#source: frazz

[incorrectlooneytunesquotes]

D-d-d-d-d-d-d-do what you love, love what you do, leave the world a b-b-better p-p-p-place and don't p-p-pick your no-uh no-uh your snout.

Porky to CIcero Pig

[stickers-on-a-laptop]

Nino: You fixed up Adrien and Marinette, Alya? You rule!

Alya: You give me too much credit. Those two are strawberry ice cream and a white shirt. I was merely gravity.

Nino: That is an...interesting analogy.

Alya: I like metaphors where I’m an unstoppable force of nature.

[thetonecontrol]

Interview with Electronic Audio Experiments

Righteous Ryan: When did you decide to become a builder and what motivated you to do so?

Electronic Audio Experiments: Even before I taught myself how to play the guitar I was always interested in what makes instruments work, so naturally I was a pedal nerd as soon as I learned what they were. After studying electronics for fun on the side (took a couple extra courses during undergrad and then read books on my own) it became a natural progression of my interests to start tinkering with my own. I did a few tagboard clone builds before I realized I wanted to have more control over the design process. And that's still my primary motivation: I love the design process with all of its challenges and room for artistic decisions.

EAE as a company formally started in approximately winter/spring of 2015. In February of that year, Boston was slammed over 5 feet of snow. I spent a lot of time in my crummy basement apartment eating frozen pizzas and breadboarding what would eventually become the Longsword V1. I used it on a couple records I was a part of (Perfect Moments by Tiny Fractures and the Native Wildlife s/t - both on bandcamp, for the curious) and that generated enough interest to do a release that summer. The rest has been a whirlwind!

RR: What motivates you to create original circuits?

EAE: Short answer - it's really satisfying to me, basically my favorite pastime.

Longer answer - I love the challenge of making something from scratch that hopefully lets my personality come through. I should qualify; I am not reinventing any wheels here. Designing "from scratch" is like building something out of legos. You can't really design new pieces (which leads some of the more cynical folks out there to say there's nothing new under the sun) but there are lots of building blocks and lots of ways to arrange them. The artistic merit is in the details, and the fun is in the thrill of the chase. It's an obsessive process but endlessly gratifying.

RR: Are you currently working on anything new?

EAE: Oh god, too many things. Here's a sampling:

Halberd - this is a drive which started as the preamp block of Sending, but heavily mutated into its own thing. It features pronounced treble attack/clarity, stupidly high output, and a strong second harmonic response. Been "finalizing" it for a while but I'm trying my damnedest to release it this summer. (If you want to hear a rough demo of an earlier iteration, check this video out: https://www.youtube.com/watch?v=qpGgzl3lOgs)

Sending V2 - I'm trying to add some features while I do an SMD conversion - mostly modulation and CV control over delay time. Currently on the back burner while I get the Halberd sorted out.

Hypersleep - this is my weird multi-tap chorus/vibrato/reverb-ish thing (nb: this is also in Ian's video linked above). It's also on the back burner while I get the Halberd sorted out. I really want to put it to production but it depends fully on whether I can source enough MN3011 BBDs to make it happen. If I can get enough to build 50 I'll do a limited run, but I'd really prefer to do 100 if at all possible... so we shall see what happens.

Super secret collab with Electrofoods Pedals - stay tuned, I am very excited

Surveyor - IVP side of the Dude Incredible, will be released later this year. It's ready to rock.

Various contract designs - Caroline Somersault (just wrapped up), Caroline Megabyte (working on the second round of prototypes), Dunable Eidolon (close to done, just needs some code fixes), another 2 or 3 projects all TBA.

RR: What is your design process like?

EAE: Whenever I design something new I have to answer two questions. 1) does it exist already? and 2) does it address a need or want in my own sonic pursuits? For instance, drive pedals will reflect my tone in whatever band I'm currently in. If it's already been done I can go buy it. If it hasn't been done then the work can begin.

If the design is simple or contains simple building blocks I often go straight to the circuit board layout and if necessary, debug from there. I can often turn a project around pretty quick if that's the case. If I'm not sure whether or not a building block will work, I can try simulating or breadboarding. Circuit simulation is extremely powerful but requires interpretation of the results, which also sometimes differ from reality. Breadboarding is great for audible characterization of a new idea, but the added parasitic capacitances can dramatically alter the frequency response of a circuit - especially a high gain drive or something with lots of complex filters. So there's usually a loop of steps where I move between a breadboard, circuit simulations, and a working prototype until everything works out. Sometimes I just have to resort to plain old math to get what I want.

The first pass of design is a go/no-go check. Does it work? Once it does, I refine it until it can produce sounds I truly like. This is also the step where I do the most work to address noise, oscillation, unwanted artifacts, etc. The final step is to identify which controls I want to keep, and then I determine the tapers/ranges of those controls.

Once there's a working prototype I do extensive beta testing with friends, local musicians and engineers, etc. When testing at home I can lose sight of how good (or not good) a prototype sounds. So a sanity check helps! Once this feedback is incorporated into the process we can go to production. At that point we get the artwork done and start working with our local SMD shop to get boards going.

RR: What's your setup (guitar, amps, pedalboard)?

EAE: I've been awful about maintaining a static setup. I realized that when you're not in a band you can just buy whatever sounds good instead of worrying about serving a song or particular mix. I have a wide assortment of guitars and amps that I use to test pedals during the R&D phase but listing those won't really tell you a coherent story. BUT I started a new band and we're tracking a record (we just did guitars + drums at GodCity) so I can tell you all about the gear I used for that. It's a post-metal sort of outfit so there are lots of heavy sounds but lots of unique mid-gain tones as well. This is also a great chance to plug some work by my friends...

Guitars - Travis Bean TB1000S, which is essentially vintage correct after some restoration work at Electrical Guitar Company (new bridge + pickups). Sounds like a piano. A very angry piano.

My very heavily modified Classic Player Jazzmaster with EGC JM500 pickups and a Robot Graves neck. It can do pristine, chimey cleans or a savage clang depending how much gain you use.

Amps - Traynor YBA1 MKII - Basically a marshall-ish amp with really big transformers. I modded the preamp to roughly superlead specs, but it's got way more bandwidth than a typical marshall.

Traynor YBA3 - not mine, lives at GodCity. Was extensively modified by my friend Scot from SnK pedals, who is also a gifted amp tech. It's loud and clean with a sound that's almost like an ampeg.

For cabs we mostly used an emperor 6x12 with an assortment of speakers. The mic was placed on a Texas Heat.

For my own use I have a pair of Joe's TL806 cabs (Thiele 1x12 design) with EVM12Ls.

Pedals - Halberd proto - great for slamming tube amps!

Electrofoods Oprichniki - the highest gain big muff variant around. I don't even know if it should be called a muff variant because of how twisted and souped up the circuit is. It is an absolute beast.

Dr. Scientist Frazz Dazzler - another extraordinarily high gain fuzz which sounds like absolutely nothing I've ever heard. It's a nice contrast to the more scooped flavor of the Oprich.

SnK VHD - a high gain distortion, used extensively for lead parts especially. Super tight and clear.

Sending V1-ish prototype - also has a tone control. It works ok I guess. Still very much a work in progress!

Lastgasp Misty Cave - weird drone-y reverb/flange thing? Hard to describe. Sounds heavenly.

Hypersleep proto - for room-ish reverb

Red Panda Tensor - Used for a particularly glitchy "solo"

Dirge Slowly Melting - I saw the end of the world, and it was terrifying

Lots of other stuff - I forgot!

Other - Yamaha FX500. The ultimate digital pad machine.

Roland RE-501 Chorus Echo - my drummer owns this, holy hell it is magic

My modular synth - a whole goddamn mess of its own

[pegasus-parfait]

But then the monster grabs parfait and her crystal animal and throws them in the ground and then golden frazzy frazz said " KYA KYA KYA Now for the capturing of the kirakiraru. " then all of the sudden the continued to steal the kirakiraru from the sweets in the town.

" Kira Kira Kiraru ✯ Whip Decoration! "

With her Crystal Rod, Cure Whip created a little pile of cream below Parfait that absorbed the impact of her fall. All the other girls appeared after Whip.

" Cure Whip, Merci! " said Parfait as she cleaned off some of the whipped cream from Pegasus' wings.

" Chourou-sama said something was odd and we came here to see. It seems like we found the source of the problem! " she said, looking to the monster that was attacking the shopping district. " Let's go, everyone! "

" Yes! / Oui! " said everyone, summoning their Crystal Animals and mounting on them.

[littlesolo]

Black Hill - Stubborn Maria and caring Natasha

Stubborn is putting it mildly.  Maria is supposed to be on medical leave but like with most of them, that never sits well.  Clint builds, Natasha reads, Maria tinkers.  Well, she would if her hand and forearm weren’t bandaged.  

Faulty tech.  That’s what’s responsible for her arm’s current condition, and Maria is going to figure out why the stupid comm unit frazzed out on them.  

Natasha watches as Maria works on the comm unit.  It was a simple short or something like that.  These things happen from time to time, but she knows that Maria has to get to the bottom of it.  Otherwise it means months of leg work, countless hours of communication, and multiple sources of intel were lost due to a fluke.  She can feel the anger coming off of Maria from across the room practically.  All she can do is keep the coffee cup full as Maria fiddles with a screwdriver, the bandage wearing away with her frustration.  So Natasha settles in with a book and waits.  She’ll cook dinner in a bit but until then she’ll just wait and see what Maria needs, besides a bandage change soon.  

[letsrunawayrightnow]

Adrian Beltre gets hit #3000

Adrian Beltre gets hit #3000

[ad_1] Adrian Beltre gets hit #3000 [ad_2] View Reddit by Frazzed – View Source

[thedancepolice]

Glitch: Why do people call you MacCoy?

MacCoy: Because my last name is Macko.

Glitch: And because your first name is Oleksander.

MacCoy: Oleksander is a fine name!

(submitted by @dci-agent-dtle)

[incorrectlooneytunesquotes]

Mach-S, the speed at which stress can't keep up, ees seemply forward motion, but eet has to be self-propelled. Note that people in cars are steell stressed.

Speedy Gonzales

[stickers-on-a-laptop]

Alya: So you’ve got a date with Adrien!

Marinette: We’re going running.

Alya: Good job! I knew you’d eventually summon the guts...the courage...the elan...the pluck...

Marinette: He asked me, Miss Vocabulary.

Alya: The fortune...the karma...the kismet...the luck...

[stickers-on-a-laptop]

Alya: Marinette, can I ask you a question?

Marinette: Well, sure.

Alya: It’s personal.

Marinette: Alya, we’ve been friends for a long time. Of course you can ask me a personal question.

Alya: Are you ever going to tell Adrien you’ve got the hots for him??

Marinette: ...that’s personal.

[stickers-on-a-laptop]

Adrien: Hi, Marinette! Hey, are you doing anything for New Year’s Eve?

Marinette: *is frozen*

Adrien: *walks away*

Marinette: Nothing I wouldn’t ditch in an instant if you were free..!

Alya: If you’re talking to Adrien, he already crossed the street.

Marinette: Nuts. Another year races by, with my brain exactly 20 seconds behind.