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Post by amadeusd on Aug 7, 2024 19:50:12 GMT
I think you could reduce that to two or three. There's an overabundance of caution when it comes to Mike's whistle register, as he (what's termed) whistle-fry's quite a few of these notes. I'm not entirely convinced the methodology being used is on-point, or always accurate. There are several I am adamant about - but it is clear that Mike often uses overtones to produce notes that aren't the fundamental. Goober recently posted an EXCELLENT D6 in the Discord (perhaps he can point out which it is here?) which is pure whistle and gives some insight into how to detect where he's perhaps not singing the note you think he is. But, in general, I am convinced he has several seventh-octave notes we're not counting 'in case'. There are definitely plenty 7th octave notes in these 20 pages of Goober's posts. I'd say Mike's actual range found is closer to at least like C#1-G#7 as far as I've gone through the links. And that's just the ones I'm 100% about. If you could point out which clips/recordings you would be referring to I'm sure we can come to some consensus between Goober, Mami and I. I am extremely reticent to accept anything lower than than Eb1 listed from 2008 (where are you getting a C#1 from?) and several C#7s from two performances of Ei Raat.. and a couple of random Fantomas perforamances with a possible E7 which i recall, but not where or on which project - possible tetema or Zorn stuff (though, it could be within Hemophiliac, in which case even if its 'real' it's far too hard to know due to most of it being heavily processed constantly. Would be very happy to see if the notes you're referencing are legit! One which I will continue to fight for is the F#1 in The Hell of Now. Nothing Goober has said makes any sense in terms of not counting it, just seems like a stubbornness over anything legitimate (but this is higher than the Eb1 so, no matter). |
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earmuse
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Post by earmuse on Aug 8, 2024 10:16:12 GMT
This is gonna be long but: www.youtube.com/watch?v=grkz5tlluvc&t=4065s C#1, clearly bottom of his range, not the most volumous note, but definitely a C#1 youtu.be/X1zwj25qynM?t=1245 E7 i think. The first note he hits is exhaled, the cleaner ones after are probably inhaled youtu.be/X1zwj25qynM?t=2125 clear E7 in the same performance, I don't think this is inhaled. youtu.be/mf9XtN7V5_g?t=1340 E7 again archive.org/details/20050619Fantmas-LeBataclanParisFrance/fantomas2005-06-19t06.wav# 1:31 Eb7 archive.org/details/2013-06-13-moonchild-teatro-municipal-valparaiso-chile/06+Libera+Me.flac# 1:40 F7 1:56 D7 and 2:46 C#7 archive.org/details/20050428Fantmas-SalnMxicoMexicoCityMexico/Fantomas+-+20050428+-+01.mp3# 2:31 C#7 youtu.be/WWzjFqON9yI?t=521 clean af Eb7 youtu.be/WWzjFqON9yI?t=1332 G#7 archive.org/details/20050413Fantmas-TheRoxyBostonMAUSA 3:22 F#7, 10:06 Eb7 archive.org/details/20010704Fantmas-RoteFabrikZurichSwitzerland/07+-+Page+05.mp3# 0:29 E7 archive.org/details/20010704Fantmas-RoteFabrikZurichSwitzerland/21+-+Spider+Baby--Page+28.mp3# 1:39 F7 archive.org/details/20011004Fantmas-PepsiArenaAlbanyNYUSA/fantomas2001-10-04t03.flac# immediately beginning Maybe A7? youtu.be/1kVi1vYB4FY?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=475 youtu.be/1kVi1vYB4FY?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=1564 These are both around E7 archive.org/details/20060512NewVoicesFromJapanKeijiHainoJimORourkeYamatakaEyeJohnZornMikePattonMakig/Track08.flac# 0:53 sounds like F#7 to me archive.org/details/19991109MikePattonMistaSinistaTheX-Ecutioners-KnittingFactoryNewYorkUSA/07+-+Track+7.mp3# 2:49 F7 archive.org/details/19991109MikePattonMistaSinistaTheX-Ecutioners-KnittingFactoryNewYorkUSA/07+-+Track+7.mp3# 1:19 Eb7 youtu.be/-fdZXtHV1vE?t=2722 G7 imo archive.org/details/19991116Mr.Bungle-328PerformanceHallNashvilleTNUSA/16+-+Travolta.mp3# 5:34 G7 although I'm not 100% he isn't using a pitch shifter youtu.be/L5LOagIlLpU?t=4255 these sound pretty clearly 7th octave to me youtu.be/OX1IalZuaWI?list=PLMQri4ErKD4FNyaJSg-F-DFfjLH8EUNqo&t=2399 D7 youtu.be/dTlhzl7vouw?t=1952 G7 youtu.be/8Gw4v9lxNUQ?t=1523 F#7 but meh note youtu.be/b6BFJU5b_Bo?t=1867 more G7, his other hand is on the mic too and he sings "normally" after, so he wasn't pitch shifting it youtu.be/YoFriekcDqk?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=1173 G7 again youtu.be/jExWZH4t2js?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=1576 100% C#7 youtu.be/H4kgTGw9NdE?t=246 E7, his hands are nowhere near the sound board to pitch shift and it doesn't sound like an "overtone scream" youtu.be/RL5TH9NeoEg?list=PLMQri4ErKD4Efb9AJ_kYv84JtCPbJQG2S&t=1738 A7? Might be D7 with some funky shit going on, he seems to go for a similar note all the time and it's usually C#7/D7 so either accident or a pitch shifter youtu.be/XpR90IZ2WDw?list=PLMQri4ErKD4Efb9AJ_kYv84JtCPbJQG2S&t=1274 C#7 for example. Honestly most instances of this song Goober posted seem to have this note in the low 7th octave range youtu.be/4yo0fXTAesg?list=PLMQri4ErKD4EDuwb2c7_-jyC7MlGI8FaC&t=1361 Bb7!! youtu.be/uaA9v6Y7vBE?list=PLMQri4ErKD4GxhKWTty0dB1sqrN019s6T&t=1282 C#7 youtu.be/1TNlhoV7iJg?list=PLMQri4ErKD4EDuwb2c7_-jyC7MlGI8FaC&t=1844 F7 that goes to a really thin Bb7 for a moment youtu.be/MP25S8DmaSQ?list=PLMQri4ErKD4FAXm-RAQJzfApeauSIOq2P&t=951 absolutely Eb7 archive.org/details/20090705FaithNoMore-RuisrockFestivalRuissaloTurkuFinland/15+-+Just+A+Man--encore.mp3 5:19 may be a growled B0 youtu.be/cLeEj8I-z7c?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=4312 I hear this as A7 youtu.be/N9LcS4h_KQw?list=PLMQri4ErKD4FNyaJSg-F-DFfjLH8EUNqo&t=2372 A7, not sure what would cause any "overtones" here youtu.be/JMo4GMiIVuU not quite sure what to make of that last note, sounds like D8 to me, but due to the heavy distortion could be anything. Even if you're safe and make it an octave lower, it's a D7 www.youtube.com/watch?v=QjgEOQGtOk0&t=381s Count this D1 youtu.be/5fF4vQkf_N4?t=1526 Eb7 www.youtube.com/watch?v=qsmK3SUPJ_0&list=PLMQri4ErKD4G_iXWLCyX8-zN281jFhQGK&t=1028s This was even recognized as A0 but not counted. www.youtube.com/watch?v=Dkk9YrM_FcE&t=2024s G0ish? youtu.be/ZixSaCcMpAI?t=48 F0, lowest note posted, but ofc weak at this point, close to end of hearing range, the other notes with this technique are all G#0-B0, so he has a nice bunch of notes in that range, not just some one off youtu.be/nOoc0Yr62Gg?t=1553 F#7 youtu.be/nOoc0Yr62Gg?t=110 F#7 too youtu.be/39c7C6m-Vbs?list=PLMQri4ErKD4H6Jq1t2UaOwqYxxoDTEK8Z&t=4024 G7, some of the other instances of this note are G7 too www.youtube.com/watch?v=RZqutQbQVtM&t=260s C#7 On Platypus' range video there is also a comment highlighting some 7th octave notes, which people seem to agree with (quite generously upvoted), copying from there: 10:56 G#6 11:45 A6 13:34 C6 but I also hear at least two C7s in the bg throughout that 15:59 C#7/D7ish 16:18 D7 16:48 possible Eb7? 16:51 how is that NOT Eb7? It's a clean note 17:17 not sure cause recording quality but E7 seems to be more correct 17:20 E7 17:45 F7 17:52 F7, it's even audibly a whistle note and no way he has to push that hard in whistle for an F6 17:58 also F#7 18:39 definitely G7 18:46 definitely G#7 These are notes I'd say are 7th octave based on Goober's posts here. It's not all of them, some links are inaccessible to me or gone from youtube. And I'd like to point out I'm not just "counting anything" I think most of Tomahawk's live performances maybe shouldn't even be counted cause he is VERY often using a pitch shifter and thus the sung notes could be anything. But I think I have nailed down the sound of the pitch shifter (with also some help using Lord Crobath's notes as a reference) and I'd be pretty sure about most of these being 7th octave. Quite a few notes are counted in the thread that seem inhaled and generally, many of the green notes are actually an octave higher. I am aware of Mike's overtoney screams and I omitted all notes where I can hear a fundamental, but I also find they have a very characteristic sound and a distinct way he handles those (he usually holds the note stably because the fundamental note is well within his range whereas actual whistle notes wobble around in pitch, harder to control, for example). The overtone screams sound weightier due to the added "oomph" of a fundamental note but thin whistle noises aren't this. And I also completely understand the caution with this guy, definitely by far the hardest singer to possibly notewatch with so many possible "false positives", so like...great job on the thread regardless, I just think pitching notes an octave down "just in case" is a bit too conservative. Considering the VAST library of these mega high screeches, I'd personally even make a unique exception for Mike considering his control over those overtone screams, there is pretty much nobody else who can do this. But whatever, if you don't count those, you don't. At least these notes should be outside of that. Think of it as a Goober's Greatest (Note) Hits :D Or best contenders for range extension. I guess based on this, his range would actually be about G0-Bb7 (Or C#1-Bb7 if you don't count the low snarls) I hope I pasted correct links, counting up which of the 50 links in a Goober post it was may have caused some errors  |
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Post by motorist on Aug 8, 2024 12:17:15 GMT
Well this is bad timing, but... {The pitch slide to that C#7 currently in the thread sounds very unnatural to me} It doesn't sound like he's straining much to reach the pitch, just sounds like his voice is being electronically being shifted up towards it in a weird "angular" type of way (if you imagine it being on a spectrogram), especially noticeable at the start of the note where you can hear more unnatural qualities in a (slightly) more typical singing range for him just for a split second. That to me makes it even more obviously pitch-shifted than the Eb7 that was spoilered, which kind of has a similar shifty/angular sound. I understand the desire to respond with some joke comment about how this is unwelcome or whatever but I feel like that got in the way of actual discussion about the note last time it was brought up. If anyone can provide similar examples of clearly legit singing or other debunks of this, I would really like to hear that. Also I respect the effort made in earmuse's post even if I can't make a determination on whether I agree or not haha. Maybe he has some 7th octave whistles that would be countable, it seems a bit odd to me that all the highest notes are green in the thread, though even most of the notes earmuse just posted do sound like green notes. |
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earmuse
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Post by earmuse on Aug 8, 2024 12:23:43 GMT
Well this is bad timing, but... {The pitch slide to that C#7 sounds very unnatural to me} That one is pitch shifted, yes. As well as the Eb7 you brought up. |
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Post by Goober on Aug 8, 2024 14:55:16 GMT
Well this is bad timing, but... {The pitch slide to that C#7 currently in the thread sounds very unnatural to me} It doesn't sound like he's straining much to reach the pitch, just sounds like his voice is being electronically being shifted up towards it in a weird "angular" type of way (if you imagine it being on a spectrogram), especially noticeable at the start of the note where you can hear more unnatural qualities in a (slightly) more typical singing range for him just for a split second. That to me makes it even more obviously pitch-shifted than the Eb7 that was spoilered, which kind of has a similar shifty/angular sound. I understand the desire to respond with some joke comment about how this is unwelcome or whatever but I feel like that got in the way of actual discussion about the note last time it was brought up. If anyone can provide similar examples of clearly legit singing or other debunks of this, I would really like to hear that. Also I respect the effort made in earmuse's post even if I can't make a determination on whether I agree or not haha. Maybe he has some 7th octave whistles that would be countable, it seems a bit odd to me that all the highest notes are green in the thread, though even most of the notes earmuse just posted do sound like green notes. Yeah It Sounds weird but i'm pretty sure it's not pitch shifted due to his lack of pitch shifting this section of "Ei Raat Tomar Amar" before. He has briefly gone up to that same area before (https://youtu.be/eAt09MfCZB0?t=3478 , youtu.be/L5LOagIlLpU?t=4256) It's not impossible that it's pitch shifted, but its pretty unlikely considering how he's never done it again. |
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Platypus
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Post by Platypus on Aug 8, 2024 15:13:42 GMT
aight, that’s a lot of stuff. hopefully this should cover most of it 0th octave notesThese notes aren’t actually produced via the vocal cords at all. They’re using the same technique as snoring.
Improv live in San Francisco C♯1That sounds like unstable gutter-fry to me
that other C♯1 I don’t remember where it’s fromI feel the fact that people can’t 100% agree on where it is speaks against its inclusion to me
Just a man D1As stated earlier in the thread, I’m not confident he actually reaches down to D1. There is for sure a D1 there, but I think he’s getting significant help from the keyboardist.
The Hell of Now F1/F#1IMO it’s a bit of a toothless growl that loses its pitch almost immediately, but if you really want that note in, including it wouldn’t be the end of the world
C♯7I think it’s rare for him to use pitch-shifting in general, especially not on that section as Goober pointed out. I don’t hear it, but if enough of you guys insist, I could take it off the thread.
Circle AI might be down for counting this as a D7, actually.
Overtone screamsI guess I’ve kinda doomed myself to explaining this one ‘till the end of time, haha. Differentiating between whistle screams and overtone screams is very difficult. Intuitively one might try to differentiate an overtone scream by “looking for a fundamental”, but oftentimes the fundamental of the note is essentially inaudible. Instead I find it’s better to differentiate them through tone and through physical effort. It’s hard to explain what I mean by “tone” without being pretty vague, but in general whistle screams sound a lot more volatile, while overtone screams sound more rounded. Very vague, I know, but here are a few examples. Whistle examples: Example #1Example #2Example #3Overtone examples: Example #1Example #2Now, none of these particularly sound like Patton to me, so here are a few more specific examples, using one of the clips that people have called out as a “clear D7” Christian Vander (C7)Kyo (C6)Mike Patton (D6 / D7)Personally, I think Patton sounds a lot more like Kyo than Vander here. Kyo and Patton both have a clean, rounded tone with a similar way of trailing upwards. And, notably, both clearly start in the fifth octave and seemingly aren’t traveling for more than two thirds of an octave up. Contrast that with Vander who starts the ascent at around F#6, and has to really shit his pants to hit that C7. Now admittedly, Vander sounds particularly rough here, because he got turbo-nodules from doing that shit 5 nights a week. Which brings me to my second point. If a middle-aged man is gonna whistle-scream 13 D7s every show, he's going to need to force a shit-ton of air and squeeze as hard as he can with his vocal cords. His voice would be shredded a third way through the set, which is obviously not the case for Patton. Whistle screaming is not a vocally healthy technique (especially not on open vowels), and Patton would not be sounding as healthy as he does if he was constantly doing it. As for the argument that he’s so good at doing these notes that we might as well just count them as seventh octaves anyway, that was actually how the older versions of the thread did it (though we didn’t know that at the time). The problem was that there isn’t a clean delineation point between “convincing overtone scream” and “not a convincing overtone scream”, and it led to a lot of arbitrary decision making of which notes were actually fit to be counted as 7th octave. It also meant that things that had little to do with the raw note itself, like effects and audio quality, had a significant impact on if it was considered 7th octave or not. |
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Post by motorist on Aug 8, 2024 15:15:41 GMT
Yeah It Sounds weird but i'm pretty sure it's not pitch shifted due to his lack of pitch shifting this section of "Ei Raat Tomar Amar" before. He has briefly gone up to that same area before (https://youtu.be/eAt09MfCZB0?t=3478 , youtu.be/L5LOagIlLpU?t=4256) It's not impossible that it's pitch shifted, but its pretty unlikely considering how he's never done it again. Not trying to be rude but I would say this doesn't change anything about the likelihood of the note being pitch shifted. The note from the 2000 performance still has the weird jumpy qualities indicative of pitch shifting & it doesn't seem that strange to me that he would switch things up with a pitch shifter considering the many, many different things he's done with his voice, effects he's used, and sounds he's experimented with. The two live performances you linked are already way different from each other, I would not be surprised at all if he brought a pitch shifter to a different performance. If anything it should bring up the idea that other notes could be pitch shifted. Without significant pitch sliding it would be more subtle. I don't immediately hear such qualities in the two other performances you linked so I'm not even accusing those of being pitch shifted, but this should be a consideration for some notes that might be added to the thread. Also just for correct links as yours copy pasted strange: www.youtube.com/watch?v=L5LOagIlLpU&t=4256 & www.youtube.com/watch?v=eAt09MfCZB0&t=3478s. |
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Post by amadeusd on Aug 8, 2024 20:19:20 GMT
Hooo boy. earmuse wow, thank you. Amazing effort there - you will be appreciated around these parts. Without simply repeating what others have said, I think Goober's take is almost sure to be correct. I'm not really willing to entertain an argument on the Ei Raat notes (i think three are worth noting, and whichever is included doesn't matter). Otherwise, the descriptions Plat and Goober have given cover it. But, to be stark within Mike's catalogue.. I mentioned Hemophiliac - compare the notes here (perhaps at the beginning of []≈[]≈[]≈[] 50th Anni thing) to almost any of his whistle notes (whether fry or not). Particularly the Heliogabalus work and stuff like 9x9. There is a stark difference in tonality, mobility and pitch (ie you can hear the pitch correcting digitally in the Hemo example and not in others). Patton is tricky, but Goober, Plat and myself have a (in my case, at least two) decades-long listening history analysing almost everything about his voice. We're not making it up when we differentiate. Mami is also very well placed to understand how tonal differences can indicate digital interference or physical mechanism. I don't think a huge amount more needs ot be said. So, about some of those notes: The Hell of Now F1/F#1: I think this should be counted. I know Goober disagrees, but to me, this is a clear note. I'm not quite understanding what the argument is that it's not at least as good as 90% of spoken notes we include in threads. But, I know i'm the outlier - I just can't wrap my head around the argument. Main reason i'd push this one as it wont be a Grey note if it's counted, which is really good for the thread imo but might be misleading. that other C♯1 I don’t remember where it’s from - If this is referring to the clip Goober sent to the Discord yesterday noting Mami(and He, i believe) found the C#1 at the timestamp given, and yourself Plat, a few seconds later, I think the three of Goober, Mami and I heard it clearly at the timestamp and were questioning the second example as potentially inhaled (or even gear being moved lol). I don't think its controversial imo and should be included. It's a shit note, but countable nevertheless. I think this is countable. Not as strong as the Eb1 but same thing imo. Countable. Wont go through all the highs but: youtu.be/1TNlhoV7iJg?list=PLMQri4ErKD4EDuwb2c7_-jyC7MlGI8FaC&t=1844 F7 that goes to a really thin Bb7 for a moment 100% overtones there. A/Bb6 at highest imo (though, i'm not pitching against a piano or anything right now). This will apply to the majority of hte highs you've presented. Not all, but majority. They have the same quality (yuo can note the kind of "base layer" of rasp behind the pitch. This is similar in kind to Khoomei singing where the fundamental is rasped and produced with quite a bit of throat closure, and the higher whistle pitch is front-and-center in the mess of sound because its not closed off the same way) and usually are around the same pitches (F6-B6) meaning it's something he is used to doing regularly and comfortably. There is some serious discomfort coming through in a lot of the purer notes (other than that D6 i mentioned Goober posting from I think a performance of Litany IV. That one is wild). youtu.be/4yo0fXTAesg?list=PLMQri4ErKD4EDuwb2c7_-jyC7MlGI8FaC&t=1361 Bb7!! This one may be countable. I would need other opinions and hte recording is total ass, but that sounds much closer to his pure whistle (Ei Raat as an exemplar) than does almost any other of the clips posted. :16 sounds a touch higher than D to me, but yeah, I would be probably for counting this passage, whatever the highest note is. It has the same tonal quality as the Ei Raat C#s and the purported Bb above imo. Though, it also sounds like a record scratching, which might indicate some digital fuckery. Leaning toward counting whatever the note is currently. |
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earmuse
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Post by earmuse on Aug 9, 2024 19:18:42 GMT
Ok so on all this here's my take: On Platypus ' reply, low notes depend on whatever consensus you guys have, idk how those 0th octave notes are produced so it's whatever, but I do think D1 and C#1 could be added. They are the bottom bottom of his range but notes hit nonetheless. I don't see an issue with those. High notes I was more eluding to how notes sound. For example, the D7, which, if counted, should be the top top of his range is still clear, sustained, powerful and feels like he could sing higher if he wanted to. Same goes for example a note like this, the scream is strong with a very distinct sound, weight and control, if he is using this technique, he tends to have good control, does long "runs" where all notes have the same intensity and all, because he's actually singing a note in his comfortable range. But for example something like this Eb7 sounds like he's really reaching for it in whistle register, with his voice cracking (not controlled distortion) and only then he reverts back to his controlled overtone-y sound on the next scream. It's distinctly a note with different quality. He doesn't have to push and thin so much to hit an Eb6 in whistle register so that's not it and I've never heard anyone's voice crackle like that nor get that thin if he was trying to hit it with full voice. I just can't conclude this as anything other than Eb7. Or that Bb7 amadeusd pointed out as well, it's a really thin note clearly of very different and aimless quality, as if it is actually reaching the limit of his range. If it were a Bb6 and he can hit a D7 so cleanly, it shouldn't be such a push for a much lower note, let alone the alleged "C#6s with overtones". I'm talking just from a logic perspective. For pitch shifting, it's something I noticed in particularly Tomahawk live clips, if there is a video, he is very often fiddling with his soundboard when making those high screams and their ascent to ultra high screeches coincides with him turning a knob. Testing that with a pitch shifter on recorded isolated whistle notes I have, I can achieve something that sounds very very similar to how those notes "jump" to the higher note and then he adds echo on the descent to hide the lowering of the pitch knob, which gives it that huge scream effect. The sound and way he makes it seemed consistent in video footage so I learned to listen for that kind of sound. TO ME, the C#7 currently in the thread sounds likely to have been produced this way, but I think there are other C#7s that were not produced this way nor with overtones. And also, notes produced this way again have a distinct, powerful sound that doesn't sound top of his range, whereas the thin whistles sound much weaker, uncontrolled or seem like even accidental voice cracks he didn't intend but rolled with. Sure, I get the voice fluctuates from gig to gig, but struggling with barely hitting a "C6" on one song and then singing a bunch of effortless F6s 3 songs later just doesn't seem logical. I know you probably just go to the timestamp and pitch the note individually like everyone else but you gotta notice also these logical things, Goober posted sometimes like 5+ notes from the same gig and the above instance happens several times and it doesn't make much sense. Now, going through the links I posted, I may have changed my mind on some of the posted clips (including the mentioned F7-Bb7 one, it does sound like it's probably overtones after all) but I think I'd still insist that many of the posted notes are actually 7th octave |
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Post by Goober on Aug 10, 2024 20:05:42 GMT
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master
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Post by master on Sept 1, 2024 16:43:10 GMT
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Post by amadeusd on Sept 12, 2024 20:07:16 GMT
How come none of hte high notes in Smaller and Smaller are listed but a couple random mid-range notes are?
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Post by avi on Sept 12, 2024 20:41:44 GMT
Count the Circle A Eb7 cowards
Edit: As a D7 or Eb7 Idrk I cant discern it but count it!!!
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Post by amadeusd on Sept 17, 2024 23:53:30 GMT
Count the Circle A Eb7 cowards Edit: As a D7 or Eb7 Idrk I cant discern it but count it!!! Agree. Also, Goober pitch those highs in Smaller and Smaller so they can be added. Wild they aren't here, but some mid-range bollocks is. |
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Post by Goober on Sept 18, 2024 0:09:55 GMT
The C#7 is listed in the questionable notes section under [6] (Inhaled), however platypus mentioned that it's probably exhaled 6th octave, so it's completely up to him if he wants them added.
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Post by amadeusd on Sept 18, 2024 0:16:36 GMT
The C#7 is listed in the questionable notes section under [6] (Inhaled), however platypus mentioned that it's probably exhaled 6th octave, so it's completely up to him if he wants them added. There are several over-toned highs in there that need to be added which are 100% not in any way inhaled - most likely around the E-G6 range. Hard to find good help  I'll do it on my lunch break... and then Plat can add them. |
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Post by avi on Sept 19, 2024 22:42:09 GMT
Yo this links back to the thread rn |
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Post by amadeusd on Sept 20, 2024 5:04:03 GMT
Its been a good day for Mr. Patton.
I still think the C#1 is good.
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Post by TheCMRecluse on Sept 20, 2024 10:55:22 GMT
5 octaves and 11 notes. I knew this day would come.
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Post by mushymarionette on Sept 20, 2024 14:04:22 GMT
Aaaaaalmost at 6 octaves... ALMOST  |
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Post by Yojojo on Sept 20, 2024 14:49:36 GMT
how long do you think it will last before he gets range decimated again
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I'll do it on my lunch break... and then Plat can add them. 
