#Audio series discussion | Explore Tumblr Posts and Blogs

erisweekofficial · 7 months

Text

SURPRISE! 🔥❤️‍🔥

We are SO excited to have chatted with Matthew Bassett, the voice actor for Eris Vanserra in the Graphic Audio Production of the ACOTAR series.

Read below for an Exclusive Q&A with Matt ❤️

How long have you been voice acting? How did you get started in the voice acting industry?

I’ve only really worked with Graphic Audio for voice acting, and I’ve been in their roster of actors since 2012. I’ve been a stage actor (with a tiny bit of film) since 2003, and I’ve taught acting in the Washington, DC, area since 2012. When I moved to the DC area after graduate school and started working around here, a number of actors I liked and admired kept mentioning this company that provided steady work on fun material - westerns, fantasy, sci-fi. The comic book adaptations sold me, I’m a huge comics fan. Since 2012, I’ve played countless varmints, monsters, cads, aliens, superheroes/villains, and the occasional good guy. Along with Eris, my larger roles have included voicing The Homelander in all six volumes of GA’s adaption of The Boys graphic novels and Cullen in the World of Lupi series.

Can you describe the process for being selected for the role of Eris (or any other character)? Were there auditions, callbacks, or specific criteria that led to your casting?

Graphic Audio works like a repertory acting company, in that after your initial audition, they maintain your contact information for project directors to pull from when needed. I’ve done a lot of work with Colleen Delaney, director of the ACOTAR adaptations, including several longer character arcs in multiple series, so she thought I would be a good fit for Eris based on similar characters (rogueish, but with hidden depth that is explored over time) I’ve played elsewhere. I’m glad she did! Eris has been really fun.

How did you prepare for the role of Eris in terms of understanding the character's backstory, motivations, and relationships with other characters?

Graphic Audio does a fantastic job of preparing actors and directing us through performances. Colleen sent each actor a brief but rich character description, often quoting directly from the novels, as well as providing a plot description for each specific novel (necessary since the turnaround from offer to recording is very short). During our sessions, Colleen tells me everything I need to know about where Eris has been since the last scene/book and how his relationships have evolved. GA directors also read in as “scene partners,” which, considering they are all performers themselves, makes it very easy to react as I imagine Eris would.

Eris is a complex and morally ambiguous character. What aspects of his personality did you find most challenging to convey in your performance, and how did you approach tackling those challenges?

His vulnerability is very challenging. Eris has had a hard life, despite growing up with every privilege, which is difficult to convey. He hates everyone to some extent, but it all comes from how much he hates his family and himself. The scenes with Morrigan in particular take a while to record - he has all the feelings when talking to her, but he can’t show any of them.

Did you have any creative input into how Eris's voice would sound, or was it a collaborative effort with the production team and director? Were there any specific discussions about the character's vocal tone or style?

Definitely collaborative! His basic vocal character is very close to mine, with the musicality dialed up a bit so he can taunt everyone so well. Where my director really helps is pushing me to find the different levels to his interactions - when he’s teasing (often), when he’s antagonizing (mostly with Cassian), and when he’s speaking from his heart (VERY rarely, usually to or involving Morrigan).

What actors (voice, stage, film, etc) have inspired you? And did any actors or other characters help inspire your performance for Eris?

Hoo boy. Too many to list! For something like Eris, a lot of inspiration from Tom HIddleston’s Loki, Tom Cruise’s Lestat de Lioncourt, and anything Jeremy Irons has ever done. Characters that you can’t take your eyes off of, even as you want to beat the crap out of them.

Were there any specific challenges or unique aspects to voicing Eris compared to other characters you've portrayed in the past? How did you adapt your voice to capture his essence?

Y’know, for all the dirtbags, murderers, literal monsters, aliens, and villains I’ve voiced, Eris is the one with the biggest heart. The biggest challenge is allowing him to have a deep want, hidden from even himself, for some tenderness, the one thing he has been denied his entire life. A character like Eris is easy to just have fun with and play as a smug prick (which he is), but he has moments of aching loneliness that make him much richer. SPOILER: One of my most recent favorite moments was playing Eris’ surprise and gratitude when receiving a “made” dagger for safekeeping. Eris can’t fathom trusting anyone else with something so powerful and important, because he simply wasn’t shown that level of trust or respect. The moment took him by such surprise. It was great to let myself feel that in the playing.

Do you have any advice for aspiring voice actors who are considering pursuing a career in Voice Acting? Any tips for breaking into the business and honing their craft?

Train your voice! I received excellent vocal training as part of my MFA (Master of Fine Arts) in Acting at the University of Tennessee, Knoxville. I learned how to care for my vocal health, how to support with my breath, and how to modulate the dynamics of my voice for character differentiation as well as basic performance beats. You may not have the inclination for that level of training, but a regular voice lesson with a singing coach will give you similar techniques. In terms of breaking in: like anything of this nature, it’s relationships. Build a strong resume, but also build strong relationships with your collaborators and a reputation for reliability. Directors know that I’ll prepare so that I can make strong initial choices, but that I am more than happy to adjust my choices as needed to make the overall production its best.

#eris vanserra #eris acotar #pro eris vanserra #acotar #erisweek2023 #high lord eris #autumn court #autumn court heir #eris

275 notes · View notes

canmom · 8 months

Text

Music Theory Notes (for science bitches) 1: chords & such

This is one of these series where I use my blog as a kind of study blog type thing. If you're knowledgeable about music theory, it will be very basic. But that's kind of the problem, I've really struggled to absorb those basics!

When I was a teenager I learned to play violin and played in orchestras. I could read music, and play decently enough, but I didn't really understand music. I just read what was on the page, and played the scales I had to play for exams.

Lately I've been trying to learn music again. This time my instruments are zhonghu, voice, and DAWs. At some point I might get my violin back too. But really, I'm a total beginner again, and this time I want to do it properly.

For a long time when I tried to learn about music I would get overwhelmed with terminology and jargon and conventions. I might watch videos on composition and they'd be interesting but a lot of it would just fly over my head, I'd just have to nod along because I had no idea what all the different types of chord and such were. I tried to learn from sites like musictheory.net, but I found it hard to figure out the logical structure to fit it all into.

I feel like I'm finally making a bit of headway, so it's time to take some notes. The idea here is not just to answer the what, but also to give some sense of why, a motivation. So in a sense this is a first attempt at writing the introduction to music theory I wish I'd had. This is going to assume you know a little bit about physics, but basically nothing about music.

What is music? From first principles.

This is impossible to answer in full generality, especially since as certain people would be quick to remind me, there's a whole corner of avant-garde composers who will cook up counterexamples to whatever claim you make. So let's narrow our focus: I'm talking about the 'most common' type of music in the society I inhabit, which is called 'tonal music'. (However some observations may be relevant to other types of music such as noise or purely rhythmic music.)

Music is generally an art form involving arranging sound waves in time into patterns (in the sense that illustration is about creating patterns on a 2D surface with light, animation is arranging illustrations in time, etc.).

Physically, sound is a pressure wave propagating through a medium, primarily air. As sound waves propagate, they will reflect off surfaces and go into superposition, and depending on the materials around, certain frequencies might be attenuated or amplified. So the way sound waves propagate in a space is very complicated!

But in general we've found we can pretty decently approximate the experience of listening to something using one or two 'audio tracks', which are played back at just one or two points. So for the sake of making headway, we will make an approximation: rather than worry about the entire sound field, we're going to talk about a one-dimensional function of time, namely the pressure at the idealised audio source. This is what gets displayed inside an audio editor. For example, here's me playing the zhonghu, recorded on a mic, as seen inside Audacity.

A wrinkle that is not relevant for this discussion: The idealised 'pressure wave' is a continuous real function of the reals (time to pressure). By contrast, computer audio is quantised in both the pressure level and time, and this is used to reconstruct a continuous pressure wave by convolution at playback time. (Just like a pixel is not a little square, an audio sample is not a constant pressure!) But I'm going to talk about real numbers until quantisation becomes relevant.

When the human eye receives light, the cone cells in the eye respond to the frequencies of EM radiation, creating just three different neural signals, but with incredibly high sensitivity to direction. By contrast, when the human ear receives sound, it is directed into an organ called the cochlea which is kind of like a cone rolled up into a spiral...

Inside this organ, the sound wave moves around the spiral, which has a fascinatingly complex structure that means different frequencies of wave will excite tiny hairs at different points along the tube. In effect, the cochlea performs a short-time Fourier transform of the incoming sound wave. Information about the direction of the incoming wave is given by the way it reflects off the shape of the ear, the difference between ears, and the movement of our head.

So! In contrast to light, where the brain receives a huge amount of information about directions of incoming light but only limited information of the frequency spectrum, with sound we receive a huge amount of information about the frequency spectrum but only quite limited information about its direction.

Music thus generally involves creating patterns with vibration frequencies in the sound wave. More than this, it's also generally about creating repeating patterns on a longer timescale, which is known as rhythm. This has something to do with the way neurons respond to signals but that's something I'm not well-versed in, and in any case it is heavily culturally mediated.

All right, so, this is the medium we have to play with. When we analyse an audio signal that represents music, we chop it up into small windows, and use a Fourier transform to find out the 'frequencies that are present in the signal'.

Most musical instruments are designed to make sounds that are combinations of certain frequencies at integer ratios. For example here is a plot of the [discrete] Fourier transform of a note played on the zhonghu:

The intensity of the signal is written in decibels, so it's actually a logarithmic scale despite looking linear. The frequency of the wave is written in Hertz, and plotted logarithmically as well. A pure sine wave would look like a thin vertical line; a slightly wider spike means it's a combination of a bunch of sine waves of very close frequencies.

The signal consists of one strong peak at 397Hz and nearby frequencies, and a series of peaks at (roughly) integer multiples of this frequency. In this case the second and third peaks are measured at 786Hz, and 1176Hz. Exact integer ratios would give us 794Hz and 1191Hz, but because the first peak is quite wide we'd expect there to be some error.

Some terminology: The first peak is called the fundamental, and the remaining peaks are known as overtones. The frequency of the fundamental is what defines this signal as a particular musical note, and the intensities of the overtone and widths of the peaks define the quality of the note - the thing that makes a flute and a violin playing the same fundamental frequency sound different when we listen to them. If you played two different notes at the same time, you'd get the spectrums of both notes added together - each note has its own fundamental and overtones.

OK, so far that's just basic audio analysis, nothing is specific to music. To go further we need to start imposing some kind of logical structure on the sound, defining relationships between the different notes.

The twelve-tone music system

There are many ways to do this, but in the West, one specific system has evolved as a kind of 'common language' that the vast majority of music is written in. As a language, it gives names to the notes, and defines a space of emotional connotations. We unconsciously learn this language as we go through the process of socialisation, just as we learn to interpret pictures, watch films, etc.

The system I'm about to outline is known as 12-tone equal temperament or "12TET". It was first cooked up in the 16th century almost simultaneously in China and Europe, but it truly became the standard tuning in the West around the 18th century, distilled from a hodgepodge of musical systems in use previously. In the 20th century, classical composers became rather bored of it and started experimenting with other systems of tonality. Nevertheless, it's the system used for the vast majority of popular music, film and game soundtracks, etc.

Other systems exist, just as complex. Western music tends to create scales of seven notes in an octave, but there are variants that use other amounts, like 6. And for example classical Indian music uses its own variant of a seven-note scale; there are also nuances within Western music such as 'just intonation' which we'll discuss in a bit; really, everything in music is really fucking complicated!

I'll be primarily discussing 12TET because 1. it's hard enough to understand just one system and this one is the most accessible; 2. this has a very nice mathematical structure which tickles my autismbrain. However, along the way we'll visit some variants, such as 'Pythagorean intervals'.

The goal is to try and not just say 'this is what the notation means' but explain why we might construct music this way. Since a lot of musical stuff is kept around for historical reasons, that will require some detours into history.

Octaves

So, what's the big idea here? Well, let's start with the idea of an octave. If you have two notes, let's call then M and N, and the frequency of N is twice the frequency of M... well, to the human ear, they sound very very closely related. In fact N is the first overtone of M - if you play M on almost any instrument, you're also hearing N.

Harmony, which we'll talk about in a minute, is the idea that two notes sound especially pleasant together - but this goes even further. So in many many music systems around the world, these two notes with frequency ratio of 2 are actually identified - they are in some sense 'the same note', and they're given the same name. This also means that further powers of 2, of e.g. 4, 8, 16, and so on, are also 'the same note'. We call the relationship between M and N an octave - we say if two notes are 'an octave apart', one has twice the frequency of the other.

For example, a note whose fundamental frequency is 261.626Hz is known as 'C' in the convention of 'concert pitch'. This implies an infinite series of other Cs, but since the human ear has a limited range of frequencies, in practice you have Cs from 8.176Hz up through 16744.036. These are given a series of numbers by convention, so 261.626Hz is called C4, often 'middle C'. 523.251Hz is C5, 1046.502Hz is C6, and so on. However, a lot of the time it doesn't matter which C you're talking about, so you just say 'C'.

But the identification of "C" with 261.626Hz * 2^N is just a convention (known as 'concert pitch'). Nothing is stopping you tuning to any other frequency: to build up the rest of the structure you just need some note to start with, and the rest unfolds using ratios.

Harmony and intervals

Music is less about individual notes, and more about the relationship between notes - either notes played at the same time, or in succession.

Between any two notes we have something called an interval determined by the ratio of their fundamental frequencies. We've already seen one interval: the octave, which has ratio 2.

The next interval to bring up is the 'fifth'. There are a few different variants of this idea, but generally speaking if two notes have a ratio of 1.5, they sound really really nice together. Why is this called a 'fifth'? Historical reasons, there is no way to shake this terminology, we're stuck with it. Just bear with me here, it will become semi-clear in a minute.

In the same vein, other ratios of small integers tend to sound 'harmonious'. They're satisfying to hear together. Ratios of larger integers, by contrast, feel unsatisfying. But this creates an idea of 'tension' and 'resolution'. If you play two notes together that don't harmonise as nicely, you create a feeling of expectation and tension; when you you play some notes that harmonise really well, that 'resolves' the tension and creates a sense of relief.

Building a scale - just intonation

The exact 3:2 integer ratio used in two tuning systems called 'Pythagorean tuning' and 'just intonation'. Using these kinds of integer ratios, you can unfold out a whole series of other notes, and that's how the Europeans generally did things before 12TET came along. For example, in 'just intonation', you might start with some frequency, and then procede in the ratios 9/8, 5/4, 4/3, 3/2, 5/3, 15/8, and at last 2 (the octave). These would be given a series of letters, creating a 'scale'.

What is a scale? A scale is something like the 'colour palette' for a piece of music. It's a set of notes you use. You might use notes from outside the scale but only very occasionally. Different scales are associated with different feelings - for example, the 'major scale' generally feels happy and triumphant, while a 'minor scale' tends to feel sad and forlorn. We'll talk a lot more about scales soon.

In the European musical tradition, a 'scale' consists of seven notes in each octave, so the notes are named by the first seven notes of the alphabet, i.e. A B C D E F G. A scale has a 'base note', and then you'd unfold the other frequencies using the ratios. An instrument such as a piano would be tuned to play a particular scale. The ratios above are one definition of a 'major scale', and starting with C as the base note, the resulting set of notes is called 'C Major'.

All these nice small-number ratios tend to sound really good together. But it becomes rather tricky if you want to play multiple scales on the same instrument. For example, say your piano is tuned in just intonation to C Major. This means, assuming you have a starting frequency we'll call C, you have the following notes available in a given octave:

C, D=(9/8)C, E=(5/4)C, F=(4/3)C, G=(3/2)C [the fifth!], A=(5/3)C, B=(15/8)C, and 2C [the start of the next octave].

Note: the interval we named the 'fifth' is the fifth note in this scale. It's actually the fifth note in the various minor scales too.

But now suppose you want to play with some different notes - let's say a scale we'll call 'A major', which has the same frequency ratios starting on the note we previously called A. Does our piano have the right keys to play this scale?

Well, the next note up from A would be (9/8)A, which would be (9/8)(5/3)C=(15/8)C - that's our B key, so far so good. Then (5/4)A=(5/4)(5/3)C=(25/12)C and... uh oh! We don't have a (25/12)C key, we have 2C, so if we start at A and go up two keys, we have a note that is slightly lower frequency than the one we're looking for.

What this means is that, depending on your tuning, you could only approximate the pretty integer ratios for any scale besides C major. (25/12) is pretty close to 2, so that might not seem so bad, but sometimes we'd land right in between two notes. We can approximate these notes by adding some more 'in between' piano keys. How should we work out what 'extra' keys to include? Well, there were multiple conventions, but we'll see there is some logic to it...

[You might ask, why are you spending so long on this historical system that is now considered obsolete? Well, intervals and their harmonious qualities are still really important in modern music, and it makes most sense to introduce them with the idea of 'small-integer ratios'.]

The semitone

We've seen if we build the 'major scale' using a bunch of 'nice' ratios, we have trouble playing other scales. The gap above may look rather haphazard and arbitrary, but hold on, we're working in exponential space here - shouldn't we be using a logarithmic scale? If I switch to a logarithmic x-axis, we suddenly get a rather appealing pattern...

All the gaps between successive notes are about the same size, except for the gap between E and F, and B and C, which are about half that size. If you try to work that out exactly, you run into the problems we saw above, where C to D is 9/8 or 1.125, but D to E is 10/9 or 1.11111... Even so, you can imagine how people who were playing around with sounds might notice, damn, these are nice even steps we have here. Though you might also notice places where, in this scheme, it's not completely even - for example G to A (ratio 10/9) is noticeably smaller than A to B (ratio 9/8).

We've obliquely approached the idea of dividing the octave up into 12 steps, where each step is about the size of the gap between E and F or B and C. We call each of these steps a 'semitone'. Two semitones make a 'whole tone'. We might fill in all the missing semitones in our scale here using whole-number ratios, which gives you the black keys on the piano. There are multiple schemes for doing this, and the ratios tend to get a bit uglier. In the system we've outlined so far, a 'semitone' is not a fixed ratio, even though it's always somewhere around 1.06.

The set of 12 semitones is called the 'chromatic scale'. It is something like the 'colour space' for Western music. When you compose a piece, you select some subset of the 12 semitones as your 'palette' - the 'scale of' a piece of music.

But we still have a problem here, which is the unevenness of the gaps we discussed above. This could be considered a feature, not a bug, since each scale would have its own 'character' - it's defined by a slightly different set of ratios. But it does add a lot of complication when moving between scales.

So let's say we take all this irregularity as a bug, and try to fix it. The solution is 'equal temperament', which is the idea that the semitone should always be the exact same ratio, allowing the instrument to play any scale you please without difficulty.

Posed like this, it's easy to work out what that ratio should be: if you want 12 equal steps to be an octave, each step must be the 12th root of 2. Which is an irrational number that is about 1.05946...

At this point you say, wait, Bryn, didn't you just start this all off by saying that the human ear likes to hear nice simple integer ratios of frequencies? And now you're telling me that we should actually use an irrational number, which can't be represented by any integer ratio? What gives? But it turns out the human ear isn't quite that picky. If you have a ratio of 7 semitones, or a ratio of 2^(7/12)=1.4983..., that's close enough to 1.5 to feel almost as good. And this brings a lot of huge advantages: you can easily move ('transpose') between different scales of the same type, and trust that all the relevant ratios will be the same.

Equal temperament was the eventual standard, but there was a gradual process of approaching it called stuff like 'well-tempered' or 'good temperament'. One of the major steps along the way was Bach's collection 'the well-tempered klavier', showing how a keyboard instrument with a suitable tuning could play music in every single established scale. Here's one of those pieces:

youtube

Although we're using these irrational numbers, inside the scale are certain intervals that are considered to have certain meanings - some that are 'consonant' and some that are 'dissonant'. We've already mentioned the 'fifth', which is the 'most consonant' ratio. The fifth consists of 7 semitones and it's roughly a 1.5 ratio in equal temperament. Its close cousin is the 'fourth', which consists of 5 semitones. Because it's so nice, the fifth is kind of 'neutral' - it's just there but it doesn't mean a lot on its own.

For the other important intervals we've got to introduce different types of scale.

The scale zoo

So, up above we introduced the 'major' scale. In semitones, the major scale is intervals of 2, 2, 1, 2, 2, 2, 1. This is also called a 'mode', specifically the 'Ionian mode'. There are seven different 'modes', representing different permutations of these intervals, which all have funky Greek names.

The major scale generally connotes "upbeat, happy, triumphant". There are 12 different major scales, taking the 12 different notes of the chromatic scale as the starting point for each one.

Next is the minor scale, which tends to feel more sad or mysterious. Actually there are a few different minor scales. The 'natural minor' goes 2, 1, 2, 2, 1, 2, 2. You might notice this is a cyclic permutation of the major scale! So in fact a natural minor scale is the same set of notes as a major scale. What makes it different?

Well, remember when we talked about tension and resolution? It's about how the notes are organised. Our starting note is the 'root' note of the scale, usually established early on in the piece of music - quite often the very first note of the piece. The way you move around that root note determines whether the piece 'feels' major or minor. So every major scale has a companion natural minor scale, and vice versa. The set of notes in a piece is enough to narrow it down to one minor and one major, but you have to look closer to figure out which one is most relevant.

The 'harmonic minor' is almost the same, but it raises the second-last note (the 7th) a semitone. So its semitone intervals are 2, 1, 2, 2, 1, 3, 1.

The 'melodic minor' raises both the 6th and 7th by one semitone, (edit: but usually only on the way up). So its semitone intervals are 2, 1, 2, 2, 2, 2, 1. (edit: When you come back down you tend to use the natural minor.)

If you talk about a 'minor scale' unqualified, you mean the natural minor. It's also the 'Aeolian mode' in that system of funky Greek names I mentioned earlier.

So that leads to a set of 24 scales, a major and minor scale for every semitone. These are the most common scale types that almost all Western tonal music is written in.

But we ain't done. Because remember I said there were all those other "modes"? These are actually just cyclic permutations of the major scale. There's a really nerdy Youtube channel called '8-bit music theory' that has a bunch of videos analysing them in the context of videogame music which I'm going to watch at some point now I finally have enough background to understand wtf he's talking about.

youtube

And of top of that you have all sorts of other variants that come from shifting a note up or down a semitone.

The cast of intervals

OK, so we've established the idea of scales. Now let's talk intervals. As you might guess from the 'fifth', the intervals are named after their position in the scale.

Let me repeat the two most common scale modes, in terms of number of semitones relative to the root note:

position: 1, 2, 3, 4, 5, 6, 7, 8 major: 0, 2, 4, 5, 7, 9, 11, 12 minor: 0, 2, 3, 5, 7, 8, 10, 12

So you can see the fourth and fifth are the same in both. But there's a difference in three places: the third, the sixth, and the seventh. In each case, the minor is down a semitone from the major.

The interval names are... not quite as simple as 'place in the scale', but that's mostly how it works. e.g. the 'major third' is four semitones and the 'minor third' is three.

The fourth and fifth, which are dual to each other (meaning going up a fifth takes you to the same note as going down a fourth, and vice versa) are called 'perfect'. The note right in between them, an interval of 6 semitones, is called the 'tritone'.

(You can also refer to these intervals as 'augmented' or 'diminished' versions of adjacent intervals. Just in case there wasn't enough terminology in the air. See the table for the names of every interval.)

So, with these names, what's the significance of each one? The thirds, sixths and sevenths are important, because they tell us whether we're in minor or major land when we're building chords. (More on that soon.)

The fifth and the octave are super consonant, as we've said. But the notes that are close to them, like the seventh, the second and even more so the tritone, are quite dissonant - they're near to a nice thing and ironically that leads to awkward ratios which feel uncomfy to our ears. So generally speaking, you use them to build tension and anticipation and set up for a resolution later. (Or don't, and deliberately leave them hanging.)

Of course all of these positions in the scale also have funky Latin names that describe their function.

There's a lot more complicated nuances that make the meaning of a particular interval very contextual, and I certainly couldn't claim to really understand in much depth, but that's basically what I understand about intervals so far.

Our goofy-ass musical notation system

So if semitones are the building block of everything, naturally the musical notation system we use in the modern 12TET era spaces everything out neatly in terms of semitones, right?

Right...?

Lmao no. Actually sheet music is written so that each row of the stave (or staff, the five lines you write notes on) represents a note of the C major scale. All the notes that aren't on the C major scale are represented with special symbols, namely ♯ (read 'sharp') which means 'go up a semitone', and ♭ (read 'flat') which means 'go down a semitone'. That means the same note can be notated in two different ways: A♯ and B♭ are the same note.

The above image shows the chromatic scale, notated in two different ways. Every step is exactly one semitone.

Since a given scale might end up using one of these 'in between' notes that has to be marked sharp or flat, and you don't want to do that for every single time that note appears. Luckily, it turns out that each major/minor scale pair ends up defining a unique set of notes to be adjusted up or down a semitone, called the 'key signature'. So you can write the key signature at the beginning of the piece, and it lasts until you change key signature. For example, the key of 'A♭ major' ends up having four sharps:

There is a formula you can use to work out the set of sharps or flats to write for a given key. (That's about the point I checked out on musictheory.net.)

There is some advantage to this system, which is that it very clearly tells you when the composer intends to shift into a different scale, and it saves space since with the usual scales there are no wasted lines. But it's also annoyingly arbitrary. You just have to remember that B to C is only a semitone, and the same for E to F.

What are those weird squiggly symbols? Those are 'clefs'. Each one assigns notes to specific lines. The first one 𝄞 is the 'treble clef', the second one 𝄢 is the 'bass clef'. Well, actually these are the 'G-clef' and the 'F-clef', and where they go on the stave determines note assignment, but thankfully this has been standardised and you will only ever see them in one place. The treble clef declares the lines to be E G B D F and the bass clef G B D F A.

There is also a rarer 'C-clef' which looks like 𝄡. This is usually used as the 'Alto clef' which means F A C E G.

This notation system seems needlessly convoluted, but we're rather stuck with it, because most of the music has been written in it already. It's not uncommon for people to come up with alternative notations, though, such as 'tabs' for a stringed instrument which indicate which position should be played on each string. Nowadays on computers, a lot of DAWs will instead use a 'piano roll' presentation which is organised by semitone.

And then there's chords.

Chords! And arpeggios!

A chord is when you play 3 or more notes at the same time.

Simple enough right? But if you wanna talk about it, you gotta have a way to give them names. And that's where things get fucking nuts.

But the basic chord type is a 'triad', consisting of three notes, separated by certain intervals. There are two standard types, which you basically assemble by taking every other note of a scale. In terms of semitones, these are:

Major triad: 0 - 4 - 7 Minor triad: 0 - 3 - 7

Then there's a bunch of variations, for example:

Augmented: 0 - 4 - 8 Diminished: 0 - 3 - 6 Suspended: 0 - 2 - 7 (sus2) or 0 - 5 - 7 (sus4) Dominant seventh: 0 - 4 - 7 - 10 Power: 0 - 7

There is a notation scheme for chords in pop, jazz, rock, etc., which starts with a root note and then adds a bunch of superscripts to tell you about any special features of a chord. So 'C' means the C Major triad (namely C,E,G) and 'Cm' or 'c' means the C Minor triad (namely C,E♭,G).

In musical composition, you usually tend to surround the melody (single voice) with a 'chord progression' that both harmonises and creates a sense of 'movement' from one chord to another. Some instruments like guitar and piano are really good at playing chords. On instruments that can't play chords, they can still play 'arpeggios', which is what happens if you take a chord and unroll it into a sequence of notes. Or you play in an ensemble and harmonise with the other players to create a chord together. Awww.

Given a scale, you can construct a series of seven triad chords, starting from each note of the scale. These are generally given scale-specific Roman numerals corresponding to the position in the scale, and they're used to analyse the progression of chords in a song. I pretty much learned about this today while writing this post, so I can't tell you much more than that.

Right now, that's about as far as I've gotten with chords. On a violin, you can play just two strings at the same time after all - I never had much need to learn about them so it remains a huge hole in my understanding of music. I can't recognise chords by ear at all. So I gotta learn more about them.

As much as I wrote this for my own benefit... if you found this post interesting, let me know. I might write more if people find this style of presentation appealing. ^^'

#Youtube #music #music theory #notes #music notes

239 notes · View notes

777bae · 1 year

Text

PADDOCK PRINCESS MASTERLIST

Requests

:: the place where you can request and suggest ideas for the series or just comment about how you imagine the paddock princess

Extra

:: A place to discuss the series, please feel free to talk about how you imagine the paddock princess and other quirks about the series!

Taglist

:: if you would like to be added to the taglist for this series then fill out this form ♡︎

𝐀𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐨𝐜

Driver profile | smau

:: Random things about the Paddock Princess

H1 | H2

:: Headcanons for what being the only female driver would be like

Songs for the paddock princess | Audio

:: Songs that march the Paddock Princesses vibes

See you again tik tok trend with drivers | 0.1k

:: Okokokoklalalala

𝟐𝟎𝟏𝟗

First day on the job | 1.4k

:: Experiencing your first race in formula 1

18th birthday driver posts | smau

:: Instagram posts from fellow drivers in celebration of turning 18

Rookie of the year award | 2.1k

:: In which the paddock princess competes against the fellow rookies to secure a trophy

𝟐𝟎𝟐𝟎

- coming soon

𝟐𝟎𝟐𝟏

Boyfriend in the paddock | 0.4k

:: After finally bringing her special someone to a race, she finally feels what it’s like to welcome a new lover to her special day

My little bro | 0.8k

:: In which the Paddock Princess loves a fellow driver like the love she has for her little brother

𝟐𝟎𝟐𝟐

Mario kart | 1.2k

:: where all the drivers have a non-professional and frankly precarious race

𝟐𝟎𝟐𝟑

Is that a Taylor Swift reference? | 0.6k

:: In which the Paddock Princess finds pure joy in teasing Fernando about his recent dating rumours

𝟐𝟎𝟐𝟒

- coming soon

Inspo : @sebscore

409 notes · View notes

autisticempathydaemon · 1 year

Text

Hello! Are you hyperfixated on RedactedAudio?

Do you want (need) to know who to follow to cultivate your dashboard and feed your gremlin brain good, good boyfriend roleplay content?

Cool, I’ve got you, and I’ve got hyperlinks. Buckle up.

(Note: This is by no means a comprehensive, objective, or complete list. I've only been in the fandom for six months or so. I have biases and favorites and limited time. I hope to update this list periodically, and if you feel I've missed someone, please feel free to reblog with your additions! I just would have loved a guide like this when I got into the fandom back in August and wanted to spread some positivity~!)

Fanfiction:

@angelnoodlesoup: she/her

Sophie is just one of the sweetest David stans that's ever existed who writes, like, the sweetest things about him. Her posts are just going to make you feel warm, fluffy, soft things in your heart area; give into the sweetness. Highlights: Sophie writes this adorable timestamp series of vignettes exploring Davey and Angel's day, but I'm particularly attacked to their David/Angel neighbors to lovers AU~

@arrowfleur

I was actually going to put Max in the visual content portion of this post, because they post delightful Redacted edits on Tiktok (under the same username, highly recommend~), but then they made a uquiz that gave me an existential crisis, so here we are. Highlights: This quiz sent my whole server for a loop and has made me reconsider my relationship with Lovely as a character and kin; it's a great time.

@batch-of-pengwings: robin/bird, she/her

Robin, an absolute sweetheart who makes all the fun ask games that keep the community interconnected and thinking and talking which is just really sweet and fun in the best way. Highlights: The Winter Wonderland game is the one who went around most recently, and it’s so fun to engage with the fandom and discuss who we think is stupid enough to get their tongues stuck on a telephone poll~

@bicyclepainting: they/them

Clover, the fandom's resident Smartass, doing the lord's work and reminding us all how fucking smoochable Aaron is on a regular basis on top of being the coolest astrology nerd don't give them your birth chart you will be perceived /lh Highlights: No one is doing Aaron/Smartass like they are; like, read and absorb the delicious, domestic delight that is them. I also recommend their deep dives into the Redacted bois signs, if you're into that; they're very thorough and fun to read!

@cashandprizes: she/they

My Lexi, my queerplatonic soulmate… She is on a quest to dissect and critique fandom brick by philosophical brick, and I both love her and fear her in equal measure. (That’s a lie, I love her infinitely, more than anything, but she is in fact incredibly intelligent and intimidating.) Highlights: Come for the scathing insights into gray-morality and DD:DNE’s place in fiction, stay for the stripper!Gavin fic they’re working on and their sequel to Lasko’s SexTember audio because she really wanted to make him cry

@ejunkiet: she/her

EJ, the very first of my Redacted loves~ Not only is EJ an endless well of kindness and positivity, but she also writes fucking bomb ass everything. You get angst, you get smut, you get fluff- We stan a multitalented, ace queen. (She also writes really cute CastleAudios fanfiction and original stuff as a cherry on top.) Highlights: EJ writes just some of my favorite David/Angel smut; she captures Angel's little shit nature perfectly. She's also written the sweetest thing of Damien meeting Huxley's moms that I can't get enough of~

@dominimoonbeam: she/her

Domini, truly one of the pillars of the fandom. I don't know what'd we'd be without her fantastic fics or her original novellas or her fantastic, beautiful, rarepair-creating brain. Highlights: God, there's too many to choose from! There's the Sam/Darlin fake dating AU that has us all gripped by the proverbial balls. There's the David/Darlin tattoo shop AU that has me frothing at the mouth because tattoo artists are stinkin hot. That's not even getting into their Cam/William fic, because god, that is such a good rarepair. We love two immortals finding love with one another, we really do. My personal favorite has got to be their Huxley/Darlin piece though, because Darlin gets to be cute and awkward and so, so loved in it.

@frenchiefitzhere: she/her

Frenchie, the fandom's unofficial (but basically official) Marie Greer, not only a gorgeous writer but also the creator of the most fantastical and unique fansongs (who makes original audio content to boot~) Highlights: We would be nowhere as a fandom without the Marie/Colm greer backstory and saga or her audios as the Greer Matriarch herself, but personally? Her Imperium!Lasko/Adam fic kind of changed my life, I'm kind of obsessed with it.

@friendlyfaded: he/him

Miles, the king and professor of the rarepairs! Beware, you will leave his blog wishing for fics for a ship that doesn’t actually exist yet. It’s unavoidable when you read the careful, creative, thoughtful way he considers seemingly silly pairings and makes them gorgeous. Highlights: I recommend his whole rarepairs with prof tag for a snack and his Sweetheart/Lasko/Milo fic for a whole meal~

@gingerbreadmonsters: she/her

Ginger, literally one of the sweetest, friendliest people in the entire Internet. I cannot adequately describe the absolute magnificent poetry of Ginger's prose, so you just have to read it for yourself. You will not be disappointed. Highlights: Ginger's Milo/Sweetheart series is for if you're feeling sweet, and her Vincent/Lovely/Gavin/Freelancer foursome fic is if you're feeling spicy~ Or if you're like me and are longing for an character we'll never see again, you can read her gorgeous, Doctor Who-inspired look in Marcus's mind.

@glassbearclock: she/her

Beans, also known as the best Milo/Sweetheart writer in the game. Their banter is taken from the mouth of god and first name Erik last name Redacted himself, and you could not convince me otherwise. Highlights: I’m a big fan of her sweet, wholesome, Jewish!Milo sick fic, but aYO her Milo/Sweetheart first date fic is so good y’all like goddamn Sweetheart phases through their door and makes Milo faceplant it on accident man that shit is so good

@horrorscoupes: they/he

My beautiful, darling Lotus, my gloriously deranged brother in arms (affectionate). The way they write each and every d(a)emons is just so -chef kiss-. Highlights: I think about their Regulus/Doll fic, like, literally every day, it's just yummy and depraved. Though, for a true taste of genius, for a galaxy brain treat, you've got to read his Shark!Vega/Pet masterpiece.

@k9rage: he/xi

My beloved Calico, our helpful Image Description fairy. He is just so cool and writes the most glorious smut like the world has ever seen. As of publishing, he's writing a Vega/Lasko street racing AU that's gonna be just smoke ash cinder fire hot. Highlights: You need to read his Damien/Gavin waxplay fic; like, this changed my life, I think about it daily. Ooh, AND his Aaron/SmartAss/Gavin threesome fic, because he didn't do all that thinking and imagining for us to not appreciate it. I'm also reccing @calicostorms, his other blog and spotify, so you can get at his stellar Redacted character playlists!

@lovelylonerliterature:

Lovely, absolute stand-out writer in the fandom! Would you believe they have a whole (as of posting) 95 works for the RedactedASMR fandom on AO3? There’s <2000 fics, which makes Lovely a whole five percent of the fanfiction on their own. That’s wild and so hella cool. Highlights: Literally everything they write. Explore their extremely well done masterlist, it’s beautifully put together, and you’ll find something you love. (I’m particularly fond of the Darlin/Vega fic they wrote based off of one of FriendlyFaded’s posts~)

@romirola: she/her

Dr. Romi, the one and the only and one of the legitimate sweetest goddamn people that has ever existed. You've never met a more polite, darling person in all your days. How did she write all these thousands of words of art while getting a doctorate? God, I wish I knew... if only we could also be so beautiful and wonderful and accomplished. Highlights: You haven't existed until you've read her Milo/Sweetheart Tangled AU; like, what are you doing here? GO. (I also deeply recommend her found family Shaw Pack + Sam fic, if you're looking for something that's still ongoing!)

@sealriously-sealrious: they/them

Chrys who writes- no contest I think we can all agree- the best Huxley that this fandom has ever seen. He is just so well-explored and so multifaceted, just the top-tier himbo content we all need and deserve. Highlights: Huxley and Freelancer at the aquarium, Huxley and Freelancer going camping, sfw, nsfw, whatever you want, we've GOT. (There's even some imperium!Huxley, if you're so inclined >:))

@starlitangels: she/her

Starlit, another absolute powerhouse of the fandom. Just look at this masterlist, I think there’s something here for literally every character. That’s what babes call RANGE. Highlights: The way they explore the Shaw pack is so fun; I’d highly recommend her fic exploring Gabe and his backstory or her fic exploring the Shaw’s future pups~!

@taelonsamada: she/her

A pillar- or should I say fence post?- of the fandom and just an utter peach. Always has a nice word to say and says the best nice words about Sam and Darlin- Highlights: Her nsfw Geordi/Cutie fic holds a special place in my heart (the blindfold? the gag? Be still my beating heart), but you haven’t lived until you’ve read her Shaw-centric Ranch AU~!

@teasandcardigans: she/her

Mads, another lovely creator that could be in either section of this post- that's how talented she is! Not only is she a lovely writer but she also designs the most fun Redacted stickers! Also, she's got the only Redacted fan tiktok that Erik has confirmed seen and liked, can't not mention that it's so cool Highlights: Honestly, there's too many to mention! A really popular of hers is a "What If" echo-esque reimagining of everyone's stories which is so fun, and my personal, biased favorite is her Alexis & Gavin fic hear me OUT-

@the-sugar-crash

Cait, out here doing the most and the best. They’ve run the Redacted Winter Gift Exchange for the past two years, connecting blogs who might have never spoken to each other, inspiring creativity, and spreading holiday cheer~ Highlights: I recommend taking a look-see through the “Redacted 2022 Winter Gift Exchange” tag- much thanks to Cait for making it possible- to consider if you’d like to join next year! Until then, there’s a compilation of their cute headcanon posts to inspire you!

@zozo-01: she/her

Zo, one of the sweetest people in the fandom~ Not only is she a fantastic writer, but she is also one of the friendliest people in the space! Constantly excited and supportive and positive and a joy to follow and befriend. Highlights: Her Sam/Darlin Deity AU is going to change the world and break some hearts, I just know it. (Just like her Alexis and Darlin meeting fic broke mine-) If you're not up to getting your heart broken and just want a friend, I recommend asking her about her Powerpoint of Bollywood scenes that could be Sam/Darlin moments~!

Fanart:

@andr0leda: she/they

Androleda’s art is so gorgeous in that most of them are uncolored or working with a smaller palette, and it just makes those colors stand out and the line work all the more elegant. Highlights: Their wolf!Darlin piece got so popular, and you can see why! It looks like the cover of a really cool YA fantasy novel. Also, her Sam/Darlin art just melts the heart- the gentle hand, the key around the neck-!

@artbykays

Kays, a fantastic artist who plays around with the prettiest, brightest colors and has the prettiest (hottest) fem listeners. They also have super fun Redacted playlists! Highlights: Their Sweetheart, Valentina, is kind of smokin hot, I mean look at her, but also good lord, have you seen their Warden like lock me up anytime hello-

@belovedbow

Bow’s art just makes me so soft and gooey inside I dunno. Their art is so pretty, and they always have the most expressive faces. Not to mention the colors- like, Bow uses the simplest but most emotionally evocative shades of pinks and blues that make me inexplicably feel things, and I love it. Highlights: Literally all their Davey/Angel is the sweetest, but I also have this deep fondness for their imp!FL and Vindemiator pieces, because look at these deep, mournful blues, they’re beautiful!

@cascadiiing: they/them

Atlas creates the most beautiful, squishable, smoochable characters on top of being the most beautiful, squishable, smoochable (platonic) sweetie in existence~ they’re so sweet and friendly on top of being so talented at such a young age, and I would protect them with my life. Highlights: Their Sam kind of makes me so lovesick, I could barf- he’s just that pretty. Their Alexis/Christian art is fanart of my own fic, I’ll grant you, but it’s also so fucking pretty look at the dreamy colors and it MOVES-

@claracatlady

Where would we be without Clara, like honestly- What really stands out about their art is- other than the overwhelming talent- the obvious thought and joy that went into designing the outfits. Only the best from our resident fashion design student! Highlights: literally everything. If I must be specific, the David design pinned to their blog is utterly ahdhkakshdjsk, and I am particularly partial to their Alexis design, because I love my beautiful, possibly complex lady okay-

@fregget-frou : he/they

Mal has the prettiest Listeners; I’m lowkey in love with all of them~ I love the way he does such fluffy, voluminous hair, and I dunno, all their listener OC’s have this fashion model-esque glamour and posture about them that’s really attractive. Highlights: Of their listeners, Mal’s Angel has got to be my favorite. Look at this fluffy-haired cutie! Look at this menace! I would also propose to them, they’re gorgeous!

@gwenifred: she/her

Gwen draws the most gorgeous, swoon-worthy Huxleys and is just a big sweetpea to boot. Her and Pali sharing OC’s and art trades here and on Twitter is a testament to how friendly and sweet the fandom can be! Highlights: Everything she draws is gorgeous, but you haven’t lived until you’ve seen her animation work!

@ice-palace-art: They/It/He/Dae

Darby has some of the most beautiful designs, I can hardly stand it. He creates the most gorgeous, realistically proportioned characters and listeners, and they’re just really smoochable okay let me live- Highlights: It has this one piece of Gavin and Lasko having a sleepover that fills me with the warm fuzzies every time I see it, and their Aaron design fills me with longing I am hopelessly in love with their dad-bodded Aaron.

@itsdaifuku: she/her

Y’all don’t even know the little happy stim storm Fuku’s art sets me on; like, all her art is so cute and joyful and somehow colorful even when it’s in black and white? It just gives the vibe of life and vibrancy constantly? How does she do that? Highlights: Literally, everything she draws is gorgeous and sweet, though her designs for the Shaws and their mates are so S-tier and so cute. (I’m also particularly fond of her designs for Love and Alexis, my favorite characters, I’m biased, sue me)

@mr-laveau: he/they

Laveau, my favorite Milo kinnie~ (Yeah, I said it out loud; I’m callin you out.) Charming, thoughtful, friendly, much more talented than they have any right to be when they’re also so funny and sweet, AND also writing at their other blog @bratty-telepath. You’ve never seen such a double threat. Highlights: Literally, everything he makes. All his designs are colorful and gorgeous and filled to the brim with deliberate, intentional details (though I am incredibly partial to their Alexis and Darlin designs and the parallels he included between them.)

@nais-doodles

Nai is a fucking blessing unto this fandom, and we are not worthy. You haven’t really lived, haven’t experienced all the pure, positive silliness that this hellsite has to offer until you experience Nai’s Redacted Actor AU. It’s pure serotonin, and we’re all here listening to Boyfriend ASMR, I know we could use it. Highlights: Other than said AU posts (which really are so fuckin good), have you seen their drawing of Vincent and Sam’s Monarchal ball? Ooh, and if you go to their tiktok under the same username, you can see some of the really cool dating sim they’re working on!

@nanowatzophina: any pronouns

Na’no is not only a must follow on tumblr, but I also highly recommend their tiktok if you wish to wade through the horrid cesspool of that app (I say with tiktok as one of my top social media sites- we have a codependent relationship) Their art is super cute and expressive, and I get massive gender envy from the way he draws hair and teeth. Highlights: Her aspec Freelancer is just so close to my heart; I adore Avery so deeply. Also, the way they draw imperium!Vega and Pet makes my heart fucking melt and want to jump out my chest- the size difference, my god

@obsessivedino: they/them

Mint’s contribution to the fandom cannot possibly be overstated. Their art style is just so clean and neat and with the cutest expressions, and I love their designs so much, especially for the d(a)emon bois I just ahhhhh Highlights: If you’ve joined the official unofficial Redacted Discord server, you’ve seen their adorable stickers reminding you to kick that ass or hydrate unless you want to die-drate, and you haven’t truly embraced life unless you’ve seen their two-year anniversary masterpiece. Ooh, or pocket caelum!

@palilious: she/her

There is no Redacted fandom or fandom list without Pali, and we’ve all accepted that. Her style is so uniquely and instantaneously recognizable as hers, and everyone adores it, including but not limited to GBA, Nomad, and Cardlin! Highlights: Literally everyone she draws is so pretty, though I have a soft spot for her Vincent or her Nomad drawings if you’re looking for more VAs to listen to!

@pearl-kite: she/they

Kirehn has the most huggable humans and the most awe-inspiring d(a)emons. The way she draws the d(a)emons with constellations worked into the designs and color palettes is just so gorgeous and purposeful and thoughtful. Highlights: Their Vega is so frightening but beautiful, you just can’t look away from him. I’m also particularly in love with their Darlin!

@queendread

Do y’all ever do this thing when you see an ethereally beautiful person and you have no words, all you can do is giggle like a vapid schoolgirl(gn)? That’s me with all of Anna’s paintings: no words, just awe. Highlights: I don’t even really like Gavin, okay, he’s not my type, but lord above, Anna’s Gavin is something else. Their Sam also has those Captain America, boy next door good looks I imagined, it’s like they took him right out of my daydreams.

@ryokoaoi : they/them

Ryo has the absolute cutest, most adorable art style, one can barely handle it! Everything they draw is just so pretty and so colorful and detailed and sweet. (Except the sad things, those are less sweet but gosh they’re still so pretty.) They also have this Magic Swap AU that they design that is so fun to read about! Highlights: Their swapped! Gavin and Avior designs are so fun, I adore them deeply, and if you need something to cheer you up, you can always depend on their DAMN pieces that always include a little invisible Caelum to bring you joy~!

@slushrottweiler: she-they

There is nothing like seeing Slush’s signature blue linework on your dashboard, it’s such a sweet treat- or spicy. There are also very good, very spicy treats. Her blog is a magnificent roulette wheel of blue surprises. Highlights: I love their Sam/Darlin stuff, especially this one because wowee them shoulderblades, but their HuxDami BA piece takes the cake.

@spookybeandoodle

Spooky has my whole heart and wallet and my other heart if I had one I fell in love with their rich color palettes and shading and Alexis right away and had to commission them. Could not recommend enough, they were a treasure to work with~ Highlights: I’m not biased- okay yes I am but not now their Alexis is fuckin smoking hot but also their Cam might be my favorite Cam look at that smile-!

@sri-rachaa: she/her

Rae is such a treasure to this fandom, we hardly deserve her. Her art is so ethereally pretty and delicate? The way she draws hair and noses and silhouettes- her line work is just phenomenal. Everything she creates is just a delight to look at. Highlights: The Southern Siblings AU is a gift, a treasure, a boon that cannot be ignored. I’m also a big fan of her Lovely OC who is ridiculously pretty~

@tankwolf : she/her

June has been posting fanart for only two months, but I’m already absolutely obsessed. I just find her monochrome character portraits so visually engaging and interesting. I would love so badly to be friends with her listener OC’s… Highlights: …or more than friends, because her Sweetheart is something else good lord. I would just love it if June could stop putting the hot people in crop tops please (but also don’t cause whoa)

@terrazaurio

All the fanart Terra creates is so bright and vivid and colorful and expressive, they’re really such a treat to see and experience. I’m a sucker for the colors they use, cause it makes my lizard brain all happy and go “shiny pretty happy.” Highlights: Everything they draw with the Shaw Pack is pure dopamine, like this one of the bois and their mates hanging by the pool. I am particularly attached to this piece from Milo’s HBS, because they’re so fucking in love, your honor, I love them.

@thefablefoxart : she/her

Angelina’s Redacted couple series is one of the truest delights of the fandom; like, they’re so colorful and cute and just adorably designed. I’m also deeply in love with the way she does hair. Everyone just has really fucking good looking hair, and I can’t get over it-Highlights: On top of the aforementioned couple series, I just want to bring attention to this adorable chibi Sam that she drew- it brings me so much serotonin- and their Darlin, Kai who I wish would just give me a shot okay I have a Southern accent too-

If you’re reading all the way here, I hope you found the post helpful and smiled while making your way through it! Or both! The RedactedAudio fandom is truly one of my favorite spaces on the internet; it’s so intimate and creative, and I’ve found some amazing, perfect friends here, so I hope you will too 💖

again playing around with the formatting please stop hurting me tumblr I’m trying to be nice

If you can see this, I love you, and you’re watching me try to format this post so tumblr doesn’t cut off the bottom of it please ignore the Android behind the emerald curtain go about your day

#redactedasmr #redactedverse #redacted asmr #redactedaudio #redacted audio #redacted

831 notes · View notes

dduane · 9 months

Note

I am curious since I've seen stuff of yours mentioning the worldbuilding work being important (and because your Young Wizard series was hugely influential in the way I build worlds): Where do you put all the worldbuilding work? A notebook? A Google Doc? A file somewhere on a computer? Scattered sticky notes? Messages to friends? Do you try to keep it all organized?

I have no choice but to keep it organized, because if I don't, I'm screwed. :) ...And this isn't just a side effect of being 70+, but of having numerous projects going at once, all in wildly varying stages of development... and ideas for any of them are likely to pop up at any time.

Over time I've learned to keep separate projects' notes well separated from one another, to prevent confusion. Additionally, some kinds of notes are better for some projects than others. If the worldbuilding is mostly to do with character business and stuff going on inside people's brains, something that supports long-format typed notes will be best. For something that needs artwork, drawings, diagrams or calculations, something more graphics-oriented may work better. I usually find out what works best as as I go along, and stage newer notes accordingly.

In the past I've often used (physical) notebooks, but I don't any more, as it takes more effort than I care to expend to move things off the paper and onto the screen / into the file. (For those wondering: I normally compose directly into the computer, either by typing or [Dragon Anywhere-mediated] dictation. If a piece of work is giving me more trouble than usual, I'll sometimes break down and compose on paper, with a fountain pen: thanks for the hint, @neil-gaiman. Sometimes slowing things down does make a difference) :) ...Then I read the pen-generated material into the machine.

Probably the modality I use most often now for worldbuild material is Scrivener, for reasons I discussed a little over here the other day. It lets you store notes alongside your prose material, or in a research "folder" down at the bottom of your project: and it keeps it all together.

But I'm not always sitting down in front of the machine. Sometimes ideas pop out when you're on the road: or you're working on one project and something pertinent to another one comes up. So at such times I use:

Evernote. It syncs seamlessly among all the devices I use, and you can get at it from wherever you are in a browser or from a smartphone or tablet.

A voice recording app. I've got one in the iPad and one on my phone. If I'm somewhere without broadband and can't use Dragon, the saved audio can be fed into it later. Dragon'll then transcribe what I said and email it to me for inclusion in whatever note-keeping software I'm using. Right now on the iPad I'm using an app called Voice Recorder, and on the (Android) phone one that (mysteriously) also called Voice Recorder.

These are desperately handy for when an idea comes to you in the middle of the night and your handwriting's not to be trusted or you don't want to turn on the light for fear of waking up whoever else is in the bed. Fumble around for the recorder, turn it on, mumble your note in and go back to sleep. Just make sure you've actually turned it on. And off. :)

Sticky notes. I do use them, but I don't let them sit around: it's too easy for a passing breeze to blow them off the table / desk / whatever and under the fridge, where you'll never see them again. These normally get transcribed into electronic storage immediately, or stuck onto my desk in a spot where they have to be dealt with immediately; or (in the case of really important notes) stapled to several others that in same cases have been there for years. ...Notes not immediately transcribed get stuck into a notebook which I clean out carefully once a month, along with the other note-taking apps.

Another kind of sticky notes, of which I'm really fond, is this app for the iPad, called Tatter. It allows you to open multiple "notebooks" that can house what seem to be an unlimited number of stickies. Supports images, as well.

A wiki on a stick. If there's a lot of data coming down the pipeline at once, it's handy to have something to stick it into in which short articles can be linked easily to one another. You can export / cut-and-paste these into your main work file as necessary. Then at the project's end, you just zip the wiki's contents up and put it away somewhere, on disk or in the cloud, as you prefer. (Because who knows what its contents might come in handy for, some years from now...?) TiddlyWiki is good tor this kind of thing.

Anyway: the secret of successfully managing an array of note-taking methods like this is to set aside a day once a month to go through them all, making sure that notes that are worth something will be tucked safely into the project file associated with them. If you're not using a program like Scrivener that provides its own storage, this space can as easily be a folder on your desktop, or even a series of printouts. But the most important thing: back them up somewhere safe. Worldbuilding notes are some of the most painful to lose. ...I keep a set of mine in Dropbox, and an additional set in my laptop, and once a month I email a zipfile of the most crucial ones to myself.

If this sounds like a lot of work: that's as may be... but it's worth it. I mean, we're talking worlds here. Until they're safely out where people can see them on paper or on the screen, you are their only guardian.

At any rate: HTH!

#worldbuilding #note keeping #note keeping strategies

169 notes · View notes

esonetwork · 3 months

Text

Once and Future: The Martian Invasion of Planetoid 50 | Earth Station Who

New Post has been published on https://esonetwork.com/once-and-future-the-martian-invasion-of-planetoid-50-earth-station-who/

Once and Future: The Martian Invasion of Planetoid 50 | Earth Station Who

In this episode of the Earth Station Who podcast, the hosts engage in an animated discussion about “Once And Future: The Martian Invasion of Planetoid 50,” a Doctor Who audio drama. They share their excitement and enjoyment of the take of the Classic Tale of HG Wells “War of the Wolds” featuring the 10th Doctor, Missy and the Paternoster Gang. The conversation also touches on Doctor Who news, including the delay of season 14, the passing of Michael Jason, and the discontinuation of DVD special shorts. We also discuss the upcoming Pensacon event and talk about our new YouTube Channel and Instagram pages.

We want to hear from you! Please write to us at [email protected]. Also, please subscribe and rate the show on iTunes, Amazon, YouTube, or wherever fine podcasts are found. Feedback is always welcome and much appreciated.

Links Listen to older episodes of the Earth Station Who Podcast ESW on iTunes ESW on Stitcher Earth Station Who on Spotify Earth Station Who on Instagram Earth Station Who on YouTube Make-A-Wish Foundation The ESO Network TeePublic Store The ESO Network Patreon Please Attend Carefully Podcast

Promotion Cosmic Pizza

If you would like to leave feedback or comment feel free to email us at [email protected]

0 notes

consanguinitatum · 4 months

Text

David as Benedick in Much Ado About Nothing (the first time he did it, that is!)

David Tennant fans are aware of 2011's brilliant Much Ado About Nothing, in which DT starred as Benedick, alongside Catherine Tate as Beatrice. Filmed at the Wyndham's Theatre in London and directed by Josie Rourke, the production was recorded and offered on Digital Theatre.

But did you know David had played Benedick before?

Yep - he sure has!

It was in 2001, a full decade before his production with Catherine.

Beginning in 1999, BBC Radio 3 launched Shakespeare For The Millennium, an ambitious project to dramatize seventeen Shakespeare productions in four years.

The project was done in collaboration with BBC Worldwide, which emphasized it wanted to take a contemporary, innovative approach to the Bard. It launched on 12 September 1999 with a Shakespeare discussion panel, and a new production of Hamlet -- starring none other than Michael Sheen as the Dane!

On 23 September 2001, BBC Radio 3 broadcast a new production of Much Ado About Nothing as the Sunday Play, with David in the lead role as Benedick and Samantha Spiro as Beatrice. Adapted by Sally Avens, it featured an introduction (as had all the previous productions in the Shakespeare For The Millennium series) by Richard Eyre, the former Director of the Royal National Theatre.

The production also starred a few other recognizable names. There was Chiwetel Ejiofor as Claudio, Emilia Fox as Hero, David Swift as Leonato, Julian Rhind-Tutt as Don John, and David Haig as Dogberry.

All original music was composed and performed by Simon Oakes and Adam Wolters.

Radio listings and announcements, and promo photos of David and Samantha Spiro

Here's a review of the prodcuction!

Much Ado About Nothing was commercially released by BBC Worldwide as part of the BBC Radio collection series in 2001.

The sleeve notes of cassettes and CDs of the production include a scene-by-scene synopsis, a full character analysis, and an essay on interpretation from the director Sally Avens.

Almost four years later, in November 2005, BBC One broadcast a television series called ShakespeaRe-Told, a set of four adaptations of Shakespeare's plays. Each play was adapted by a different writer, and all were relocated to the present day.

The first to be broadcast - on 7 November 2005 - was a modern-day version of Much Ado About Nothing starring Sarah Parrish and Damien Lewis...and Billie Piper and Nina Sosanya and Olivia Colman!

You can watch it here:

youtube

Six days after this television broadcast - on 13 November 2005 at 7:15 pm - BBC Radio 3 re-broadcast the audio version starring David and Samantha in its 'Drama On 3' slot.

Fast forward to August 2020.

The BBC released a set of four BBC Radio Shakespeare collections: Histories, Comedies, Tragedies, and Roman Plays. Much Ado About Nothing was included in the collection of Comedies, and became available as an Audible digital download.

If you want to listen, you can find this collection a lot of places. It might be at your local library or on Overdrive, on Google Play, or as an Amazon Audible book.

Or, ya know, just go here:

#DavidTennant #ObscureDavidTennantPerformances #DavidTennantAudios #MuchAdoAboutNothing #Youtube

88 notes · View notes

yurimother · 5 months

Text

'I'm in Love with the Villainess' English Audiobook Debuts

On Thursday, November 16, Seven Seas Entertainment released its unabridged audiobook adaptation of the first volume of Inori's I'm in Love with the Villainess (Watashi no Oshi wa Akuyaku Reijou). The audiobook, released under Seven Sea's audio imprint, Siren, is narrated by Courtney Shaw (Liz and the Blue Bird).

Initially released in English in 2020, the first volume of I'm in Love with the Villainess follows office worker Ohashi Rei, who is reincarnated as Rae, the protagonist of her favorite otome game. However, Rae is not interested in the fantasy world's many eligible royal bachelors from the game and instead only has eyes for Claire François, the antagonist. Rae uses her knowledge of the game and its world to get close to her beloved villainess and swears that she will save her from her ultimate fate when the revolution comes.

The audiobook edition is 6 hours and 54 minutes long. It is produced by John Marshall Media.

This seminal Yuri series is notable for its explicit focus on and discussion of different LGBTQ+ identities, including queer marriages and families. The series, which began as a webnovel on Shosetsuka ni Naro, is a sleeper hit. It was initially licensed in Japan as a digital-only light novel series by GL Bunko but gained popularity, especially in international markets, leading to multiple rereleases, adaptations, and spinoffs.

YuriMother gave the first light novel volume a perfect 10/10 review, calling it "A stunningly profound, entertaining, and queer title that eclipses other isekai and Yuri series."

An anime adaptation of the series is currently airing on Tokyo MX and streaming internationally on Crunchyroll. It is produced by Platinum Vision and directed by Hideki Oba.

The I'm in Love with a Villainess Volume 1 audiobook is available on Audible, BookWalker Global, Spotify, Google Play, and other major audio platforms. The second volume will be released on December 7.

You can check out the audiobook of I'm in Love with the Villainess Volume 1 today: https://amzn.to/3R6oUig

YuriMother makes a small affiliate commission from sales to help fund future coverage.

#yuri #girls love #news #i'm in love with the villainess #lgbt #gay #lgbtq #anime #manga #lesbian #queer #gl

117 notes · View notes

maniculum · 7 months

Text

Pinned Post, or, What Is This Blog Exactly?

Given the recent influx of new followers, I figure I had better make us a pinned post so people know who we are and what we're doing. Because, as much as I enjoy just posting whatever, this is a podcast account and people should know that. Especially if they like weird medieval stuff, as that is our whole deal.

The Maniculum, available wherever you normally get your podcasts, is a show where we read medieval literature, make jokes about it, and then suggest ways to adapt it into TTRPG material (or other forms of storytelling). We try to pick especially strange medieval texts, most of which you would be unlikely to come across in your typical medieval-lit survey course, though we have done a few well-known ones (most notably our series on Egil’s Saga).

It’s hosted by Zoe and Mac. (This is Mac typing now; I do most of the Tumblr posting. Zoe sometimes posts as @meanderingmedievalist.) Both of us are medievalists with like degrees and stuff, so we at least kind of know what we’re talking about when we discuss medieval literature. Mac is in grad school, most of the way through a PhD. Zoe finished her MA a few years ago and got a job working on video games – she did narrative design on Pentiment, if you’re familiar with it.

The general structure of the podcast is that one of us (we take turns) chooses a text and reads / paraphrases / summarizes it for the other, who responds to it with comments & questions & jokes & digressive tangents. Then we close with a series of segments where we pull interesting features, ideas, etc. from the text for potential use in your TTRPG / storytelling projects.

If you want to check out the show but don’t want to start at the beginning where you have to listen to us figure out what we’re doing (the audio on the first handful of episodes is a bit rough, for instance), here are some suggestions:

Our 2022 Halloween special (link here), where we read a selection of medieval stories about undead creatures.

An episode (link here) about the dragon Fafnir and the famous slaying thereof.

The Story of King Constant (link here), a fairly short and obscure tale from medieval France. (The episode is still a normal length; the story is short enough that the full text fits comfortably into a single episode with no summarizing needed.) I include this one because I feel it’s a good self-contained representation of what we do.

The first episode (link here) of our two-parter on the Peasants’ Revolt, released to commemorate May Day 2023.

Lanval (link here), one of the most widely known stories by Marie de France. This is also good as a self-contained episode, and it's a story that may be familiar to you already.

And if you want to jump into a series:

The first episode (link here) of our seven-part series on the highly-regarded Icelandic text Egil’s Saga, about a Viking warrior-poet who is also kind of a dick.

The first episode (link here) of our ten-part series on Perlesvaus – our longest series on a single text so far, wherein we work through what might be the weirdest Arthurian romance out there.

If this just popped up on your dash, sorry for the long self-promotional post. Hope you come check us out. New episodes every other week.

137 notes · View notes

caw4brandon · 4 months

Text

TMA: Horror By Sound

A long while ago, I discussed about the interesting values of Audio content. Heck, I even talked about it in a [Video Here] Audio content, despite being considered as old media is emerging from the corners of the internet in the modern era.

With how things are moving at such a fast pace. A quick and secondary type of medium is bound to rise in popularity. Let's discuss;

- Statement Begins -

< The Magnus Archives > is an audio podcast/drama following an archivist at the Magnus Institute, London. The recordings follow Jonathan Sims who recently took over the position of Head Archivist after his predecessor, Gertrude Robinson mysteriously passed away.

What started out as a typical job of filing documents and old cases spiraled into an unusual turn where Jon and his Archival Assistants; Martin, Tim and Sasha are haunted by a grotesque monster as written in the statements.

As of now, the show has a total of 5 seasons and as the seasons progress. The monsters become more aggressive and frightening against the character's lives and their psyche.

- What's Your Greatest Fear? -

The series has the characters deal with entities that feed on the fears of the victims. From the typical fear of the dark to specific fears such as, spiders, filth, heights, closed spaces, and eventually, death itself. Each fear manifested itself onto the victims in various ways that feels personal.

At the end of the statements, Jon or the others will provide their thoughts on the case and report their findings in reality. Often dead end trials where either the victims have long died or went missing.

The series as a whole, has an ecosystem of connections to the manifestations. From the cursed books of Jurgen Leitner to a cast of active creatures hunting for prey to feed upon and tear into madness.

Aside from the main cast, there are also reoccurring characters that joined the show as well. There's former Paranormal Investigator; Melanie, former officers; Daisy and Basira and a few others.

The show takes a slow burn approach, learning the truth as Jon improves. Having the unknown beings creep deeper into his life inch by inch till he is no longer himself.

We get to see him get exhausted, frustrated at his lack and the comical failure of his preparation against the monsters knocking at his door with the conspiracy that he is but a pawn at the bigger game of these Abominations.

The show also shows a number of audio manipulation, adding to the creep factor. Such is when the creature; The Stranger appears by distorting sound and echoes when they speak.

- Statement Ends -

In a disturbing way. The show seems to suggest that we, the listeners are the very monsters that is affecting the characters. Our constant need for more brings the characters descend further and there is nothing we can do about it but listen.

I've talked in the past about how [ASMR is Sound for the Soul] with the ability to simulate soothing tingles and tell a story with one sided conversations. What TMA does is to do the secondary.

Telling a story by second hand accounts. The way how some of the statements feels can get under your skin. The use of words and the annunciation of the statements feels like something is pulling the statements closer to the audience. Simulating a different kind of tingle.

It sometimes feels like we are prying into closed conversations. Listening to the deepest and darkest parts of humanity without the characters noticing.

As of now, I caught up till Season 3 but it seems like Jon will be getting involved more and more to the beings at the threshold.

What I think TMA does really well is not making horror out of typical fears. It relies on those fears and amplifies its ability to make one cripplingly terrified at things we have yet to understand. Reaching out of the tape recorder and into our world in an unpleasant way. Yet, you can't help but click to the next episode.

Recording Ends

#the magnus archives #rusty quill #jonathan sims #tim stoker #martin blackwood #sasha james #melanie king #basira hussain #alice tonner #daisy #elias bouchard #hp lovecraft #the eye #cosmic horror #eldrich horror #monsters #fear #statement begins

59 notes · View notes

radiation · 9 days

Text

Video games talk dont even mind me

Bro video games as a whole are so far behind movies in terms of storytelling and pacing that it’s kind of baffling. Which of course is obvious and makes sense for plenty of reasons but like, just think about it — watching movies a lot can’t help but train a certain muscle that gives you a strong instinct for structure. I find that people who watch movies very casually, without too much artistic consideration, and don’t really know the language associated with it are still very often irked by specific issues with a movie’s pacing, dialogue, etc and are relatively capable of putting it into words. Likewise, for many movies out there, regardless of your opinions on any specific directorial choices, you do feel as if the movie is essentially cohesive and creatives involved reasonably knew what they were doing and were acting very intentionally, and there weren’t any major oversights. This includes independent films as well. Meanwhile I think both players and developers much more commonly lack the instinct for narrative cohesion when it comes to video games. Definitely a fair amount of exceptions to this, but in general I find it’s difficult to find video games that are very narrative heavy & aspire to great artistic heights that don’t suffer from inherent structural problems, pedantic dialogue, tons of dead air, etc in a way that wouldn’t slide as easily in a movie. A lot these flaws certainly have to be due to the presence of gameplay elements and having to balance that with story when the two are almost always, at least in some small respect, inherently at odds. As for the inability for devs and players to pick up on / fix these flaws…is it because gameplay can distract from it and make up for it? With longer games that have runtimes closer to the experience of a television series, is there a similar reaction where if it’s long enough you will sit thru smaller, momentary issues because you enjoy the bigger picture? Yet games are a lot more engaging than a show as a audio, visual, and tactile experience, you can’t multitask and tune the information out as easily as with a boring episode of a show, so you’d think people would be more picky? But maybe because it’s so attention-demanding people are more immersed, and believe in the experience enough to more easily accept the story? Books demand the same kind of active attention to experience though, and the bar for story in books is a lot higher, so what gives? Well a lot of these have kind of obvious answers but still Interesting questions to ask that lead to Damn , That Is Still Crazy How Much This Shit Is In Its Infancy like sometimes I feel like I’m going crazy with how many writing issues are present in games, particularly in indie games that are Trying To Be Good At Writing that feel excessively obvious and yet I often struggle to find my sentiment mirrored by others. IDK. And back to movies the thing is I feel like if the same people trying to write these kind of games had pursued movies instead then they would’ve ended up making well structured movies that avoided all of these pitfalls. WHAT IS IT WITH GAMES? Well we know what it is with games and we could spend all day discussing a million more reasons this is the way it is but no matter what I think we should just be super conscientious of these pitfalls when making narrative focused games and aspire to a greater level of intentionality that is absolutely possible . Build that muscle by really understanding the quality of storytelling long-present in other mediums.Well the other issue with indie devs is that everyone believes they are totally breaking new ground story wise that they don’t take a step back, humble themselves a bit, and cross-reference what they’re doing with the tons of other stories that have already achieved similar things But thats a conversation for another day .

38 notes · View notes

makethatelevenrings · 11 months

Text

Somewhere Only We Know - THREE

Chapter Warnings: swearing, spoilers for 2x02

series masterlist

You were so engrossed in searching for an audio for this TikTok that when a knock sounded on your door, you nearly launched your phone in surprise. A guy with a young face and big brown eyes peeked around your door and let out a quiet greeting.

“I didn’t mean to scare you,” he said.

“No, no. No scaring at all,” you exclaimed. “You must be Colin Hughes.”

He was the first player on your list to meet with to discuss social media plans. Keeley helped you set up an online calendar that she sent out to every player with your information and the instructions to pick out a meeting time. Most players opted to do it before or after training which meant you had a few hours of work in between meeting with everyone.

“Come in,” you said. “I know you all are on strict diets but I baked these yesterday. It won’t break my heart if you can’t have one, that just leaves more for me and Keeley.”

A tray of cupcakes sat on the table next to your desk. You had baked them in a flurry of inspiration last night. A mixture of vanilla and chocolate cupcakes, you piped on green frosting and then black and white frosting to represent the ball. It was cute, in your opinion, but you hadn’t posted anything until after the players saw them so you could know if it was embarrassing or not.

“Oh, wicked,” Colin exclaimed. He took a vanilla cupcake and then settled himself in the plush office chair on the other side of your desk. “These are fucking amazing.”

“Thank you. Now, this doesn’t have to be a super formal conversation, y’know? I took a gander at everyone’s profiles and saw that you’re really passionate about Welsh independence.”

“Is that an issue?” He looked a bit sheepish and you shook your head.

“Nah, if anything it makes you more personable. My only issue would be if you’re a fascist fuck, but I don’t think that’s part of Plaid Cymru’s platform, right?”

A grin grew on his face and you laughed. “Listen, Hughes, I might be a social media manager, but I’m not dumb.”

“Didn’t think you were but it’s nice to know for sure.” His phone buzzed and he glanced down at it, the corners of his lips tugging down into a frown. You immediately caught onto his attitude shift and titled your head to the side.

“Something wrong?” you asked. He shrugged and pocketed his phone before crossing his arms over his chest.

“Nah, just some stuff with the team.”

“And my job is to know what’s going on with the team,” you pointed out. “So spill.”

Colin sighed and pulled his phone out once more. He pulled something up on the screen and then passed it over to you. A photo of Coach Lasso seated with the one and only Jamie Tartt was on the screen. Oh. Was Lasso asking him back on the team?

“When Tartt was last year, he was a right fucking tart. I wanted to be liked so I went along with it sometimes, but he was a knob to me too. I like coach, but I don’t know what he’s thinking.”

You handed his phone back to him and shrugged. “Just because he might be coming back doesn’t mean you have to act any differently. If you were a knob, I’d have called you out the second you walked into my office. Are you really going to let one guy ruin the person you’ve become?”

He considered your words for a moment and then nodded. “Thanks, yeah. I guess I needed to hear that.”

Sitting back with a victorious smile on your lips, you turned your attention back to your desktop which had his Instagram pulled up. “Now, let’s talk about your social media presence. You post frequently and have great engagement with fans, which is perfect. Keeley gave me the list of desired sponsorships so while she puts pressure on their marketing teams, I’m going to come up with a plan to make your accounts appeal to their brand. How does that sound?”

“Good, good. Can you show me how to do reels? Isaac said mine look like shit.”

“Bold words for a man who livetweets every episode of Bridgerton.”

Two days later, you found yourself bundling up in AFC Richmond gear thanks to the bitterly cold temperatures outside. Of course, today was the day you started photographing practice for social media. While Keeley sat inside the warm offices, you were forced into going outside. The blonde promised hot cocoa when you returned, ordered on the company card, so you readily agreed to freezing your nose off. Maybe the cold would help you stay awake too.

What had started as a night of planning out your next round of posts and recipes turned into cyberstalking Jamie Tartt. There were pages dedicated to fans ooing and ahhing over his skills on and off the field. Yet every single interview you saw of his showed just how truly egotistical the man was. It seemed as though he was incapable of discussing anything other than himself, whether it was boasting about his soccer skills or how he pulls women.

You had to admit that his soccer skills were pretty fucking good, even based on your limited knowledge of the game. One video of Jamie Tartt’s best plays turned into two and then it was one in the morning and you needed to be up at seven. Fuck.

That’s how you found yourself here, in the tunnel leading out to the Racetrack. Your breath puffed out in visible clouds against the frosty winter air and you grimaced. This was going to be the longest two hours of your life.

“Ah, fuck,” you murmured as you tried to remove the cap from your camera lens. The bright AFC Richmond blue and red gloves that Higgins gave you were incredibly warm, but the fleece made it hard to maneuver things. The cap popped off and promptly fell to the ground, landing at your feet.

“Fucking fabulous,” you huffed. You bent down to grab it but a hand already enclosed around the small piece of plastic. Standing back up to your full height, you came face to face with the one and only Jamie Tartt. He extended the cap towards you and you grasped it, feeling the warmth he emanated through your gloves.

“Thanks,” you said shortly. “Back at it, then? Good luck.”

“I don’t need luck,” he replied, almost as if it were a reflex. You raised an eyebrow at his conceited response and shrugged.

“Alright then, choke for all I care.”

With that, you glided past Jamie and out onto the turf to start taking photos. You had no time or energy to worry about him and his ego. The sooner you got all the photos you needed, the sooner you could get into the warm stadium once more.

Tag List: @shiptheship @teigo-the-explorer @geeksareunique @queenofthekill @actuallybarb @for-fucks-sake-im-alive @maggiecc @alipap3

#jamie tartt imagine #jamie tartt series #jamie tartt fanfic #ted lasso fanfic #somewhereverse #jamie tartt x reader

230 notes · View notes