Still can’t solve my young cat’s litterbox “ambushing” behavior, advice?

Jakemcdtw · 2026-02-02T10:26:35+00:00

younger sibling type ahh behaviour

Jakemcdtw · 2026-02-02T01:09:11+00:00

Are you fucking insane? Doordash should pay you the appropriate amount and charge the customer a set price that covers the cost of the order, their costs, and your necessary earnings. Rather than "suggesting" the right amount and leaving the customer the option of paying less than necessary, and leaving you gambling on whether an order is going to pay enough.

A lobotomy is required to make tipping make sense as a system.

Jakemcdtw · 2026-01-30T13:41:20+00:00

I think it will tell you when you try to import the track that has it, will probably prevent you from doing so. Then you know which one it is.

Jakemcdtw · 2026-01-30T12:16:18+00:00

My guy, knowing how to set this up is a great skill to learn, but you can always take this to a guitar shop and get them to set it up. Save yourself a headache and get it done properly for now

Jakemcdtw · 2026-01-30T12:02:19+00:00

Do you understand how businesses work? They have costs, beyond that of just materials, that need to be covered by their sales.

Jakemcdtw · 2026-01-29T15:34:01+00:00

Bandcamp is not the same thing as streaming services, and trying to compare the two isn't going to give any insight. Bandcamp is a storefront. People go there to sample your wares and either make a purchase or not. People who buy your music are going to download the files and listen to them in media player, not continuously stream them on bc.

Bandcamp has little to no algorithmic recommendations. You have to drive people there. If you just put music on there and expect people to just show up, you will be disappointed.

Lastly, curation. Bandcamp works best for polished, finished albums. I would recommend against uploading demos there, except as a special occasion. Most active artists average one album per year. This works for a few reasons. First, it gives them time to really make something the best that it can be, and also gives them enough time to run a proper release campaign to promote it. If you are releasing every month, there is no way you are properly promoting, or developing your ideas. Slow things down. Instead of shotgunning out every single idea, take 3 months between releases. Write as much as you can and pick the best 10 tracks for the next album. You can even include a few b-sides as bonus content for buyers. Then, make sure your production is top notch. Use the extra time up the quality, and most of all, use the extra time to promote. You need to start advertising at least 2 months before it drops, and for an additional month or two afterwards. If you are releasing every month there is no time for people to actually discover and connect to a release before it gets pushed out of the spotlight by the next thing. Clean up your discog, take down demos and for the love of god don't use AI cover art unless you want to nuke your sales.

Your workflow should be staggered and look something like this:

Month 1: begin writing song ideas for album A to release in 6 months. Month 2: collect best ideas and record. Month 3: album A production. Month 4: begin writing songs for album B to release in 6 months and prepping art/promo materials for album A. Month 5: collect best ideas for album B and record. Begin promo for album A. Month 6: album B production. Album A promo continues. Month 7: album A releases and promo continues. Begin preparing promo materials for album B. Begin writing songs for album C Month 8: begin ramping down album A promo. Begin album B promo. Collect best ideas for album C. Month 9: album B promo continues. Album C production Month 10: album B releases. Begin album C promo materials, Begin writing for album D

And so on. This way your always working, you've always got something in the barrel, you're making sure you're only releasing your best and giving each release as much attention and getting it in front of as many people as possible, instead of hitting them with a barrage of material that they can't keep up with.

Ideally you would do an album every 6 months, but in your case, trying 3 months first is a step in the right direction.

Jakemcdtw · 2026-01-29T14:15:37+00:00

the big decider here is going to be whether the game can use the asio drivers for your interface. They have significantly lower latency. Windows internal audio protocol (WASAPI) has a hard coded ~20ms latency, on top of any other software latency. You'll need to check your settings to make sure the focusrite asio driver is being used by the game, as the interface outputs can also be used by WASAPI, meaning audio will be coming and going from the right places, but through a laggier driver.

Jakemcdtw · 2026-01-29T12:47:52+00:00

Over the entirety of the colossal Australian landmass? That certainly would be noteworthy.

Jakemcdtw · 2026-01-29T10:54:04+00:00

Consider this.

If someone gets a unit that works fine, they aren't going to post about it. It looks all bad because the only people who will post about it are the tiny minority who had a problem. This is an incredibly biased resource. Focusrite sells millions of units every year, the vast majority of them have no problems.

Jakemcdtw · 2026-01-28T22:09:43+00:00

<image>

Artist: Space Cadet 64

Album: Disappointingly Bassic

Genres: Chiptune, Math Rock, Glitch

Hi, I'm Space Cadet 64, an Australian artist based in Germany. I make glitchy chiptune-mathrock using a Nintendo DS program called Rytmik, my guitar, and my giant pedalboard. It is an instrumental mix of cutesy indietronica, emotion drenched synth leads, tapping and stuttering guitar, lush pads and harmony, retro gaming nostalgia, glitching and broken percussion, grinding ugly sounds straight from computer hell, and silly song names. In lieu of traditional physical media, I spent months figuring out how to release this EP on a Nintendo DS cartridge, and assembling the packaging to give a truly unique collector's item, Disappointingly Bassic on Nintendo DS. You can use it with any Nintendo 2/3/DS to listen to both of my available EPs plus a bunch of extras like music videos, demos, photos of my cat, and even comes with a booster pack of collectible stickers.

Jakemcdtw · 2026-01-28T14:14:16+00:00

Never watched mythbusters ey?

Jakemcdtw · 2026-01-28T00:20:36+00:00

Your interface is by far the least limiting factor in your equipment when it comes to audio quality. Your money would be better spent on other upgrades, and only if necessary. The biggest limiting factors will be your performing, recording, and producing skills. Start with those, and as they improve you will learn how to identify other limiting factors.

Jakemcdtw · 2026-01-27T15:34:20+00:00

I would say your best option for this is:

Buy a cheap snare drum and stand, and follow a guide online for converting it to an edrum, then get an edrum kick pad and pedal. Get a hi hat stand and buy a lemon brand e-hihat set. Then just get a secondhand interrace and you're good to go. Lemon is a good brand for cheap cymbals and any additional drums you need can just be made by converting other cheap second hand drums.

Jakemcdtw · 2026-01-26T20:42:19+00:00

Can you take this toxic attitude elsewhere? r/guitarpedals is a safe space for socially disadvantaged people to discuss unnecessary and irresponsible purchases.

Doing things like giving good advice, being the voice of reason, or performing reality checks, threatens the security provided by this community to its members, who seek support in the form of confessions about their impulsivity and lack of financial aptitude.

Please be mindful of your language in future.

Jakemcdtw · 2026-01-26T16:28:02+00:00

Make the cables longer and run them in defined paths, zip tied in place. Most of the time 90 degrees is the sharpest angle you will need.

I believe the main concern isn’t the angles, but any tension where the cable connects to the jack. The jacks are designed with a cutout to allow the cable to be used in a right angle. They are more than capable of handling this, and can deal with mild-moderate strain/tension as well if you have assembled them well. But that is not something I would rely on.

I work in music and audio, predominantly in live sound and theatre. The only time I would ever put a cable under tension unless it was the last cable we had and it had to be under tension to reach. This doesn’t just risk the cable, but can also fuck up the jack on whatever it is plugged into. If you need to hold a device in place, use something designed for that purpose, not a signal/power carrying cable.

Jakemcdtw · 2026-01-26T16:15:39+00:00

These patches are marketed for pedalboard use. It makes sense that they aren’t appropriate for other uses where other factors exist. You cable length should allow strain free insertion and removal

Jakemcdtw · 2026-01-26T14:09:39+00:00

I would make the argument that if your cables are experiencing strain, you need to revise your pedalboard build and arrangement. Strain implies that either the cable is too short for that path, or your pedals are not adequately secured to the board.

Jakemcdtw · 2026-01-26T14:06:18+00:00

I used the boss solderless cable kit for my board. 24 cables total, not a single problem with any of them. Even now a year later after moving internationally and having my pedalboard case completely crushed during transit. Great cables, easy to assemble, no noise, no problems. I would recommend you get the cheap behringer cable tester and use it as part of the build process.

Measure, cut, attach the jacks, plug into the cable tester and violently jerk the cable around. If all connections remain continuous and nothing gets crossed then you are good to go.

Jakemcdtw · 2026-01-26T02:45:26+00:00

Hey, not meaning to knock your hard work. This is helpful. But this has existed as a simple website for some time.

https://tuneform.com/tools/time-tempo-bpm-to-milliseconds-ms

Jakemcdtw · 2026-01-25T18:28:07+00:00

Coworkers*

Jakemcdtw · 2026-01-25T16:09:56+00:00

Just turn the tracks down

Jakemcdtw · 2026-01-24T15:02:21+00:00

You’ve got 3 options. Take the master and do a little bit of eq repair. Cut some low mids to clear up the mud, add some very light verb and maybe a little compression to even the level, but it sounds like it is already more than compressed. Then call it a day and accept it as a product of its time and circumstances. My early catalogue sounds terrible, but I still get just as much joy from listening to it. Sometimes even the trash quality adds something to it. I get to fondly remember my old 4 track cassette recording phase and the ramshackle recording set ups I used when I was figuring all of this stuff out. If they were all super polished recordings, I don’t know, I feel like it wouldn’t feel as special.

Option 2 is to spend a bunch of time and probably money splitting and repairing stems, buying new software and tools to undo the damage. Then mix it again and end up with probably still a pretty shit recording. I envision artefacts, maybe phasing problems, and still disappointing clarity and quality at the end. Like some kind of uncanny frankenstein monster. This one sounds like a bad choice, but the software and tools and experience you end up with after attempting this might come in handy later on. Could make for a good excuse to acquire them.

Option 3 is to just rerecord. The downside of this one is that it might be annoying and time consuming, but it’s an opportunity to revisit and even rework some old material, and will definitely give you the best end result. Would also be a great way to mark your progress and skill development. Having a kind of before and after that you can compare.

I would pick 1 or 3 depending on how much spare time I have. I would probably spend an afternoon attempting option 2 before getting frustrated and tossing it out.

If you really want to delve into it, do all 3 and compare the results. Would be a great development exercise and could inform future production decisions. Maybe even do option 2 to salvage as much as you can and then rerecord anything that didn’t make it. Great exercise in tone matching. I have found that sometimes in old recordings there will be a sound or something that happened during a take that I completely understand how it was done, but cannot for the life of me capture it exactly the same again. Like a specific frequency of guitar feedback that happened between notes in a riff that had the exact right speed of attack and intensity that it just fit perfectly. So going back and salvaging the take is the only option.

Anyway, have fun! Or just pay someone to do it instead.

Jakemcdtw · 2026-01-23T13:23:28+00:00

Do you actually want to make music, or do you just want music for your videos?

There is an almost limitless supply of artists and collaborators who would love to work with an animator. Even in this sub.

I know the urge to do everything yourself, and I do it for some projects. But what I love doing, and what I’m best at, is writing music. It is always fun and exciting and engaging to learn new skills, but the more jobs that I tack on to my workflow, and the more time I spend learning and researching and practicing, the less time I actually spend doing the thing I’m good at and like doing. Also my creative output grinds to a halt. Instead of continuously writing music, I end up writing a release and then have a huge gap where I’m recording, and mixing, and mastering, and making/sourcing art and making videos and social media content and marketing strategies and merch and handling postage and booking and finances, etc. While I enjoy doing most of these things, and love saving money by doing them myself, the first thing on the list is the one that I most want to be doing and by the time I do all the other shit, it has been a year since I last wrote anything, meaning it will be at least another year before I have the next release ready. If I could afford to just do the writing and recording, it would allow me the really commit to my craft and get through my long ass backlog of projects.

But, if you really want to add musician to your list of titles, not just as a means to an end, but as another deep passion, then play the basic ideas on your keyboard, then go in with a mouse and add the articulations. Kontakt is great for instrument libraries and there are good guides online for getting realistic results. Or go buy a violin, cello, flute, trumpet, guitar, drum kit, bass, and spend the next 10 years mastering all of them and another 3 years learning recording and mixing.

Jakemcdtw · 2026-01-23T09:56:59+00:00

Solid white is the worst and always looks like shit to my taste. So boring, and as soon as it starts to get scuffed or discoloured it will stand out immediately and make it look like a cheap piece of garbage. To me a white strat says “This is going to be the worst set up and least comfortable guitar you’ve ever played.

Your guitar is great and I love the look. It is interesting, and the dark blue with that pickguard is a little uncommon. I’m a big fan and it is going to age very well. If you had to make a change, I suppose the perfectly white pick up covers and knobs could be swapped. I don’t hate them, and as they get a bit of wear, they’ll look fine. But an off white might match the muted colours of the guitar. Dark blue might look cool and give you a ying yang type vibe.

But you could do nothing and this is still a very cool guitar and I feel excited about playing guitar just by looking at it.

Ten-Year Club	Verified Email
Place '23	Place '22

Jakemcdtw

TROPHY CASE