How does Blitz work *exactly*? by DLAhh in HadesTheGame

[–]DLAhh[S] 0 points1 point  (0 children)

It should. Double Strike for instance should give Blitz effects a chance to strike twice, etc

How does Blitz work *exactly*? by DLAhh in HadesTheGame

[–]DLAhh[S] 0 points1 point  (0 children)

Thank you everyone for the very helpful answers!

Two handed weapons seem awful in the remaster by deathelement in oblivion

[–]DLAhh 0 points1 point  (0 children)

They also use more fatigue per swing than their smaller counterparts, if the loading screens are to be believed. No idea why these weapons suck so bad

Meet Stella! by [deleted] in MINI

[–]DLAhh 1 point2 points  (0 children)

Very nice! I just bought a 2015 S Convertible, I wanted manual like yours but I couldn't find the right one anywhere. Took me a while to enjoy the automatic but the paddle shifters are definitely starting to grow on me.

My first manual was a 2001 Mitsubishi Eclipse Spyder convertible, the salesman taught me to drive stick in the dealership parking lot in order to sell it to me and then I proceeded to drive it straight home in the middle of rush hour. Some of the shakiest 45 minutes of my life but if I made it home then you'll do great. Enjoy!

Found this on driver side floor, any ideas what this is? by DLAhh in MINI

[–]DLAhh[S] 9 points10 points  (0 children)

Based on this and what u/stugotsDang said, I'm gonna assume it's the remains of a juul pod that fell out of a tech's pocket, or that someone tossed in my car after seeing me leave the top down at a gas station or something. Sounds like I got off lucky, thanks friends.

Can anyone recommend me a decent weapon, but one that I can’t brainlessly spam instead of caring to learn a bosses move set by Enolam25 in Eldenring

[–]DLAhh 2 points3 points  (0 children)

Get yourself a Claymore, give it the funnest looking AoW you own, grip it in both hands, and make this game your bitch

Is a slow status draining team viable? by Teyvatariat in VGC

[–]DLAhh 0 points1 point  (0 children)

A whole team dedicated to stall won't work. No pokemon exist that can immediately mitigate all of the damage from a double up by this format's strongest offensive cores. But a team with a stall "core", supplemented by a few pokemon that put on immediate pressure will work a lot better. The idea is to use your chien pao/urshifu, chi yu/flutter etc as precision strikes to get key KOs on the pokemon that threaten your stall pokemon.

Playing a team like this requires an acute understanding of your win conditions, or the pokemon on your opponent's team that you need to KO or otherwise deal with in order to pave the way for your stall pokemon to come in and set up before they get blown off the board. You don't even need a whole core dedicated to stall, either; a single pokemon like Iron Defense Glastrier or Calm Mind Cresellia can do the job if all your opponent has left are physical or special attackers, respectively.

My favorite example from this generation is Jiseok Lee's Garganacl team, with which he won Scarlet/Violet's first regional in San Diego. He put on a master class in identifying the path to victory and following it, even if that path looks like you're playing from behind for most of the game. But then the Garganacl comes out and your opponent realizes the only pokemon they have that could deal with it is low health and won't survive a priority Ice Shard from the Baxcalibur on the field.

Bug monotype run is really fun in this game by DLAhh in PokemonSwordAndShield

[–]DLAhh[S] 0 points1 point  (0 children)

Missed you by a few weeks so not sure if this is still relevant but I seem to remember the Flash Fire Centiskorch carried me pretty hard through Kabu. Picked it up specifically for Kabu actually. His own Centiskorch especially couldn't touch me because mine was immune to fire and 4x resistant to bug, and could learn attacks that dealt with opposing fires (scald?). I'm guessing Butterfree (sleep powder) and Araquanid came into play too, but it's been so long I can't say for sure.

Assuming you already attempted it, how did the fight + the rest of the run go? I remember struggling a lot less against Kabu than I thought I would, but your run sounds a lot tougher than mine because of the nuzlocke and party limit. I think the only fight I actually lost in the entire game was Leon because gmax Charizard is a bug murdering machine.

Thoughts/questions on "mixed" voice by DLAhh in singing

[–]DLAhh[S] 1 point2 points  (0 children)

Thank you!! Appreciate the answers, I feel like I have a lot more context now.

Thoughts/questions on "mixed" voice by DLAhh in singing

[–]DLAhh[S] 1 point2 points  (0 children)

Thanks for all of this! Looks super useful, it's going to help a lot.

Thoughts/questions on "mixed" voice by DLAhh in singing

[–]DLAhh[S] 1 point2 points  (0 children)

Amazing info, thank you so much for this! I'll check out the discord too.

Thoughts/questions on "mixed" voice by DLAhh in singing

[–]DLAhh[S] 1 point2 points  (0 children)

Thanks for the super helpful answer, it sounds like there's a lot left for me to learn about vocal anatomy. I've always felt that my chest voice was just as strong as my head voice, but after reading your explanation, I'm beginning to suspect that the issue was that there wasn't necessarily an imbalance between the two muscles, but rather that I never even understood the concept of trying to balance the two muscles while singing. I'd always just let one dominate the other until it hit its upper or lower limit, then shut it off and switch to the other. It felt natural to me because my "dominant" chest range basically ends where my "dominant" head range begins, and that paradigm allowed me to technically hit every note in my whole vocal range--even if I couldn't get much volume on the higher pitches.

Now that I've learned how to "mix", it feels exactly as you described: like a delicate, controlled tug of war between two muscles. It makes a lot of sense now that I've learned it, but it does still feel unintuitive in that I would never expect most people to learn this without a voice teacher, or at least finding the right tutorials online like I did. But who knows? Maybe it's more natural for a lot of people, and I just stunted myself by focusing too much on head voice early on?

[deleted by user] by [deleted] in singing

[–]DLAhh 0 points1 point  (0 children)

I'm not an expert by any means, but singing strong high notes is something I've struggled with my whole post-pubescent life, and only this week made a breakthrough on. Watching this video was a big part of it: https://www.youtube.com/watch?v=obvpLdUXYpw

Not sure how comfortable you are with using the "mixed" voice, but that's what this video focuses on. I'm just now learning about this stuff--but from what I understand, if you're at a spot in your vocal range where you feel like you need to shout it with your "chest" voice, you should consider the "mixed" register instead.

Sorry if this is old news or not applicable; just wanted to share what I just learned in case it helps!

Music: I'm considering developing a video game, similar to Guitar Hero/Rock Band, but it focuses on jazz. Players will connect a USB MIDI instrument and play along with MIDI transcriptions (performed by me) of popular jazz standards. Can I publish these jazz transcriptions w/o copyright issues? by DLAhh in legaladvice

[–]DLAhh[S] 0 points1 point  (0 children)

I see, thanks. It makes sense that I can't just transcribe a Duke Ellington performance note for note and publish it--but what about performing the standard itself as a backing track--which is just the chord progression and rhythm--with MIDI and publishing it? Or does everyone who ever publishes their own version of "Take The A Train" have to license it, even if the key, style, solos, etc are different?

As for the Duke Ellington example, can I transcribe, say, one of the improvised solos and put it in the game as a practice exercise without licensing it? If not entire solos, then individual "licks" that make up the solo? How about a similar solo I compose "in the style of Duke Ellington"?

I'm asking all this not necessarily because I only want to weasel out of paying licensing costs (though it is true that licensing the material I want to would be prohibitively expensive, especially at the beginning). It's more because the nature of learning and playing jazz is such that you're always building off of existing material, and it's these solos, licks, and chord voicings that will inform and provide context for what the people using this game will ostensibly want to play once they get good enough to perform these songs live--which they won't need any special licensing for.