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#Scanning the Charts

badnewswhatsleft · 4 months

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save me AP #313 commemorative issue patrick stump cover <3 AP #313 commemorative issue patrick stump cover save me <3

#idk if i'm just technically deficient nowadays OR WHAT but idk APs website is kinda janky. whatever. i have the copy so i scanned it #patrick stump #fall out boy #time capsule #read the charts #LIKE....... LOOK AT HIM <33333333

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soupscans · 1 year

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Saezuru Yakuza Chart

Hoi fellow Soups!

The Yakuza play a vital role in Saezuru, but we feel like a lot of readers (ourselves included!) struggle to keep track of the various characters, factions, and plot threads.

Yoneda-sensei has created a fantastic story, and we really want to help fans understand the details of the rich world she's woven.

So... we made this Saezuru Yakuza chart to help you all follow along with the story! All information in here is up-to-date as of Chapter 49.

Feel free to share it everywhere!

#saezuru tori wa habatakanai #twittering birds never fly #Soup Scans #Yakuza Chart

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1shirt2shirtredshirtdeadshirt · 2 years

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Jim losing his shit again.

Because aliens figured out Spock is perfect awesome mint limited edition one of a kind

And Jim is like

YEAH.

I know.

Get in line.

I was here first.

He's my favourite.

Also Jim putting the "choke" in artichoke as he throttles yet another individual in his madness for Spock, this time an artichoke alieum.

Jim whenever an alien steals Spock:

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rockmiyabideusexmachina · 1 year

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Megaman Production Art Scan of the Day #623:

Axess Main Character Height Comparison Chart With Growth Adjustments [Height Ratio Table Person Model 1]

Notations include:

- At bottom, from left to right:

Yaito, Dekao, Netto 142.8, Meiru 143.7, Wily 168.4, Enzan, Papa 180.0, Mama 163.5, Mariko 160.8, Masa-san 169.7, Hinoken 175.7

- At top, from left to right:

Yaito, over here

Dekao, over here

Enzan, about the same as Mama

So, I just finally booted up the Legacy Collection late last night and have only looked through the art galleries. Definitely can tell those are nice clean originals, and not something taken from some website online like MiyabiScansStuffDotTumblTweetNet or anything.

This particular image can be found as a better, clean original in the OCW and straight from the LC’s gallery now. So when I saw it, it kinda felt weird as I touched it up last night, planning to post it.

However, this scan today is a fun look at how the animators were adjusting the characters growing up a little bit from Season 1 to Axess. Well, maybe not Netto or Meiru, but in this instance, angry gremlin Yai almost has a growth spurt up to Netto...at least to his eye level. Dex hulks up even more (and is gifted a scooter, along with Meiru). And Enzan’s might be a little harder to see, but it seems like between Wily and Yuuichirou’s shoulder there are like 3 possible curved lines where his head could sit in close height proximity to Haruka. The official centimeter listing for those 3 got wiped away though, so we can only estimate what they would have changed it to.

Just sort of an interesting case where the animators took something official and drew over it, as they were hashing out how to change some characters looks as the years went by.

Full Resolution Scan: https://imgbox.com/aAqiu1tZ

#Megaman Production Art Scan of the Day #Rockman #Megaman #Mega Man #Rockman.EXE #Megaman Battle Network #Rockman.EXE Axess #Too Many Tags To List #Height Chart #Comparison Chart #Miyabi Scans Stuff

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chaotictomtom · 4 months

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procrastinated by doing spread sheet to analyse smth abt my sketchbooks. i'm supposed to paint smth for my mamie for tomorrow omg. and i was already procrastinating by doing smth else with my sketchbook too. smh

#it's past midnight ive been awake since 8am and still sick so very tired #but i know now that i've scanned 702 pages of my sketchbooks (only did the ones starting from 2020)#so 3 years and 11 months of work!!!! cos i can't count in the current sketchbook that i'm still working in #did a chart and everything

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wetdreamdrops · 8 months

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For Birds - Max Miroff

#chart #poetry #my scan #max miroff #lit tag

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badnewswhatsleft · 3 months

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really interesting section from a podcast with patrick and sean o'keefe talking about the importance of harmonic structure in songwriting

choppy transcript below cut (patrick's sentences are unclosed loops with like 40% filler words ok /affectionate forgive me)

EL = Eyal Levi (host) SO = Sean O’Keefe PS = Patrick Stump

(Story of recording harmony vocals for Knockout at 14 years old)

[00:28:50]

PS: […] And the thing is too - for me that was like the coolest thing, because all I wanted was to have some capacity to influence the harmonic structure of music. Like, I was never - I never wanted to be the lead guitar player, I never wanted to be the star of a thing, but when I was playing drums, I didn’t get to be any… Like a bass player can change it from the root to a suspension, right, and that’s so much power that a bass player has! A drummer, you can change a lot, but you never really impact the harmony, the harmonic structure - and that was like the coolest thing for me, like someone was finally letting me do that, and I was like, “Sure, I’ll stay here all night!” I think my mom was like, “Where are you?!”

EL: Interesting. I just wanted to say, you’ve been talking about harmonic structure a lot, one of the things I wanted to talk about, just in my notes, was about melody writing, and obviously without great harmonic movement and structure and getting that right, there’s not gonna be a good melody that can come of it. So was that the goal?

PS: Oh, yeah! And it’s so funny, because - I know you know this, I know we all know this, because we all work in music and it’s like beating your head against the wall - no one even on the periphery ever gets that! It’s always like, melody melody melody, and you’re like, the melody is the least important thing, really! I mean at the end of the day, and I know that sounds ridiculous, but the melody is entirely dependent on what’s happening around it. And even what’s implied, so even if you have a - I was thinking of that Zombies song where it starts off, and it’s just a lead vocal solo - so much of what makes that vocal work, even though it’s a solo vocal, is the implied harmonics of what’s happening, what you’re being led to believe the chord structure is - is what moves it. So without the harmony, the melody means nothing to me. And that’s always one of the things that I get really frustrated with - it’s one of the reasons why I kinda quit the songwriter-for-hire thing, because when you’re in a songwriting session, you’re with somebody else, and I’m like, what are the hard things to do? I think the hardest thing is to find the lyric because, especially in pop songs, that’s the thing everyone walks away remembering. That’s the hard part really. Um, the groove? That’s, like, the other thing - there are songs, terrible songs, that have a good lyric and a good groove and everything else is awful—

EL & SO: [sounds of agreement]

PS:—that work! Very successful songs that have a great groove and a really solid lyric and garbage everything else, right? So you’re already most of the way there. But every time people would be like, melody, melody, and they start humming, or something, and I’m like, don’t do that! Don’t even be tempted to do that! Figure out the rest of it first, and then it’s like… It’s almost like writing dialogue. I read a screenwriting book one time, and they talked about like - dialogue = the fun part, do that last, because that’s the hard part, you have to earn that, kind of. When you’re working on it, you know you can write the dialogue, you have to build the story first, you have to build the - whatever - you have to build the framework of what your characters are gonna be interacting in. And that’s how I think about melody; melody is the fun part, get to that last, because if you don’t have the backbone of the song, your melody doesn’t matter at all, you know?

SO: That’s awesome.

EL: And you can just - not to trivialise great melodies, but that’s the part you can improvise, and emote, and (PS: Yeah!) get inspired over, but you’re right, without setting the stage for it, it’s nothing. And it’s the same not just with vocals, but with great guitar solos. Like that Hotel California solo (PS: Yeah!!) would not be what it is without that harmonic movement.

PS: No, no question, and I think that’s one of the things - I also think it’s a problem as a singer, with vocals, is that people don’t really tend to think of vocals as an instrument, they don’t tend to think of it in terms of what it’s doing melodically within a harmonic structure. Even I, when I started, I found myself - I was on a record with Neal Avron, who produced us after we worked with Sean; and I was in the booth for something. And there was a passing note - I can’t remember - it was just in between two notes, I had this little run. And he was like, “Well what note is that? What note are you trying to hit there?” And I’m like, “I don’t know.” And he’s like, “You should know.” [laughs] You should have a plan for every thing your voice is doing, should be a note. Even if you’re doing some sort of portamento thing, you should still know exactly where you’re starting and where you’re ending.

SO: It’s interesting how a lot of singers sometimes don’t know that. And I don’t mean it in a bad way, but like—

EL: They really don’t.

SO: Yeah, it’s interesting, sometimes if I’ll be in a studio where the singer’s having a hard time, I’ll ask, “Can you play that on the piano? Do you know that melody?” And sometimes it’ll take them a while to find it. But it’s cool, at least I’ve seen times when they do find it, and they make some connection, and it’s like, “Oh holy cow, these are just like…”

PS: No, I mean it’s a huge part of it. In fact, on Take This To Your Grave, there’s a moment - maybe it’s on Where Is Your Boy? I would love for it to be on Where Is Your Boy, ‘cause that was such a landmark song for us in recording. But, there was a harmony that I was working on, and I kept kinda singing it out, and you were like - it was a three part harmony, and my first part layered really well. But then my second part, I kept going into… This kind of rubby 7th, or something, or a unison somewhere - I can’t remember what it was. And you said, “Patrick, go figure it out in triads.”

SO: Oh really?

EL: By “rubby”, do you mean that it kinda just hit you the wrong way? Something doesn’t jive?

PS: Yeah, it was just rubbing wrong, it was just sounding wrong together, and you were like, “Go sit at the piano and figure it out in triads. What are you playing in all the vocal parts?” And I was like, “Ohh, oh, this—” It was something like that, where it was a 7th or a 9th that - when you sang it as a melody, because I was thinking of it as a lead part, when you sang it as a melody it sounded really cool against the chord structure, but with what’s already happening in the, you know… You know what it was? I do remember this, whatever it was, it created a minor 2nd in something the guitar was doing.

SO: Yeah, is that right?

PS: Yeah, so it was like, well just don’t do that.

SO: Let’s just not do that one. [laughs]

PS: Let’s just not do that. [laughs]

EL: So you said you were untrained, but obviously you’re… not untrained… Where did you pick that up?

PS: Um, just kind of watching and listening. And I have kind of studied a lot, especially since I’ve been doing the scoring thing, you kind of can’t… Even though I know a lot of guys who get away with it, just with, “Well, I wrote it in Logic and this is what the thing is.” You still - you know, you hire strings, and they have questions that—

EL: Yes, they do.

PS:—that you can’t really answer if you don’t really know what you’re talking about. So I have had to study a lot. I probably learned more about the terminology for music theory in the past three years than I did the entire time I was working on records, you know. But it’s one of those things too, where a lot of it makes sense. That’s the thing, I think, that’s scary for a lot of people about music theory, is that it sounds so strange and scary, but then you’re like, no, no no. It’s like Howard Hanson’s concept of dissonants and consonants, where it’s like, dissonants are just the ones that sound funny next to each other, that’s all it is. And sometimes you want that, sometimes you don’t, that’s all it is. And you know that implicitly, everyone knows that, even if you don’t really understand music, you know — like the Twilight Zone theme, you know that those notes are rubbing against each other. That’s the intended effect, that’s what it sounds like.

#patrick stump #fall out boy #srry it starts and ends in odd places.. i was trying to focus on the interesting parts about harmonies/melodies #but also the convo kept segueing into cool stuff loll #i looooooooove hearing him talk music theory though<3<3<3 #also anyone who works in subtitling and transcribing and stuff deserves one milllion dollars every day. motherfucker. like that shit sucked #mailing letters #media blitz #read the charts #<- not rlly a scan but i put a lot of work into transcribing this and also everyone shld listen to patrick talk about music theory >:(

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eldritchmochi · 9 months

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updoot: a single slice of toast with some pb plus a fruit cup eaten over an hour has left me uncomfortably, tho not painfully, full. i now get to lie down for an hour with the sandwich sweats

so far my food log is four a4 pages. i started it at half past seven last night and have made like six entries

#mochi rambles #mochi's medical mischief #i am probably gonna scan my notebook and email both my gastro and the surgeon a pdf after the surgery consult so they can like #fully read it #but im also gonna flag key parts and hightlight some specific symptoms like fatigue and heartburn #so it should be quick to flip thru and get a feel #im also doing summary pages of the previous day #so i might do rough charts of pain and nausea #but well see

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russellmoreton · 4 months

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flickr

Narratives of Birth : Poetics of Memory #4 by Russell Moreton Via Flickr: Architectural Intervention : Working Collage for Glass Fetal Medicine Centre Prosound SSD-5000 V4 ALOKA Astronomical Mapping/ Birth Scan Scale, Interior, Time, Spatial Presences, Human Becoming,

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