and kills anything and everything

anonymous asked:

Forgive me if you've been asked this already but at what moment do you think Clarke fell in love with Lexa, or realized she was in love with her? I believe Eliza had trouble answering this at a con (I think she said it was before the bow though) so I'm wondering what you think.

Mmm that’s hard to say, and honestly, that’s kinda what I love about it. Because you can’t always exactly pinpoint the moment you fall in love with someone, right? Maybe it’s a feeling that grows gradually but unstoppable, maybe it’s like a wave hitting you at once, it varies. And that’s how I think it was for Clarke.

The way I see it, it was sudden for her at first and then everything slowed down and it naturally developed. It wasn’t love yet in the beginning, but there was definitely a realization that she had feelings for Lexa. Just look at her face after storming out of Lexa’s tent in 2x14. 

Why else would she looked so bothered? If she had just been upset about their argument she would have had an angry face. Instead she looks like she’s literally trying to physically restrain her feelings, whatever they may be. She takes that deep, shaky breath in an attempt to collect herself because, what the hell just happened inside that tent? Did Lexa really just confess she has feelings for me? And why does it affect me so much? What am I feeling? This is what I think is going through her mind. And then of course we have the confirmation of this, when she gladly replies to Lexa’s kiss. Even after she rejects her, there is no indication of that being a definitive rejection. There is no feeling of “I’m sorry, but I don’t reciprocate.” Clarke is not ready for a relationship, and it’s right that she was honest with Lexa, but she rejects her in literally the softest way possible, AND leaves the door open for the future. Not yet. That means she already sees herself considering a relationship with Lexa in the future, after healing, when she’s finally ready. And look at how tender and somewhat tamely longing her gaze is even after she rejected Lexa.

She is definitely aware of her feelings for Lexa here. But then the betrayal happens and ah, they take 46 steps back.

Now, of course, Lexa’s betrayal causes Clarke to close herself off. Clarke is angry at Lexa, she’s angry at herself, she’s in pain, every other feeling pales in comparison. And obviously, so much of Clarke’s suffering is tied to what Lexa did, so it’s definitely not a surprise that romance is out of the question when they first meet again. Clarke’s pain is consuming her, she is definitely not thinking about whatever she and Lexa had. And yet…

This isn’t a romantic moment by any means. But we’re talking about Clarke realizing she loves Lexa, and I don’t think we can’t gloss over this moment. When I say that I don’t romanticize this scene, it’s because this is not a cute moment. This isn’t a “oh my God, she loves her!” moment, this moment is sad. It’s painful, it’s heartbreaking, but it’s so damn important. Clarke can’t kill Lexa here. How much easier would it be for her to shut her heart out entirely, to blame Lexa for everything and just kill her without feeling anything? I bet in that moment, a part of Clarke wants that. But Clarke feels, and she feels for Lexa. She has these feelings and they won’t go away, not even when she’s at her lowest. So yeah, not a romantic moment, but definitely essential to understand Clarke’s complicated feelings for Lexa.

After the bow, Clarke is a little more trusting towards Lexa, but she’s definitely still closed off, she’s not ready to expose her heart yet. And we get to the “I’m doing it for my people” episode, 3x04. Right from the very beginning, Clarke spends the entire episode trying to find a way to keep Lexa safe, to protect her. But every single time she voices her concerns to Lexa or hell, even Titus, her preoccupation feels far more personal than political. She’s worried, she’s agitated, she even seems angry that Lexa won’t listen to her and step away from the duel. It’s a crescendo of apprehension and frustration and anxiousness as every single one of Clarke’s attempts fails, crescendo that culminates in an emotional explosion.

The second gif is particularly telling. Titus interrupts them, the moment is gone and Clarke finds herself having to face what just happened. Look at her face, at how she looks away from Lexa and sucks a breath through her teeth. She’s restraining her feelings, but she’s a little too late this time. And it’s not only Lexa who is shaken by Clarke’s emotional outburst, it’s Clarke herself too. She doesn’t catch herself in time and now she can’t pretend with herself that those feelings aren’t there. I think this is when the true first “shift” after the betrayal happens. Clarke wants to keep Lexa at arm’s length but Lexa might very well die that same day and, despite any resolution she had, the thought terrifies Clarke. And she’s so scared that she’s never going to see Lexa again that…

I could write an essay on all the emotions Clarke experiences before and throughout and at the end of Lexa’s duel, but the gist of it is that during this tense moment, with Lexa’s life on the line, she can’t bring herself to hide her feelings. It’s all there, on her face. 

Only when things settle down she is able to collect herself again. Lexa comes visit her that night and we see Clarke pull her walls up again. “I was just doing what was right for my people.” BUT! Even if Clarke is not ready to open up her heart again, that scene is infused with intimacy. Even Clarke’s “rejection” is filled with emotion.

Clarke is the opposite of cold here. The way I see it, she is pulling away because she’s realizing she’s close to giving in, but she’s not yet ready for that. It’s so clear that here Lexa is talking about what happened at Mount Weather too, this is another quiet apology that Clarke obviously recognizes. If she went with her feelings, Clarke would have to admit that she does understand Lexa, that in her heart maybe she’s already forgiven her. But in that moment it’s too overwhelming, so she looks away and avoids the conversation, avoids Lexa’s gaze, avoids having to focus on her feelings.

She literally keeps having to look away because things get too intense but at the same time there’s a tenderness in her eyes that she can’t hide. And once Lexa is gone and she can breathe… bam

All the feelings she restrained, everything she tried to hide merely minutes ago hits her full force. I said I think Clarke’s love for Lexa developed gradually, naturally, but if I had to pick a specific moment and say that’s when Clarke realized she’s in love with Lexa, it would be this one.

By the time we get to 3x06, I do believe Clarke knows and has accepted she is in love with Lexa, but she’s still struggling to admit it out loud, especially to Lexa. That episode happens roughly 7-10 days after the events of Hakeldama, and when we see Clarke and Lexa again, they are closer than ever. There is a sense of intimacy, of almost domesticity between them. They are comfortable with each other’s presence. There’s not really a reason for them being in the same room in that scene: Lexa fell asleep while reading and Clarke is drawing (there are other sheets in her folder, which makes me think she was drawing other things before focusing on Lexa). They don’t have to talk or interact, they simply are together.

When Lexa wakes up from the nightmare, Clarke doesn’t hesitate to jump next to her and comfort her, with soothing touches and calming, reassuring words. And then we get to the moment Lexa notices the drawing. A lot has been said about Lexa’s face, but instead look at Clarke’s.

This is the exact opposite of what I was talking about in 3x04. Lexa sees the drawing and is taken aback. That she doesn’t know whether she should hope for anything is another story, but the look she gives Clarke is very telling. And Clarke doesn’t avoid it. Yes, her first instinct is to play it off as something meaningless. “Uh, that’s not- it’s not finished yet.” But then Lexa looks at her, confused, surprised, a tiny bit hopeful, and Clarke meets her gaze and they just stare at each other. Look at that little pause she does before lifting her eyes. That’s when she chooses not to hide. As I said, I think that here Clarke has come to terms with her feelings for Lexa, but here for the first time, she doesn’t hide them from Lexa. Her look is just as telling as Lexa’s. They aren’t saying a word and this is one of their most honest, important conversations. Clarke is silent, but her eyes are speaking, her untold feelings are there, and maybe letting Lexa know isn’t so unfathomable anymore. Maybe, maybe Clarke this is the closest Clarke has been to being ready.

So this is what i think. The way I see it, it’s tricky and complicated and simply beautiful.

I know, I know
If you could go back you
would walk with Jesus
You would march with King
Maybe assassinate Hitler
At least hide Jews in your basement
It would all be clear to you
But people then, just like you
were baffled, had bills
to pay and children they didn’t
understand and they too
were so desperate for normalcy
they made anything normal
Even turning everything inside out
Even killing, and killing, and it’s easy
for turning the other cheek
to be looking the other way, for walking
to be talking, and they hid
in their houses
and watched it on television, when they had television,
and wrung their hands
or didn’t, and your hands
are just like theirs. Lined, permeable,
small, and you
would follow Caesar, and quote McCarthy, and Hoover, and you would want
to make Germany great again
Because you are afraid, and your
parents are sick, and your
job pays shit and where’s your
dignity? Just a little dignity and those kids sitting down in the highway,
and chaining themselves to
buildings, what’s their fucking problem? And that kid
That’s King. And this is Selma. And Berlin. And Jerusalem. And now
is when they need you to be brave.
is when we need you to go back
and forget everything you know
and give up the things you’re chained to
and make it look so easy in your
grandkids’ history books (they should still have them, kinehora)
is when it will all be clear to them.
—  Danny bryck

anonymous asked:

After this last scene whit the secretary and jack, my supercorp feelings went through the roof. I was wondering if you could write a piece on Lena explaining to Kara why she chose saving her instead of Jack and Kara being there for her? Thanks! Btw, you are amazing!!! Thank you for existing 💕

The idea of being controlled had terrified her so much more than the idea of dying.

She’s been surprised when she told Supergirl that she had a better idea, that she’d listened to her without hesitation when she told her to keep them occupied.

That Supergirl trusted her with her life. With all their lives.

Without question, without hesitation.

It had been a stupid decision. On Supergirl’s part.

On her own.

Because Jack was dead, and she wasn’t even sure if their last kiss had been real, and he was dead, and Supergirl was alive, sure, but Jack was dead, and it was her fault, her choice, her fault. 

And she’s not sure why she’s telling Kara all this – because she killed him, killed him, killed him, and surely someone as gentle, as kind, as ethical, as Kara will hate her for it, will see her brother in her for it, will see her mother in her for it – but she’s telling her anyway, and she finds that she can’t cry, and she finds that she’s more terrified than she’s ever been in her life.

Because when she feels again?

She has no idea what she’ll become.

“I saved her because the world needs her. And it does, and that’s fine, but in doing so, I killed the one man I ever… I killed Jack.”

“No,” Kara is saying, and Lena wonders how anyone can be that earnest. “No, Lena. You didn’t kill him. Beth did. Not you. You were in an impossible situation – ”

“No. It was selfish, Kara. I made the selfish choice.”

Kara furrows her brow, and though her arm is still around Lena, she pulls her face back to look at Lena’s more directly.

“But you said – ”

“It was selfish because the world does need Supergirl. But so do I. Because I don’t… I’ve lived without Jack since I came to National City, but you, Kara? I can’t imagine my life without you.”

Kara freezes and she’s too stunned even to splutter, too terrified even to pfft out a laugh.

Lena smiles softly, but it doesn’t quite reach her heart.

“The glasses are flattering, Kara, but really, nothing can hide those eyes.” She shifts so their bodies are closer. “Or these arms.”

Her words are light, but her voice is heavy. Her words are almost flirtatious, but her eyes are dull. Distant. Almost dead.

And so, in a way, is she.

This isn’t how she wanted to tell Kara that she knew.

And it certainly isn’t how she wanted to tell Kara that she can’t live without her.

But she’s already destroyed Jack. She might as well destroy this, too.

Only that’s not what happens.

It’s not what happens because Kara is shifting closer to her, arranging their bodies so they’re flush together on her couch. Kara is whispering something in what Lena can only guess is the tongue she grew up speaking, and she’s pressing a soft kiss to Lena’s forehead.

“You didn’t kill him, Lena. Beth did. And you’re… you’re allowed to mourn. Anything else – everything else – can wait. Because I’m not going anywhere, okay? I’m not. I’m going to be here while you mourn, or rage, or stare sullenly at the night sky… I’ll hold you, or I’ll listen to you, or I’ll rage with you, or I’ll tell you stories about all the constellations, all the planets, and you don’t have to say a thing. I’m not going anywhere, Lena. And… and thank you. For saving my life.”

Lena almost smiles at that.

“So you admit that I’m right about you?”

“I admit that you’re a brilliant woman with excellent deductive powers.”

“I won’t deny that,” Lena teases, and she almost sounds like herself again.

Almost. But it’s alright. It’s alright, because Kara will be there until she is.


~ Our Heartache ~
Toriel, Asgore Dreemurr, Asriel Dreemurr, and Asriel “God of Hyperdeath” form. 

I recently picked up this game on Steam called “Undertale” and I heavily enjoy it. Bullet hell and a choice between not killing anything to killing everything. (So far I apparently have done Neutral Route, and True Pacifist). So I came to a point where I wanted to make a Simplistic Design of Toriel, Asgore, and Asriel. Kept it as simple as I can by keep to their initial design. 

(Due to the Fan-art merch policy of Undertale located (HERE) I cannot sell the designs I made as shirts etc, and host it via on my Redbubble…. I really wish I could sell the designs though, I’d wear it myself and all too..)

omegainthewild  asked:

What are the chances you have steampunk themed sterek? I'm dying and my searches have come up dry.

i have exactly what you need friend

The Circus at the End of the World by mikkimouse (25/25 | 91,049 | NC17)

Three hundred years ago, the world ended not with a bang or a whimper, but with magic.

Since then, magic has been outlawed, and the world has clawed its way back to some kind of stability, with people and shifters alike divided between living within the walled safety of the Havens, or the small, less protected outposts dotting the frontier.

Derek Hale and his sisters, Laura and Cora, are the proprietors of Hale’s Circus of Magic, Monsters, and Mystical Wonders, known colloquially as the Circus at the End of the World. They and their ragtag pack ride the rails between the outposts and the Havens, performing for those who can pay (and some who can’t). Their circus is a small haven in and of itself, a place of safety for those who have nowhere else to go.

It’s a quiet life…until Stiles Stilinski joins the crew.

The circus has something Stiles needs—a ticket into the Haven of Santa Francesca. His father has been abducted, and Stiles is determined to get him back no matter what he has to do.

But Stiles has another secret, one that puts him and every member of the circus in danger. And if he’s not careful, it could get them all killed.

I Never Wanted Anything From You (Except Everything You Had) by secondstar (1/1 | 7,041 | PG13)

Stiles would follow Derek anywhere: land, sea, or air.

Stories of old told of the wolf and the raven working together, traveling and hunting as one. Stiles didn’t believe in stories, but he believed in Derek and that was all that mattered.

The Inventor and The Wolf by literaryoblivion (1/1 | 11,582 | PG13)

When Stiles stepped off the train onto the platform, he tried to be subtle about his awe in his surroundings. The station was bustling, women in fancy dresses, parasols on their arms, men in hats and suits, a few with canes swinging as they ran to their train car. Stiles had never seen so much activity in one place.

Despite his excitement, he tried to blend in with the busy crowd. The last thing he needed was to stick out like a sore thumb and have someone pick-pocket him or to take advantage of him and his obvious naivety. He was here to find an investor willing to help him with his idea.


Stiles succeeds and ends up finding more than just an investor.

A Curious Couplement by idareu2bme (9/9 | 40,375 | PG13)

Derek is a simple horseman from the mountains, Stiles is an enthusiastic university graduate ready to make a name for himself. In any other situation, they would have gone their entire lives never having met. It’s probably a good thing then, that they both happened to be in the wrong place at the right time. 


Simon Pegg
From Shaun of the Dead to Absolutely Anything.

(I know I’ve skipped a few, but here are the main ones.)

I think about shawn being a dad a lot. like too much of my time is spent thinking about this.

  • wouldn’t he just be the sweetest while you were pregnant? he would 2000% freak out when you tell him. like he’s definitely the type to be like “are you allowed to walk while you’re pregnant? what can you eat? should i tell my parents?”
  • not to mention once you start showing he would always be touching the bump, and if you ever met new people he would be like, “hi this is my wife and we’re gonna have a baby.”
  • he would be so protective out in public as well, if paps were trying to photograph you he would pull you in so close and shield you. even the possibility of you getting touched by anyone in a crowd would make that vein in his neck pop.
  • as your pregnancy went on you would get hormonal and unreasonable shawn would just continue being the lil peach that he is. he would let you be mad and upset. you would storm out leaving him in the kitchen. and he would give you time and then follow you in saying, “you done being mad?”
  • and when you went into labor he would look so damn cute in his scrubs. he would do anything and everything that you needed and it would kill him to see you in pain. he would rub the back of your neck and kiss your fingers. he would tell you how “proud of you” he was and how much he loved you.
  • you would ask, well at least you thought you were asking it probably came out as more of a yell, for an epidural. he would say gently, “baby, i thought you didn’t want one” and you would look him in the eye with so much rage that he would run into the hall to grab any nurse that might be able to help.
  • after you delivered the baby he would call his parents crying tears of joy over the fact that the both of you had a child and he was a parent and he would be so over the moon. he would keep kissing you and telling you how much he loved you.
  • the nurse would come in with your little bundle of joy and you would hold the baby and when you tried to give him to Shawn he would step back for a second, “What if I break him?” and you would laugh, “So you’re just never going to hold our child? is that your plan? I don’t know, it doesn’t seem thought out to me.”
  • The nurse would hand your little one to Shawn and he would sit and the baby would look so small compared to Shawn and he would say, “Hi baby, i’m your dad.”
  • And you would feel tears trickling down your cheeks as you looked at your husband and your new baby and you knew in that moment that everything in your life was laid out for this.
Barry Allen OF 2017 KILLED Iris west
  • Barry Allen fans, do NOT read this post because it's not kind to Barry, thank you.
  • Anti Barry Allen fans, open minded/grey era fans if you would like me explaining this more then read on, if not then just ignore the post.
  • I will be using the proper tags, so please NO attacks on me for simply sharing my opinion, thank you.
  • Let's get to it.
  • Barry Allen of 2017, is the one who killed Iris west not savitar and here's why:
  • Let's look back at the end of S1, when ebaord Thawn was just about to kill Barry (for breaking his promise) Eddie sacrificed himself and shot himself in the heart to stop thawn from killing Barry which worked because as we all know Ebaord is a future decent of Eddie, so Eddie made a very simple conclusion if he dies, Ebaord doesn't exist anymore.
  • Now back to S3, the second Barry finally figured out(because even though he's a CI, he's so very slow) that savitar is his future self, he could have done the same thing Eddie did, because if he dies then savitar doesn't come to be. Now some of you might say "well, we can't be sure that it will work that way" but episode 3x21 proved that whatever happens to 2017 Barry, savitar Barry is effected the same way, thus if 2017 Barry dies = savitar Barry dies as well, easy salutation to the problem they've been worrying about all season long.
  • Don't like that one? How about Barry cripples himself on purpose and loses the ability to walk, let alone have speed powers? thus savitar Barry will be crippled as well and he won't be able to kill Iris, too harsh? Ok how bout Barry gets rid of his powers forever/for good and destroys any machine that could possibly give him his powers back? thus savitar loses his powers forever/for good as well, or how about Barry takes the flash of earth 3 place being trapped in the speed force (reliving your worst moments over & over again) and this messes up savitar Barry time line, because he will be trapped way earlier than he was?
  • These are just few theories/opinions on how Barry 2017 could have defeated savitar Barry, all of them if you hadn't notice requires Barry 2017 selflessly sacrificing his self or his happiness one way or the other, but these things didn't even cross his mind when he said he's welling to do anything/everything to save Iris which SHOULD include sacrificing himself or his happiness to save her life, but Barry 2017 just like savitar Barry cares more about his survival above all, he cares about getting whatever he wants even if it at the cost of others, deep down Barry 2017 only cares about Barry and NO one else just like Savitar cares about his survival.
  • So in my opinion, 2017 Barry Allen KILLED Iris west NOT savitar, because he did NOT do everything/anything in his power to save her, if he truly lied her more than he loves himself, he would have killed himself the second he figured out savitar is just future Barry just like Eddie did back in S1, and he killed himself to save/protect Iris from his future great grandson
  • So please don't tell me 2017 Barry is not at fault because he's 100% the reason Iris died and since Savitar is just his future self, he's totally 100% no question the READON Iris west of dead
Hunting You - Dan x Reader (Supernatural AU) - Prologue

Synopsis: (Y/N) Winchester and her two brothers, Sam and Dean travelled across the country hunting everything that goes bump in the night from Vampires to Demons. But one hunt they meet two new hunters on the circuit, Dan and Phil. The two British hunters detest the Winchesters, but start to see the other side of the trio.

Warning: Blood.

A/N: So, this is a full on series I am starting here if you would like to be tagged or have any questions about it just let me know and I will get back to you as fast as I can.

John Winchester, father of two young boys, one 9 year old and one 5 year old. Whose names were Dean and Sam. But John was also a hunter, no not your typical hunter, not the kind that goes out and kills animals for sport. No, he kills anything and everything he can that goes bump in the night, from angiak to zombies and everything in between. Vampires, werewolves, shapeshifters, ghosts, wendigos and even clowns. It was a dangerous life, but John chose to live it because of five years ago when his wife was pinned to the ceiling and burned alive in his youngest son’s nursery. He vowed revenge on the thing that killed her and he had every intention of getting it.

One particular hunt left him heartbroken, just as much so as when he had lost his wife. It was in Savannah Georgia, so far two people had been murdered, and their hearts were missing. So John rolled into town immediately getting ready to hunt down this werewolf and stop it before it could kill anyone else. He left his two boys in a motel room and gave Dean the usual speech, “Protect Sammy.” then he left them to go save some people.

Keep reading

Just testing things out.

Opened up the last file where I tried to do this, it’s a mess. Working on cleaning it up and getting things going again.

She gets a ledge grab like Sugar, because why not(her looking at the camera is amusing but may not stay >.>). 

She’ll also have a long jump, wall jump and double jump later, but nothing more than that.

Enemies there to test damage sprite. 

Bun cannot fight anything, she’ll have to run away as everything kills her in one hit. 

There may be a few little things that just knock her around though, so I wanted to test it out.

The plan is to recreate all of the original levels first, then experiment with some new things to make it more interesting. 

So far I’m just trying to get her movin’ around though.

The camera will be the fun bit, as the rooms will not all be vertical this time.


                               Where there is kindness there is goodness
                                   and where there is goodness there is
                                                         m a g i c.

About Drum EQ

Firstly everybody would tell you to have a minimalistic approach towards EQ-ing and to cut rather than to boost. They would say that subtractive EQ avoids adding unnecessary gain to the signal and such. But by doing so, you might need to increase the volume of the instrument you’re working on, because cuttings are essentially lowering the gain.

That was the first tip, and now there are a few frequency ranges that you should pay attention to.

Kick Drum

Usually you’d like the kick drum to have both a thick bass thump from the low-end and a driving click from the mids. So to add some extra weight (that is low-end punch or bottom depth), boost at 50-150 Hz. Don’t overdo it as it can clutter up the low-end. And don’t boost the extremely low frequencies as this will mostly cause a muddy sound. If possible, use bell mode on the EQ to better isolate the frequencies.

To reduce boom, or tighten and clean up the low-end in general, set a high-pass filter around 50-60 Hz. (20 Hz and below only adds unnecessary energy to the total sound.)

If the kick drum needs more body, boost some in the 90-120 Hz range.

Apply cut somewhere in the 150-600 Hz range to treat muddiness, while boxiness is most prominent near 400 Hz. Also apply a notch filter at 250 Hz, that can add thump or slap attack to the kick drum.

Push between 2-4 kHz to add attack, and also boost a bit between 4-7 kHz to make the kick drum snappy.

Remove extreme high (for a kick drum you shouldn’t need anything over 10 kHz) and low frequencies (at least kill everything below 20 Hz) with a high- and a low-pass filter.


You can, more or less, use the the same tips as for the kick drum above with a few changes and additions.

Cut at 80 Hz to remove rumble.

If the snare sounds thin, boost at 125-150Hz for a little weight and a full snare sound. And to give the snare some punch, boost around 250 Hz.

The body of the snare should be around 500 Hz, adding there will give a rounder sound.

Boost around 2 kHz for some crispy edge and add at 2.5 kHz for extra snap and attack. Also add clarity and even more punch by boosting around the 3 kHz area.

You might want to give the snare some air and presence by raising somewhere between 6-15 kHz, like at 10 kHz.

Hand claps and rim shots can mostly be treated as snares.


For the floor tom that needs low-end fulness, add some at 80-100 Hz, and for the smaller rack tom lift somewhere closer to 250 Hz.

Increase thump and add attack around 250 Hz.

Cut the mids around 400 Hz to reduce boxiness.

Add attack by boosting between 4-7 kHz (depending on the size of the tom).

Hihats and Cymbals

When you’re done mixing the volume level of the hihats, you usually don’t really have to boost or cut anything. Still, the clank or gong sound is around 200 Hz, but if you want definition, then roll off everything below 500-600 Hz using a high-pass filter. By doing so, you clear out low-end information that is nonessential for the hihat.

If the hihat is sounding thin, boost around 400-800 Hz.

Cut at 1 kHz to remove jangling, and treat clangy sounds by cutting between 1-4 kHz.

A small boost with a wide Q at the 3 kHz range will add presents to the hihat.

Add brightness and get sizzle by lifting at 10 kHz. And if the sound is too harsh, then make a high-shelf cut around 16 kHz.

That’s it. Next time I’ll guide you through the creation of synthesized drums.

Note: processing sampled sounds can turn hihats pretty harsh, therefore use a de-esser to affect the problem frequencies without messing with the overall volume or clarity.