poblequadrat

i'd say these people are there because of first imperialism and second because the precious values of pretty much every country rich or poor are "let's see who gets lower for a shit job" on the other hand whether these people adopt your values or not depends mainly on how much the State cares about spending money on making sure they do live regular middle-class lives and can afford to live amongst middle-class people another option is making sure working-class people can live awesome lives without having to worry about needing to prostrate themselves for a shit 3-month contract same goes for the "middle classes" too, whatever that means and making sure your economy doesn't ultimately rely on some classes being fucked and some countries being poor which admittedly isn't easy just my opinion though i don't really want to get into a serious discussion so i don't know why i'm posting this i wanna be good :< also you've got to admire the lolsmanship of your mate, audioblysk. he was born for the internet

you've gotta even the pH out, bit of cat pee, bit of human pee, takes a bit of skill to know when to stop but the results are well worth it

For cosplay!

also, what is so hard to understand about the idea that people living under dictatorships just live and do their business and then die just like anywhere else? the fact that a country is poorer or that there are military parades or that there are a thousand extra things that would land you in prison or worse doesn't really change that much about everyday life. it's as if people were expecting horror and guts and inhumanity at every single corner, and i'm sure i wouldn't like living in north korea but really... also going to a dangerous place and asking random people dangerous questions knowing that they'll be stuck there but you can leave whenever you want, then commenting on how "brainwashed" they are or how scared and terrified and cute and defenseless they are is the fucking worst of the worst

The name Laibach was banned by the Socialist Federal Republic of Yugoslavia (Slovenia, where they were based, was part of that) back when they started out. They were also prohibited from performing live after showing pictures of Tito next to pictures of a penis, so they started out as a rebellious band in the midst of a regime, mocking them in aesthetics. They were also accused of being extreme left and extreme right many times over the years. North Korea has to be aware of these things I reckon? It's maybe similar to Death In June's dubious interests in the totalitarian history of Europe. The problem is that (afaik) Laibach never actually told that they are a parody group so it's all pretty ambiguous. To me these NK gigs seem like the ultimate punchline to the Laibach concept, but I'm still a bit in the dark about how this could happen. imo death in june are pretty scary whatever their actual ideas are, while laibach are very obviously a parody band whose message is fascism lurks everywhere. i don't necessarily agree but that's what i get out of their stuff. i've grown tired of the guy but zizek has said a few interesting things about laibach and i think knows them personally

you're still on my cool watmmers list! my sfwp is plain baseball jerseys are impossible to find in europe

Oh man, I really loved Susumu Yokota, Sakura is classic but he's got plenty of great stuff, I always enjoyed his albums! this is horrible : (

johnny rotten chokes while crying and saying either "me mum" or "meningitis" Also, I really loved Susumu Yokota!! That sucks!!!

my dx21 cost me 70€, as did my sy22, and my tx7 was 120 i think which is even on the expensive side. that still doesn't add up to the almost 500€ these are going to cost - however, I guess if the keyboard is actually high quality and the build quality good that might actually be a fair price as keyboard synths are superexpensive, it's just that I feel that the people who are going to feel excited about the definitive 4-op FM synth would much rather have a Volca-priced unit and do away with the fancy keyboard (3 octaves and no mod-wheel though, so chick corea fans aren't going to be happy either... just who are they targeting?!). but then again the dx200 was a flop so i dunno. btw, I wonder if the operator scaling is going to be similar to the DX21 family. i'm not hearing any gritty megadrive tones in the demos.

Oh, I'd forgotten about Sonic Youth!!! I have so many memories of listening to EVOL as a teen and jumping from my seat whenever my dad noticed my guitar was completely out of tune and tried to tune it...

If you have feedback on all 4 ops AND the interface is more or less DX21-reasonable (and it looks like it is even friendlier... if the touchscreen sliders work), then the DX is pretty much the definitive FM synth for me. As long as you aren't doing crazy fixed-ratio tricks, you don't really need 6 ops if you have feedback everywhere. Being able to stack two sounds like on the DX21 would've been even better, but I guess you can always resample. The CS is cool too. Sounds ok (don't know what a true CS sounds like - well, I know Beaubourg clangs and it does those just fine) and it's knobby and simple but versatile enough. Kind of like a posh Roland Gaia? They look really nice too, although I can't help but think that having a so-so keyboard/Volca ribbon/PO grid and cutting corners with the build quality so you could get one for 200€ would've been awesome. I guess Yamaha is a performing musician's company, but I still think these are a bit odd: the Jordan Rudesses of the world are going to complain about the minikeys, the Pocket Operator mob is short on money and doesn't have any use for even quality minikeys, and the Gearslutz crowd are going to say that the LFO doesn't have 20 modes and that using the "CS" name is a travesty. Perhaps it looks like they're trying to do a Microkorg type thing, but these units are too specific and too well made to be Microkorgs, and there's 4 of them too... Whatever, I'm not getting one at 450€. Sad, because the DX looks so so great. I'd say I'm part of the demographic which loves 4-op FM the most (I really swear by it), but not of the demographic that Yamaha is targeting here... which is odd? I mean, the nerd factor of 4-op FM (in 2015) is off the charts, so a "band keyboard" (with no mod wheel...) isn't the most optimal option, and the CS's engine is more like a dream Volca than a 450€ synth.

We are Robin is like... edgy extreeeeeeme 90's stuff, only it's full of 2010-isms. Shame because the premise was cool... also, what the hell is with superhero comics and having ten thousand thought bubbles on every page (not shaped like bubbles, though) and the apparent need for super-forced "snappy" dialogue even when nothing is happening and it adds nothing to the story?!! Dialogues are like 4x wordier than manga, but most of it tries so hard to be snappy and like everyday speech at the same time... it's rubbish to be quite honest. The art is pretty good at times, though...

are you planning on drawing a manga? I'd like to read it if that's the case Yeah! I've got a script for the first 15 pages or so and am working on the storyboard right now. It's about a delivery girl that ends up delivering documents and stuff for someone who is trying to force the way the town they live in is going to be redeveloped, but the delivery girl doesn't really know so it's basically an excuse to draw people on bicycles and elaborate backgrounds. And to go out on field trips and not feel like I should be doing something else lol. I wanted to do something like Taniguchi's Aruku Hito but less contemplative and less boring and "younger" and with something resembling an actual plot if only vaguely, if that makes any sense. It's gonna suck because my drawing skills are rather pants but I'll post it when I'm done! Thanks! : D

how to draw manga vol 1 it's probably the most useful in the whole series

Hm, ok I've got this. It's just the onboard chorus on the DX21. Turning it off does away with the flanging. Thanks!

The DX synths can have some extreme flanging at times when playing polyphonically. By the way, what is it that creates flanging? Not all patches suffer from it...

In terms of the sound engine, not much. Virtually there isn't any difference in the FM department - the MegaDrive adds a square wave generator and some limited sampling capabilities, but the FM itself is the same with very minor differences (patches are compatible and sound 99.9999% the same.) Really nice stuff! I love those beefy drums :) That machine on the front looked familiar and in fact it looks like he's rocking a Sharp x68000 just like Hizmi of the Ground Zero Organization: http://hizmi.bandcamp.com/ Also reminds me of this page, which mentions the handy fact that manipulating timbre/sidebands in FM does not result in changes in overall amplitude, which makes it much easier to mix, etc.: https://ccrma.stanford.edu/software/snd/snd/fm.html I didn't know about Hizmi! Wow, this stuff is even more hardcore than the SOR3 soundtrack... Very useful page too!! Nice! I'll give it a try : ) There are three factors. The first one is the engine, and in turn there are different factors when it comes to the engine. Factor 1A is the amount of operators and the possible algorithms. There are 2, 4, 6, and 8 operator FM synths. Most FM synths have algorithms featuring a single feedback loop, but others have more (for example the SY77 family, or synths such as the SY22 family where you have various 2-op stacks each with its own feedback loop.) Factor 1B is the operator scaling. Turning the output level of a modulator up doesn't have the same effect in every FM synth. I don't know how the 2-op or the 8-op synths work, and I also don't know about the SY77 family, but as for the others, on the one hand you have the DX7 family plus the DX9, which have a gentler character; and on the other the 4-ops other than the DX9, including chips such as the one in the MegaDrive, which are grittier. The way the frequency ratios work is also different between different synths - some allow for higher ratios, some handle the coarse detune in different ways. Factor 1C is the modulation possibilities. Some synths allow you to have fixed ratio modulators which don't follow the keyboard and can be used as LFOs. Some don't. Some have various LFOs for multitimbral mode, etc. Factor 1D is whether the operators allow for waves other than sine. The second one is how the sine waves are actually produced. Generally the DX synths avoid actually calculating anything and rely on lookup tables. The combination of the different tables between chips and the different sample rates produces a different character and also different artifacts (aliasing, etc.) Software FM, except emulators, is usually "cleaner" here (and crazily CPU-intensive). The third one is the DACs on each synth/console/computer/etc. But this is pretty minor.

btw, acreil posted once about an artist named utabi hirokawa. i recommend him to any fm enthusiast.

Oh, yeah, acreil is very knowledgable about synthesizers in general. Does he/she/they/it have an account here? I don't know what he/she/it's doing at gearslutz! @MGF: great stuff!

4-op is great. 6-op is even greater. if you're used to the DX9 you'll like the DX7 because it's very similar, just with two more operators and a velocity sensitive keyboard. the midi implementation is still rudimentary though (on the mark1 at least). other 4-ops have a grittier sound as modulators and especially feedback have a stronger effect, also the envelopes are different. generally the later 4-ops are easier to get your head around, part of it is the patches are simpler and there are less algorithms to choose from, and part of it is the envelopes are simpler. but any yamaha DX synth is great and all have a definite family resemblance! i can't comment on the extra waveforms as i've never used a DX11/TX81z - but I think the main selling point of these two is that they are 8-part multitimbral and you get 2 LFOs. Not 2 LFOs per part, mind, but 2 LFOs of which you can route one to each part. This is important because on, for example, the DX21, you have a single LFO while on dual mode so both parts will be modulated in the same way, which sometimes produces great results but which can be limiting sometimes. As long as you don't need too much polyphony, multitimbrality really adds a lot to 4-op FM and makes it really powerful if you're willing to program complex, multi-part, patches. from what i've heard, the dx200 might be unfriendly because you can't really do much editing from the front panel and there aren't many editors available.

i'm extremely glad i live in a place where this sort of interaction with strangers isn't possible and where the concept of a plaza doesn't even resemble that i'm also glad i live in a place where nobody would take such a sign seriously even if someone had the strange idea of carrying a sign around anyway, this is my favourite

blame! is the best ever. gunnm was ok but doesn't compare. anyway, a new yotsuba came out this year.

also why is saarinen considered a master? not bad, but some things i'll never understand

peter eisenman is a cunt also he's a big fat strawman for the reactionary kind of architecture professor who thinks the purpose of architecture is catering to the fantasies of people rich enough to buy a fancy detached house, under the codename "giving people shelter" (from what? from the city architects built?) fuck architecture really and fuck how the italian theorists from the 60's have been forgotten and fuck the currently hegemonic revisionist interpretation of the big modernists. corbu, melnikov & miralles-pinós will be in my heart for ever

i'll save you some time and some torture for your ears www.xvideos.com www.porno-hub.com you're welcome