Mr Sonic

Stars - Modern!Sonamy

Chapter 2 - Spies

“Move it Pinky! I can’t hear them.” Rouge whisper-yelled.
“Well excuuuuuse me I didn’t want to spy in the first place! It’s rude.” Amy whispered back.
“She’s kinda right Rouge. Why are we spying anyways?” Sally asked.
“I wanna see if we can find out big blue’s secret.” Rouge said.
“We can’t just spy on Mr. Sonic like that!” Cream said softly.
“It’s just for a little bit!” Rouge said. She put her ear to the door to listen carefully. “So. You totally got the hots for Amy.” Knuckles said and laughed a little.
“Uh, do not!” Sonic yelled at his fighting bud. “Bro, we know you. You liiiiikeeee heeeeerrrr!” Tails stated. “Okay, maybe I do! So what!?” Sonic said. “Dude! He confessed, HE CONFESSED!” Silver exclaimed. Rouge took her ear away from the door to find the girls had went back into the TV room. “Oh Amy…. I wish you were listening…” Rouge whispered sadly.
The boys walked out of the room and found the girls watching a TV show. Rouge glanced at Sonic and smirked. “How about a game of truth or dare guys?” She suggested. She glanced at Sonic again. His muzzle was burning, heck if it was any more red there could be steam coming out of it. “Sure!” Silver said. “Dibs on first!”. “No, I’m first!” Knuckles yelled. “Boys! We’ll spin a bottle and to make it fair, the first person gets to spin it and whoever it lands on, gets to be asked.” Rouge said with both hands on the boy’s chests. Rouge spun the bottle and it landed on Shadow. “Hmph.” Shadow said and spun it. It landed on Sonic, much to his amusement. “Faker truth or dare or death?” He asked. Sonic sweat dropped. “Uhh… Dare?” Big mistake. “I dare you to talk to Rose in a room for five minutes.” Shadow said. “Hah! Seems easy!” Sonic said. “But we have to listen to your conversation from the door.” Shadow added. ‘oooooh’s could be heard around the room. “Uh… Fine.” Sonic grabbed Amy and led her to his room and closed the door, leaving it unlocked. “So… How have you been?” Sonic asked nervously. “I’ve been good! Had some adventures with the girls and gave Sally love advice!” Amy said. “Have you…. Dated any boys?” Sonic asked. “Nope! You’re still my one and only Sonikku!” Amy exclaimed. “Heh… So…” Sonic was interrupted by his phone blowing up with texts. One from Shadow said ‘Confess already idiot.’ One from Tails said ‘KISS HERRRR!!!’ One from Silver said 'Tell her how you feel. Or I can tell her how you feel~’ and one from Knuckles saying 'if you two don’t swap saliva I’ll punch you.’. Sonic gulped at Silver’s. He wouldn’t dare… Or would he?
“So uhh Amy…” Sonic started. “Yes Sonikku?” Amy asked. “Uh… Say a friend of our’s… A really good friend… Figured out he liked a girl. What should he do?” Sonic asked, hoping he wasn’t too obvious. “Oh! Well he should bring her a flower a day with letters. Once she had the letters I L O V E Y O, the last one should say 'look outside’ and he should be standing there, with the last flower that says U. And then sweep her off of her feet and say 'I love you’ and share a romantic kiss… It’s just so romantic~!” Amy said.
Sonic nodded, storing the information in his mind. Hoping that she would forget about the advice tomorrow. Then they lost each other in a gaze. Without knowing, Sonic began leaning forward and so had Amy. Their noses were touching… And then…
Knuckles slammed the door open and yelled, “FIVE MINUTES ARE UP!” He looked at the two, touching noses and staring at him with red muzzles. He took a picture and ran away. “THIS IS MY NEW SCREEN SAVER!” He yelled. Sonic and Amy jumped away from each other. “Two soon, hedgehog.” Sonic whispered to himself.

anonymous asked:

So, we know how you feel about Chris, Topaz, and Helen, but what are your thoughts on the other Sonic X humans such as Chuck Throndyke, Mr. Tanaka, Ella, Sam Speed, Danny and Francis, and Chris' parents?

Chuck garnered my respect hands down when he confronted Chris’ parents in episode 51 and fed them a few home truths. I also like the way he interacted with Tails.

Mr Tanaka is sort of annoying-funny.

Ella I like. Especially her badass display in episode 20 after Bokkun blew her up after deceiving her. I love her motherly interactions with Amy and Cream. The bit in episode 50 when her and Amy start weeping and hugging each other after the former gives the latter a book of apple pie recipes was pretty powerful. And how she temporarily took Vanilla’s place as a mother figure to Cream :)

Sam is hilarious. Dude always tries to one-up Sonic yet fails miserably every single time.

Danny and Francis are boring.

Chris’ parents are obnoxious. Much like their son.



As says the title. This game looks crazy, has some insane graphical glitches, and some gameplay glitches too. Obviously, it seems like it was made this way. At least I hope it was, and I just didn’t download some really screwed up version of it. Actually, I might be more fine with that than what the actual game looks like.


Check out our new Throwback Theater! Maddy and Ryan review their teenage directed movie parody of the X-Men - D-MEN. It’s awkward and fantastic!

Check it out on our channel!

anonymous asked:

"Everyone's on fire"- Mr.k in Sonic dreams What a game huh Mr. K ōuō

How enjoyable for me to play a game where everyone but ME is one fire for once.

  • S01E09 -  eps1.8_m1rr0r1ng.qt


“Angela listens to music as she research Colby online when her father arrives home and mentions to her Darlene presence back in town, Angela quickly asks him where he last saw her. “

Headcanon: The Chaos Emeralds are referred to as such because the first one to be found was the green one - hence the name, emerald. When a blue gem was found years later that was identical to this “Chaos Emerald” that had the exact same magical properties as the green one, they decided to call the blue one a Chaos Emerald as well for the sake of continuity, which is why all seven are called “emeralds” despite not all being green (which was referenced by Mr. Stewart in a Sonic X episode, IIRC)

xperimentalblur has entered Casino Park

Well look who it is. Mr ‘World saving hero’ Sonic the hedgehog, I’m surprised that you’d take a trip to Casino Park of all places after the Chaos Emerald Fighting Tournament ended, or are you just too infatuated with little ol’ me~” 

Breezie herself knew that Sonic was probably here on some sort of business, why wouldn’t he be? But considering that the Casino was much more lively than it usually is (which is saying a lot as it is always lively) then Sonic’s presence most likely brought that wave of new casino goers all wanting to see the world famous hedgehog

Interview with Moritz Simon Geist / Sonic Robots

MR-808 Drum Robot. Photo: Jürgen Lösel

MR-808 Drum Robot. Photo: Jürgen Lösel

Moritz Simon Geist is a classical musician and a robotics engineer who builds his own musical instruments and seems to genuinely and tirelessly have fun in the process. The most famous of his creations is the MR-808, an oversized replica of the TR-808 produced by Roland to reproduce drum sounds. This 1980s electronic drum machine imitated the drum so inadequately that it actually created its own sound. The distinctive ‘thump thump’ became an integral part of hip hop music, gained iconic status with Marvin Gaye’s Sexual Healing and reached such a cult position within the music industry that even Kayne West paid tribute to the machine in his hit album 808s and Heartbreak.

Geist’s TR-808 opens up MR-808’s guts and allows us to see how the sounds are mechanically produced. The installation recreates 11 sounds of the TR-808 using mechanical actuators and physical tone generators and displays them inside an oversized wooden replica of the original instrument.

The artist went further with the installation MR-808 Interactive that invites the audience to collectively program the instrument using a touchpad.

His most intriguing creation however is probably the Glitch Robot which uses small robots to move, beat, hit and produce acoustic sounds, emphasizing thus the origin of the sound in a way no conventional medium of electronic music production is able to.

SONIC ROBOTS at Cynetart, 2014. Photo by David Pinzer

MR-808 Drum Robot. Photo: Jürgen Lösel

MR-808 Drum Robot. Photo: Jürgen Lösel

Moritz Simon Geist, MR 808. Filmography: David Campesino

Moritz Simon Geist and his Sonic Robots will be performing at the Rokolective festival in Bucharest on 11th and 12th of September. The weekend of performances is part of SHAPE, a European platform for innovative music and audiovisual art. I thought i’d take the event as an excuse to get in touch with the artist and discover more about his robots, ambitions and passions:

Hi Moritz! First, i’ve got to ask about the Roland TR-808. What attracted you to the instrument and made you want to develop a work based on it? Did you have one before making robots, for example?

Unfortunately, I never owned an 808, although it was invented in the year of my birth! I started dealing with electronics and robotics when I was quiet young. I started playing guitar at 14 and building my own guitar effects. From there I somehow got to robotics – now you would call it sound art – hacking the vinyl and tape recorder of my parents (the were not amused!). Years later I continued with robotic sound experiments. And then one day – I suppose it was in a bar or under the shower – I had the idea to give all these experiments a “frame” and to take the most famous drum machine of all time was kind of obvious after that. Actually during the building process I was obsessed for some time that somebody might come up with that project before me. Well .. it didn’t so happen, maybe the idea wasn’t that SO obvious.



You are a musician and the musical instruments you create are visually very striking. They are both elegant and playful. What guides the aesthetically choices you make while developing a new machine? And how important is the visual aspect of the robot?

I never studied Design or Arts, so in the beginning I wasn’t used to all these fancy design processes, mood boards and the like, and I did most of it just by “well-that feels good / that doesn’t”.

Still the visual aspect is probably 50% of music robots. If an art piece doesn’t convince visually, it loses a lot of its power. People can get an “image” so much easier, where you would need five sentences in text to describe the idea, and attention is the most hard-fought currency.

One might have the best concept and the best idea but in the end it needs an image to get that direct contact to the audience’ attention. So design is definitely super important.

When I start building a new machine I try to get an overall picture of what I want. In general in robotics big movements are good. You can see something good when it’s moving a lot. But on the other hand this is the most difficult to do – big motors, heavy equipment, long latencies. So you ask yourself: How shall it look like on stage? How can I videotape it? What time shall it refer too (70s, retro futurism, steam punk ..)? Then you can get example pictures and you get an overall idea of how things shall be and you start to design.

Still, in the end, time always runs out and you are hunted by pragmatism, leaving all your design aspects aside. Music Robotics is such a big field – mechanics, electronics, programming, music – so all theses things come before the design when the piece has to be released in two weeks.

SONIC ROBOTS at Cynetart, 2014. Photo by David Pinzer

SONIC ROBOTS at Cynetart, 2014. Photo by David Pinzer

SONIC ROBOTS at Cynetart, 2014. Photo by David Pinzer

I’m very intrigued by MR-808 interactive where the MR-808 is programmed live by the audience. Could you tell us how it works? How can people collaboratively control a robot drum machine without the whole experience turning in to a cacophony?

The idea is that you can make a rhythm (with a step sequencer). But you don’t do it alone, it’s an open system where everybody can collaborate. Like GoogleDocs for music. Let’s jam together – on a big drum robot! Actually you could drive any drum computer with this system it doesn’t have to be the MR-808.

Technically speaking its a Node.js server which renders a website that interacts with a SuperCollider Sequencer which spits out midi. We are big fans of open source, you can find the code here

In theory you can interact with as many people as you like. But at our exhibitions only 2 people can play with the robot. For a good reason: Once, I was working with an art group and they developed a simple sketch board where you can write and paint stuff with a projector and it gets displayed in public. We let the people paint for hours, but after less than one hour somebody always would write something obscene of offensive. We called that “Mean Time To Dick”. Roughly 30 minutes. So this always happens. Call it cacophony or Media arts vandalism. If you are standing beside the installation for 2-3h you will see that it moves like a wave: at one hour people create something beautiful, then a small group comes in and it gets totally annoying. Than beautiful again.

So in MR-808 interactive, the robot does the music, the audience controls it. What’s your role in there?
Do you just sit back and enjoy the show?

Actually – yes! There is not much to do but explaining and fixing if something is broken. And that’s actually the idea with robots isn’t it? They shall do the work, not me!

Moritz Simon Geist and the Glitch Robot. Photo: David Campesino

Moritz Simon Geist and the Glitch Robot. Photo: David Campesino

Moritz Simon Geist and the Glitch Robot. Photo: David Campesino

Moritz Simon Geist and the Glitch Robot (Live performance at the B-Seite Mannheim festival 2015.) Video: David Campesino

I was reading in your bio that you are giving talks about the progression of robotics and society. So what’s your take on the role that robots will play in our society? nowadays they seem to be used mostly in entertainment or industrial contexts.

Actually, the progression in the field of artificial intelligence and machine learning (the “brain” of robotics) is quite fast these days. Google bought several robotic and robot intelligence companies including DeepMind and BostonDynamics, which resulted in fascinating to frightening results. The singularity (when machines reach the consciousness of humans) might be decades away, but a lot of steps have already been taken. You can take random science fiction literature to conceive how the world would look then. Maybe its a dystopia – or humanity will finally listen, when big machines tells them to stop the suicidal party we are currently holding on our planet.

I don’t associate robots with fallibility. I thought they were supposed to perform simple tasks impeccably. Yet, you say that with your robots you are interested in introducing more “error” into the music. Could you comment on that? Why are errors so fascinating to you?

And could you give us some example of these errors that the robots made that surprised, inspired or delighted you? (if that’s possible to explain in words!)

That’s many questions! One big topic is that industrial robots cannot be compared with the “experimental” DIY robots that I am building. Industrial robots are good and well tested and rarely fail. Experimental robots are – experimental! They do stuff you don’t plan them to do. They are not tested. They are hacked together from trash and kitchen equipment.

It appears when you play with them. The robotic stick doesn’t always hit in the right moment – like a drunken drummer. The piezo microfon moves and suddenly you have a crazy humming on the record. You have sudden and unexpected sound crosstalk. If you play two instruments at a same time a third one will trigger because the electronics is acting weird. A midi note hangs and the whole system is skipping or looping for one second. It’s not predictable.

And this is one of the things that I like: Digital art (digital music) is predictable and well calculated. Music robots aren’t. The concept behind this is, that if you have a predefined and strict set of creative tools and functions it always gets you to the same result.
You know five chords on the guitar? Super, you can play 80% of rock songs. But what happens if your guitar distunes? If you by error get the wrong note? And the skipping robot might sound really cool while skipping. It might sound shit – or it might give you the creative impulse to need to get off of the beaten track. Error is a creative nucleus for artistic work. The rest is still work.

Which artists or figures from the music, robotics or art worlds do you find inspiring?

I really adore the work of Julian Oliver. His artistic and theoretic concepts make so much sense together and I am a big fan of the Critical Engineering manifesto. For some time I was also a big fan of Bre Pettis (Founder of makerbot) but he really disappointed everybody, including me. Apart from that – of course – my friends Andi and Jan from Mouse On Mars who taught me a lot about bass, error and how to deal with sound and the mystery of sound in general. Wizard geniuses, both of them!

You are going to participate to Rokolectiv festival in Bucharest this September. What will you be performing/showing there?

I will perform with the MR-808 Robot and some hacked music gear like a game boy and some modded and self build sound sculptures. We have the interactive MR-808 installations but initially it was meant to be an instrument on stage.

Thanks Moritz!

More photos of Sonic Robots in action on flickr.

#2014, #Big, #MoritzSimonGeist