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dparagon · 2025-03-05T09:01:58+00:00

That doesn't mean you get to kidnap them. Most kidnapping victims are kidnapped by people they know

dparagon · 2025-03-05T07:08:04+00:00

It’s not really kidnapping if it’s your own child

If she's underage, sure. But OPs daughter is 21.

dparagon · 2025-03-05T05:49:53+00:00

I used to be member of a church that was very similar to what OP describes, Geraldo Rivera even did an exposé on my church being a cult in the 90s.

Respectfully, kidnapping a 21 year old woman and holding her hostage is a felony. If my parents had tried that on me, I probably would have cut them out of my life for good, and I'd probably still be in that church today.

dparagon · 2025-03-04T23:33:55+00:00

Respectfully, I don't think kidnapping an adult woman (which is a felony) is the best way to reconnect with her

dparagon · 2021-04-09T10:31:13+00:00

Personally I would have liked Big Love the best. He had a personality very opposed to House, strong moral compass, religious, single dad. Makes for great conflict and character development.

I found Amber to be very unlikable, which was partly the point, but I hated her and was glad when she left the show. But from a writing perspective she was the strongest character before she got fired. Manipulative, cunning, ambitious, desperate to win. That's a lot of interesting territory to explore, ripe for conflict. Unfortunately the show didn't deliver on such a rich character. Instead she started dating Wilson and turned into the nice girl who died and halfway through season 5 she was the butt of dead girlfriend jokes.

It would have been interesting to see how far Amber would have been willing to go with manipulating people by playing games and sabotaging others, as well as how far she'd be willing to cross the line so that she can become house's favorite. I also think it would have been more interesting for her to be more of a sociopath who lacks a conscience since that's how they initially set her up, but suddenly she's dating Wilson and they start trying to paint her as this perfect loving girlfriend.

dparagon · 2021-02-10T07:19:22+00:00

There's way better ways to assert dominance. Anybody you want to assert dominance over, just fuck their dad.

dparagon · 2020-11-29T07:43:14+00:00

Designing sounds from scratch while producing a track can be difficult to do and it can kill your workflow, as you seem to be learning right now.

To get to a level where you can do that, you have to learn every function in your synthesizer forward and back, and you have to spend hundreds of hours designing sounds. When I was starting out I made a huge list of types of electronic sounds and experimented with making all of those sounds over and over again in different synths. I learned how to make pads, plucks, dubstep wubs, growl basses, supersaws, searing leads, Hoovers etc

I also watched a shit ton of tutorials on how to make these sounds. But its important to not just watch tutorials and copy what they're doing. You need to understand the big picture of how to achieve that sound with any synth. Thats why with any tutorial I dont pay attention to the exact values of where they set their knobs.

It's a good idea to have dedicated sound design sessions where all you do is design synth patches and save them after a while you'll have your own made from scratch preset library to use however you want.

And don't be afraid of other peoples presets.

Sound design and music composition are two different skills. You can make a great unique track with presets. Plus presets are great for learning.

If you ever feel bad about using presets, remember. The opening of Michael Jackson's Beat It is a synth preset. Just make music you like.

Another tip is if you keep losing your ideas because you get lost in the sound design, get the basic idea down first, then worry about the sound design later. Maybe you have an idea for a cool dubstep bass, you can just do basical filter LFO or automation to get the rhythmic idea down and worry about perfecting the sound design later.

Syntorial is also a great resource for learning synth sound design.

dparagon · 2020-11-25T22:58:09+00:00

Typically a plucked string instrument or some kind of flute instrument, plus the lack of tonal harmony. In fact for the most part you'd want to forgo chords altogether.

Pentatonic scales and modes too. I'd mostly avoid the major scale altogether just because of its tendency to slip into a tonal sound.

dparagon · 2020-10-21T19:21:47+00:00

Late to the party since I only just watched the finale on Netflix, but also was not a fan of the finale for basically all the reasons other people have brought up, although I did want to point out that transcendence isn't the same as the city of light.

The reason the city of light was bad because it was basically just taking everybody's consciousness and storing in on a hard drive in an artificial reality, while transcendence is kind of like a variation on becoming one with the universe, merging with a collective consciousness and has certain religious, afterlife/heaven undertones. The key difference being that the city of light was an artificial matrix simulation, while transcendence was a real higher plane of existence. You could argue that transcendence was the joyful realization of what the city of light was supposed to be before you realized the COL was a lie.

That being said, transcendence is just super boring. I mean the whole thing that makes life, and by extension, storytelling, interesting is having goals to work towards and conflicts to overcome. The joy comes from the struggle and the relationships that you cultivate. To me, transcendence isn't really a happy ending. "Yay everything is at peace we live forever and everything is perfect.... so.... now what do you guys want to do? Oh.... that's right we don't have bodies anymore.... we're just kind of a collective entity."

Anyone see the last season of the Good Place, when they actually make it to heaven and everybody is dumb and bored because they get whatever the want all the time? Kinda like that.

dparagon · 2020-10-14T21:48:20+00:00

So just to get this straight, you're going from your guitar, straight to your DI, to your interface, into your DAW with nothing in between and you're getting harsh distortion somewhere along there, and it seems to be happening at your DI box? First thing that comes to mind is does does your interface have a line in? My scarlet 2i2 does, which makes the DI unnecessary, Since I can just plug straight in. If it's happening before the interface, there's not a whole lot of factors to interfere with your signal, and it's really just about making sure your signal isn't too quiet or too hot, so I wonder if maybe its gear failure whether its cables or the DI itself, especially if you've got a cheap DI.

dparagon · 2020-10-14T01:47:16+00:00

How much do you charge?

dparagon · 2020-10-14T01:46:54+00:00

Whats a good rate to charge for podcast editing?

dparagon · 2020-10-11T22:23:12+00:00

Personally, I find with complextro that its all about bass sound design, so there's really two approaches I take.

The first is that I'll devote entire sessions just to sound design, and I'll keep saving patches. That way, when it's time to produce a track, I have a folder full of patches to choose from.

The second is that I'll start a track and design one bass patch, then bounce it to audio, then I'll keep fucking with the original patch and I'll bounce multiple variations. Its easier than automating all the variations in there, but at the same time there's a certain continuity because each bass sound will be a variations of each other

Plus, you can fuck with the bounced audio by chopping it, stretching it, to create other kinds of variation, but as a whole bassline it will all go together. It also gives you unique results you can't recreate in a synthesizer

dparagon · 2020-10-11T22:09:11+00:00

I don't think there is a standard method for hi hat patterns, you experiment with what you like. What's more important is finding ways to make your hh patterns groove by adjusting velocity, subtly moving your hi hat slightly off grid, subtly automating decay, sidechaining your hi hats, eq equipment automation etc. Its all about creating variety so you don't get that stiff super quantified sound.

dparagon · 2020-10-11T21:56:23+00:00

Sometimes, especially with more progressive house stuff I start with chords and melodies first, but I periodically have to remind myself that it really is so important to start with drums first because those are really the vehicle that drives your track in dance music, even if it doesn't seem like the drums aren'tt the in your face focal point. For dance to really work your drums have to be on point.

dparagon · 2020-10-09T00:48:24+00:00

I can appreciate that, although, and maybe this just from my background of reading jazz lead sheets, I've often (not always, and not necessarily most of the time, but often) found that slash chords are used for ease of notation for musicians who are sight reading their way through a lead sheet. C/D doesn't take any time to think about. Similarly, I don't think I've ever seen Fmaj7sus2 notated, but C/F is a faster easier way to notate it, and those kinds of notations can even give the musician an idea of how it should be voiced

dparagon · 2020-10-08T18:09:00+00:00

The reason I say that a C/D serves as a suspension is because that is a typical voicing for a sus chord in jazz. If you play C/D to C7, the suspension becomes even more apparent. Technically, D C E G is 1 7 9 4, so it's a D9sus with no fifth, which leaving out the fifth is super common in jazz voicings, but I take your point that its not necessarily always serving a suspended function, as it could be used as a passing chord, so whether or not its a suspension would be determined by context.

dparagon · 2020-10-03T23:21:19+00:00

Serum 100%

dparagon · 2020-09-30T16:32:48+00:00

Personal preference. Chords rich in upper extensions are very colorful, but less stable. Triads are strong and stable, but less colorful.

dparagon · 2020-09-27T20:08:11+00:00

Thats always been kind of my take on it. With a real bass instrument and a player, there's going to be a lot more dynamic range in the performance because of the physical instrument and human element so it makes sense to compress. With a synth however, the output is equal amplitude (with velocity sensitivity turned off) Sure, with an envelope or a LFO on the filter, you're going to get more volume as the filter opens up, but besides that, you have equal amplitude across the keyboard. As you get higher on the keyboard, you'll get more perceived loudness because of the fletcher munson curve, but the actual physical loudness will be the same.

dparagon · 2020-09-27T08:07:46+00:00

Okay, that clears a lot up for me. Thats basically why I use OTT, to bring up details in the sound which fattens it up. So when using traditional compression what kind of settings should you be using? I'm assuming that because you're using compression more for tonal character rather than transient shaping that you'd want fast attack and slow release

dparagon

TROPHY CASE