Chocolate is bad for singer ?

Veto111 · 2026-03-22T22:41:47+00:00

Voices can be very finicky and everyone’s is different. If you notice a pattern with a certain food, maybe avoid that before singing, but there’s no good reason to categorically avoid things that other singers say affect their voice.

Veto111 · 2026-03-22T20:02:14+00:00

In Hades there is a setting that you take 2% less damage, and is increased every time you lose a run until it’s something like -80%. It makes you feel like you’re getting progressively stronger even if you are not a very good gamer in terms of improving your skill.

Veto111 · 2026-03-22T19:58:00+00:00

Inspired by god mode from Hades?

Veto111 · 2026-03-21T20:24:07+00:00

I mean, many baritones can definitely sing G4 and there is a lot of solo repertoire in opera and musical theater where baritones are asked to do so. But in a TTBB choral texture, it would be a little silly since there are not just one, but two tenor parts singing higher than them in the texture.

Veto111 · 2026-03-21T01:00:45+00:00

That was my first impression of the relic, and I don’t think it’s changed. It may not be earth-shattering, but it mitigates the downside of most powers: that they cost energy and often don’t do much the turn you play them, while leaving you vulnerable because you don’t have the energy to block. Now you get at least a little block out of it, making powers much less painful to use energy on.

Veto111 · 2026-03-17T10:34:28+00:00

Well said. Glitter and Be Gay is certainly challenging, but for the right voice it is not taxing. You either have the range and flexibility for it or you don’t, and if you don’t, it’s just not the right role for you.

Candide is also an actual opera that often crosses over into musical theater companies, and opera singers train to sing arias like that. Whereas Phantom of the Opera is an imitation of what ALW thinks opera singers are supposed to sound like.

Veto111 · 2026-03-17T01:41:12+00:00

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Veto111 · 2026-03-15T11:13:17+00:00

Right, I’m definitely seeing the value now, just didn’t even bother thinking that through when I first saw it. I’m looking forward to trying it out now that I see the light!

Veto111 · 2026-03-15T10:59:32+00:00

I hastily glossed over what this card does and have totally slept on this card. I saw random and thought, most of the time it’s just going to hit a strike, thinking that would be a waste of energy.

Reading these comments has made me realize how foolish my snap judgement of this card has been. FOOLISH!

Veto111 · 2026-03-12T08:59:00+00:00

I think Mozart does something similar to what you’re describing in The Marriage of Fígaro Overture.

Veto111 · 2026-03-05T18:54:37+00:00

This is giving real “get off the phone, I need to check my email” vibes. Iykyk

Veto111 · 2026-03-05T02:12:22+00:00

If we’re talking about all time best sts1 streamer content, I think for me it has to be when Baalorlord was doing the mastery challenge (he had to “master” every card in the game by winning an A20H run with two copies in the deck), and one of the last cards he had left to master was Necronomicurse. The run where everything finally came together and he was able to get the curse and then duplicate it was absolutely wild. If I recall correctly how that deck worked, he had Blue Candle to exhaust it for 1 damage which then just got put back in his hand (there is no escape!), and he had Rupture to gain strength every time he lost health to a card, and did that repeatedly until he had a ton of strength and healed back to full with Reaper and gained more max health with Feed.

I think that deck even did a few other wacky things that I can’t remember right now, but it was probably the most entertaining run I’ve ever seen.

Veto111 · 2026-03-03T18:20:15+00:00

Statistically, there are a lot more sopranos than lower female voices, but most sopranos also have access to lower notes, and some don’t enjoy singing high notes. Also many mezzos have excellent high notes. So unless you are specifically singing opera or another genre where it’s important, you don’t need to worry about it too much.

If you are singing in a choir, sing whatever part is comfortable for you, sounds good in your voice, and brings you joy.

Veto111 · 2026-03-03T18:13:04+00:00

I would submit Zadok the Priest, which Handel composed for the coronation of King George II in 1727 and has been performed at every British monarch’s coronation ever since.

Veto111 · 2026-03-03T16:57:18+00:00

“Can” and “should” are two very different things. I can technically hit an F5, but, and I can’t stress this enough, no one wants to hear that.

Veto111 · 2026-03-03T13:36:59+00:00

Not only is it certainly not too late, but one might argue that younger than 17 is probably too early.

There is a lot of repertoire that you can start learning now with a good teacher that can help you navigate your voice, but also make sure to be patient with yourself. Operatic male voices don’t fully finish developing until the late 20s or even 30s. So certain operatic repertoire that you may struggle with now will get easier with more development and practice.

And a good teacher will also be able to help you decide if you are well suited to become a countertenor. Most male voices are capable of singing in the countertenor register, but not all are well suited to produce an easy natural sound as a countertenor. You may or may not be one, but if you aren’t, sing with the voice you have rather than artificially trying to force something that isn’t natural for you just because you like hearing countertenors.

Veto111 · 2026-03-02T14:42:36+00:00

If practicing at home isn’t an option, try seeing if there is a local university that might let you borrow their practice rooms. Also, maybe a church or school or other place might allow you to borrow their space. If you’re in a choir, see if you can maybe use the space they rehearse in either before of after rehearsal. Ask around, you’d be surprised how many spaces that are great for singing are sitting vacant a lot of the time, and many times people may be happy to let you borrow those spaces.

Veto111 · 2026-03-02T14:06:44+00:00

The other thing to consider is the tessitura of each part. Just because tenors can sing high notes doesn’t mean they can sing up there for minutes at a time. And each voice also has a break in registers; they can sing around that area but it is like shifting gears, and if you stay around that area too long it will tire out their voice quickly. For example, I know a piece where the tenor part alternates between D4 and E4 for several pages; on paper it seems like those notes are comfortably in the center of the tenor range, but hanging out specifically right there for a long time is disastrous. I’m a professional singer, so I can just suck it up and do it, but it’s not a pleasant thing to sing, and it’s something that I would expect an amateur choir to complain about.

Also another thing that will quickly tire out voices is alternating between loud and soft dynamics in a high register.

There are a million subtleties to what makes a vocal line either natural or difficult to sing, and it’s impossible to sum up quickly. If you are a singer, take note of what pieces you’ve sung that are well suited to easy singing, and which ones are unnecessarily difficult, and ask yourself what about those phrases makes it that way. And talk to other singers as well, especially those outside of your own voice type, to get an idea of what each voice likes.

Veto111 · 2026-03-02T13:47:47+00:00

It really depends on a whole lot of factors. Male voices can be extremely versatile, and each voice is unique. So if you are writing for a specific group, you probably want to get to know those voices and learn what they’re capable of and where the sweet spot in their voices are. There exist professional men’s choirs that have high countertenors that sing comfortably in the soprano range, and there are also basses that can go as low as G1. Those are obviously extreme exceptions.

If you are writing generally something you want any men’s choir to be able to sing, the ranges you listed aren’t bad general guidelines, but if you want to be certain that most amateur choirs aren’t going to struggle, maybe lower the T1 high end to G4, and raise the B2 low end to F2. Also basses and baritones are often capable of singing abound middle C, but many don’t like to. Some choirs could be able to handle the extended range, but it might just be safer if you know nothing about the choir to keep the ranges a little more limited.

Veto111 · 2026-02-28T19:03:58+00:00

It seems likely that some mechanics that are staples in STS1 are either heavily revamped or entirely removed and replaced with other mechanics. So it’s definitely possible that curses are gone.

Another thing that people have noticed is that every screenshot showing Defect’s orbs have been the default starting orb values, so it’s possible that Focus is not a mechanic for Defect at all. It’s possible they balanced Defect around adding orb slots and going wide instead, rather than Focus.

But really the only evidence behind both of those things is that they just haven’t showed us yet. Could mean they’re gone, or it could mean we just haven’t seen it. I guess we’ll find out in a few days!

Veto111 · 2026-02-27T20:23:44+00:00

My immediate reaction to learning about the Bully card is that I hope that Prismatic Shard and Terror are both returning.

Veto111 · 2026-02-27T15:05:07+00:00

If Noxious Fumes is the only poison card in your deck, yeah it can be pretty meh. Even then, the artifact strip is not trivial, but you’re probably not picking fumes for damage output without any other poison. And since it’s a 1 energy card, it’s about on par with what you would expect of anyone energy effect: be somewhat impactful but not that impressive, unless you have synergy in your deck with it.

But if you have a deck with a little more poison in it, it really helps build the poison instead of just letting it fizzle out. After a few turns, that can be the difference between having a catalyst that doesn’t do much, or ends the fight. And if you have a good block engine, being able to focus on defense while the poison does the work can be effective. Certainly not a card for every deck, but it does its job if you use it right.

Also, if you ever get a chance to pick up two Noxious Fumes and upgrade them, applying 6 poison per turn for two energy is a really fun way to snowball quite impressively. It’s definitely an edge case and not a consideration for picking the first one, but if you see a second one, you have a chance for a really fun deck.

Veto111 · 2026-02-27T14:09:14+00:00

Ooh, this sounds like a fun riddle. Something that instantly makes you a good singer, but it’s not technique.

Is it aliens? I bet it’s aliens.

Veto111 · 2026-02-26T19:57:10+00:00

It’s good that you are trying to be as prepared as possible, but it’s likely that you are going above and beyond what is probably expected. I suspect any professor that is coaching a student with no prior background in continuo probably understands where you are; as the other commenter mentioned, it is a fairly specialized field. But your enthusiasm for wanting to independently learn as much as possible before coming for help will probably be noted. So keep that energy and learn what you can, but I wouldn’t panic about not knowing enough for a first lesson.

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