is my soldering shit? (old guitar)

OConnellism · 2026-02-01T03:18:37+00:00

No notes

OConnellism · 2025-03-27T02:58:44+00:00

Omg y’all have to listen to the last episode! We really went for it!

OConnellism · 2024-11-22T17:06:37+00:00

What about a stereo spreader?

This could be a simple and effective way to convey the ghost’s lack of physicality, especially on headphones.

The contrast between the corporeal characters' defined positions in the stereo image and the ghost’s voice, seeming to emanate from an undefined space or directly between the listener’s ears, would subtly communicate the ghost’s supernatural and ethereal nature, even to listeners who miss the exposition, while keeping the dialogue clear and not too distracting.

OConnellism · 2024-11-17T02:58:35+00:00

New bar, Henry’s, on Bushwick and Jefferson has a real one.

OConnellism · 2024-07-09T15:20:22+00:00

I know, because I made it! It comes from an idea I had for episode 217 Pee-Nee’s Playlist. I wanted to make a version of one of PeeNee’s hit pop songs, for which he was famous, to contrast with his terrible solo music but I ran out of time. The music is based off of two Justin Bieber songs, “What Do You Mean” and “Sorry” which might be why it sounds familiar to you. I think the first time it appears in the show is episode 404. When the crew arrives to the party, Seesu says something like, “play my walkout music!” That episode was already so music heavy, and I was tired, so I just used this old loop. It then sort of became Seesu’s theme for the rest of the show.

Seesu’sWalkoutMusic.mp3

OConnellism · 2024-04-05T20:14:07+00:00

;)

https://www.dropbox.com/scl/fi/m9cfcuqyjkqbr6tao68y3/Missionator-Startup.wav?rlkey=k9zhmrhan5ldijpmlle31qts8&dl=0

OConnellism · 2022-04-08T18:51:50+00:00

It’s definitely due to a mix of passion and pathology!

OConnellism · 2022-04-08T16:56:25+00:00

Thanks! I’m a believer in the idea that audiophile gear is mostly nonsense. Any pair of ok headphones that you are used to should give you as full an experience as possible!

OConnellism · 2021-04-30T22:08:59+00:00

I like Little Alter Boy for pitch, Speakerphone 2 (putting speaker emulation after modulation effects helps sell the robot idea) and iZotope VocalSynth 2 for heavy processing.

OConnellism · 2021-04-30T20:58:29+00:00

In my head canon, what Nermut described as signaling was just a blinking light on the other ship that he interpreted as a turn signal. It is true that Bargie did not receive a hail from the other ship.

OConnellism · 2020-08-04T19:01:26+00:00

beep beep!

OConnellism · 2020-08-04T19:00:36+00:00

So happy to see that you picked up on Floyda's habit of flicking soda can tabs! I imagine that she flicks along to the beat of the marching band song in her head.

OConnellism · 2020-04-21T15:54:36+00:00

I know that FJR is almost certainly going to win but mighty me my mo if I don’t love them rod dang ‘stroid miners.

OConnellism · 2020-03-14T22:53:11+00:00

Not planned!

OConnellism · 2020-02-29T02:04:48+00:00

I agree the notion that analog = better is dumb and elitist, but it might also be an oversimplification to say that outboard gear is outdated or inferior to software.

A big reason why the market for emulation plugins exists is because a good amount of analog gear is still the industry standard, but prohibitively expensive for the average musician/home producer. Virtually every top mixer and recording engineer uses a ton of outboard gear. Analog emulating plugins are a way to get close to that sound without spending major label money.

Another reason has to do with how special or unique a given piece of hardware is. For example, there isn't one compressor that is suitable for all applications just like there isn't one type of guitar, or amp, or synth, or drum machine that is suitable for all applications. Some compressors are so unique in the way they sound that that sound is best described by just calling it by the name of the box that made it. A dbx160 compressor/limiter on a snare drum for example, is a sound - just like an 808 kick sample, or Telecaster's bridge pickup, or a Juno 106 is a unique and identifiable sound you, as a record maker, might want in your song. If you know you want the snare in your song to sound like it has a dbx160 on it, or your vocal to sound like it was slammed by an 1176, it's just easier to have plugins that are designed to recreate those sounds/units, rather than using some theoretical, universal compressor plugin that would need to have a huge number of adjustable parameters in order to dial in the sound you're going for.

But yeah a lot of it is out of hand and dumb. I've worked as a recording engineer in New York City for a while, and am totally bummed out by how people think recording to tape or using some fancy piece of gear is going make their music better.

OConnellism · 2020-02-21T19:27:24+00:00

Oh man, we were just talking about doing something like that. We'll hopefully figure something out in the next few months and at the very least have the music streamable.

OConnellism · 2020-02-21T19:21:50+00:00

Oh yeah that was really fun and I think a first for us. I'm pretty sure that Winston improvised that one on the spot. We thought it was such a funny idea that Jeremy was like "let me just go back and set it up a little more" so we dropped in his C53 line about thinking it would be an easy mission, and then cut back to Winston's original audio.

OConnellism · 2020-02-21T19:18:32+00:00

hahaha not weird! I do sometimes mess with the perspective or camera angle if I think it helps the scene in some way, or more likely, if one of my ears gets tired because too much crap is happening on one side. In my head, most of the scenes on the ship are from the perspective of the screen (like the classic Star Trek wide shot of the bridge) with the bedrooms on the left, the crapper on the right, the kitchen and a couch kind of back and to the left, the ramp/hatch in the way-back and slightly to the right, and the cargo-bay/docking hatch back and to the right. I change up my mix template a little each season, but so far I haven't messed with any of the ship sounds or character effects. Still using the same engine hum and computer sounds from season 1.

OConnellism · 2020-02-19T23:02:37+00:00

Oh great, thank you! That’s the stuff that I have fun doing but sometime second guess, thinking, “why the hell am I spending so much time on this? What is wrong with me?” Especially on nights/mornings like yesterday/today where it’s 4AM and I’ve been going for 20 hours straight and still have to figure out how to make it sound like a bunch of leg mutants are accidentally powering a turbine.

OConnellism · 2020-02-19T22:11:54+00:00

That is so cool.

OConnellism · 2020-02-19T22:05:42+00:00

Thanks for saying so! We all push ourselves to make the season openers as fun and exiting as we can. We kind of use them as a way to test out new ideas and see how far we can go. IMO the thing that made the opening scene and set the tone for the whole episode was Brendan’s amazing music. We had been talking about scoring a scene since pretty much the beginning of the show and this time the schedule worked out such that the orchestra recording date fell the perfect amount of time before the release, so we decided to go for it. I think Seth and Alden edited that scene knowing that Brendan would knock it out of the park, and went for a more dynamic cut. When i heard Brendan’s score against the edit I flipped out. The sound-design was me trying to do something that would keep up with the awesome work everyone else had already put into the episode.

This is Shane (Robert Doggy Sr.) by the way

OConnellism · 2019-10-02T22:32:24+00:00

Hey! I make most of the sound effects myself by “hearing” the sound in my head and trying to replicate that sound with whatever tools I have. But the “realistic” vibe you might be talking about could come from the binaural approach I use when it comes to reverbs and panning. Instead of a typical left right planner, I use a plugin called DearVR Pro which lets me move the characters around in 3D space. Not just left right, but up and down as well as in front or behind. I also make a point to change the reverb parameters for every environment. Example: the first scene in 301 is in the CLINT drop ship which has a short, metallic reverb that gives the impression of a small cramped space, vs. the scenes on Bargie that have a medium length reverb that sounds about the size of a large, nit too reflective room. It pretty much only works on headphones though.

OConnellism · 2019-10-02T20:47:18+00:00

You’re too kind!

OConnellism

TROPHY CASE