#the opposite

[ciderjacks]

madohomu 🤝 farcille

well intentioned but Questionable actions with horrible consequences caused on one side not respecting the others agency in their own death

[just-slightly-chayotic]

pretty boy

[dirtysenner]

Funny that most of my characters have daddy issues but I have a fantastic relationship with my dad and I do not get along with my mom.

[karimationkat]

I really love the "Ready as I'll ever be" AvM videos but what I love even more is the people always giving Purple the "I'll save my home and family" line...

What home? What family?

Until KO/MT tried to save them, Purple saw KO/MT just as much as a tool to the means as KO/MT saw them.

It's just so funny and beautiful.

[overlyenthusiastic-personalblog]

[towerofglass]

my childhood friend is confiding in me 🥺

[pixipoxi]

this grown ass man pulled a whole fucking temper tantrum because he wasn’t prescribed the viagra he wanted

[air-mechanical]

Catalyst Reading Continued III

Grand Vizier Amedda: You just can't stop fucking up, can you Krennic? First you get scammed and allow months of work on the battle station to be destroyed. And now your team test firing the weapon are so useless that they blew their facility up and set off a nuclear meltdown.

Krennic: None of that is my fault.

Amedda: Don't interrupt, I'm not finished. We're bending over backwards to give Galen Erso money and resources and he still hasn't joined the team. What do you expect me to give him next? The shirt off the Emperor's back? His actual shirt?

Krennic: I-

Amedda: Imperial troops aren't your personal playthings. You can't just order them about. The chain of command exists for a reason, and it's time you learnt that.

Krennic: You told me to do what it takes to get the job done and now you're bitching at me? For following your command?

Amedda: I'm sick of this shit. Focus on building the weapon. We're bringing in Tarkin to take over everything else.

Krennic: I hear what you're saying. Don't worry. I have the perfect solution to fix everything.

Amedda: Which is?

Krennic: Promote me.

Amedda: ...what?

Krennic: Rear Admiral will do for now.

Amedda: What?

Krennic: Any time today would be good, thanks. I have to get my new rank plaque coded with access codes. That takes longer than you think.

Amedda: ...you can have a promotion to Full Commander. Perhaps. And only if the Emperor agrees.

Krennic: heh heh heh

[thekingofgear]

Jonny Greenwood’s Gear for The Smile’s NPR Tiny Desk Show

We’ve already posted a quick overview of The Smile’s gear for NPR’s Tiny Desk and a detailed description of Thom’s setup.

We’ll have an analysis of The Smile’s KEXP setup in the near future, but for now here’s the last post in our analysis of their Tiny Desk set:

Robert Stillman and Jonny during Panavision (youtube). Note the extra holes in the pickguard for a “tugbar” finger rest below the G string — that means the bass is from before 1974, since that’s the year Fender moved the finger rest to above the E-string to serve as a thumb rest.

For Tiny Desk, Jonny mostly used the same gear as at live shows this year, but stripped down to the essentials for guitar and bass. He played his his 1970s Fender Precision Bass on Panavision and We Don’t Know What Tomorrow Brings, and played his vintage Gibson Les Paul on The Smoke and  Skirting On The Surface. Jonny only used his Boss RE-202 Space Echo as a reverb on The Smoke. But on Skirting, he used his RE-202 as a delay, his Akai Headrush E2 as a looper, and his Electro-Harmonix Freeze during the solo. He brought several other pedals, but sounds like they weren’t used in the released tracks. Read on for a nice photo of Jonny’s pedal setup and lots more analysis (including an exact delay time for Thin Thing).

It’s a shame they decided not to share We Don’t Know What Tomorrow Brings, as it would be interesting to hear a stripped down version of the track. It looks like Jonny didn’t bring his Studiologic MIDI pedals, so they must’ve played it without his extra synth lines (and without Thom’s intro synth lines).

Jonny’s Instruments:

Gibson Les Paul in Natural finish (late-70s)

Fender Precision Bass in Natural finish (early-70s)

Jonny’s Amplifiers (shared with Thom):

Tiny Desk’s Fender ’68 Reissue Deluxe Reverb combo amplifier

Tiny Desk’s Ampeg RB-110 combo amplifier

Jonny’s Effects Pedals:


Guitar ->

Boss TU-2 tuner

Electro-Harmonix Freeze

Boss SD-1 Super Overdrive

Boss DD-200 delay

Akai Headrush E2 delay/looper


Boss RE-202 Space Echo

-> Amplifier

GigRig Generator and Distributor power supply.

A photo of Jonny’s 1970s Precision bass and the shared amps (joshrogosin). The mic on the Ampeg RB-110 bass amp is an AEA R84 ribbon microphone. The mic on the ‘68 Custom Deluxe Reverb is an AEA N22 ribbon microphone. The amps and mics belong to Tiny Desk, and the same ones can be seen in various performances on their channel.

The blue jewel lamp shows that the Deluxe Reverb is the ’68 Custom reissue, not a vintage silver-panel Deluxe (which had red jewel lamps). Jonny plugged into the Deluxe Reverb’s "vintage" channel, using input 1. On the ’68 reissue, the “vintage" channel is based on the original black-panel Deluxe Reverb (despite the silver design), but without the bright cap on the volume control. In contrast, the “custom” channel is based on a modified Bassman circuit.

A photo of Jonny’s guitar pedals for the Tiny Desk show (joshrogosin).

The Akai Headrush in this setup has a bunch of stickers indicating a multi-head delay setting, but it is set to "Looper" mode. It also has a piece of foam(?) to prevent the mode switch from being hit accidentally. The Headrush on Jonny's pedalboard doesn't have those stickers, so it seems likely that these pedals are the backups for Jonny's main board. Jonny might also use these pedals to play on the band's tour bus or at their hotels. That would explain the extra strikers.

Jonny's DD-200 has some tape listing his presets:

1 - Thin Thing

2 - Opposite

3 - Just Eyes and Mouth

5 - Pillows

Presets 4 and 6 are unreadable, but they are almost certainly for the unreleased songs Read the Room (previously called either “IT” or “Flangers”) and Bending Hectic. Jonny uses his long rhythmic delay technique on both tracks.

For more ambient delays on songs like Skirting On The Surface and Open The Floodgates, Jonny instead uses the Boss RE-202 Space Echo. That’s why the DD-200 has no presets for those tracks

In the image above, the DD-200 is set to preset number 1, and the digital display shows a delay time of 779ms. But if you’ve even tapped along to a live version of that song (on every fifth eighth note), you probably figured that out already.

For power, Jonny just has a GigRig Distributor without any Isolators for his high-draw digital effects. As usual, it seems Jonny isn’t too bothered about that kind of thing, at least for a one-off gig at low volume. GigRig power supplies come with long (1.5 meter) power cables so the user can cut them to size. Instead, it looks like Jonny (or his tech) left them uncut and simply wrapped up the extra length with some black zip ties.

[cabeswaterdrowned]

objectively insane to equate a one night stand that may or may not have happened (but probably did but okay) with a whole emotional affair that spanned years?

[booksandgore]

this but

[beemochi-art]

Did you hear Elon wants to buy Hasbro?

[nsfwitchy2]

Shout out to like, in October or November when I deep cleaned the entire salon and was like “Yeah better do it now before busy season”

Anyway I guess we don’t get busy season this year because the December schedule looks d e a d

[hoodiedeer]

[rainingmusic]

The Smile - The Opposite