post-rock maximalism is countered by the walking synthesized jazz bass of “Wave 7” and pads locked into peaceful arpeggiations. Clipped tambourines and cymbals keep time, while twinkling Twin Peaks atmospherics spread across the ether. It’s a romantic dance for sunrise and solitude, with fading memories of heartache glowing softly around the edges. Then come the torrential thunderstorms of “Wave 8,” forming a fittingly ominous backdrop for shining Italo basslines and epic vocal pads soaring like a choir of angels. Propulsive cymbals enter while the bass filter opens up, resulting in some pounding and anthemic synth pop glory with kick marching in steady anticipation and pads and chiming new age leads racing towards eternal victory. But the constant and triumphant build never arrives at a climax, with the act of crescendo itself becoming the focus, everything floating and floating with an irresistible energy.

(images from my personal copy)