Hello! Can I have Ratchet denying he needs to refuel but his tanks are rumbling and giving him away? 🐝
this is going to get a lil sad cause i have emotions abt this hecker
He outright ignores you, which of course will only make you even more upset. If you start to raise your voice and make it very obvious that you’re not taking ‘no’ for an answer, maybe you can get it through his head that he’s gonna fuel before the day is over because you are that determined. Even so, you have to remember that this is Ratchet; he’s been in the same situation as you many, many times before (he’s developed a thick hide because of it)– so you’re pretty useless against him at first.
Just like his low fuel levels, your pestering begins to wear him down. He turns on you, optics burning bright as he grits out in frustration, “What do you want?” You thought you’d made that very obvious. “Drink up, Ratchet! I can hear your fuel gauge beeping from over here!” Ratchet is adamant and refuses your care. Again. It feels like it’s been hours.
After a long time, you start asking questions. “Why? Why wouldn’t you just take some? Why are you denying yourself that care, medic?” Your frustration got the better of you and acid started slipping into your tone… but Ratchet has frozen. He then turns slowly, mouth pulled tight and optics ablaze with emotion and anguish.
Ratchet’s armour flares and he drops his newest invention back on the table. “Do you think I’m starving by choice? Do you think I want to be left like this?” You’re left speechless, stunned, confused. “If we had half the amount of energon that the Decepticons have, do you think we’d have to ration it out so carefully like we do? No. We don’t have that luxury, [Y/N]. We are all starving. Remember the synth-en? That was a treat. That was a damn treat.
First time I’ve felt like myself since arriving on Earth years ago. Think of it as a… what do you humans call it, a sugar-high? Think of it as a sugar-high, except your entire life depends on it. We are all starving.”
Ratchet had leaned back against his desk and inhaled deeply, optics closing as well as his posture. In the quietest voice you’d ever heard from him, he hisses, “I starve– I starve myself– so that they can thrive.” Ratchet stole a glance at the groundbridge, deactivated until the Autobots comm him to open it. “Please don’t get hurt, please, please, don’t get hurt.”
Dan stood in front of the expanse of the bathroom mirror and lightly tugged the collar of his t-shirt off-center. He admired the deep blue, almost black bruises on his collarbones and up his neck, turning his head to be met with a faint blue strip of a bruise pigmenting his cheekbone as well. He passed a thumb over the healing of his split bottom lip feeling oddly.. triumphant. Regal, almost.
Dan liked it rough. Like, really rough. It had been quite the challenge getting Phil to comply with his desires at first, the older man insisting that “It’s abuse, Dan. Spanking you’s one thing, even choking you, sure; but I’m not gonna damn well punch you in the face.” To which Dan retorted “It’s not abuse if I’m literally asking you to do it, Phil. We’re two consenting adults, we can do what we like.” Phil simply shook his head and urged to walk out of the room, and Dan grabbed at the older man’s wrist before tugging at the front of his shirt, grossly whining “Phil Lester.. hurt me” which incited this back and forth between the two of Phil’s “Dan-.. I-, c'mon knock it off, love. Stop.” and Dan’s “Philly, pleeease… please Phil I need it.”
Dan lifted up the bottom of his shirt to be met with almost identical deep purple marks that littered his hips on either side, angry red scratches trailing from the dark spots on his right.
Phil’s resolve only lasted so long. He shook his head frustratedly before rolling his eyes and and slamming Dan against the closed door of their lounge, a hand firmly on the younger man’s neck, but not squeezing. “Daniel,” Phil began, voice low. “There is a difference between me getting passionate and me getting angry. You keep this up and my actions toward you aren’t gonna come from a kind heart, alright?” Dan smirked, and like the cheeky fuck he was.. spat right in Phil’s face.
On this day in music history: March 24, 1986 - “Please”, the debut album by the Pet Shop Boys is released. Produced by Stephen Hague, it is recorded at Advision Studios in London, UK from Mid 1984 - Late 1985. After their split with dance music producer Bobby “Bobby O” Orlando, Neil Tennant and Chris Lowe sign a recording contract with EMI Records subsidiary Parlophone Records in 1984. The duo also collaborate with dance music musician Ron Dean Miller (Nuance & Vikki Love, Raw Silk), as well as Art Of Noise keyboardist/programmer J.J. Jeczalik, Roxy Music saxophonist Andy Mackay, former Bee Gees keyboardist Blue Weaver and vocalist Helena Springs. The British synth-pop duo title their album as such so that fans could simply ask for “the Pet Shop Boys album, “Please”. It is a huge worldwide success, spinning off four singles including “West End Girls” (#1 UK and US), “Opportunities (Let’s Make Lots Of Money)” (#10 US Pop, #11 UK), and “Love Comes Quickly” (#19 UK, #54 US Pop). The albums’ stark, minimalist cover graphics are designed by graphic artist Mark Farrow at Circle 3 (with an extra small cover photo of the duo taken by Smash Hits Magazine photographer Eric Watson, a friend of Tennant’s from his days as a writer and editor for the UK music magazine. Watson also directs several music videos for PSB.), who designs many distinctive album and single sleeve covers for The Pet Shop Boys over the years. The album is remastered and reissued on CD in 2001 as a double CD deluxe edition titled “Please/Further Listening - 1984 - 1986”. The first disc features the original eleven track album, with the second disc including thirteen bonus tracks consisting of extended 12" mixes, single edits and B-sides. “Please” peaks at number three on the UK album chart, number seven on the Billboard Top 200, and is certified Platinum in the US by the RIAA.
Hoi! I decided to introduce my music mascot for my channel, and her name is Silphy. She’s part of Undertronic, and exists as SharaX’s style preserver (｢･ω･)｢
A style preserver is a physical embodiment of a producer’s style of music. They save their producers life’s work, protect their melodies and run around as a ghost, even after a producer passes away. If a producer does pass away, style preservers tend to roam freely and their melodies can be heard in even the strangest of places. Generally they tend to stay by their producer’s side, as their job is to keep them alive and well. Each style preserver is different, and they can be various kinds of animals or creatures.
Silphy is a skele-cat hybrid and is a hyperactive nut. During visits with other producers, she will find her way into their collection library to check out their VST’s (A VST is a synthesized instrument). If she finds a VST she thinks SharaX will like, or it’s a rare synth, she’ll make a copy of it and nom-nom-nom the data, adding it to SharaX’s library. She may run into the other producer’s style preserver who may attack her, depending on how well SharaX knows the other producer (and if that artist allows Silphy to poke around at their VSTs).
She also aids Shara in performances as an adorable dancer, and really loves Skrillex ヾ(･ω･*)ﾉ
That’s the info I’ve figured out so far, & I hope it helps you to know who Silphy is o3o
I’ve been listening to this pretty much all evening, and it’s spawned this post in response.
So I’ve posted before about why I love the Instutute ending, mostly because it revolves around the super heartbreaking scene where you watch Shaun die peacefully in his bed. I have a whole headcanon about Zoe being able to spend Shaun’s last days with him, bonding and connecting with her son in their short time together, all the while waiting for the inevitable end.
This of course means that Zoe is SUPER uncomfortable around synth Shaun. She fully believes that gen-3 synths are fully sapient and deserving of respect and dignity just like everyone else (she’s dragging the Institute toward that attitude kicking and screaming), but this one is different. This one isn’t a random construct that looks human, nor is he a replacement of a person Zoe doesn’t know. He’s her son, but he’s not. Zoe is fully aware of the project that created him and everything involved with it. She even knows that this Shaun is a prototype with new design elements baked into his software. And yet, every time she looks at him, she just sees the future denied to her and Nathan all those centuries ago. She just sees a little boy who should have been given a full life… but she also simultaneously sees an artificial construct who had no mother and father, and whose internal processes she can look up on a terminal. She sees the boy and the machine. She sees her son, the son she watched die in his old age, and the robot designed by him to look just like him. It’s confusing, frustrating, and soul-wrenching all at the same time.
That’s not to say Zoe ignores the synth down in the lab. She tries to smile every time he looks at her. Sometimes she’ll spend her meal time with him, although Shaun is on a strict diet of ration bars and food supplements that helps keep his experimental systems operational. And she always makes time to visit him when she can work up the nerve to relay down to the Institute, usually with a gift in hand that he can tinker with. God, synth Shaun is so intelligent and driven… just like he was? Or is that new? An idealized work ethic that the real Shaun wished he had at that age? Or had Shaun really been like this as he grew up?
Those are the kind of questions that drive Zoe to drink, even when the Institute medical staff insist she quit or submit to a full addictol regimen.
I also think that Zoe tries taking him outside every once in a while. She’d outwardly treat it as an experiment perhaps, and convince the scientists that she would return with valuable sensory information from the synth. But on the inside, she’d try and pretend she was just taking her son out for a day of fun and play. Something she, him, and Nathan should have done countless times in the twenty first century. She would relay with Shaun, along with an ever-present bodyguard of course, to some secluded spot far away from any prying eyes… and pretend. Pretend that he’s a normal child and pretend that she’s his mother.
When allowed to explore the surface world, Shaun is just like any other kid. He explores, he questions, he even makes games of things. And sometimes he draws the adults around him into the fun, whether they want to or not.
Sometimes, Zoe can manage an entire day with him. Other times, she might make an hour or two before she orders Shaun be relayed back home. Either way, these excursions always end the same: with Zoe curled up in the corner of a bar or in her own room, drowning in cheap whiskey.
Filtering is a subtractive process. Subtractive implies that part of the sound is subtracted somewhere in synthesis. The Oscillators provide the raw waveforms with plenty of harmonic content and the Filter section subtracts some of the harmonics in a controlled manner. The type of Filter most commonly found on synthesizers is the Low Pass type.
With a Low Pass Filter, a cut-off point (or cut-off frequency) is chosen and any frequencies below the point are passed, and frequencies above are filtered out. The setting of the Filter Frequency parameter dictates the point below which frequencies are removed. This process of removing harmonics from the waveforms has the effect of changing the sound’s character or timbre. When the Frequency parameter is at maximum, the filter is completely “open” and no frequencies are removed from the raw Oscillator waveforms.
In practice, there is a gradual (rather than a sudden) reduction in the volume of the harmonics above the cut-off point of a Low Pass Filter. How rapidly these harmonics reduce in volume as frequency increases above the cut-off point is determined by the Filter’s slope. The slope is measured in ‘volume units per octave’. Since Volume is measured in decibels, this slope is usually quoted as so many decibels per octave (dB/oct). Typical values are 12 dB/oct and 24 dB/oct. The higher the number, the greater the rejection of harmonics above the cut-off point, and the more pronounced the filtering effect. A further important parameter of the Filter is its Resonance. Frequencies at the cut-off point may be increased in volume by the Filter Resonance control. This is useful for emphasizing certain harmonics of the sound. As Resonance is increased, a whistling-like quality will be introduced to the sound passing through the filter.
When set to very high levels, Resonance actually causes the filter to self - oscillate whenever a signal is being passed through it. The resulting whistling tone being produced is actually a pure sine wave, the pitch of which depends on the setting of the Frequency knob (the filter’s cut-off point). This resonance-produced sine wave can actually be used for some sounds as an additional sound source if wished. The diagram below shows the response of a typical low pass filter. Frequencies above the cut-off point are reduced in volume.
When resonance is added, frequencies at the cut off point are boosted in volume.
In addition to the traditional Low Pass Filter type, there are also High Pass and Band Pass types. The type of Filter used is selected with the Filter Type parameter. A High Pass Filter is similar to a Low Pass Filter, but works in the “opposite sense”, so that frequencies below the cut-off point are removed. Frequencies above the cut-off point are passed. When the Filter Frequency parameter is set to zero, the filter is completely open and no frequencies are removed from the raw Oscillator waveforms.
When a Band Pass Filter is used, only a narrow band of frequencies centered around the cut- off point are passed. Frequencies above and below the band are removed. It is not possible to fully open this type of Filter, and allow all frequencies to pass.