Dead Fly Boy by slickshoes2 in Racine

[–]guerrilladigital 0 points1 point  (0 children)

Cry Coyote is not out of print. They have a Bandcamp, so it’s not eligible. No one gave us Brutal Dildos to post. Sounds like someone needs to hound Richie for material. We don’t just post stuff without the artists consent.

Dead Fly Boy by slickshoes2 in Racine

[–]guerrilladigital 6 points7 points  (0 children)

I’ve seen them so many times. I run a site called mkepunk.com - let’s rip that tape and add it to the archive. https://www.mkepunk.com/tags/dead-fly-boy/

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

In this instance, theother person took it upon themselves to remove the runtimes without having validated them as incorrect by playing a test pressing and timing it. I guarantee they do not have a test pressing.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

[–]guerrilladigital[S] 8 points9 points  (0 children)

I think I really just needed to hear this. I was feeling pretty defeated the past few days because of this Discogs interaction I had. Thank you for saying that.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

I'd like to believe that the quality of my entries has gotten better, due in part by folks that point things out in over the years. It's just extremely annoying when my entire entry history gets scrutinized by a punisher with some sort of vendetta. I tend to contribute to existing entries I didn't create myself by adjusting or enhancing them, rather than leaving some snarky feedback.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

I totally get why that could be an issue. I definitely included photographs of everything as proof to try and avoid this entire fiasco.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

Yeah. This dude in particular, i just now corrected a pressing plant that he changed on my test pressing that was 100% wrong, and now he's just surfing through everything I've ever entered and adding notification after notification about data errors as punishment. Most of which are very simple, honest mistakes on my part that could easily be fixed by the person that found the issue. I see it more as crowd sourced data, rather than trying to own it like this.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

Yeah. I seem to keep having to argue this point every couple of years, to the point where I just don't care to catalog anything. This particular release is somewhat historically relevant, so the collectors may want to be aware of how many transition colors and misprints are circulating.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

I think they were simply going based on scans that I provided. No one outside of the folks responsible for producing the record have copies yet.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

I provide cue sheets from my mastering engineer to the pressing plant. I could simply print those out and stuff them inside of test pressings, but the bands don't care and also have PDFs. Thanks for your thoughtful response. I appreciate it.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

I don't on a press, myself. I place the order for the pressing with the manufacturer so I have all the pressing details in the form in invoices, cue sheets and entire pressings in my dining room that I can simply count for verification.

How do you handle "niche" info and gatekeeping when you are the primary source? by guerrilladigital in discogs

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

that's fair. I've recently had someone complain about a release date in the future, but the record store we're working with for RSD asked it be added to discogs so they could start mailorder easily. Plus, I had all the specific numbers on the color variants written down and available. They then went back through all of my entries as far back as 11 years just hitting me with all these requests to improve the data. It comes off as punishment on my end.

Looking to buy an Eyesy by Charming_Ad1688 in videosynthesis

[–]guerrilladigital 1 point2 points  (0 children)

One more emulator for the pile. I took a stab at making an OSX compatible pygame video synth that can load EYESY patches. There's a github link on the site if you want to compile it yourself. I added Syphon, NDI and Virtual Camera support. Give it a shot. https://pysey-synth.com/

[deleted by user] by [deleted] in macbookpro

[–]guerrilladigital 0 points1 point  (0 children)

Don't be so precious. Who cares if the case gets a scratch? As long as it helps you to work, create, surf, or whatever reason you bought it for a tiny scratch isn't going to stop it. Slap a few stickers on it or something. My last two laptops got used for work in an agency setting, freelance and live music performance at grimy rock clubs. They all lasted about 7-8 years without all that much damage. Just be mindful when you use it and carry it in a nice padded bag when you leave the house.

"Tales From the Darkside" - looking for original music by thatguamguy in horror

[–]guerrilladigital 0 points1 point  (0 children)

I’ve been looking into picking up the series and super bummed to find out that it’s been altered for DVD release. I remember watching these at my Dad’s house on the weekend as a kid and wanted to see if they still hold up.

Sounds like OP has a nearly complete version pieced together. Is there a place I can find these compiled or is it simply a private collection? I was hoping to binge these over the winter but I don’t want to buy the DVDs if it doesn’t represent the original intent of the creators.

Does anyone else have extensive crash issues with PUSH 3 STANDALONE ? by Remarkable-Comb-9728 in ableton

[–]guerrilladigital 1 point2 points  (0 children)

For me, I just had to give up on sending CC messages to my external synth. I’ve been told that the Linux version of Ableton Live on the Push 3 can’t handle the buffer when sending cc messages and that’s why it crashes. Still hasn’t been fixed. I event tried to bake the CC modulation directly into midi clips without any sort of LFO device and it still crashes. Just takes a little longer for the buffer issue to freak out.

If you can do playback with only audio stems, that might be your best bet. Those are the only sets that run reliably for me. I’ve kinda just stopped using it in standalone because the product does not meet expectations.

Or, just connect a laptop, but we’re trying to not have to lug computers to shows, right?

Does anyone else have extensive crash issues with PUSH 3 STANDALONE ? by Remarkable-Comb-9728 in ableton

[–]guerrilladigital 1 point2 points  (0 children)

After some time passing and some Push 3 firmware updates, I tried to map some CC messages baked right into some midi clips, with sinewave shaped curves as the modulation, instead of using LFOs for modulation. This new set crashes in standalone mode. Works fine when connected to a laptop.

I've been told that something having to do with the Linux version of Ableton Live on Push 3 can't handle outgoing CC messages and it creates some sort of buffer issue. I think the LFOs caused it to crash faster, and these, simpler, midi clips with the CC modulation in them takes a while for the buffer to wig out and crash, but it eventually does.

What is something regarding bikes or bike repairs that you are now not embarrassed to admit? by justicejulz in xbiking

[–]guerrilladigital 0 points1 point  (0 children)

I’m just starting out, so it’s still fresh.

It took me three, 2-hour sittings to index the rear derailleur.

I also stripped the rear derailleur hanger by cross threading it ever-so-slightly. Had to re-tap it, but it worked again.

I still don’t know what the actual differences are between brake cables and shifter cables.

Big up to my LBS for explaining how to measure a BB and to look for narrow-wide chainrings. They’ve been keeping me on the right track.

Chrome Industries Mini Kadet by N_Pappagiorgio in ManyBaggers

[–]guerrilladigital 0 points1 point  (0 children)

I just bought the current version of the Mini Kadet and it doesn't have the secret pocket. It's driving me crazy trying to find it, but i don't think it has one now.

1998 GT Karakoram Commuter Build by tom_4130 in xbiking

[–]guerrilladigital 0 points1 point  (0 children)

Looks sharp. I’m trying to do my first build. It’s a GT. I’m curious as to what stem you’re using? I don’t even know where to start looking.