|
Cosmik Debris posted:How many CDs are you intending to distribute? If its less than a few hundred it might be worth it to just pay the mechanical royalty fees. Its like $0.20 a song or something if you produce less than 2,500 copies. I am just going to go the legal route and cover some public domain classical music. I have something terrible in mind. I will drop by here when I'm done setting it up.....
|
#
?
May 21, 2012 18:31
|
|
|
|
| # ? May 24, 2024 17:30 |
|
|
Don't be another MusicJustus please e:please
|
|
#
?
May 21, 2012 20:15
|
|
|
Sad Mammal posted:Don't be another MusicJustus please I'm gonna need some backstory here.
|
|
#
?
May 21, 2012 22:09
|
|
|
http://forums.somethingawful.com/showthread.php?threadid=3423285
|
|
#
?
May 21, 2012 22:18
|
|
|
I cant see any of the threads cause I don't have archives, but yeah don't worry about me. I am no musicjustus. He seems to have a complete lack of self awareness, and I don't have music in my name.
|
|
#
?
May 21, 2012 22:22
|
|
|
Does anybody know of any good free online resources for learning drums/percussion, along the lines of justinguitar.com or studybass.com?
|
|
#
?
May 22, 2012 03:40
|
|
|
MockingQuantum posted:Does anybody know of any good free online resources for learning drums/percussion, along the lines of justinguitar.com or studybass.com? Try http://www.drumlessons.com/
|
|
#
?
May 22, 2012 05:51
|
|
|
Could anyone recommend to me some in-ear monitors? They will be for the purpose of live performance, as my band will be using headphone amplifiers instead of stage monitors. I have done some research, but I wanted to see what ML had to say. I would love to get the kind that you have molded to your ear, but I can't find any like that under $400, and I can't expect the other band members to spend that much. So, I'm leaning towards the Shure E2C as they come with attachments for different sizes, so at least you can get a good fit. Thoughts? Thanks!
|
|
#
?
May 23, 2012 01:07
|
|
|
Alain Perdrix posted:I'd heard only great things about the Akai LPD-8 midi pad/controller until today, when I tried to buy one at a local music shop only to learn that their online inventory was incorrect. The guy at the shop told me that they had received three in a shipment, and all three were returned by the customers and sent back to Akai. My experience of the LPD-8 was as follows: Install drivers, insert usb cable gently into unit, port inside unit comes off pcb and can be heard rattling round inside, got sent the gently caress back. This was when they were just released. If you aren't hot on the Korgs and it's budget, rather than size that's steering you towards the LPD, maybe look for a second hand Trigger Finger? http://www.soundonsound.com/sos/sep05/articles/triggerfinger.htm NonzeroCircle fucked around with this message at 13:24 on May 27, 2012 |
|
#
?
May 27, 2012 13:18
|
|
|
My university needs an electronic drum kit for shows, and it has to be able to do all genres OK. Budget is around 600-700€. I don't know anything about drums but I said I'd ask around. Anyone got any suggestions?
|
|
#
?
May 27, 2012 15:31
|
|
|
Boz0r posted:My university needs an electronic drum kit for shows, and it has to be able to do all genres OK. Budget is around 600-700€. I don't know anything about drums but I said I'd ask around. Anyone got any suggestions? I have only owned Roland kits, so that's all the real experience I have. I'd highly recommend them, but even the lowest-end TD-4K2 kit is going to push the edge of your stated price range. I have no direct experience with the Alesis kits, but I've heard good things about them, and they're closer to your price range. Like any other instrument, though, the only way to know what is and is not going to work for you is to sit behind various kits and see what you like and don't like about each.
|
|
#
?
May 27, 2012 19:36
|
|
|
hi everyone. i dont usually come into the musician's lounge but i have a small favor to ask. i stitched together two versions of a song together, and unfortunately you can sort of tell when the song switches to another version. problem with the second version is it doesnt have the same "kick" (the beat? bassline?) as the first version, so i've thought about imitating the beat in the first version and just layering it on top of the quieter second version. this is the song in question (dont ask why i chose this song  )https://www.youtube.com/watch?v=Cz6fHzTjlss as you can tell right from the beginning the clap(?) and the bassline is pretty loud. the second version (i dont have a youtube version of this unfortunately) has the same sounds but it doesnt have the same "umph" as the first version. can anybody help me or tell me do this? the part in question starts around 39 seconds, the part when the guy starts rapping (and until the guy ends rapping). i think just the bassline that goes up a tone and comes back down + and clap will be enough. it seemed simple enough so i tried using a few programs i found online but i'm not good enough to make the baseline sound like the one in the song.  any help is appreciated!*edit* oh yeah this is going to be played on speakers outside, so the fine details of the song arent important but i still need to make sure the bassline is there because it would be very noticeable otherwise. nervana fucked around with this message at 04:59 on May 29, 2012 |
|
#
?
May 29, 2012 04:55
|
|
|
I'm curious about how other people manage RMI/tendinitis. I've had tendinitis on and off for 20 years (thanks, software job), and it's coming back now that I'm playing harp. Do people have suggestions on how to manage old RMI injuries and still play stringed instruments? I'm planning on going back to some of the stuff I did during physical therapy (icing, stretches) but I'm curious if other people out there have had to cope with this.
|
|
#
?
May 29, 2012 17:25
|
|
|
I didn't develop any injuries because I changed my habits as soon as I noticed possible tendinitis, so what I do may not apply. My teacher had me start doing stretches and finger/wrist/forearm/shoulder/neck circles for five minutes before picking up my instrument, and I started spending at least thirty minutes of really easy warmup, depending on what I was planning to practice and for how long. I take five minute or so breaks every half hour and try to remember to stretch continuously during practice. I never play when I start to feel a pain coming on, which should be common sense, but is hard to pull back sometimes. I check in with my breathing to make sure I'm not holding it or shorting it. Within days I stopped noticing any tendinitis and I can play about as much as I want every day, as long as I'm being observant. I don't really ice anymore, but I've heard lots of different methods and that it's beneficial even when you can't feel pain or aches. the tingler fucked around with this message at 18:15 on May 29, 2012 |
|
#
?
May 29, 2012 18:12
|
|
|
Arsenic Lupin posted:I'm curious about how other people manage RMI/tendinitis. I've had tendinitis on and off for 20 years (thanks, software job), and it's coming back now that I'm playing harp. Do people have suggestions on how to manage old RMI injuries and still play stringed instruments? I'm planning on going back to some of the stuff I did during physical therapy (icing, stretches) but I'm curious if other people out there have had to cope with this. I have mild tendinitis in my left wrist from playing guitar, and I deal with it mostly by really monitoring my physical posture and bearing while playing, as well as taking more time to warm up, and surprisingly enough, playing every day. My problems are definitely much more severe if I take even two days off. That's assuming I'm not in a particularly bad streak. When it's at its worst, I usually do just ice/anti-inflammatory meds until it calms down, then slowly work back into a playing habit. In my experience, it boils down to: Play regularly, but not strenuously, and assume you should spend at least double the time you'd expect on warmups or light exercises prior to technique drills,etc.
|
|
#
?
May 30, 2012 04:36
|
|
|
Have a quick question regarding electronic drums. I saw Boz0r's question a few posts up, so I think I already know the answer to my own inquiry, but I'm going to ask anyways. The kit in question is listed as the Roland TD6, and the owner said he's put in ~300$ of extra addons. Asking price is 500$. I'm thinking this is a steal and am having a hard time passing it up. Thoughts? Can you convince me not to do this?
|
|
#
?
May 31, 2012 19:03
|
|
|
Skabanero pePPers posted:Have a quick question regarding electronic drums. I saw Boz0r's question a few posts up, so I think I already know the answer to my own inquiry, but I'm going to ask anyways. The TD-6 looks to be a discontinued line so it's hard to gauge the current value, but as long as everything is in working order then it would still be a pretty good deal, especially if the additional $300 was spent on extra cymbals or mesh heads. Boz0r for that sort of money you are really restricted to the "practice" range of e-kits, unless you can find something second hand (like the Roland stuff or a Yamaha) there isn't anything that I personally would feel comfortable performing with. Some of the cheap kits are still OK but not really what you'd call gig worthy, and often they will have some pretty big playing compromises like poor feel on the snare/tom heads, ordinary sounds or even limited polyphony so that ringing cymbals and so forth could be cut off if too many new sounds are played after the cymbal hit.
|
|
#
?
May 31, 2012 23:42
|
|
|
I sequence, I sample, I play keyboards. I have been using strictly hardware for years and years. Just bought a fancy quick Mac laptop and have decided to try software DAWs for the first time ever. I've had friends tell me they are infinitely expandable and I need to get on this. I know NOTHING about how this works. I read as much as I can, and all the information I run into starts out fine, but then starts hitting me with acronyms, terminology and making a lot of assumptions about what I should already know. Now it's time to sound like a complete retard. I've got 6 keyboards with midi. I've got a Mac with several music programs. I just bought an M audio Fast track pro. 1) The reason I have so many keyboards is I love the sounds they make. Is there going to be a way to use the sequencer in a DAW to not only record midi data of my timing/ velocity/ etc. but the actual audio as well? If so, HOW? 2) As recommended by peers, I'm going to demo Logic Studio 9 and PreSonus Studio One. Does the M Audio Fast Track Pro even work with these programs? If not, what does? I am used to this setup: Devices that make noise plugged into device that records noise. This is a big change and I'd love some help and real simple descriptions of how this software thing works.
|
|
#
?
Jun 1, 2012 14:43
|
|
|
If the interface is detected by your Mac as a sound input/output device then it should have no problems working with any DAW, those programs get their audio inputs/outputs through the Apple audio subsystems as opposed to directly controlling the interface device itself. The only issue you may encounter is monitoring latency if you decide to listen to the sound emanating from the Mac while you are playing, because the interface is USB there might be a tiny delay between the keypress and what comes out of your speakers (even firewire isn't completely immune to this but it is a bit better for latency). This can be solved by using the direct monitor out on your interface (it sends the sound out as soon as it hits the interface as opposed to being processed by the computer and then sent out) but this won't let you hear any effects you may have on those specific tracks. This is probably not likely to be a very big problem though if you just want to record multiple tracks to assemble later instead of trying to play it all "live". The music and midi thing is pretty simple, if you use Logic you would just create two new tracks, one as an "Audio" track which will record the sounds coming out of your synths and into the audio input on your M-Audio device, and the second one as a "Software Instrument" which will capture the midi data (sent via the midi out on your keyboard through the midi in on the M-Audio) which you can then then assign to a software synth or whatever. Also don't forget about Garageband, it can do a lot of the stuff that it's big brother Logic can, albeit with a much more simplified interface, and it's free on every Mac. That being said I moved to Logic a year ago and haven't looked back.
|
|
#
?
Jun 1, 2012 15:10
|
|
|
Nermal. posted:I am used to this setup: Devices that make noise plugged into device that records noise. This is a big change and I'd love some help and real simple descriptions of how this software thing works. At its heart this is what a DAW does though - it's just way more capable than something like Audacity. If you wanted you could just open a DAW, create a new track, plug your keyboard's audio-out into your M-Audio's input, arm the track and hit record, then hit stop when you're done. The cool stuff happens after that - you can add more tracks and record other parts, punch in when re-recording parts you flubbed (so it only records over the section you tell it to), store multiple takes, and chop and edit the audio (often non-destructively, so nothing's ever lost). You can mix all the tracks, give them EQ and compression and basically whatever chain of effects you like, tweak it all and even automate changes. This can all get real powerful. I think what RandomCheese said is how people usually use hardware synths though (I don't so I'm guessing) - instead of just recording a live performance you send the keyboard's actual MIDI data to the DAW, which gets stored and then piped back to the synth you're using, and then that sends its audio output to the DAW. So the software records the performance data (the MIDI) which you can edit at will. That performance data can be used to control the synths every time you play back, or you can record the synth's playing as a normal audio track, so the synth doesn't need to be connected anymore. If you ever feel like making a change to the musical performance, or use a different voice or another synth entirely (including software ones) you have the MIDI data there to tweak and to play the synth all over again. I like this site actually - it's silly and uhhh, a little old-school internet, but there's a lot of good information in there and he does a nice job walking you through everything. I'm not sure how up to date it is, so don't worry too much about the specific hardware and software recommendations, but the general information holds: http://www.tweakheadz.com/guide.htm
|
|
#
?
Jun 1, 2012 16:30
|
|
|
What would be the minimum electric drumkit you would be comfortable with? Until now we've used our previous drummer's very old TD-6 Kit with the hard rupper pads and nothing fancy at all. Boz0r fucked around with this message at 17:41 on Jun 1, 2012 |
|
#
?
Jun 1, 2012 17:37
|
|
|
I use a Roland TD-9 and they are absolutely fantastic and I would have no problems gigging with it, but they costs several times more than you can spend. The main drawbacks of the cheaper sets are the rubber pads and low quality hardware and sound modules, but honestly any e-kit would work as long as the drummer is willing to adapt to whatever caveats the kit has. I feel that mesh heads are a must, but I haven't tried the porous rubber heads that the new Yamaha e-kits have and from all accounts they have a very good playing feel, but the Yamaha kits are still well above your projected budget. I have never used one but the Alesis DM10 gets pretty good reviews and looks more like a stage kit with the shiny cymbals and "Realhead" drum skins, and is pretty close to fitting in your budget. Rolands may have an edge in sound quality but you can always run midi out of the kit and into a PC running superior drummer or something, then you can have professional quality sounds for a lot cheaper than a professional quality kit. I guess your main issue will be how the drummers will react to a cheaper kit, if I showed up to a gig and they said I had to play on a lovely Legacy kit or something I would not be very pleased and I'm sure that negativity would affect my performance, and this is coming from someone who has used e-kits for years. Electronics are still seen as inferior by a lot of drummers, and having a first e-kit experience on a substandard kit could be quite detrimental to their playing and overall willingness to perform. If I saw that Alesis kit though I would have no qualms at all about playing it.
|
|
#
?
Jun 2, 2012 03:36
|
|
|
Thanks a lot for the input  . I bought the kit for 450$, I haven't set it up yet, but the guy said the extra cash he put into it was for double trigger (?) pads. He said that the stock cymbals were horrible and that you'd have to hit it just right to get the sound you wanted (which I read in a few reviews).Haven't played it yet, will report back. Thanks again.
|
|
#
?
Jun 2, 2012 23:59
|
|
|
I made a single coil magnetic pickup for a diddley bow. It works, but I'm concerned I'm going to electrocute myself. Do I need to do anything apart from connect one wire to the ground prong thing on the jack? Also, I'm completely paranoid about even touching the jack when I plug it in, and I guess what I want is either to know it's ok as is, or to be told I'm an idiot and how to ground it properly, since the guides I'm finding aren't being very helpful about that, and mostly just discussing ground problems as causing additional noise. vez veces fucked around with this message at 02:50 on Jun 3, 2012 |
|
#
?
Jun 3, 2012 02:39
|
|
|
I'm playing a gig in a couple of days and am busting out the old melodica; however, I've never played it live before so I'm unsure of where to place it to get the best sound (the bin lol). Anyone done this before and have any tips? As for the mic I'll have access to a beta of some sort and my pg58.
|
|
#
?
Jun 4, 2012 13:21
|
|
|
Excavation posted:I'm playing a gig in a couple of days and am busting out the old melodica; however, I've never played it live before so I'm unsure of where to place it to get the best sound (the bin lol). Anyone done this before and have any tips? As for the mic I'll have access to a beta of some sort and my pg58. I use one in two songs in my N.O. tribute. The bottom middle (where the sound holes are) of the melodica should cross over the top of the mic.
|
|
#
?
Jun 4, 2012 19:13
|
|
|
Lovely, cheers!
|
|
#
?
Jun 5, 2012 02:01
|
|
|
I had a guitar back in high school that I am looking to reacquire, but I can't find much info on because of 1) poor memory and 2) the only information that was actually listed ON the guitar was a sticker with a serial number on it. No manufacturer name, country of origin, anything. The body looked mostly like a Fender Mustang if it was reversed. It had two P90 looking pickups (black, chrome trimmed) controlled by on off sliding switches, the tuners were a one piece strip of six keys, instead of six individual tuners (they were poo poo). Slim, plank style body. Bigsby styled spring tailpiece. Mine had a black pickguard, and a deep rich cherry metallic finish. The most striking feature would probably be the ridiculous rose inlays on both the pickguard and fretboard - really, all over the place and sort of trampy. That's probably the best word to describe this guitar. Trampy. My friend paid $75 for this thing on eBay and sold it on to me around 10 years ago, same price. It has since been stolen and at the time I kind of handwaved it away, but I remembered it the other day and wanted to check up on it. Didn't really know where else to put this question, and it's kind of a long shot. Any ideas? \/ 100%, but there should still be more like it. It was also worn out and old as hell when my friend got it, so it's not a current mass-auction knock off. \/ Revvik fucked around with this message at 23:46 on Jun 8, 2012 |
|
#
?
Jun 8, 2012 23:36
|
|
|
Sounds like a chinese ebay guitar.
|
|
#
?
Jun 8, 2012 23:43
|
|
|
Revvik posted:I had a guitar back in high school that I am looking to reacquire, but I can't find much info on because of 1) poor memory and 2) the only information that was actually listed ON the guitar was a sticker with a serial number on it. No manufacturer name, country of origin, anything. Sounds to me kind of like a Teisco, just from the rose description. Iunno. http://www.musicspirit.ch/media/teisco$20tulip$20definit.JPG Is that anything like it?
|
|
#
?
Jun 9, 2012 00:27
|
|
|
It's about that quality, but it doesn't fit into anything I've seen from Teisco. I'll sketch the body style from memory when I get home. EDIT: Hah, look how wrong I was. http://craigslistvintageguitarhunt.blogspot.com/2010/01/teisco-et-220-in-st-paul-mn-for-100.html I guess the neck was a custom job on mine? Who knows. Now to start looking for one of my own again. Revvik fucked around with this message at 00:53 on Jun 9, 2012 |
|
#
?
Jun 9, 2012 00:42
|
|
|
I need to amplify a French horn for live performance with a band. Can anyone recommend a pickup for brass instruments? The only ones I have found are Yamaha SB39 and Yamaha PM3, which are both mutes?! I was really expecting there to be a mic/pickup made to clamp onto the bell of brass instruments for this purpose. Thanks in advance for any help!
|
|
#
?
Jun 10, 2012 22:06
|
|
|
Rockstar posted:I need to amplify a French horn for live performance with a band. Can anyone recommend a pickup for brass instruments? The only ones I have found are Yamaha SB39 and Yamaha PM3, which are both mutes?! I was really expecting there to be a mic/pickup made to clamp onto the bell of brass instruments for this purpose. Generally speaking, pickups work pretty poorly with brass instruments based on how they resonate. I know there are mics that are built to clip on to or tape onto the instruments themselves, but they tend to work better with trombones and trumpets. With a French horn's wider bell, it has a much wider dispersion and as such no matter where you place the mic you'll only be amplifying a specific range of frequency response, so it wouldn't sound particularly natural. The preferred method to mike a French horn, in my experience, is to use a large-diaphragm mic placed on a stand behind the player, aimed toward the bell and slightly off axis (i.e., rotate the mic so it's pointing slightly to the right or left of the center of the bell). This gives you more natural reproduction and is less strain on the mic. The slight off-axis tilt is to compensate for sudden increases in air pressure on louder passages. Honestly, a lot of brass instruments benefit, in terms of sound quality, from a mic placed further away, rather than right at the bell. The instruments themselves were designed to be heard from a distance, so if you put a mic close to them you're not getting an accurate picture of how they're supposed to sound. Edit: If you absolutely must do a clip mic, the Shure 98h/c, Sennheiser e608, and Audio-Technica PRO-35 are the ones I've seen most commonly. I've had good luck with the Shure on trumpets before, but I think it's the most expensive of the three. I've always had good luck with Audio-Technica gear in the past. MockingQuantum fucked around with this message at 23:04 on Jun 10, 2012 |
|
#
?
Jun 10, 2012 22:54
|
|
|
MockingQuantum posted:Generally speaking, pickups work pretty poorly with brass instruments based on how they resonate. I know there are mics that are built to clip on to or tape onto the instruments themselves, but they tend to work better with trombones and trumpets. With a French horn's wider bell, it has a much wider dispersion and as such no matter where you place the mic you'll only be amplifying a specific range of frequency response, so it wouldn't sound particularly natural. The preferred method to mike a French horn, in my experience, is to use a large-diaphragm mic placed on a stand behind the player, aimed toward the bell and slightly off axis (i.e., rotate the mic so it's pointing slightly to the right or left of the center of the bell). This gives you more natural reproduction and is less strain on the mic. The slight off-axis tilt is to compensate for sudden increases in air pressure on louder passages. This is for live performance, not recording. Do you think a clip mic like what you have suggested will get the job done adequately at least?
|
|
#
?
Jun 11, 2012 00:23
|
|
|
Rockstar posted:Thank you for your reply. I understand what you've said, and my own research into the subject indicates the same things. However, I really do think I need to use a clip mic. This French horn is part of an 8 piece band that includes drums and guitars (i.e. stage volume), so having a mic in optimal position for the horn is probably not possible. Also, I don't want the hornist to have to be completely stationary in order to be pointing towards a stationary mic. A clip mic will at least get the audio into the system. I don't know how much they differ, but the longer the gooseneck on the mic assembly, the better, as you want to avoid catching early reflections off the bell itself as much as possible. I doubt they vary much. Be prepared to do some judicious (but subtle) EQing. Be prepared to take some time to really experiment with the placement on the mic. Also, if you're mixing, you're going to have to stay on top of the French horn level, as they tend to vary significantly compared to other instruments (may have something to do with how the right hand is used when playing, though I can't swear to that). A little bit of light compression can help keep any transients under control, but don't go overboard or you'll lose the warmth of the instrument.
|
|
#
?
Jun 11, 2012 00:29
|
|
|
MockingQuantum posted:A clip mic will at least get the audio into the system. I don't know how much they differ, but the longer the gooseneck on the mic assembly, the better, as you want to avoid catching early reflections off the bell itself as much as possible. I doubt they vary much. Be prepared to do some judicious (but subtle) EQing. Be prepared to take some time to really experiment with the placement on the mic. Thank you for all the advice!
|
|
#
?
Jun 11, 2012 02:00
|
|
|
I just finished this music project that's almost entirely covers and uses some pretty obvious/famous samples throughout most of the tracks, mostly drum breaks chopped from old records but also some pretty blatant samples of well-known music. My understanding of the legality concerning these things is if I want to press this music up and sell it to people I need to clear all the samples (a difficult and expensive, if possible task) and pay royalties for the songs I covered, but what if I don't want to make any money? What if I just want to give it away for free? If I set up my own website that's not ad-supported and let people download the album for free, on what grounds could I be sued? Keep in mind I never plan to profit from this album in any way, shape, or form. The most I'd hope for is that people like it, and maybe someone might give me production or remix work somewhere down the road because they like it. To my knowledge, most sampling-related lawsuits involve royalties and nobody really cares what people do with free internet mixtapes and other noncommercial uses. By starting my own site (non ad-supported) specifically to distribute the music, am I leaving myself open to litigation? If so, what kind of litigation? What could I do to minimize my risk? And removing the samples is not an option - if I weren't jacking beats from somewhere this whole project would probably sound terrible - recognizability is half the appeal.
|
|
#
?
Jun 11, 2012 04:17
|
|
|
bad day posted:I just finished this music project that's almost entirely covers and uses some pretty obvious/famous samples throughout most of the tracks, mostly drum breaks chopped from old records but also some pretty blatant samples of well-known music. The short answer is yes, you open yourself to litigation. Any time you used a copyrighted work, regardless of whether you yourself will be making money from it, there are royalty costs to consider. The USC (pardon if you aren't in the US, but it's all I'm familiar with) does allow for fair usage that would then be defensible in court, and the profitability of a work drawing from copyrighted material comes into play, but it can be tough to stand behind. Usually fair use is only a viable defense in cases where the samples are used to comment on the original work, eg. criticism or parody. The baseline issue here is that copyrights, and royalties, exist generally to protect and make profitable the creative works of artists. Even if you aren't making money, in a legal situation it could be seen as threatening the copyright. I don't know what you could do to minimize your risk. In the past it's been suggested to people that you seek permission and explain the purpose of what you're doing, though that could just as easily open you up to denial. Really, I'd suggest finding a copyright lawyer and asking them. That's the only way I can think to really know what's at risk. It's too gray a field to be certain.
|
|
#
?
Jun 11, 2012 04:46
|
|
|
whoops
|
|
#
?
Jun 11, 2012 06:41
|
|
|
|
| # ? May 24, 2024 17:30 |
|
|
I was playing a thing before where I was moving between a G major and A minor chord, and the passing chord has a G# in the left hand and C-D-F-G# in the right. What would be the best name for this chord? Dm7b5/G#, perhaps? Anyone good with music theory know what I'm talking about? I don't. Well, I'm having trouble explaining it anyway. The name for it right now seems a bit clumsy.
|
|
#
?
Jun 14, 2012 20:14
|
|