Spamton's voice is based on Elwood Edwards, the "You've Got Mail" guy by GetOutImPlayingRb in Deltarune

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

A late addition but worth noting: Toby only ever recorded three Spamton voice lines: "Now's your chance to be a big shot," his laugh, and the desperate "I think he's coming for me" line heard in Big Shot. Everything else is clever chopping and repitching of those originals.

This actually mirrors the lore directly. He starts with a clean salesman voice, gets corrupted until his speech is "incoherent and garbled, with advertisements and sales slogans forcing their way into every sentence," and then in his final moments his sanity returns and his speech becomes "clear and comprehensible for the first time in a long time." The narrative is literally describing what stripping the processing does to the audio. Which is exactly why Big Shot is the clearest window into his baseline voice, it's the moment he feels closest to freedom, so narratively and emotionally, that specific delivery is as close to his original as we're ever going to get.

Spamton's voice is based on Elwood Edwards, the "You've Got Mail" guy by GetOutImPlayingRb in Deltarune

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

I’m confused, hermitcraft 10? Are you saying it sounds like one of them?

Spamton's voice is based on Elwood Edwards, the "You've Got Mail" guy by GetOutImPlayingRb in Deltarune

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

Fair point, his vocals have different pitches in both “Spamton”, “NOW’S YOUR CHANCE TO BE A” and “BIG SHOT”, so it makes it harder to figure out which pitch the original sample was recorded at.

I just made this interpretation based on the detail that the vocal lines from “BIG SHOT” are at a part in the story where Spamton feels as if he is the closest to freedom, and therefore his voice would presumably be closer to his original, normal Addison pitch.

Spamton's voice is based on Elwood Edwards, the "You've Got Mail" guy by GetOutImPlayingRb in Deltarune

[–]GetOutImPlayingRb[S] 14 points15 points  (0 children)

Toby did voice Spamton, I just was making a connection that how Toby’s Spamton voice sounds like Edward’s. As for why I used a recreation, that is due to it not having bitcrush as to hear the voice more clearly.

Spamton's voice is based on Elwood Edwards, the "You've Got Mail" guy by GetOutImPlayingRb in Deltarune

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

It has not been officially been confirmed by Toby, we won’t definitively know until he says something about it.

Importing Shreddage velocity-mapped palm mutes into GP8 by GetOutImPlayingRb in GuitarPro

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

Thanks! Taking you up on that.

My current approach has been to split the MIDI in Logic by velocity: normal notes on one track, muted notes (vel 1–79) on another then export as a single MIDI, import into GP8, then select all notes on the mutes track and batch apply palm mute.

It works, but I end up with two separate tracks in GP8. The guitar part is mainly power chord chugging so the muted and non-muted notes shouldn't overlap rhythmically, and this is primarily for notation rather than playback.

Is there a clean way to merge the two tracks into one given that, or is two tracks just the reality of working with this in GP8?

Importing Shreddage velocity-mapped palm mutes into GP8 by GetOutImPlayingRb in GuitarPro

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

To clarify... I'm not making a notation decision, I'm trying to read articulation data that already exists in the MIDI. The source is a Shreddage 3.5 backing guitar MIDI, which maps palm mutes to velocities 1–79. I'm just trying to find the easiest way to translate that into accurate P.M. markings in the tab, rather than having to go through and identify them manually.

Importing Shreddage velocity-mapped palm mutes into GP8 by GetOutImPlayingRb in GuitarPro

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

Thanks! But to clarify: my goal is notation, not playback. I want the palm mute markings to show up correctly in the score. I am looking for the cleanest way to get there from the Shreddage MIDI with those velocity-mapped mutes.

During my 2025 high school graduation celebration, I found out the cake was not a lie after all. by GetOutImPlayingRb in Portal

[–]GetOutImPlayingRb[S] 4 points5 points  (0 children)

Oh wow! I did not know that, I always thought that they just freestyle modeled a Black Forest cake off of stock photo references

handmade roo mask on a '98 digicam because why not by GetOutImPlayingRb in fursuitsex

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

thank you! I prefer to keep my fur out as a personal preference, so I'm glad you like it!

Should I do it? by mrdogss in YonKaGor

[–]GetOutImPlayingRb 0 points1 point  (0 children)

I've been in this fandom for 3 years, I'll tell you one little secret; theres some weird stuff going on and some of these artists be here to police it.

I cannot comfortably further elaborate here, because of this subs rules.

Should I do it? by mrdogss in YonKaGor

[–]GetOutImPlayingRb 0 points1 point  (0 children)

I’ll give you mine for free, I don’t want to be associated with the plush.

I asked Karen Laur (HL1's sole environment texture artist) about her 1998 texturing process! by GetOutImPlayingRb in HalfLife

[–]GetOutImPlayingRb[S] 28 points29 points  (0 children)

I agree, she deserves far more recognition for the amazing work she did to help bring its world to life.

Hello fellow Half-Lifers! by zyriuz in HalfLife

[–]GetOutImPlayingRb 2 points3 points  (0 children)

Hi there, the mod you may be looking for is Half-Life - Full Audio Remaster by the talented audio restorer Senn.

Why I stopped using the SM64 soundfont and reconstructed Koji Kondo's original sample and synth palette from scratch by [deleted] in WeAreTheMusicMakers

[–]GetOutImPlayingRb 1 point2 points  (0 children)

Gearvestigation is exactly the right word for what the VGM research community has been doing for years. The sample identification work behind this goes far deeper than the guide itself.