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carnivalcarriondiscarded · 10 months

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i f. i fucking forgot a pencil so i cant scribble out this Thought i had while on a lil road trip today - basically i was thinkin about Wally, as ya do, and i asked myself why does Wally eat with his eyes? its such a Fascinating yet somewhat Out Of Place choice for him. how did Clown come up with that? its so unique. it stands tf out.

and then i remembered Frank & Poppy's convo for their 'bug' audio, and how he says "you eat with your eyes first" and like... thats a real phrase. ive heard it in my life. & it set off lil alarm bells in my head the first time i listened to the clip, i just hadnt connected the dots yet. so its feasible that thats why Wally eats the way that he does - and an in-universe explanation could be that Wally heard the phrase before he could learn how to eat 'properly', and took it literally

essentially:

Frank: you eat with your eyes!

Wally: *rdj meme format* you eat with your eyes

#also dont have wifi so i cant type out my musings on my laptop #and typing on my phone kinda Hurts #so! this is a note to myself to Talk About This and Scribble a silly thing Later!#in a couple of days!#no wonder he only eats when no one is looking....#they all eat Normally but hes over there like 'oh shit oh fuck i dont know how to do that. uhhhhhhh'#i imagine he heard it and immediately internalized it forever #core memory. this action will have consequences. new skill unlocked. this cannot be undone.#wally just casually fucking with the laws of reality.... good for him! good for him #i mean why not!#its not like he knows what reality is! or the laws of physics! he doesnt have to obey what he doesnt understand!#someone says You Can Do This and hey. look at that. he can!#and wow this beef jerky im eating tastes like chemicals.#absolutely unprompted #homebogging #welcome home speculation #wh speculation #I HAVE BEEN SITTING ON THIS. FOR HOURS. DYING TO WRITE IT OUT AND POST #BUT I WAS IN THE CAR AND I GET CARSICK SO EASILY #so i couldnt....#but now! now i am in this motel! relaxing! not moving! AND I CAN POST!!!!#anyhow i really need to get on posting more Thoughts bc i have so many #on wally's behavior on other characters & dialogue choices and just!!! Agh!!!!#speculation galore!!!!#ill have to wait though! sadly!#damn. i cant draw i cant Post. whats a bitch supposed to do #good thing i brought my crochet project smh #and a book <3

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gildedmuse · 10 months

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Look, I don't ship it so it's difficult for me to say with complete certainty...

But....

This is definitely how every Kid x Law fic ends, right?

#I mean obviously the fics would go a little longer #it just got to the good part!#one piece #trafalgar d. water law #trafalgar law #eustass kid #amusing musings #wano arc #Kid x Law #I have no interest in this ship but even I was like.... yeah......#queue it up

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frost-eyed-autumn · 2 months

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{--Honestly though, I've browsed so many posts or seen fanon that's like "Chuuya is BASICALLY a good guy idk why he's in the mafia" that are just blatantly wrong. Like yes Chuuya has a moral compass (most criminals do, if a skewed one) and stupidly high loyalty (a highly valued trait in the mafia; I'd daresay, the most valued trait in the mafia) but this bitch was drinking booze, carrying out terrorist acts against rival gangs and killing hardened criminals for sport when he was only 15 with all the casualness of playing a video game, he is not a "good guy"--}

#ooc #the muse #{--people be like ''well he cares about his friends and does good and lawful deeds SOMETIMES so he's basically a good guy''#no no no full stop no that's not how this works honey #I like Chuuya as much as the next guy but that's enabler talk--}

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malevolent-muse · 30 days

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Master Memorandum

Introduction - Vanessa Muse - 30s - she/her - - Writer & Graphic Artist: These terms loosely apply -

🛑 No Minors 🛑 - (you will be blocked) - -my blog is a safe space for me. the rest of you are in danger-

Requests are - OPEN - as is the - TAG LIST -

FAN ART

FAN FAVORITES : Supernatural, Once Upon a Time, NBC Hannibal, BBC Sherlock, Doctor Who, Teen Wolf, Star Wars, Good Omens, etc.

LAW & ORDER: Special Victims Unit, Criminal Intent, Organized Crime

ONE CHICAGO: Fire, PD, Med

FAN FICTION

Law & Order: SVU

Law & Order: Criminal Intent

Supernatural

Hannibal

Sherlock

Once Upon a Time

Teen Wolf

One Chicago

POLLS

Once Upon A Time

Sherlock

Supernatural

Law & Order: SVU

Law & Order: CI

Hannibal

Doctor Who

SOCIALS

AO3, Twitter, Instagram, Threads, Facebook

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nehswritesstuffs · 11 months

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you know, maybe one of the reasons Law has resonated with me as a character lately is because he ate the Ope-Ope no Mi/Op-Op Fruit and my Midwestern American ass recognizes that sacred word and just clings to it because he is exactly the type of guy who would wear a hoodie with shorts and exudes not only big I Might Have Had A Rebellious Phase But I’m A Professional Now If You Would Just Listen to Me I am So Tired energy but also what is Flevance but a Rust Belt town decimated by toxic mining and a government filled with just enough people who want to sweep it under the rug and look the other way and this doesn’t even get into headcanons about Flevance being the Low Countries/more Dutch than what most people think of when they read “German” bc it caters to my personal whims or Detroit parallels because I will make Detroit parallels about every fictional center of wealth and prosperity and culture that gets fucking abandoned and treated like trash (especially by those around it) and no one can stop me

#wearing a hoodie and shorts while in A/C writing this like yeah this tracks #Law is just a very good and applicable blorbo #he can translate really well into Midwestern and while I know some of it is projecting not all of it is #this is part of why Double Date From Hell is set in the pseudo-Midwest #it just fcking works in my head alright #no shade to people who think he's swiss or from dresden or smth #those hcs are just as valid it's just iykiyk #might use these musings in fic might not #Trafalgar Law #One Piece #Trafalgar D. Water Law #I really need to finish up my current seagull fic but the ability to concentrate is eluding me #post the 1331st

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daybreakrising · 4 months

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@snowtombedstar: to hell with this place & all the people here . // for wrio!

A single brow lifts sharply at the harshly bitten words, and a frosty gaze peers over the top of the documents in his hand to fix, instead, on the woman standing in the middle of his office. The silence that follows the outburst is tense, cool, and deliberate. The warden has dealt with many a hotheaded inmate before now (has been one, too); such a dramatic display will not get a rise out of him so easily.

"Is our hospitality not to your standards?" The words are uttered with a casual air of amusement, though there is no smile on the Duke's face and, if anything, his gaze only grows frostier. "I'm afraid you'll have to submit your complaint in writing."

He's kept a watchful eye on her ever since her attempt at breaking into the Fortress, as he does with every inmate he pegs as a potential troublemaker. There have been no small degree of incidents, too, which have served only to add more and more time to her otherwise relatively minor sentence.

"Jokes aside, unless a change of attitude comes about, I think you'll be stuck with us for some time." The documents are set down and he leans forward on his elbows, fingers linked together in front of him. His attention is now solely focused upon her, that cool gaze almost calculating. "It's been a while since someone was banned from the pankration ring. Tell me, Tem: is it anger, or merely frustration? I can well understand both from your position, but I can also tell you with certainty that neither will get you out of here."

#snowtombedstar #muse; wriothesley (genpact)#source; g.enshin #v; seriously. don't break the law (main)#( i scoured your temline for a good place to set this and this seemed perfect )#( so i hope this is okay !! )

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movedtoferinehuntress · 9 months

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☾ * ―― 𝐌𝐎𝐑𝐀𝐋 𝐀𝐋𝐈𝐆𝐍𝐌𝐄𝐍𝐓 𝐓𝐄𝐒𝐓 .

true neutral .

―― True Neutral people believe in the ultimate balance of forces, and they refuse to see actions as either good or evil. True Neutral individuals do their best to avoid siding too strongly with any one force, whether that force is good or evil, lawful or chaotic. For this reason, True Neutral personalities sometimes find themselves drawn into rather peculiar alliances, friendships, and life paths. To a great extent, they side with the underdog, sometimes even changing sides as the previous loser becomes the winner. Such people often see good, evil, chaos, and laws as simply prejudices that lead to dangerous extremes. Like the Taoist masters of ancient China, they tend to believe that the universe functions best when the light and the dark, the yin and the yang, are in balance.

➤ tagged by: @vulpesse and @piillory (stolen XD) ♡ ➤ tagging: @misstantabismuses, @independentzaun, @musesbymarnie, @ofspvrta, @angelicaaster, @araneafitapis, @saviourofzaun, @wolvensden, @prtector, @hemomania, @decidentia and everyone else!

#[muse] caitlyn — games.#omfg!#I am changing her thing now #cause this makes SOOO much more sense #and it goes with my idea that Caitlyn looks for balance #she doesn't see good and evil #she looks at a situation and determines if its justified or not #people can get away with killing in her eyes if its justified #however killing senseless is a no #and that's just one of the few aspects of her where she doesn't at all #align with a lawful character #but a lot of what she does is 'good'#she is a protector #but people she protects some people might not agree with

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sunburnacoustic · 10 months

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A DIP IN THE MUSE KITCHEN SINK

A wonderfully in-depth interview from 2013 with Muse producers/engineers Adrian Bushby and Tomasso Colliva, who worked on The 2nd Law. The interview goes into the recording of every part of the album, vocals and instruments, and as someone who has been teching bands for live radio sessions, you bet I'm reading every word of it :). Source.

"Tomasso Colliva, Adrian Bushby and Muse at East West Studios in LA. Photo by Tom Kirk"

Muse is arguably the ultimate 21st century kitchen-sink act. Adjectives like “overblown,” “over the top,” “ridiculous,” and “pompous” are regularly used in describing the band’s music, and the British trio’s master stroke is that they have turned these normally damning qualifications into badges of honour. Muse’s many fans adore the band’s bombastic intensity, the classical influences, the juxtaposition of heavily-distorted-in-your-face-over-compressed-monolithic rock with orchestras, choirs, diminished chords, key changes, and many other divergent ingredients, taking things to the limit and, well, far beyond. It makes the band’s music a love-it-or-hate it affair, but with their six studio albums selling 15 million copies to date the trio doesn’t have to worry about the nay-sayers.

Late last year saw the release of The 2nd Law, Muse’s sixth studio album and the follow-up to the commercially very successful The Resistance (2009). While the download era has seen Muse’s album sales are gradually declining, in line with those of any other act with any kind of longevity, in terms of chart figures the new album did almost as well as The Resistance, reaching to #1 in the UK and NZ, and #2 in the US and Oz. The band has gone on record saying that they were “drawing a line under a certain period” would do “something radically different” on the new album, and quoted influences of dubstep and electronic music as inspirations for a new direction. The 2nd Law does have some different touches in that it sounds more electronic than previous Muse albums and there are indeed some dub-step elements thrown in on a couple of songs, plus in other places the rather un-Muse sound of an R&B brass section. But overall it’s very recognisably Muse, as ever alternating moments of spine-tingling beauty with the more mundane, and overall admirably succeeding in obliterating the divide between the sublime and the ridiculous.

Unsurprisingly, perhaps, the kitchen-sink approach isn’t only a central pillar of Muse’s music, it’s also at the heart of their approach to recording it. Almost all their albums have been big budget productions recorded in ways that are reminiscent of the good/bad old days of the 80s and 90s, when spending months if not years and hundreds of thousands of dollars on recording an album was the norm rather than the exception. Apart from the band’s low-budget debut album Showbiz (1999) and The Resistance, which was recorded over a period of a year at guitarist/pianist/singer and main song writer Matt Bellamy’s own studio near Lake Como in Italy, their other albums were made over a prolonged period of time in a range of top quality studios located in different countries. The 2nd Law is a return to this way of working, as it was recorded from November 2011 to May 2011, mostly at Air Studios in London, with a couple of months in Los Angeles to record at East West, Capitol, and Shangri-La, and two string sessions in Milan at Officine Meccaniche (for the tracks “Explorers” and “Prelude”).

At the controls for The 2nd Law were Adrian Bushby and Tommaso Colliva, hailing from the UK and Italy respectively. Bushby also engineered The Resistance, with help from Colliva, and their accounts of the goings-on during the making of The 2nd Law are surprising in several respects, not least the fact that Muse turned Air studio 1 for a whopping six weeks into what surely must have been the world’s most expensive rehearsal space from mid-September to November 2011, and they then continued the recording process as described above. And that was before three of the world’s top mixers, Chris Lord-Alge, ‘Spike’ Stent, and Rich Costey, were brought into action. If the Muse guys are worried about declining album sales and how they’ll continue to generate revenue, their working methods don’t show it. There were other elements of excess, for example recording the drums with a PA system, the hundreds of tracks that were recorded for each session, the wealth of additional musicians and singers that were recorded, and so on. This was, undoubtedly, a Muse project…

On the phone from Milan, Colliva took the story from the top. After Muse, he’s probably the person with the deepest insights into the band’s working methods, because he’s worked with them since 2005, when he helped out with the recordings of Black Holes and Revelations (2006). In addition to working on every Muse album since, he also played a central role in building Bellamy’s Lake Como studio, did the pre-production for the The Resistance tour and also is the band’s live Pro Tools engineer. “I used to be chief engineer at Officine Meccaniche,” added Colliva, “which is Milan’s largest recording studio and one of Italy’s top facilities. Muse came to record there at the end of 2005, and because I was the only person who spoke English I was asked to assist them. I ended up recording a bunch of things. Because Matthew had an Italian girlfriend at the time, he bought a house in Italy, near Lake Como, and I helped him turn the rehearsal space in his villa into a fully-fledged studio, with an SSL 4048 G+ series desk and tons of outboard, where we recorded The Resistance.”

Bellamy and his Italian girlfriend split up towards the end of 2009 and the Briton moved back to the UK. “For the new album the band wanted to record in London,” elaborated Colliva. “Like with The Resistance, they wanted to do pre-production using Pro Tools. They had done this at Matthew’s Lake Como studio for that album, but for the new album they asked me to set up everything they needed at Air. This took me three or four days. They wanted a big set-up, with quite a few microphones, and all signal paths and Pro Tools sessions ready to go. They like to be left alone during this phase, which meant that I set Pro Tools up so that all they had to do was open up a template that gave them access to every instrument at the touch of a button. They didn’t have to think about the technical side of things, and this allowed them to sketch out ideas and arrangements very quickly, and if they stumbled on new ideas these were also captured. There was an assistant if they needed some support, and other than that I was always on call via telephone. Every two weeks I’d go to London to check that everything worked and that the recordings were OK. In November Adrian and I then joined them in the studio to record everything properly.”

"Tommaso Colliva in Brooklyn Recordings Studios NYC. Phot by Francesco Balatti"

The working method described by Colliva sounds sensible enough… until that last sentence. Two things jar: first of all, why spend two months recording what essentially are demos in one of the most expensive studios in the world? Air wouldn’t say, but comparing it with the world’s other top facilities, Air Studio 1, with its 72 Channel custom Neve/Focusrite desk (it has 56 Neve 31106 and 16 Focusrite ISA110 channels) is likely to cost north of A$1000 per day. Spending A$40.000 (or whatever deal the studio offered) on six weeks rehearsal space, however deluxe, really is a throwback to the excess-all-areas eighties and nineties and not very 21st century at all. Moreover, aren’t demos a thing of the past? Isn’t the whole point of the DAW that anyone can record master-quality material anywhere, and going into a commercial studio is purely a matter of using these studios’ specific qualities (acoustics, monitoring, outboard)?

Colliva was almost able to hear the rising eyebrows on the other end of the telephone, and explained, “The band wanted to be able to do things in a very modern way, including the abilities to edit things and try different arrangement in Pro Tools. But they wanted to be able to do this without anyone around. If Adrian and I had been there, it would have been more expensive, and also, the days would have been standard production days during which they’d have felt obliged to go to the studio for at least eight hours a day. Instead they could go to the studio whenever they wanted, whether just for two hours or longer. It gave them a lot of freedom. It’s true that with the mics and signal paths that I had set up it would be possible to track any band and get top quality results, but when we switched to the actual recording process in November, with Adrian and I there, we did really step up things. We changed the miking of the drum kit, we put up many more room mics, we used different guitar and bass amplifiers, and we used a PA kit to enhance the drum sound. In September and October the band was busy writing sketching out arrangements, and in November it was a matter of: ‘OK we now know what the songs are, now let’s get the exact sounds we’re after.”

“Yes, we did replace almost everything they had recorded during the rehearsal phase, apart from some of the soft synth sounds, because Matthew had lived with them for months, and it would have been hard to abandon them. The main three soft synths they used were Pro Tools’ Vacuum, Native Instruments’ Massive, Rob Papen’s Predator, and we also had a separate computer dedicated to samples from VSL and East West. Many of the drum samples came from Battery, and East West’s Stormdrums and RockDrums, with the last one only for demoing. With regards to using the PA system to augment the drum sound, it’s something that I had done when working with Afterhours, one of Italy’s leading alternative rock bands, and when Matthew asked me for ideas, I suggested it to him. The set-up consisted of Roland triggers on the drum kit connected to a Roland TMC 6 trigger to midi converter, that fed a MacBook running Native Instruments’ Battery, with our own sounds in it. We ran these through the PA, and recorded them via the drum kit microphones together with the live kit.”

During the seven months of tracking, Bushby and Colliva had a fairly well-defined role division, with Bushby mainly responsible for the actual recording, ie mic choices and placements and signal paths, and the Italian manning the Pro Tools rig. “I was in fact doing two things,” adds Colliva, “one was handling everything that was digital, meaning Pro Tools, samples, synths and so on, and the other thing was coordinating everything else that related to the logistics side of production, meaning moving instruments around, making sure everything that the band needed was there, and so on. That was a lot of work when we were in LA, because we didn’t have the same degree of support from Muse’s management and the bands touring crew was faraway.”

Colliva’s logistic contributions were one reason for his additional production credit, which was also given the Bushby. The Briton added, “I think we received the additional production credits because recording The 2nd Law was more a group effort than The Resistance had been. We were five in a room, and when decisions had to be made, everybody put in their opinions.” Bushby is a London-based engineer, mixer and producer, who has worked with My Bloody Valentine, New Order, U2, Placebo, Smashing Pumpkins, Dashboard Confessional, Depeche Mode, and the Foo Fighters, and who has won two Grammy Awards, one for his engineering work on The Resistance and one for recording the Foo Fighters’ Echoes, Silence, Patience, Grace. He has a formidable reputation for his awareness of sound, and he reckons that Muse involved him “for the sonic point of view.”

From his state of the art studio in North London (see sidebar), Adrian Bushby gives his side of the story of the goings-on during the making of The 2nd Law, first of all clarifying that, for him at least, the seven-month production period for the album, November 2011 – late May 2012, wasn’t a nose-to-the-grindstone, 16-hours a day, 7/7 affair. “It was always a matter of work for two or three weeks and then I had a few weeks off. Having breaks like that meant that we didn’t get too tired. The approach was a bit different than with The Resistance, because when I arrived in Italy for work on recording that album they had three songs ready to go and the rest was very sketchy. But when I turned up at Air, there was a whole wall with write-ups and details of tracks that were ready to be recorded. In either case Matt always knows what’s going on, which is incredible, considering the complexity of their music. He always knows what has been done and what still has to be done, and where he is going.”

“When they were rehearsing and doing preproduction, they pretty much record the songs as a band, with everything miked up as if they were tracking for real. When we were recording them they regularly played as a three-piece but they also did many individual overdubs. We used the recordings they’d done during preproduction as a template. Sometimes we used the guitars and pianos that Matt had recorded for the demos as backdrops for Chris [Wolstenholme, bass] and Dom [Dominic Howard, drums] to play to. We made sure that everything was well separated, so we could overdub without spill. Chris’s and Matt’s amps were in different booths and rooms, so everything was very isolated. Also, the band works with in-ear monitors, which meant that we didn’t have any problems with things blaring from monitors. They control their own headphone mix with a 16-channel mix system by Aviom. They also use that live, and they’re really happy with it, which made my job a lot easier!”

According to Bushby, on his and Colliva’s arrival in November 2011, one of the first things they did was adjust the recording space, “The live room has a glass dividing wall, and during preproduction they had closed it and placed the drums behind it so the drums didn’t sound too loud in the room. But for some reason the drums sounded really uncontrolled with that partition closed, I think because there’s so much glass. It sounded really big and trashy with no focus on the cymbals. So we opened the doors and turned it into one big room, which sounded much better. It gave the extra close microphones on the kit a lot more focus. In general we carried on from where they had left off during preproduction, trying out new set-ups with different amps, and putting up additional microphones for a more in-depth sound. We first concentrated on getting the drums and bass tracks up and running, experimenting with many different sounds in the process.”

RECORDING DRUMS

Adrian Bushby: “Whilst the band had been demo-ing, Dom had treated many of the drum tracks with plugin EQs, going for very bright and attacky sounds. I decided to go along with that vibe for the drums. But instead of trying to record the drums very flat and natural and then EQ everything afterwards to get the sound they were after, I tried to get the sounds they wanted as they went down. I recorded the drums with a whole range of microphones, generally the same as most people use, but I did try various different ones. I always tried to have something interesting and different and set up lots of different mics in different places and gave them different treatments. Sometimes I used them all, sometimes only a few. I had some AKG D90’s floating around that worked really well, a Russian Lomo mic, which is one of mine, as well as an SM57 and an AKG414 on the floor behind the kit. There also was a Sennheiser, I can’t remember the model number, but it looks like a bullet mic, and it sounded great when put through an amp, just pulling it back from distorting. The drums for the track ‘Unsustainable’ in particular were recorded with many unusual microphones.”

“For more regular sounds I generally had a couple of mics on the kick, one of them the Shure SM91, as well as a 47 slightly outside the kick and an NS10 sub. The snare mics were an SM57 on top and an AKG414 underneath, and I also had a contact mic on the floor. I recorded the toms with 421’s on top and Neumann FET47’s underneath and I had AKG 451’s for the overheads, which I hadn’t used for a long time, but they gave the cymbals in that big room at Air some more focus. There also were a couple of Sennheiser MKH40 mics for closer room sounds and Schoeps from the orchestral set-up at Air for ambience, stuck as far and high back in the room as possible. Like on the previous record we had a piano in the room, and I used the piano mics for additional drum ambience. It’s something that I discovered by accident and it works really well. Because of the resonance of the piano you get some unusual ambience that you don’t get from normal drum ambience mics.”

“Regarding the signal paths, generally speaking everything went through the Neve 31106 mic pres in the Air desk, with some Neve EQ and Pultec EQ on the bass drum and the snare drum groups. I don’t like to compress the bass drum too much when recording, and the snare drum had some compression from a Distressor, but again nothing drastic. Most of the compression was on the room mics. I love compression on room mics, and we initially went for quite a compressed drum sound, but when we switched the PA on it obviously squashed everything down, so we tried to keep the room mics more open this time round. There were just a few close drum mics that were treated with some extra compression, while the room mics generally remained quite open.”

“The PA system was in the room behind Dom and pumped out quite synthetic, dancey sounds, really loud, while he was playing. I’d never done that before. The PA shifted a lot more air than just the acoustic kit, so we got this huge pumping sound in the room, which was very effective. The point of using the PA was to create a more dancey sound for the live kit, because they wanted to incorporate this dubstep thing. I miked up the kit as usual and obviously the room mics were going to pick up most of the PA. The close mics also picked something up, and altogether this added up to a bigger, very interesting sound. We occasionally put live bass and snare drum sounds through the PA, but mostly they were the synthesized sounds from Battery. We also recorded these Battery sounds dry, but generally speaking only used the sounds that had gone through the PA and that were picked up by the drum and room mics.”

RECORDING BASS

Colliva: “Both Matt and Chris are very fond of their live sound, but I always feel that their live setups include pieces that are not really needed in the studio, so the challenge was for them to have the same functionality in the studio, but with shorter signal chains and better sound quality. I had a Radial JD7 Injector splitter, and we would have three chains for the bass, one clean channel via his Markbass amplifiers [MoMark and SD1200], and two distorted channels, one with distortion coming from some kind of Big Muff or Animato pedal sound and the other channel would have a more fuzz-like sound coming from fuzz pedals by ZVex, like the Mastotron or Woolly Mammoth. There would also have been a fourth chain with a hot DI if we wanted an aggressive sound. Chris may also have used pedals, which we automated if they were midi controllable. We’d do a take with Chris playing via a wah-wah pedal and getting it roughly the way he wanted it to sound, and we then sent the DI through a pedal that we automated to make the wah-wah sharper and faster than a human could play it. We did similar things with Matt’s guitar.”

Bushby: “Chris’s sound is incredible. He knows how to get his sounds, and that makes it much easier when you are recording him. The Markbass set-up covered the clean sounds, I think we had two different heads and cabs on which I had an AKG D19 and an RE20 plus an NS10 sub, and they all came into the Neve desk with an 1176 on the clean bass group. The more distorted bass sound was played via two vintage eighties Marshall DBS heads going into two different cabs, placed in the back of the room, and on them I had a Shure SM7 and another RE20, panned left and right, and a couple of Neve compressors just touching things. When you have that much distortion on the track, you don’t really need compression. I didn’t want to squash the life out of the sound. Depending on the track we would sometimes changes pedals and triggered different effects from the computer. We generally speaking didn’t use the DI.”

RECORDING GUITARS

Bushby: “Matt used Diesel V4, AC30, Marshall 1959HW and HiWatt 100 amplifiers and Mills 4×12 cabinets and a Roland JC120 and a couple of Fender combos as well, like a Fender Twin. I’d normally have two mics on the speakers, like a Shure SM57, a 421, a Neumann FET, a Royer 121 (Matt really likes the sound of that), an AKG 414, or an AEA ribbon. The latter works really well because it can handle quite a lot of level. Generally every amp would have a Shure 57 and whatever went with it to taste. We also had a couple of Neumann 87 room mics, which usually picked up the 4×12’s, because they were in the big room, while other amps were screened away or in other rooms. I tended to use the desk Neve mic pres, and then a Pultec or AER EQ across the group, adding a bit more treble and bass overall. I EQ-ed the individual mics as well as the overall summed sound.”

KEYBOARDS

Bushby: “There were many keyboards in this album, with most of them soft synths. They went sort of Native Instrument crazy during the recordings. These generally speaking remained in the box, so for me the keyboards were mainly a question of miking up the piano and the Fender Rhodes. We went for the same set-up as with the previous record, with a couple of DPA mics for the nice classical sound on the piano, and also a couple of Telefunken Elam 251’s, and then I’ll generally add a couple of dynamic mics to do something unusual. These would be an SM58 in the sound hole on the sound board and this time round I also used AKG D19’s. Obviously the sound of the dynamic mics would be different than the lush, open classical sound, and I’d EQ and compress the dynamic mic sound for it to be more interesting, and pan the mics wide. When you balance them with the posh sound you can add some nice extra character. The EQ was mostly done on the desk, and any compression would have been whatever was lying around. I can’t tell you exactly how I did everything, because I just experiment until it sounds right. There is no formula. The Fender Rhodes was recorded with a couple of Neumann 67 microphones.”

STRINGS, BRASS, AND CHOIR

Bushby: “I don’t know why we went to LA, but it probably had to do with the fact that David Campbell, who did the string arrangements with Matt, is based there. I’d never done any classical recording work in LA and it was an interesting experience. The Americans were incredibly efficient, quick and focused. They’d look at a score, play it through once, and you couldn’t fault what they had done. Sometimes you did a second take, just to make sure there were no errors, and that was it. The first sessions in LA took place at Shangri-La, where Matt did guitar and Fender Rhodes overdubs, while the strings and brass were recorded in February at EastWest Studio One, which has an 80-channel Neve 8078 Console. We recorded the choir in a separate session at Capitol Studios.”

“I used Neumann 67’s above each section of the choir, and we also had this sort of Decca tree thing, with a 3-microphone set-up, and a stereo pair as well. The brass was recorded with Neumann 87’s as close mics and Telefunken Elam 251’s a bit further away for a more classical sound. I left the recording of the strings to the assistants at EastWest, because they do strings in that room day in and out and in my experience it’s generally best to go with their know-how. They used valve Neumann 47’s on the cellos and basses and Elam 251’s on the violas and violins. There was also a Decca tree and a couple of room ambience mics, but I can’t recall what they were. There was a Neve desk at EastWest, but I don’t recall the desk number anymore either. I’m too old to keep up with all the numbers. If it works, it works!”

VOCALS

“Chris recorded all his vocals at his house with the help of Paul Reeve, and Matt recorded his own vocals. You just set Matt up with some gear in another studio, and he gets on with it. It’s amazing what he does. Generally I set up a Neumann 67, a FET47, and a BeyerDynamic M88 and they went into a Neve-1176-Distressor chain and there also was an RCA ribbon mic, which went into a Mercury M72 Telefunken clone. Matt owns it, and it has a nice, warm valve sound, just like the original Telefunken. We set up these four mics with four stands and four different input chains, and he tried them out and chose which he wanted to use. He knows exactly what he wants. He’d say, ‘I’m going to do some vocals now,’ and you wouldn’t see him for the entire day, and then he’d come out with his vocals done, comped and everything.”

PUTTING IT ALL TOGETHER

Muse’s predilection for excess had a predictable effect on the size of the sessions. “Most of the sessions for this album were immense, off the scale,” remarked Bushby. “This meant that we regularly had to bounce things because we were running out of tracks and outputs. We did all the bouncing in the computer, so that the faders on the monitor side of the desk always remained at zero. We were always mixing what we had during the sessions, and this was a matter of whoever was closest to Pro Tools bouncing and balancing what was necessary. If I had just recorded four tracks of a guitar part recorded with four mics, I’d just grab them and balance them. Maybe they got tweaked later on, but the main thing for us was that we were always working to a mix, so we know whether what we have is working, and whether what we’re adding fits. I wasn’t involved in the process of selecting the guys who mixed the album, CLA, Spike and Rich. They obviously each have a different slant on things and the band wanted to use that. It’s a taste thing, and I don’t get involved. The band knows what they’re doing, and nobody needs to babysit them to make sure they’re not doing something crazy.”

There are skeptics who would dispute that. But millions will gladly second Bushby’s statement.

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pktearsoftazmily · 1 year

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// ...Should I just add Claus to this blog? And Ninten while we’re at it to make all the boys available? Because the AU Claus won’t leave me alone man... He keeps poking me to use him like??? Stop it, stop doing that shoo child

#ooc tag #delete later #Not changing my url nope #That's staying #But like side muses I guess like with Ness #Also please help the heat's gotten higher again #Apparently the dreaded 40c is returning...#I'm bloody moving somewhere cooler than that happens #We need heat laws my dude working can be stressful #Aight I'm good now aha

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kazeofthemagun · 8 months

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What is your moral alignment?

[tagged: I *think* I did this, but I lost it so here it is again.]

[tagging: @shiroi---kumo ]

You are 22.5% evil, 64.2% chaotic, making you Chaotic Neutral.

"Chaotic Neutral people believe that there ultimately is no order to anything, including their own actions. With this as their guiding principle, they tend to follow whatever their fancy tells them to. Good and evil are irrelevant when making a decision. Chaotic Neutral people are often extremely difficult to deal with. Although they promote the ideals of freedom, it is their own freedom that comes first. Chaotic Neutral individuals are free-spirited and do not enjoy the unnecessary suffering of others, but if they join a team, it is because that team's goals happen to coincide with their own at the moment. They resent taking orders and can be very selfish in their pursuit of their personal goals. Yet their methods of achieving their goals are often disorganized, unorthodox, and almost entirely unpredictable."

#and once again the thing almost gave him chaotic evil just because he's pragmatic utalitarian and isn't afraid to lie cheat and manipulate #if he must. now remember what his mission is about. lol #but yeah while his goals are good his personality and methods are more evil-leaning. yes he has compassion no he isn't a goody two shoes #soil musings #[[muse meme #as for order: Kaze is lawful when talking about the laws of nature. chaotic because he disregards mortal laws #his purpose is greater than those after all

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hopefulstarfire · 10 months

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So update on my adventures staying with my in laws;

We have 3 cats there now.

Some guy came to the door yesterday and told us somebody had abandoned cats by the dumpster. They'd been in a duct taped kennel with a bag of food by their kennel. The water bottles in their kennel were cold so it means they'd been dropped off thankfully recently and hadn't been outside in the intense humid heat we've had all summer.

We got them to the vet today bc today was the earliest appointment. All of them have a clean bill of health, thankfully!! The kittens are about 3-4 months and after their 2nd round of vaccinations in a couple weeks they're gonna be spayed and neutered but we're getting Mama cat spayed tomorrow.

Mama Cat (the tortie; her real name has not yet come to us, but it will) is very relaxed and doesn't mind the dogs at all. She's a very happy relaxed cat. Our kittens, Sebastian (the orange kitten) and Sabrina (the black kitten) were definitely nervous and are still getting used to their surroundings and don't like the dogs as much -- but I think they're also just working through a very traumatic thing in their life. They love to play and are very curious!! And they love cuddles. Sabrina was even the best when it came to getting her shot today and while she'd been the most skiddish when we got her, she was so calm and patient at the vets. And Sebastian is so smart!! And he loves my father in laws bongo drums he tried playing them this morning 😂.

I'm just thankful they're happy and healthy and my fil and step mom in law are in love with these cats. My fil has wanted cats this whole time and now they've wounded up in our laps and we just adore them.

#kenz musings #cats #i think theyre gonna have a good home with us #they were unexpected and i hate that they had such a rough start now getting here. but were gonna make sure they havr the best #they may all end up staying with my in laws while i move outta state. i may end up bringing one with me depending on their landlord #we shall see #but no matter what these cats are not going through what they just did ever again

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gildedmuse · 1 year

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Em: Oh, hey, you do those Tumblr thing, right?

Me: I have a free Tumblr account which I post on, yes.

Em: Shut up, I mean those - where they, wait Henry's sister was talking about them. You know! You ask someone for advice about dating someone but they're all fictional.

Me: *Where is this coming from?* Yeah, I think I know what you're talking about. Why? What's up?

Em: His little sister mentioned liking them and a lot of them are gender fluid friendly. She's into some of the same animes so I told her to look you up.

Me: ...

Me: That's cool she mentioned that. Also, that's not at all my tumblr's vibe.

Em: You mentioned people asking stuff mostly about-

Me: People send me asks like, "Hey wouldn't Zoro and Law be hot as cops?" And I say, "Yes, also about 500 other things, let me name them all." Which is kind of the opposite.

Me: I would be one the last people on Tumblr you'd send that ask.

Me: Okay your prompt is "Law, just realizing he has a kink for high heels"

Me: "He mentioned wanting to try this new bistro and you decide to dress up, make a date of it, and you're sitting there enjoying the breeze on the patio and suddenly a green haired boy with a tight little ass walks by, a pair of glittery green stilettos casually tossed over his shoulder, and from the state of his stocking-"

Me: Why are you crying? You didn't like it?

Em: ...Okay, I get your point.

#i think they were more afraid I would keep going #they were only a little high #me: how high were you when you sent this child towards my non-child friendly side of the internet!#one piece as a family activity!#it hurts me so much that I have three siblings who are a bit geeky in their own greats ways #and not a single one of them has that much interest in fandom #as the oldest and the one who they tur to in their moment of asking for good book or netflix suggestion it hurts my soul #one piece #roronoa zoro #trafalgar d. water law #trafalgar law #zolaw #not the vibe on this particular blog #It's not that I dislike them #I don't think most send those asks hoping the reply 'Oh but do you know who SO would so want to be with'#amusing musings #in fairness Law would SO be into high heels right then #you'd suddenly learn an alarming of suspiciously opinions he has on high heels #Also it was 4 am for me and 1 am for them so....

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devourmist · 1 year

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< moral alignment. >

Chaotic Evil ( 93.3% evil, 68.3% chaotic )

People who are Chaotic Evil are motivated by the desire for personal gain and pleasure. In their view, the strong have the right to take what they want, and the weak are there to be exploited. When Chaotic Evil personalities band together, they are not motivated by a desire to cooperate but rather to oppose their mutual enemies. Such a group can, as a rule, only be held together by a strong leader capable of bullying his underlings into obedience. Since leadership is based on raw power, a leader is likely to be replaced at the first sign of weakness, or by anyone who can scheme to take his position away.

#// let's take a moment to appreciate the fact that noah got chaotic evil while ig got lawful good when i took this same test for him #// my dichotomy aesthetic in muses strikes again!#< trivia. >

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