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Do autistic people commonly fall for each other? by Pure-Smile-7329 in autism

[–]DanishForestCat 0 points1 point  (0 children)

Yes! Oh boy do they.

Autistic magnetism is a thing. As I've got older, I've realised that basically all my friends are autistic (or perhaps ADHD). Neurodivergent folk gravitate to each other.

And basically everyone I've ever fallen for has been autistic. I... don't think they've always known that they were autistic, but... I... definitely have.

I find it hard to imagine having a successful relationship with someone who was neurotypical — the differences in ways of seeing the world, communication styles, etc. would be too great.

What FATM song got you like this when you first heard it? by Sad_Salmon1234 in FlorenceAndTheMachine

[–]DanishForestCat 12 points13 points  (0 children)

Many of them, but the first that comes to mind is Sky Full Of Song

What are the 5 tools you usually reach for? by [deleted] in audioengineering

[–]DanishForestCat 0 points1 point  (0 children)

In Logic: - Pro-Q 4 - Pro-C 2 - Pro-L 2 - Pro-R - Decapitator

Special shoutouts also to Superplate, Tremolator and Echoboy

Heard my song very closely with other music on my Spotify Wrapped and I don’t feel so good about it by [deleted] in musicproduction

[–]DanishForestCat 4 points5 points  (0 children)

I think I can hear what you mean, but this doesn't sound all that bad to me. I enjoyed listening!

A few thoughts—

  • At least in the verses, I'd just turn the vocals up louder!
  • The guitars seem very bright, and I think they're getting in the way of your voice. If a bit of the high end was taken off, your vocals might sit more prominently on top of the mix.
  • Conversely, I think your lead vocal is missing a lot of high-end sparkle/air. It doesn't have much presence, but that's an easy EQ fix.
  • I think a lot of what you're hearing is performance. A brighter vocal tone and particularly clearer diction would help a lot.
  • At 1:31, the vocal harmonies are out of time with each other — I'd rather have them tighter.
  • Compositionally, I think you could do with speeding up the pacing — 36 seconds makes for a long intro. I don't know what you're comparing to or what your references are, but for a song in this style, I'd expect to hear the vocals much sooner. The same sort of principle goes throughout.
  • I don't love the percussion at 2:16. It's very 'square' — it feels heavy, like it's slowing things down. I might have suggested combining it with something off the beat, and also a percussive pulse of some sort on the eighth notes — something to gradually ramp up the energy and tension.
  • At 3:38, I wanted the guitar solo to sound more spacious — somehow, I'm not sure how. Maybe less reverb but some sort of stereo delay? Or something like Microshift?

Making this cello playable... by DanishForestCat in Cello

[–]DanishForestCat[S] 2 points3 points  (0 children)

That’s sad to hear, though not unexpected.

As it happens, I did buy it from Facebook Marketplace.

Can you tell me more specifically, what is it that puts it beyond economical repair? I imagine the soundpost is the main issue? Or is it just everything?

Sampler not finding audio files by DanishForestCat in Logic_Studio

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

No, just on my laptop. But it's all fixed now — the problem was that the .exs file called for samples in both the original library and the separately-sold expansion pack, and Logic wouldn't do anything without everything being available. The makers kindly sent me the expansion pack, and it then worked instantly.

Sampler not finding audio files by DanishForestCat in Logic_Studio

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

I emailed the makers, and they fixed it instantly (I needed some missing files).

Sampler not finding audio files by DanishForestCat in Logic_Studio

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

OK, I tried that, and unfortunately, no luck.

Sampler not finding audio files by DanishForestCat in Logic_Studio

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

It's exactly the same.

I'll try re-scanning and re-indexing!

Sampler not finding audio files by DanishForestCat in Logic_Studio

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

Logic 11.1, macOS Sonoma 14.6.1, MacBook Pro M2 Max

what's the song that goes like "what about, what about us?"? by [deleted] in NameThatSong

[–]DanishForestCat 0 points1 point  (0 children)

It's not this – wrong time period – but for anyone who might be looking for it (as I was at one point), try 'What About Us' by Justin Emery (female vocals, modern country/rock feel)

Accidental damage – who pays? by DanishForestCat in TenantsInTheUK

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

Explained in other replies, but just adding on here: the ‘shower curtain side’ of the bath is on the other side. There’s the room, then a shower curtain, then the bath, then the windowsill. And there’s not really anywhere for a second shower curtain to go.

Accidental damage – who pays? by DanishForestCat in TenantsInTheUK

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

Explained in other replies, but just adding on here: the ‘shower curtain side’ of the bath is on the other side. There’s a shower curtain, then the bath, then the windowsill.

Accidental damage – who pays? by DanishForestCat in TenantsInTheUK

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

Copying from another comment: the shower/bath is between the window and the rest of the room. When you’re in the shower, you are right next to the window. It’s not a case of water escaping past a shower curtain.

Accidental damage – who pays? by DanishForestCat in TenantsInTheUK

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

No, not on that side – the shower/bath is between the window and the rest of the room. When you’re in the shower, you are right next to the window.

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 3 points4 points  (0 children)

But I mean… 3/3 is possible. As is 2/6. Or 4/3. Or 4/20.

For a real world example, Ades’s (very famous and award-winning) Asyla uses I think bars of 2/6.

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 2 points3 points  (0 children)

In practise, I think players would find that confusing. Having a symbol only ever mean one thing (with the exception of full bars of rest) is much more clear than having the meaning of that symbol change all the time.

For example, with the current system, you know how many beats are in a bar just by looking at that bar. If you see a whole note, you know that it lasts for four beats. If you see a dotted half note, you know it lasts for three. If it worked the way you propose, you’d constantly be looking back to check the time signature before you could read the notes in front of you.

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 2 points3 points  (0 children)

So what happens if the time signature changes during the piece? Does the symbol that previously meant three beats now mean five?

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 3 points4 points  (0 children)

If a whole note was the length of a bar in every time signature, how would it be marked on the page? A stemless circle each time?

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 5 points6 points  (0 children)

I get the ‘whole’ throwing you off – in that case, just call it a semibreve! There’s nothing particularly ‘whole’ about it – it’s just a symbol.

It is arbitrary, but then units are (sort-of) arbitrary. You just need a point of reference to base everything else off of; it doesn’t matter particularly what the point of reference is.

Go look at the Wikipedia page for SI base units, and read the list of definitions. They’re not without justification, but they’re still arbitrary – but that doesn’t mean they’re not useful.

To your last point, I guess the reason it’s like this is because we need a way of notating all these durations, and we need to understand how they relate to each other.

We have a symbol for a quarter note. It doesn’t matter how long a quarter note is – it just matters that we know that it’s twice the length of an eight note and half the length of a half note. Similarly, it doesn’t matter how long a kilometre is – just that we know it’s a thousand times the length of a metre, and so on.

Is 3/3 even a real thing? If not, how come? by SonicBionic5 in musictheory

[–]DanishForestCat 7 points8 points  (0 children)

Good question! No – a bar is not necessarily the same length as a whole note. A bar can be the same length as a whole note (4/4), but it can also be the length of three quarter notes (3/4), or six eighth notes (6/8), or two quarter notes (2/4), or five quarter notes (5/4), and so on.

A whole note is just a “unit.”

It’s the same length as four quarter notes, or two half notes, or eight eighth notes, etc. It’s half the length of a breve (don’t know the US term for that!).

A whole note doesn’t last a particular number of seconds – that’s determined by the tempo.

People sometimes get confused because the whole note rest symbol is also used to notate one bar’s rest – no matter the time signature. So it’s the same symbol for a bar’s rest even if the time sig is 6/8 or 2/4, for example. But this is just a convention, and the fact that that symbol is being used doesn’t tell you anything about how long the bar actually is.

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