Tested a brush and drew a nome and a (metro)gnome

PHONO SELECT RECORDS Now Playing... . Camel ‘Rain Dances’ -1977 . Seemed appropriate… . OPEN EVERYDAY 12-6pm Call the shop if you have any questions. 916-400-3164 @phonoselect #recordstore #usedrecordstore #vinylrecords #usedrecords #phonoselect #phonoselectrecords #sacramento #recordstoresacramento #recordstorenorcal #camel #raindances #camelband #metrognome (at Phono Select Records) https://www.instagram.com/p/CqWgZHyP4Ch/?igshid=NGJjMDIxMWI=

Metrognome takes a stroll through Abyss Dweller’s cave.

I don’t know how common vampires are in the underdark but Mica is ignorant of them so all she saw is the concerning image of Astarion about to eat her.

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because I wanted to see the Full Moon before it set. Then after a while it will speed up on its own, becoming so fast that it disappears and is replaced by an awareness of the breath. Now I almost always begin a meditation session with the tick tock, which once I get going, becomes almost an automatic mind/body backbeat. Recently I have been working with it some more. As you know, last summer I became interested in a little “tick tock metrognome” I could start up while sitting or meditating. There are five "concrete poems" here - BELOW A CHRISTMAS STORY FROM 2004 seeing a moon's emblazoned leaf and its reflection at the same time - but there's always hope in the New Year. Sleeve design: Paul Henry Bob Searles ( Illustration) Recorded: February–August 1977 at Basing Street Studios, London Mel Collins – alto saxophone, tenor saxophone, soprano saxophone, clarinet, bass fluteīrian Eno – Minimoog, electric piano, piano Peter Bardens – organ, piano, electric piano, Minimoog, synthesizer, Hohner ClavinetĪndy Ward – drums, percussion, ocarina, glockenspiel, talking drum "Rain Dances" (Bardens, Latimer) – 3:01Īndrew Latimer – electric guitar, acoustic guitar, 12-string guitar, panpipes, flute, backing vocals fretless bass "Skylines" (Bardens, Latimer, Ward) – 4:24 "One of These Days I'll Get an Early Night" (Bardens, Mel Collins, Latimer, Richard Sinclair, Ward) – 5:53 "Unevensong" (Bardens, Latimer, Andy Ward) – 5:35 "Highways of the Sun" (Bardens, Latimer) – 4:29 "First Light" (Peter Bardens, Andrew Latimer) – 5:01

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You'll be able to see the Metrognomes in action, get a 'selfie' using the special 'selfie bus', get a free goodie bag, and much more! Go North East is additionally hosting a publicity event at the Metrocentre's Exhibition Square tomorrow (Saturday 18th April 2015), where members of the public will be able to join in all of the fun. Intu Metrocentre's 'Metrognomes' were having some fun this morning, while checking out the brand new buses which are due to enter service soon. The use of red, green, blue and yellow vinyls is prevalent, which ties in with the different coloured "quadrants" of the shopping centre. The branding focuses on the three main elements of intu Metrocentre: shopping, leisure, and eating/drinking. They were branded soon after, and are destined for allocation to Riverside Depot for use on service X66. The first batch of four, which carry a dark blue base livery, were delivered to the company last month. The vehicle features full white LED destination displays on the front, side and rear, and the interior specification for this batch of vehicles has been completely overhauled: they feature Esteban Civic V2 and V3 seating complete with e-leather, two-colour Tarabus 'Wood Effect' flooring, and blue accent lighting which is fitted underneath seats to provide extra light on the gangway. The Micro Hybrid recovers energy lost from braking to power the vehicle electrics and compressed air systems, saving up to 10% in fuel costs. These Wright Streetlite vehicles are the 11.5m Micro-Hybrid variant.

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As part of the company's 2014/15 financial year, Go North East has invested in 29 brand new Wright Streetlite DF/Wright Streetlite Micro-Hybrid vehicles to upgrade "X66 Metrocentre" service X66, "Coast & Country" services 8/78 (previously branded "Lime"), and "Red Kite" services 45/46.

Metrognome dubstep

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Anything that’s energetic and “vintage” works really well to give the record some more character. I love to sample old disco and acid jazz records that work well as fills or stabs. I think the main thing from jazz that’s incorporated in the Ephwurd sound are the samples. Are there any techniques or styles from jazz that you integrate into your own bass house productions? Your genre-defying sound mixes in perfectly with so many different sets and never fails to get a party rocking. My overall taste is still the same, but now my ear is more technically trained. I still love all of the old electronic music that I grew up with, but now I think they could use updated mixing and mastering. Naturally, songs made on old-school samplers back in the ‘90s/early 2000s just don’t sound as big as they used to. Modern-day production focuses so much on the quality of your mixes and how they are translated on both big and small systems. Now, I’ll listen to that same record and actually find the engineering to be rather poor. It took me about 10 years after that to fully get a grasp on production, but luckily, I finally got the hang of it. I knew that I wanted to do something similar. I was blown away that some guy made something so complex in a bedroom studio. My friend played me his song “4” when I was 15, and my jaw dropped. The first time I heard Aphex Twin was a big moment for me. When did you first feel the draw into electronic music, and how has your taste evolved since you first started producing? I guess it’s the same calling but with a different sound. I finally felt I was able to learn from my peers and grow with the scene-much like my father, who had found jazz and dedicated his life to it. I think at that moment, I knew it’s what I really wanted to do because, for once in my life, I found people who had the same interests as me. I left after one year and dove right into working for Dim Mak Records, just so I could immerse myself in dance music culture.

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Once I was there, I knew sitting around in a classroom learning how to use Java or C++ was not for me. After high school, I had only applied to one college, which was CalArts, because they had the best music technology program at the time, and thankfully I got in. He never gave up on what he loved, and growing up around such passion showed me that no matter how hard things get, if you really love what you do, you’ll fight through thick and thin to make it work.ĭid you always feel a calling to follow your family’s legacy into music? He never stopped and just kept going, and his dream evolved into a career that lasted 40 years. He spent his nights in jazz clubs, networking and putting together his group. When he decided he wanted to be a singer for a living, he ended up driving cabs around New York City at the age of 30 to make ends meet. The main thing I learned from my father was the value of persistence and pushing through both the good and bad. Growing up with a father who has paved the way for jazz, what are some lessons you learned that helped you become a similarly influential artist in electronic music? Many might not know that your father is Tim Hauser, a member of the Manhattan Transfer. We also caught up with Basie to learn more about his unique musical upbringing, his favorite festival memories, and exciting news to come in 2019. He’s treated us to an hour-long Metronome mix, immediately setting things on fire with his newest track, “Hectic,” while keeping the energy through the roof with a constant onslaught of bass house masterpieces and even a few Ephwurd IDs thereafter. While the last year has been quite transformative for Ephwurd, making the move from a duo to a solo act, Basie is deftly rising to the occasion with some mind-bending new tracks. Basie innately felt the pull toward electronic music, digging in deep to ‘90s dancefloor beats before going on to curate his own pulse-pumping bass house sound. The musical journey started young for L.A.-based Basie Hauser, who grew up soaking in influences from his Grammy-winning father Tim Hauser, a member of the legendary Jazz ensemble the Manhattan Transfer. Since the project’s inception in 2015, the eclectic bass house producer has been slinging out festival heaters left and right, like “Rock the Party” and “Vibrations,” collaborating with everyone from Jauz to JVST SAY YES to create truly one-of-a-kind, genre-twisting productions. No matter if you’re at a dubstep or trap set, you’re almost guaranteed to hear an Ephwurd track heating things up at one point or another. It takes listeners deep across a wide range of genres, movements, cultures, producers, artists and sounds that make up the diverse world of electronic music.

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Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends.

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Our friend and superstar mixer Billy Decker recently published a book called “Template Mixing and Mastering” in which he delves deep into his universal mixing template and his thought process.

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While this article is specific to tracking in REAPER, take a look at our previous article on how to effectively use templates in every situation. Templates speed up the workflow for tracking, mixing, and even songwriting. And why not have your favorite delay or reverb plugins ready to go all the time, so you don’t have to worry about setting them up for every new session? The same goes for any of your routing preferences, including parallel processing or drum trigger setups. What’s the point of re-creating the same session over and over again? Surely, having tracks in the same order and labeled and colored the same in every session makes it much easier to keep track of what’s going on. If anything, using templates allows you to be even more creative by making your tools available to you for when inspiration strikes. My opinion is that they couldn’t be more wrong. Using the same reverb and delay plugins, and the same settings, make for a lot of mixes that sound the same. They argue that having tracks, routing, processing, and effects set up ahead of time stifles creativity, and is a sign of being a lazy engineer. Some engineers love to hate on templates. Templates provide a great foundation for an efficient workflow and we also have some valuable tips to save even more time as you track and get ready for editing and mixing. If you have any more questions or need further assistance, please submit a request to our support staff.In this article, we’ll focus on workflows that will organize your tracking sessions so that you are more efficient and have more time to spend on the creative process. Once you assign the instrument to their individual track you can see that the output gets sent to the separated track (just a quick hint you can rename the tracks to the corresponding instrument to get a better overview of your instruments and tracks) Also please note that the Overhead mic and Room also have an individual output you can adjust. Click on the instrument you’d like to assign and select “individual” in the output section. One last thing to do is to assign the instruments to their individual output. Here you can choose if you want to send all outputs to one master track or to split them - in this case, we want to create multiple tracks so click on yes and continue.Īn instance of the plug-in will start and the multiple tracks will be created automatically for you. Note that reaper automatically recognizes the multiple outputs. To do so right-click on the timeline and select “Insert virtual instrument on new track”Ī Menu will open up where you can choose your plug-in ( for this explanation we’re going to stick with VD-Brute) Double click on the plug-in you want to start. Multiple Output supported ujam plug-ins are the Virtual Drummer 2 Series, Beatmaker 2 Series, and the Virtual Guitarist Carbon and Iron2.įirst, start an instance of your plug-in. So If you, for example, mute the Kick channel in the mixer, you might still hear the Kick on the Overhead and Room channels. Think of each channel of your plug-in as the input from a drum microphone. Sending an Instrument through its individual out will remove it from the master processing of your plug-in, so please be aware, that Mix-Preset, Reverb, Saturate, Maximize, and of course Master Volume will not affect drums routed to their individual outs. Make sure to the output to "I ndividual " instead of " Master " within the plugin: To properly use the multi-out functionality in your DAW you might have to create extra AUX tracks and/or use the dedicated multi-out option. Multi-Outs make the processing of each drum signal more flexible, DAWs handle multi-out plugins in various ways.

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Additionally, the A4 note can be adjusted in 1 Hz increments in the range of 410 Hz to 480 Hz. Sound Out Mode provides a reference tone for tuning with a programmable C4-B4 one octave range. The Timer Mode is perfect for rehearsing you can set this in one-minute increments between one minute and 120 minutes, making it ideal for warming up or practicing the basics. Tempo can be input with tempo markings or manually through tap-input with a range of 30 bpm to 252 bpm. It features every function you can expect from your metronome and more. With a large display and enhanced volume and crisp sound for easier detection, the MA-2 has set a new standard for digital metronomes. Recorders, Classroom & Plastic Instruments.Signal Processors, Converters & Preamps.This is a great way to maintain a consistent speed for walking, jogging, race-walking, weight training, or any other exercise. For example, people who walk for the purpose of exercise or weight loss are often advised to walk at least 20 minutes at a regular pace of at least 70 meters per minute by using the In-EarMetronome you can keep your training pace constant, synchronized to the sound of the metronome. In addition to its usefulness when practicing a musical instrument, the In-EarMetronome can also enhance your exercise. You can take this with you for convenient rhythm training anywhere you go. Also included is a carrying case that neatly stores the In-EarMetronome itself, the battery, and the ear pad. To enhance the fit, the In-EarMetronome includes a well-cushioned ear pad (*). The battery can be easily replaced by opening and closing the cover located on the back of the body. The memory backup function remembers the tempo and other settings even when the power is off. In spite of its ultra-small sized body, the In-EarMetronome provides approximately 200 hours of continuous operation using a coin-type lithium battery. The clip ensures a solid hold that will not be dislodged even by sudden shocks or vigorous movement when in use.Įxtended operating time, and memory backup: The second is an Ear Clip that opens or closes to fasten on the earlobe. Its angle can be finely adjusted by rotating the speaker itself, allowing to fit the various shapes of ear hole. The first is an Ear Fitter that extends from below the speaker. The In-EarMetronome utilizes two distinctive mechanisms to ensure a stable fit in any ear, large or small. The power button, mode select button, and an LCD display that shows the tempo and other information are located on the inside of the body.Ĭomfortably and securely fits a variety of ear shapes: This provides a compact yet highly intuitive method of operation. Using the jog switch you can select not just the tempo setting, but also the beat, rhythm, and volume. The In-EarMetronome features a jog switch on the side of the body, allowing you to easily change the settings without removing the unit from your ear. Use the jog switch to set the tempo intuitively: This covers your practicing needs for a broad range of songs, styles and techniques. You can set the beat in the range of 0-9 beats, and choose the rhythm from quarter notes, duplets, triplets, triplets with the inner beat omitted, triplets with the third beat omitted, quadruplets, quadruplets with the middle beats omitted, and quadruplets with the third and fourth beats omitted. The tempo setting range is a generous 30-252 bpm, and a wide variety of beats and rhythms are provided. Since the speaker unit fits directly in your ear, it's useful not only for personal practice with any instrument, but also when you want to hear an accurate rhythm without being drowned out by the sounds of your surroundings, such as if you are practicing while surrounded by high-volume instruments. The In-EarMetronome is a unique style of metronome that you use by wearing it directly in your ear. Practice your instrument while listening to the rhythm directly in your ear: Tempo can be adjusted smoothly using the jog switch, while a proprietary holding mechanism ensures that the In-EarMetronome remains firmly planted in your ear.

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You can choose from a variety of beat and rhythm variations, and while compact, it provides a full range of metronome functionality. Since you can hear the metronome sound directly in your ear without it being overpowered by sounds around you, it's ideal for personal instrumental practice. The In-EarMetronome is an ultra-small metronome that fits easily in your ear. After numerous requests, KORG is releasing a new in-ear metronome with even more functionality than the original. The MM-1 micro metronome which went on sale in 2002 earned enormous popularity thanks to its shockingly small size and its revolutionary usability.

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Anything that’s energetic and “vintage” works really well to give the record some more character. I love to sample old disco and acid jazz records that work well as fills or stabs. I think the main thing from jazz that’s incorporated in the Ephwurd sound are the samples. Are there any techniques or styles from jazz that you integrate into your own bass house productions? Your genre-defying sound mixes in perfectly with so many different sets and never fails to get a party rocking. My overall taste is still the same, but now my ear is more technically trained. I still love all of the old electronic music that I grew up with, but now I think they could use updated mixing and mastering. Naturally, songs made on old-school samplers back in the ‘90s/early 2000s just don’t sound as big as they used to. Modern-day production focuses so much on the quality of your mixes and how they are translated on both big and small systems. Now, I’ll listen to that same record and actually find the engineering to be rather poor. It took me about 10 years after that to fully get a grasp on production, but luckily, I finally got the hang of it. I knew that I wanted to do something similar. I was blown away that some guy made something so complex in a bedroom studio. My friend played me his song “4” when I was 15, and my jaw dropped. The first time I heard Aphex Twin was a big moment for me. When did you first feel the draw into electronic music, and how has your taste evolved since you first started producing? I guess it’s the same calling but with a different sound. I finally felt I was able to learn from my peers and grow with the scene-much like my father, who had found jazz and dedicated his life to it. I think at that moment, I knew it’s what I really wanted to do because, for once in my life, I found people who had the same interests as me. I left after one year and dove right into working for Dim Mak Records, just so I could immerse myself in dance music culture.

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Once I was there, I knew sitting around in a classroom learning how to use Java or C++ was not for me. After high school, I had only applied to one college, which was CalArts, because they had the best music technology program at the time, and thankfully I got in. He never gave up on what he loved, and growing up around such passion showed me that no matter how hard things get, if you really love what you do, you’ll fight through thick and thin to make it work.ĭid you always feel a calling to follow your family’s legacy into music? He never stopped and just kept going, and his dream evolved into a career that lasted 40 years. He spent his nights in jazz clubs, networking and putting together his group. When he decided he wanted to be a singer for a living, he ended up driving cabs around New York City at the age of 30 to make ends meet. The main thing I learned from my father was the value of persistence and pushing through both the good and bad. Growing up with a father who has paved the way for jazz, what are some lessons you learned that helped you become a similarly influential artist in electronic music? Many might not know that your father is Tim Hauser, a member of the Manhattan Transfer. We also caught up with Basie to learn more about his unique musical upbringing, his favorite festival memories, and exciting news to come in 2019. He’s treated us to an hour-long Metronome mix, immediately setting things on fire with his newest track, “Hectic,” while keeping the energy through the roof with a constant onslaught of bass house masterpieces and even a few Ephwurd IDs thereafter. While the last year has been quite transformative for Ephwurd, making the move from a duo to a solo act, Basie is deftly rising to the occasion with some mind-bending new tracks. Basie innately felt the pull toward electronic music, digging in deep to ‘90s dancefloor beats before going on to curate his own pulse-pumping bass house sound. The musical journey started young for L.A.-based Basie Hauser, who grew up soaking in influences from his Grammy-winning father Tim Hauser, a member of the legendary Jazz ensemble the Manhattan Transfer. Since the project’s inception in 2015, the eclectic bass house producer has been slinging out festival heaters left and right, like “Rock the Party” and “Vibrations,” collaborating with everyone from Jauz to JVST SAY YES to create truly one-of-a-kind, genre-twisting productions. No matter if you’re at a dubstep or trap set, you’re almost guaranteed to hear an Ephwurd track heating things up at one point or another. It takes listeners deep across a wide range of genres, movements, cultures, producers, artists and sounds that make up the diverse world of electronic music.

#METROGNOME DUBSTEP SERIES#

Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends.

Metrognome lemons

In no meaningful order:Įyesore Racing : Honored for multiple Organizer's Choice awards, an overall win, fabulous outfits, and Totally Getting It. See Rule 1.1 for clarification.įirst up, we've got the six cars/teams that already made it into the 24 Hours of LeMons Wall of Blame. In the end, what Chief Perp Jay Lamm says, goes. Think of it as an autocracy that flashes a democratic face for the cameras. One last little note before you jump and vote: Those of you planning to stuff the ballot box by voting early and often should know that this vote in no way resembles a democracy. Expect future WoB classes to consist of just ten teams total, but as LeMons has been around since 2006 and they just bothered thinking up the WoB before the start of their fifth racing season, there was lots of catching up to do. Then, based off the results of the poll below (and a poll from some other site) an additional ten teams/cars/personalities will be selected as this year's class members. something! Realizing just how sub-mental most LeMons fans are, the 24 Hours of LeMons HQ has gone ahead and selected six teams to be inducted into this year's WoB class. Each inductee will be honored with a plaque made of Chinese lead, to be hung at LeMons HQ next to such other priceless artifacts as the original Noch Einer Scheiß-E30 stencil and Judge Jonny's first powdered wig-an object equally redolent of history, stale tobacco smoke, and scalp smegma."Sure sounds like. But starting today, a rarified handful of LeMons over-underachievers will be immortalized forever through the LeMons Wall of Blame. Brilliant themes become tired after the fifth time around for a Mr. Teams break up due to Sawz-All fights and/or prison terms. Start at a slow practice tempo and gradually increase the tempo when you can play the piece without any mistakes."LeMons stuff never lasts: Cars explode or are hauled off by angry wives. Increase the difficulty by setting the numbers to 1/1 (played/muted), 2/2, and 4/4 respectively. Play a piece you know well and keep the tempo in the muted bar. Activate the mute function at the bottom, and set the metronome to play 3 bars and mute 1 bar. Set the metronome to the indicated tempo, establish the tempo, and stop the metronome before you start playing. Find the tempo indicated in the score.You can always select 1 if you don't know the number of beats per measure. Most music has 4, 3 or 2 beats per measure, in music notation denoted by time signatures such as 4/4, 3/4, 2/4 and 2/2. Select the number of beats per measure at the bottom. Alternately, you can tap the tempo by clicking the "Tap tempo" button at the desired tempo or by using the "t" key on your keyboard. Start by selecting a tempo using the slider or, the left and right arrow keys on your keyboard. It is also used in live performances and recording studios to ensure an accurate tempo throughout the performance or session. A tempo marking of 60 BPM equals one beat per second, while 120 BPM equals two beats per second.Ī metronome is commonly used as a practice tool to help maintain a steady tempo while learning difficult passages. The pulse is measured in BPM (beats-per-minute). A metronome is a device that produces a steady pulse to help musicians play in time.

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Binary: Every beat is divided into two equal parts.

None: You don't hear any beat division.

Divide the beats to practice different stylesīeing able to hear beat divisions can be very helpful to improve rhythm accuracy. In parenthesis, you find the recommended division (if you want to hear beat divisions).

12/8: One accent every 4 beats (ternary division).

9/8: One accent every 3 beats (ternary division).

6/8: One accent every 2 beats (ternary division).

5/4: One accent every 5 beats (binary or shuffle division depending on the song).

4/4: One accent every 4 beats (binary or shuffle division depending on the song).

3/4: One accent every 3 beats (binary or shuffle division depending on the song).

This is a big topic, but to make it simple, let's see the most common time signatures: What are time signatures? Have you seen two big numbers, one above the other, at the beginning of a staff? Something like 4/4? That is the time signature of a song. This value is related to the time signature of the song. How often do you want to hear a strong pulse? Every four beats? Or maybe every 13 beats? You decide what is best for you. Play this button several times at your desired speed and we will calculate the number for you. What is it? The tempo window includes a "tap tempo" button. PRO TIP: If you don't know the BPM number, use the tapping metronome. You can set up the speed by clicking on the "tempo (BPM)" button. Select the tempo using the numbers on the screen or typing the new numbers with your computer keyboard. A metronome with a speed of 120 BPM, produces 2 beats, evenly spaced, every second. If your metronome has a tempo of 60 BPM, it means that every second a beat is played. The higher the number, the faster the song. It means the speed of a song. The tempo of a song is a number in BPM (Beats Per Minute). "Tempo" is a very common word used by musicians. Below the play button, you find the volume slider. To stop it, click on the same button (now a square inside a circle). To play the metronome, simply click on the play button (the triangle inside the circle).

Program the metronome to stop after a number of repetitions.

Hear beat divisions to practice different styles.

Tapping metronome: select the speed with the tap tempo button.

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Our epic app has unique options that make it the most professional metronome online: You can use it with our online virtual piano keyboard and with the online drumming game.

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Our free metronome app plays a short and steady beat at your desired speed and is highly customizable. For instance, pizzicato (short note length) and tenuto (full note length) and really try to understand these articulations.An online metronome app is a device to practice music and develop a more precise rhythm with any instrument. You can even say that you want to play specific beats pushed and some pulled, and you can experiment with this in a groove!Īnother tip would be to experiment with different articulations. Sometimes it is best to keep your playing simple and focus on getting the simple things right. This ‘feel’ and knowledge of note placement is what makes all great musicians, especially rhythm players. You can do this by playing the beats pushed (slightly ahead to give an energetic feel) or pulled (slightly behind to provide a more relaxed feel). When you become really, really good, you can do what all professional musicians can do: decide the feel of the notes. Take it slow and be precise! To make it harder, slow the tempo further down and really try to hit the notes precisely. The whole point of playing along to a strict tempo is that it will never change, making it easy for you to hit the right note you’re targeting. The best tip I can give you is to be critical of yourself.

sometimes you gotta vibe to tunes and wrtite fanfiction and scroll thru tumblr while swaying back and forth like the ticking things that music teachers use

GROJBAND, 2x23 - “Curse of the Metrognome”

requested by anon

Astarion to her at the bottom and her like “I already bunny hopped to punch Aradin in the jaw earlier, will do it to you too buddy.”

I remember reading an old theory suggesting that the Lady creates masks of out human ashes, and uses them to control her shadow children. I can see the motif coming back around in TCOM not just because of the smoke-filled, post-industrial setting and obvious parallels to SOTM, but also because of the incense symbol.

I'd previously written about the possible meanings behind the 3-spoked emblem in TCOM's title logo (which I didn't give much thought to until after incorporating it in more character designs, but live and learn I guess), and one such idea says they represent incense sticks because they emit smoke in the teaser. Referencing this particular act of honoring the dead makes sense because this is a world where the human soul is known to actually exist. Except it must be ironic because the Corp has no respect for the dead whatsoever. In Metronome the lower class continues to be abused even beyond their deaths, with souls being effectively stripped from their now husk-like bodies and both halves are set to perform a unique role. This exact premise was reused for the Maw, with SOTM shedding light on both halves of the whole being.

If you want to believe that souls are being bound by the command of someone more powerful via ashes, I raise you the idea of the Corp using ashes for their machinery: inventing unique metals and various structures that spirits can't escape from, because they're technically still contained by their rightful bodies. Or maybe if the right ashes are hard to obtain (considering the actual bodies are still in-tact as metrognomes), then maybe the photographs or a new branded incense or some other material fills that role. All things considered, the 3-spoked symbol likely doesn't hold as much relevance as it used to... At this point I'm rambling, I just think it'd be neat if we took cues from the successor for a change.