old synth


Don’t Be Afraid



Story Archive

Accompanying Music - Don’t Lose Your Way - Cover by Sapphire/NoneLikeJoshua 

Thank you to @george-nordington and @fancyfictionwriter for helping me brainstorm and @thepunchlineislesbian for helping me fix up my handwriting as font so things are a tad more readable. Hope you guys enjoy it…

…next stop…Goodneighbor.

little things I love about regional at best

the synth in old version holding onto you is sO goOD

the extra “ups” in the first verse of ode to sleep, they’re great

the lil “doo"s at the end of slowtown are adorable

the “hands held higher, we’ll be on fire” repeats at the end of forest are so beautiful oh my goD

tyler’s lil voice cracks in glowing eyes ++ josh on the backup vocals

the most iconic moment in kitchen sink: “leave me alone, don’T leave me alone” i could listen to it on repeat forever

the distant scream in the middle of the anathema rap

probably the best moment in lovely: you say things with your mouth cobwebs and flies come oUUUUUUUT

the desperate “tell our dad i’m sorry"s toward the end of ruby ouch

the beauty of the autotune in the original version of trees, tyler really makes it work

the lil “alright” before the last verse in be concerned

clear: imposter, been fostered, then my new father drained my dirty blOooooOooOoood

anonymous asked:

hey Ghost have you heard anything from ruth white? Shes a really old synth artist who did some real experimental sounding songs; and i think you'd like some of her stuff especially her cover of gymnopedies -A dork ass music enthusiast

ooooooo i haven’t heard of her, i’ll have to check her stuff out!

ok but niska is only 9 years old. yeah, shes a synth and should be fully functioning as an adult right from the beginning, but she has a human consciousness. that little bit of humanity has only had 9 years to take in what it senses and to develop. when 9 year old kids get angry, they throw tantrums and they break things and they scream. niska is mentally a 9 year old and had the same reaction, but she just had the capability to break something more important than a toy or a vase - people. she lost her temper and destroyed what made her angry, just like little kids do. niska isnt some bloodthirty sociopathic killer, shes just a kid who’s angry and confused


Since my previous post was on newer music (and it is a very boring rainy monday) here some top notch ‘old’ postpunk, synth, goth artists you might like. It is a true shame how most of these never crossed the border back then.  Personal favorites in bold.

Marielle from Arte no Escuro

Arte no Escuro (Brazil, 1988)
Euroshima (Argentina, 1986)
Paraf (Yugoslavia, 1984)
Weimar Gesang (Italia, 1984)
Variete (Poland, 1993)
Twice a Man (Sweden, 1984)
Bonanza Banzai (Hungary, 1989) 
Guardian Bird (France, 1989) 
Ekaterina Velika (Yugoslavia, 1987)

So I’ve been thinking about something.

What if after Kellogg’s consciousness worms its way into Nick Valentine’s programming, instead of going out in an ominous fizzle, he hangs around? And eventually the Survivor has to decide whether to help Nick stamp out the old merc’s thoughts by reconciling him with the memories of the real Nick via the quest Long Time Coming…. 

…or turn on the detective and coax the Kellogg personality into dominance. Kellogg knows how to get into the Institute, and he wants payback for Father setting him up and getting him killed. He’ll become the Survivor’s ally; all they have to do is help him quash the last figments of Nick Valentine out of this old synth hardware for good.

Nick is a friend, but he has outlived his usefulness in terms of helping the Survivor find Shaun. Kellogg, on the other hand, promises to reunite parent and child. 

Decisions, decisions.

anonymous asked:

Anon date: Average height, roughly 200 years old, noir detective, prototype synth, trench coat and worn fedora.

yes daddy nick

Digital is too deterministic. At the purely electronic level, there are very few molecules involved, and their behaviour is amplified. The closer you get to ‘real’ instruments - including physical devices such as tapeheads, tape, loudspeaker cones, old echo units, analogue synths - the more molecules are involved, and the closer you get to a 'probabilistic’ condition. This is an argument for strapping a lot of old junk on to the end of your digital signal path - valves, amplifiers, weird speakers, distortion units, old compressors, EQs, etc. - in the hope that you reintroduce some of the sonic complexity of 'real’ instruments. There’s nothing wrong with the pristine formica surfaces of digital: it’s just that one would like to be able to use other textures as well.
—  Brian Eno, 1 December 1995

So many great headcanons going on in the fandom right now I’m having trouble keeping track.

- Gentoos. A bunch of Gen 2 synths trying to live in the wasteland post-Institute destruction. Potential for cuteness: sky high.

- Disney Princess DiMA: the old synth on the mountain has a connection with animals and nature.

- Nick and kids: What else, Nick is really good with kids.

- Unseen Acadia: Fallout/Discworld crossover where DiMA is a wizard with arcane knowledge and Nick is a robot copper on Sam Vimes’ police force.

These things all make me really happy and like… thanks to everyone who’s contributed to any of those <333