so like if you play an open hi hat and you set the closed hi hat to cut it, when you trigger the closed hi hat that will stop the open one
like with how real drums work
idk if I know how to do that?
on the rare ocasion I care to do that I just cut it manually. I do know about the "cut self" option in the sample settings but I don't think that's what you mean.
^government cars / on location / i'm a corporation / on location
Related but off-topic: I'm reminded that I want to make a really intuitive MIDI music maker sometime. Like Twine for writing music.
Last time I tried to learn how to make music digitally, I had to try to understand MilkyTracker and I remember that being a lost cause. There are some very basic, instantly recognizable components to conventional music and I don't think it'd be too difficult to write a fairly flexible program that still provides people with an intuitive interface.
Of course, I'm a shit programmer and I have almost no experience with interface design...
EDITPS: my metal friend says there are no doom metal bands dedicated to instrumentals. why does the world hate me
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
speaking of things that are fire, FL Studio, and things that are coming out soon
For some reason I'm wondering what you're gonna do in two years when you get a new laptop and you're running a version of Windows that doesn't have WMP anymore
speaking of things that are fire, FL Studio, and things that are coming out soon
For some reason I'm wondering what you're gonna do in two years when you get a new laptop and you're running a version of Windows that doesn't have WMP anymore
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
speaking of things that are fire, FL Studio, and things that are coming out soon
For some reason I'm wondering what you're gonna do in two years when you get a new laptop and you're running a version of Windows that doesn't have WMP anymore
that's Foobar, CA.
...it looks impressively similar to WMP, at least the part you cropped
Also: can you believe Microsoft is charging people $15 for a DVD-playing app for 10??
metallum is the best metal resource on the internet with the one caveat that they are super picky about what is/isnt metal
like most seminal grind bands dont get pages, and forget about most metalcore BUT every single ambient side project of every random bedroom black metal dude gets a page?????
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
Also: can you believe Microsoft is charging people $15 for a DVD-playing app for 10??
I switched to the Windows ecosystem to /avoid/ shit like this, dammit.
I guess Windows at least has a broad enough """ecosystem""" that you'll probably find some freeware alternative soon enough...
Stuff like VLC and Media Player Classic still works, it's just that there's no more built-in DVD app, and the only "official" Microsoft one is in the Windows Store for $15
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
It's like this: when they were packaging DVD-playing software with the operating system, they head to pay licensing fees for every copy they sold.
If they sell the DVD software separately, they only have to pay for each app they sell, which is significantly fewer than the number of Windows copies sold because people like you and me download VLC or SMPlayer or whatever instead of forking over the cash.
Incidentally, VLC gets around paying licensing fees for DVD playback because they're based in France, where US software patent laws don't apply. This is almost certainly an intentional decision on the part of the VLC developers.
It's like this: when they were packaging DVD-playing software with the operating system, they head to pay licensing fees for every copy they sold.
If they sell the DVD software separately, they only have to pay for each app they sell, which is significantly fewer than the number of Windows copies sold because people like you and me download VLC or SMPlayer or whatever instead of forking over the cash.
Incidentally, VLC gets around paying licensing fees for DVD playback because they're based in France, where US software patent laws don't apply. This is almost certainly an intentional decision on the part of the VLC developers.
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
AU and I met a neat little snake at the park earlier:
One of only a handful of her poems published during her lifetime, "A Narrow Fellow in the Grass"[1] has always been one of Emily Dickinson's best known and most admired poems. When the poem was published without Dickinson's knowledge in the Springfield Daily Republican (Feb. 14, 1866), it was entitled "The Snake." If no one has questioned the accuracy of the uncalled-for answer that this title gives to the riddle that the poem can be construed to pose, neither has anyone bothered to guess at just what sort of snake the poet had in mind, for there is not much description to go on--only that the creature is "spotted" and that it is large enough to make (to the human eye) noticeable changes in the grass when it "rides" by. Since, to the poet, the snake looks like "a Whip lash / Unbraiding in the Sun," it need not be any bigger or more unusual than a good-sized garter snake. Still, especially when one comes upon such a snake unexpectedly, the experience is imposing enough to shorten one's breath and to chill one to the bone.
Years ago, Daniel Hoffman called Dickinson's "Zero at the Bone" the finest image in American poetry. And that riveting image is not the only excellence in this poem. Take, for instance, the description of the creature as a "narrow fellow." The adjective "narrow" is hardly unusual, but welded to "fellow" (which in this context is equally common), it takes on a visual-kinesthetic meaning. Visually, this noun-cum-attribute recreates, in a sense, the very movement of the snake as it "rides" along the ground. Notice that the word "narrow" opens out--that is, it stretches like a "shaft" or an arrow and ends with an o--and then the word "fellow" closes up ("wrinkle[s]"). The very size of the letters--all letters of a small size in the first word and an organized sequence of letters of a small and a taller size in the second word--orchestrate the poet's perception of the way this creature makes its way around. In fact, this orchestration extends to the entire first line of the poem, as we can see both in the published version and in the holograph manuscript: "A narrow Fellow in the Grass."[2]
Elsewhere in the poem, such orchestration works just as well, if differently. For instance, when the snake looks to the poet much like a "Whip lash / Unbraiding in the Sun," the image is both aural and visual. If, when stationary, the creature looks as if it were "unbraiding," we are to recall the aptness of describing the moving snake as the lashing out of a whip.
Orchestration is at work in the final stanza of the poem, where the word "Fellow" returns for the first time since being introduced in the opening line. Here, however, it is not the locomotion of the snake that is orchestrated but the "clos[ing]" up--the "wrinkl[ing]," if you will--of the poet herself, along with the "tighter breathing" that attends that cold contraction at the bone. And then, in the poem's final fine, the "Fellow" makes its last appearance but this time covertly. It stands upright in the printed version in the snakelike initial letter (visually, a reversed S) of the word "Zero." In the manuscript, the graphic effect is even more unmistakable, for the snakelike appearance of the Z is itself mirror-imaged by the (diminished) letter that follows it.
it's what someone might say if they get a text from someone and don't recognize the number because they just got a new phone and lost all their contacts
so the joke is like if someone says a prayer, God might respond 'new phone who dis'
or if someone posts 'Hello darkness my old friend', darkness responds 'new phone who dis'
Comments
Related but off-topic: I'm reminded that I want to make a really intuitive MIDI music maker sometime. Like Twine for writing music.
Last time I tried to learn how to make music digitally, I had to try to understand MilkyTracker and I remember that being a lost cause. There are some very basic, instantly recognizable components to conventional music and I don't think it'd be too difficult to write a fairly flexible program that still provides people with an intuitive interface.
Of course, I'm a shit programmer and I have almost no experience with interface design...
EDITPS: my metal friend says there are no doom metal bands dedicated to instrumentals. why does the world hate me
hallelujah
if so, hallelujah
@ C A: lol now i can
well also I'll have to look into bong ripper of course.
(apparently they do when windowed but not full-screen)
As far as doom instrumentals go, well, it doesn't get much heavier than this
I guess Windows at least has a broad enough """ecosystem""" that you'll probably find some freeware alternative soon enough...
I think it's the dress/hair/pose and the "ism" in the name
Occasionally rides--
You may have met Him--
did you not
His notice sudden is--
The Grass divides as with a Comb--
A spotted shaft is seen--
And then it closes at your feet
And opens further on--
He likes a Boggy Acre
A Floor too cool for Corn--
Yet when a Boy, and Barefoot--
I more than once at Noon
Have passed, I thought, a Whip lash
Unbraiding in the Sun
When stooping to secure it
It wrinkled, and was gone--
Several of Nature's People
I know, and they know me--
I feel for them a transport
Of cordiality--
But never met this Fellow
Attended, or alone
Without a tighter breathing
And Zero at the Bone--
Years ago, Daniel Hoffman called Dickinson's "Zero at the Bone" the finest image in American poetry. And that riveting image is not the only excellence in this poem. Take, for instance, the description of the creature as a "narrow fellow." The adjective "narrow" is hardly unusual, but welded to "fellow" (which in this context is equally common), it takes on a visual-kinesthetic meaning. Visually, this noun-cum-attribute recreates, in a sense, the very movement of the snake as it "rides" along the ground. Notice that the word "narrow" opens out--that is, it stretches like a "shaft" or an arrow and ends with an o--and then the word "fellow" closes up ("wrinkle[s]"). The very size of the letters--all letters of a small size in the first word and an organized sequence of letters of a small and a taller size in the second word--orchestrate the poet's perception of the way this creature makes its way around. In fact, this orchestration extends to the entire first line of the poem, as we can see both in the published version and in the holograph manuscript: "A narrow Fellow in the Grass."[2]
Elsewhere in the poem, such orchestration works just as well, if differently. For instance, when the snake looks to the poet much like a "Whip lash / Unbraiding in the Sun," the image is both aural and visual. If, when stationary, the creature looks as if it were "unbraiding," we are to recall the aptness of describing the moving snake as the lashing out of a whip.
Orchestration is at work in the final stanza of the poem, where the word "Fellow" returns for the first time since being introduced in the opening line. Here, however, it is not the locomotion of the snake that is orchestrated but the "clos[ing]" up--the "wrinkl[ing]," if you will--of the poet herself, along with the "tighter breathing" that attends that cold contraction at the bone. And then, in the poem's final fine, the "Fellow" makes its last appearance but this time covertly. It stands upright in the printed version in the snakelike initial letter (visually, a reversed S) of the word "Zero." In the manuscript, the graphic effect is even more unmistakable, for the snakelike appearance of the Z is itself mirror-imaged by the (diminished) letter that follows it.
Source: http://www.cswnet.com/~erin/ed10.htm
notes:
1. The Poems of Emily Dickinson, ed. Thomas H. Johnson (Cambridge, Mass.: Harvard U P, 1955) 2:711-12.
2. The Manuscript Books of Emily Dickinson, ed. R. W. Franklin (Cambridge, Mass.: Harvard U P, 1981) 2:1137-39.
Title:Dickinson's A Narrow Fellow in the Grass.
Source:Explicator, Fall92, Vol. 51 Issue 1, p20, 3p
Author:Monteiro, George
Abstract:Interprets the poem `A Narrow Fellow in the Grass,' by Emily Dickinson. The snake; Image; Orchestration.
See, some people call literary analysis and interpretation "bullshit".
On one hand, one might say, anyone can describe their reactions to something, so it is.
But on the other hand, no, it's not bullshit. This is someone's description of what something means to them. That itself is incredibly meaningful.
Just because anyone with an interpretation can write about their interpretation doesn't mean that it's bullshit. It's quite interesting and valuable.
it's what someone might say if they get a text from someone and don't recognize the number because they just got a new phone and lost all their contacts
so the joke is like if someone says a prayer, God might respond 'new phone who dis'
or if someone posts 'Hello darkness my old friend', darkness responds 'new phone who dis'
this was gfs gfs gfs but I deleted gfs from my phone dictionary and: I meant laughter
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead