But I noticed that you know every time I created a page, I was unable to post underneath the page, for example this about me page when I created this page. I could only write in this page one time and I couldn’t post anything underneath it.
However, all of my posts were listed by days on my home tab. So then, I was able to find a way to make different tabs up here and, for example, if I click on this Web 2.0 tab, I was able to take different posts and stick it underneath my web 2.0 tab or page. So in this tutorial, I’m going to demonstrate how to add links to pages on your blog up here and then how to organize posts onto your different pages.
So when I first started – and I wanted to make pages – you know I of course I automatically just went to my blogger – account click on the pages icon and then just added a new page, and then that’s when I discovered hey, I can’t add more posts on To my pages, so this does not work. So what we’re going to do is first, go to layout, select layouts. Now this will show you the layout of your your blog.
So I took my pages bar and I moved it up here underneath my header. So that’s where I like my pages bar to be, but you can have yours anywhere so select edit this and you’re going to notice up here that I only have really two pages that I made and remember. These are the pages that I cannot post underneath. But what I did was I added external links in order to create the new pages, so these are all of my different external links.
Remember my web 2.0 one then there’s audio/article graphics. So if I go back to my blog web 2.0, audio/article, graphics and so on, okay, so what we’re going to do is we are going to add an external link to our blog and by adding this external link onto this pages bar you’ll be able to have That tab on your blog, so in order to generate that external link, we’re going to have to get two things ready, first choose a title for this page or this tab.
So I’ve already decided that my new tab or my new page is going to be called presentation and I’m going to squeeze it right here in between graphics and Apple Mac. Osx second, have a blog post or posts that you want under that page. So it’s easier to do this if you already know which posts you want to have underneath your specific tab or your specific page, all right, so my new tab is going to be called presentation and I already have two posts in mind that I know I want To stick underneath here and it’s important to know these two things before you get started now: let’s generate that external link so that we can add the tab onto our blog first go to your blogger account and on your menu area, select posts.
Remember that I’ve already decided which posts I wanted to go underneath my presentation tab. So I’m going to go and find my post and it’s going to be this one called voicethread I’m going to edit this. So this is the important part on mypos. Underneath my post settings there’s an area called labels: okay, I’m going to click on this area and I’m going to call this post presentation now. The important thing about these labels is that every time you create a label for your posting, your post gets organized underneath a label and the label comes with a link.
So we are going to what we. What I just did was, I wrote presentation in here and then I’m going to press done and now this post has been organized underneath a label called presentation and it comes with a link. So I’m going to update this post and now I’m going to try to retrieve that link so that I can go and use it to add my page. So I’m going to go back to my blog up here. Wait for wait a minute right here! I’m going to see this voicethread right here, so I just added presentation on it.
It shows right here then I’m going to go to my blog and I’m going to find that posting about voicethread. So it was an old one back in June, and here it is voicethread. So underneath this posting there is a link, that’s generated called presentation. So I’m going to click on this presentation link and now it takes me to kind of like a page where anything that has the word presentation on it. Any post that has the label presentation on it will be on a certain page.
So I’m going to copy this page right here, so you can right-click and copy or control C and then go back to your your account for blogger and on your account page go back to layout and now that we have this link we’re going to go back To the pages bar and we’re going to add this external link and remember, I already knew what my page title is going to be is going to be presentation, and I have the way that web address here and I’m going to save my link and the link Is right here and I wanted my link to be between graphics and um Apple, so right there and I’m happy with that.
Now I press save and I’m going to refresh my blog remember. My tab should show up right here between graphics and Apple, I’m going to refresh it and there it is so it says it’s showing posts with the label presentation, okay, but I only have one post on here. So I want to put another posting on here. So, just to you know, check and make sure I’m going to go back to my account, go back to posts and I know which posts I want to put under presentation.
So I’m going to use my posting called summer reflection, I’m going to edit it and remember that my label was called presentation. Oh there, it is – and it’s also right here. So all of my labels will automatically be placed down here to remind me of all the different pages and labels that I’ve made press done and update. So once again I’ll go back to my page and I’m going to refresh it, and there is my summer reflection that I just labeled underneath presentation.
So there are some reflection and if I scroll down there’s my voicethread and it’s listed by dates so in the future. Anytime, I want to post about a presentation topic. I can just add, add the label to it and it should automatically show up underneath this page or this tab called presentation. So I’ll do one more. So all this time I’ll create a brand new post and I’m just going to call it a presentation example an example, post and remember I’ll, go to my label and then I’ll, find presentation.
Just add that and press done and publish I’m not going to share this publicly going to go back to my page and let’s lick, let’s look for it on the home page. So it’s up here on my home page presentation example, and it should be underneath my presentation tab as well and there it is, and that’s how you add, links to your pages on your blog and that’s how you organize posts on two different pages.
Jim Davis. You ever noticed your DM a little drunk on power and maybe needs a designated driver to take the campaign home. Well guess what we’re talking player, driven campaigns here on web DM player, driven campaigns? Why do you want to put the players first as a DM? What’s the benefit to me, the benefit of a player driven campaigns is bringing the rest of the table in and it’s less about, like poor Dungeon Master doesn’t have any input.
They don’t get to have any say in how their campaigns going. The players are just going to dictate the way everything happens with the setting. Oh woe is me all of the great wonderful imagine of things that Dungeon Master’s get to do. I don’t get to do it. There are games that are like that, where, where world creation and world building are collaborative and group based and and there are even some games, that everyone’s a GM basically yeah – we’re not really talking about those right here.
We’re talking about making your traditional sort of mainstream fantasy and and whatever other games, that you’re playing more player focused and using certain techniques to bring the characters front and center into the campaign and to make sure that the decisions that the players are making are centered. In that campaign and that the dungeon master, our game, master referee or whatever you want to call them, is not like subtly, nudging and and moving the campaign towards some predetermined end, but is instead letting the campaign breathe and and go where it goes as it goes.
Introducing new things into it to keep it going and keep it moving and and sort of keep it vibrant, but the players and their decisions and the characters and their their backgrounds and personalities and goals are the both of the motivator. The driving force behind the campaign and and sort of the center of it right, the opposite of this style, would be we’re playing through the diems novel. It’s the straight-up railroad, although to be fair, a hyper focused campaign with characters that gel together that they they have a goal in mind that they want they pursue it without.
You know a lot of tangents or getting distracted and they communicate that clearly to the DM. The end result of it looks remarkably similar to a railroaded campaign, write it. The end product looks as though it’s it’s. You know that they were always doing the thing that I am one of them to do, and but if they will only bought the ticket for each leg of that journey, sure maybe that’s what they’re all like forcing people on a railroad right.
They want to walk across the country and you go no, no. You need to stay back on the tracks right guys, stay back on the strikes. That is true, you know and linear play, which is a less. You know derogatory way of saying railroad. Interrogatories right, listen, incendiary way is built, the country we’re talking more of the you know. What are we going to do with the campaign? Let me let the players.
Okay, take the take the initiative here and and lead what some ways that a DM can keep the players in the driving seat and keep their hands like on the wheel natural one of the big things to me and – and I experienced this as I will like Prepare a campaign is I’ll, get to a point where I’m like. I cannot do any more prep for this campaign until I know who the players are, we need something here. We need to know who are the actors that are going to be in this right? Who are the characters? What do they want where their goals, what are their backgrounds, if I’m over here, creating like an intrigue heavy urban campaign with light, combat and lots of politics and and messing about in the criminal underworld? And things like that and and my players are over here – going like man we’re psyched to play these like mighty feud warriors who are going to do battle against their enemies, then that’s a mismatch there and and I’m wasting my efforts in preparing a campaign based on, Like intrigue and politics, and and backbiting and scheming, and things like that, when I’ve got a group of players who are itching for a game of kick down the door D & D or vice versa, right, maybe they’re really feeling like.
I want to play this thief to the best ability climb the ranks of the Thieves Guild talking to the players before the game starts before there’s even a session zero, and just like communicating this information to them. Many DMS do this right, like they’re like oh hey, this is the kind of campaign I’m thinking about running like what do you guys think? Are you interested you know what what about the next time we play is this campaign I can run.
This is the a good time to start asking specific questions of your players and ask them like what is it about your character and it’s connection to the game world that that player enjoys? What are the things in the players or sorry. The characters background that the dungeon master can use for play that they can mine and look and see like okay. Well, wait a second. This looks like something that you could spin a whole adventure out of, or this thing right here is like it happened in the characters background, but but who else was involved with it? Maybe we can bring these elements to the floor later on and and what you have is as you’re reading, through the backgrounds of your of your of the characters where you start taking notes like this thing seems like a secret that’ll come out later, or this thing Seems like something that we could tease out later into an adventure.
Maybe you know a secret from the characters past that they don’t want discovered or an event that happened to them, that that that’s going to come back later, they think is resolved, but instead it’s going to come back later. Sometimes you see these elements refer to as knives and as I’m not sure where that exactly comes from, but I’ve had a couple of DMS use that technique now and I kind of like it right.
You’re you’re, asking the player character. Your ass on the player like show us what your characters got. What are the things in the backstory that we could potentially use in the campaign or that’s potentially there? Now you don’t have to necessarily do that. You could just like ask for a regular player background, and then you find those themselves. You know you find the things in it that you can use, or you can like just straight-up ask a player hey when you show me your character sheet, that you include some kind of list or description or something about the things in your characters, background.
That would be interesting to include in the game those kind of different approaches to to just getting that information. Well, then, you get to take that information and basically seed the campaign with all of that info. Exactly exactly right. So let’s say you’ve got a map of your area of play and you’re, starting with you know, sort of a locality. You know maybe there’s a town or a village. There’s a couple of adventure sites nearby, maybe a full-on dungeon or bandits.
You’ve got your encounter tables and all these other kind things it’s now time to take those elements, and hopefully you have left room for the characters in in your prep. You haven’t detailed everything out to such a degree that there’s no room for the player characters to enter into your world and start changing things up. There needs to be a moment where the DM and the player sit down together and go okay.
What’s, in your character, background right? Well, this in my world, these things work like XYZ. Do any of those things sound interesting to you, or do you think they’re relevant to your character background, it’s a back and forth and maybe there’s a little bit of compromise where the dungeon master goes like well, I know it doesn’t have to be this way. That was just sort of my initial thought if you’re a character or if you have an a different idea, or you want something different for your character that we can find a place for that in the world.
Let’s take, for instance, like you’ve got some sort of character that belongs to an organization or something like that, maybe like a wizard’s guild or monastery or a fighters dueling Club or something right like what you have is is a an opportunity for the burst off of The player character to influence the world and they can say like alright, we didn’t know that there was going to be a fencing school in this location.
But we’ve got a you know: a fighter who’s like all about dueling, and there should be someone here that that fighter can latch on to in a sympathetic, NPC a source of potential quests, a source of interest for that fighter. Who can then go to the fencing school and feel like? Well? Maybe I want to join up. Maybe I want to become an instructor. Are there any jobs or anything that needs to be done there like? Maybe they want to take it over and you’ve got kind of a whoosh of martial arts sort of like the outside instructor, comes in challenging the master to combat and takes over and that spawns a whole sort of vendetta and and so the cycles of violence.
They just continue those cycles of violence. This is where you take a look at your map and you go. Is there anywhere on here that can be connected to the player characters background? Is there anything in the player characters background that I need to be sure to include in this player, and then you go do that with the with your NPCs? Are there any NPCs here who might be a good fit for something that happened in one of the PCs background? If it’s like a local going to ruler or something like that, then that’s a good place to do it.
Maybe a mentor of some kind, that’s in their background or an enemy. Those NPCs have a place in your world, and you you owe it to yourself and to the player to like really take a look and see like okay can i? How can I work this into the campaign world? How can I embed this NPC in that campaign, world and and like have it be a part of it, but it’s there for the player to interact with as they choose player, might completely ignore these things and do something completely different.
I know I have made characters where I was like. Oh man, this is the backstory. It’s going to be this and that and the minute we start playing. I forget all that and then I’m playing the character as they exist right now, and it’s not about what? What I came up with for backstory or anything can’t move forward. Looking over your shoulder, Jim Davis, just kind of soldier looking backwards, is actually kind of good advice, we’ll run into something: that’s kinda, what we mean when we say seed, your sandbox or your location or your setting or whatever it is with your player, character, backgrounds.
We’re talking about matching locations matching NPCs. Is there something in the PC background that jumps out at you and goes like who I can make an adventure out of this then like? Let’s, let’s do that like like put that in there and and work through the players? Stumbling across it or that becoming an active element of play, you know as the game unfolds well, sometimes that can actually, instead of just seating, an adventure like you said with the fighting school thing like if it’s the traditional, like, oh my my master, my whatever was Killed that can be like the whole source of a campaign that can focus your campaign and, like this character, their whole goal is to get to the end and kill that guy right and it just so happens the rest of the party like oh yeah, that’s the Guy, that’s the baron, that’s subject like suppressing this land and we need to take him out anyway right right if you’re, creating a dynamic campaign world where things change and things develop, and your NPCs have plots and motivations and goals that are going on in the background And you’ve created like a timeline for your campaign, that’s like: if the players do nothing XYZ events will happen.
If you have something like that in mind, maybe it’s an actual like timeline for your campaign. Maybe it’s just a general idea of what’s going to happen, then you start kind of creating these moving elements. The person who slew the fighters master at the fight school is now the baron. Well, that’s a problem right because you can’t just walk in and kill the Baron yeah, that’s going to be bad news, and so you now you’ve spawned this whole other thing.
Well, what if the Baron is also has a tie to the background of another player character. You’re looking for connections that you can potentially make and it’s a skill that you’ll have to develop as a dungeon master. This is this not how I used to run games. This is something that I’ve learned to do really over the last few years is really kind of focus in and make players the the center of a game.
First off I hated reading big wall character backgrounds. It was difficult to get to the game. Ax balem owns in a multi-page handwritten gym. I had an opus he’s going to write it when you use des sins, and I know – and it’s one of those things right. I always kept my every my that’s very true. My stance was, I’m just not going to read them like write them all you want not. I don’t feel like reading a bunch of stuff.
For me, that was a reaction to character backgrounds. I was getting at the table where it seemed like the most important things that had happened to that character had already happened, yeah that the most adventure that they were ever going to have had been written into that character background, and to me that signaled, a breach Of trust that the players who were playing these characters didn’t trust that cool awesome, amazing things would happen in their campaign, and so they felt the need to write this into the play to the character’s backstory instead of just saying like yeah.
Well, you know maybe some exciting things have happened to my character, but the best is yet to come and let’s figure out, what’s going to happen through play, and so I really focused then on making sure that in the moments of play there were interesting things for The characters to do now I try to do that as well as tie in what they’ve given me for the backstory to create the elements of play that we’re going to use.
Let’s use an example right running Warhammer yeah right now on on encounter RP, their twitch blog. We got a Wednesday game. You know I have a mini sandbox that I have packed to the gills with heretics and witches and mutant and chaos and all sorts of things for a witch hunter to salivate over and want to fight. And then it’s then we get the five player characters. The witch hunter – and you know its followers and it’s now time to look through the backgrounds of each one of those player, characters and go alright.
Alero is an elven, you know it’s a high wood, elf, Ranger type from you know: who’s had this tragic backstory with a hag or a Crone of some kind that that caused Alero Pruitt’s character to to sort of commit this atrocity. I already knew that there were going to be witches and hags and sort of like chaos, sorcerers and the like in my campaign. Well now one of them has to be Alero switch because otherwise, what’s the point of Pruett telling me that there’s a witch in his characters background when he’s with a witch hunter, you said I’m saying like there was a time whenever I would read a background like That and I would go like why you can’t tell me to put a witch in my game like there, whereas I’m thinking when I wrote it on like over a bunch of witch hunters.
This is perfect right. So now I look at something like that and I go oh well. This is perfect, like it makes sense, and – and I try to do this – you know a lot now where, where it’s like, if there’s something in a PC background, let’s like bring it to the center of the game – let’s put this in there, and this works really Well for very short, focused campaigns, but it also works well for like longer running ones as well.
Let’s talk about choice and how real those choices are because, like you said you know, sometimes demons don’t want to be forced to do anything in their game, determined by the players. Things like that. But what we’re talking about here? Players, if they’re in the driver’s seat and they’re going to be directing, where we’re going right, yeah and so when they make choices, to go places and to do the things in the world that you that the DM has set down like.
How do you ensure that that actually matters there’s a school of dungeon master, ring and game, a stirring in general that that you’ll see sometimes refer to as illusionism and this school prizes, the illusion of choice, the illusion of a living breathing world that reacts to player Decisions and prizes the illusion of all of these things and they use techniques diems, who sort of like this style and like this kind of play, use a lot of techniques with what we might call a quantum encounter.
There’s something something was prepared. An encounter was prepared, but it floats around the map. It’s not nailed down yet the reason why I personally really dislike this style of play is you illustrated by like you’ve, come to a t-intersection in the dungeon. You can go one way or another. If you look at for clues as to what’s in either direction, you realize that to the left there seemed to be clues, suggesting one type of monster or enemy, and so instead you go towards the right and the dungeon master goes and looks goes well.
You know I put that encounter. I was thinking it might be to the left or something like that, but they decided to go against it, the others I’m just going to move it, I’m just going to move that encounter right. The everyone knows that the bandits attack people that take the left fork in the road. The players take. The right fork in the road bandits attack them anyway, it’s at any time where, regardless of what the players say or do, regardless of the decisions they make and the choices that they that they they make or the past that they follow.
If the dungeon master goes, this thing is happening, no matter what that is an element of illusionism. Let me take a step and say there are some times when that technique is useful. I use it all the time in one shots, because you’ve got two to three hours to play, maybe a little bit more you’re trying to deliver a certain experience to to to make sure that the game is is whatever it is, particularly if you’re like doing a Focused one-shot or something like that right, you know, but you want a beginning, a middle and a beginning.
In a million you want a satisfying session of Dungeons and Dragons. Then you use different techniques here, but in regular play in a long-term campaign play overuse of illusionism and and for players like myself. Any whiff of it immediately takes me out, and I know I’m not the only one. I’ve talked to other players who are like this and other people who they do not like in the sense that when they make a decision in game, the dungeon master is just kind of humoring them and whatever the dungeon master wants is going to happen.
They’re just shuffling things behind they’re, just shuffling things behind the scenes moving around and counters, saying like oh, that NPC was always there. I understand the temptation to do this right. It’s sometimes difficult with a group of players who really keep you on your toes. It’s hard to stay one step ahead of them and so keeping things vague and loose and what’s there what’s not, can lead to these moments where you go like well, I’m just going to at the table.
Whatever the players come up with, I’m just going to immediately react to it. It’s going to be like a counter towards it, or this encounter that I’ve prepared it’s going to happen, no matter what we’re going to get to that, because that’s what I’ve prepared! That kind of illusionism that kind of forcing an encounter, it really does damage to the bonds of trust between player and game master if they find out, and if it’s not something that the party was like.
Okay with to begin with, you know well, there’s also a few other things that diems have been known to do and we’ve discussed them before and other shows it’s worth mentioning here again, but like fudging, yeah but dying young. Maybe it’s because you are so focused on the players getting to where they want to go you’re going to fudge just to help them along I’m young easy. Is that even okay, I don’t like that.
You know here’s the thing. Would you accept it from a player? Would you accept the player going like one man? I that’s thirteen looks like an 18 to me. I have to hit you know, I’m ready to hit right now, I’m just going to fudge this dice a little too good to get the outcome that I want. You wouldn’t accept it from players. We would call that cheating yeah with those kinds of players whether it’s like Oh fell on the floor fell on the crack of a book.
It’s a die whatever. It is whatever coded language they use to give themselves. Another role or ordinate get me the first hole that they had. We, you know we don’t like it as Dungeon Master’s when players do that. Well, why would we accept it from ourselves, even if you’re using a screen like let’s say, you’re using a screen, you want to keep your notes secret. You don’t roll on the open because you’re one of those DMS likes just roll random dice in order to make the players think a lot of things are going on legitimate technique, but guys the fake bro.
I don’t overuse it, but it is a legitimate thing. You’re, like you’re gaslighting, the PC anyway, the fudge, the altering of dice, is one of those things where. Why are you rolling in the first place, if you feel the need to fudge, but to me, there’s something else going on that leads you to believe. Like the outcome that I just got with this die, roll was unwanted. Then why did you roll the die in the first place? Yeah, and if it’s something like I don’t want to kill the players right now.
If the dice are just been going against them all night and and what should have been a standard just like walk in the park, combat has got them on the ropes and and you’re running the risk of like a TPK or something like that. Even in those situations, it’s tough for me to say, like oh yeah, you should like pull your punches there and like not have them. You know, be mercilessly slaughtered first off if you’re playing a modern, mainstream RPG, the likelihood of that happening is very low right.
You really got to like go after like really deadly hard combats in a row or some kind of monster. That’s going to like drop a bunch of AoE damage on you or something to like get to that point. So taking that thought and like flipping it. What about altering an encounter like once your PCs roll up in a room? And you get your thought? Oh, this is going to be badass in one round. They just bucket of steamroller for all them in one round and then there’s like a unplanned wave.
That comes in that’s another thing that I’m just not a fan of a style of gaming. That kind of like we’re going to adapt and and and change this scene. You know change the encounter in the middle of the scene or something like that. It’s one of those tools where it’s like there’s nothing necessarily wrong with it. I have really never seen it used in a way that makes the game more fun. Like I, you know, there’s a lot of times when the players like just like waste and encounter yeah right just like utterly waste yeah.
Well, they just hit the perfect, spells and attack excite order and just take a freaking enemy down and to me it’s like well sometimes like that. Just feels good, sometimes yeah, hey, we did it right, yeah. You know yeah, and I think it’s one of those things where, if that’s what’s happened, if you know first of it’s a one-off thing, give it to your party if it keeps happening, and you sense that your players are getting bored because you know the encounters that You’re, throwing at them are not engaging and not not fun or not whatever.
It is that you, the players, want out of any counter. That’s a behind-the-scenes thing, it’s time to up your game in terms of like making sure the encounter is challenging for the party. If that’s what they’re, looking for and including like very dinna me types and looking at the tactics that they use and and and altering your own, the way you play the the monsters themselves, those are things to get you a better encounter, but the the occasional like Man, the party really just curb-stomp these these enemies, that’s perfectly fine and in those situations like fudging the dice so that it’s a more challenging encounter first up, I there’s someone will know that one of the players particularly have veteran players or something like that.
They’ll know all right this place that we’ve said it many times. Please don’t fudge dice. We like rolling in the open. We like letting the dice fall where they may, because they tell their own story when it comes to campaigns. Adventures for the DM here. Yeah, PC driven campaigns right can that coincide with what has become kind of the bog standard of fantasy RPG, which is like Avengers type world-saving like the big, the big dam quest, the big dam question yeah.
Does that work like I? I think it can, but it is difficult and there are countervailing factors that that that push dm’s into into what I see as bad practices, a lot of, but not all of them, of the like Wizards of the coast modules that they put out for themselves. Follow this model, you don’t have to play them this way. You can chop them up and use them a lot of different ways, but if you run them kind of, as is, there is a a big threat that requires the party to be higher level to deal with right somewhere north of 10th to 15th level.
From the beginning, the party is going to be dealing with enemies related to this threat and working their way up a food chain and there’s usually a sense of just like the players are the only ones dealing with this world shaking reality altering campaign, changing kind of Threat, there’s a lot of reasons why I’m not fond of that model, but mostly it’s ones where an implication of a narrative structure to the kind of the Grand Campaign sort of a rising action.
The climax of falling action and all those sorts of narrative beats that you know are the hallmark of really good fiction, and – and you know you might might make for a really good story to just like read or even just kind of talk about. They don’t necessarily mesh well with the random nature of RPGs, where you’re kind of here, at least I’m kind of here and – and I think one of the strengths of RPGs – is being surprised that those emergent elements of play that you can’t account for that.
You don’t know, what’s going to happen, you’re you yourself as a dungeon master, will be surprised, but if you’re running this campaign, that requires, like all the players, are on board they’re all unified in this goal. To like stop the big, bad and save the world, and if one of them dies then that’s that can put a hiccup in in the campaign if all of them die that can you know bring the campaign to a complete halt.
If you know, none of them want to do something like that, they all want to pursue other things. They want to go off here and do some downtime activities and they want to do side quests. I think this is like the most common one where it’s like. There’s a sense of urgency to the campaign the soul monger is killing, is killing everyone. Who’s ever been resurrected, the Tia mots going to return or the demon princes or out of the abyss and and attacking everything like.
We must do something now and that doesn’t leave a lot of room for the madcap zany adventures that I find almost all of my like favorite role, playing and Dungeons and Dragons stories are a lot there are comes from just like. We were just messing around and this happened and they opened a portal before we had to clean up this mess, or we were just like we’re poking around this dungeon and found this thing and yeah.
So many things that happen just by happenstance and randomness and chance and dumb luck and and and the weird alchemy that is, you, know, playing the game and letting things emerge from it. That’s going to alter it and something to support that argument. The knocks against the Marvel movie universe and how you can’t have any kind of personal like like Jane, never shows up for Thor and everything he’s too busy saving the world all the time you can’t fit in, like all that, you know personal backstory right right exactly Unless you’ve got a party, that’s like all of them have created backstories that tie into the grand campaign, and you know, you’ve been doing a lot of behind-the-scenes metagame work before the campaign starts to like make sure it merges and meshes that’s a situation where you can, But if you’ve just got like some players, who made some characters and they’re just kind of there to play – and they want a meander and Wonder and do all these things and you keep probably pushing them along for the Grand Campaign – you’re fudging roles, you’re altering encounters, On-The-Fly, you start negating player decisions yeah, and this is one of those things that once a player decides to do something in the dungeon master decides.
I don’t like that. That’s not going to happen and they don’t take a moment to just say: hey player, what you’re doing right now. Is it really it I’m having trouble making it work for my campaign? Can we talk about it if they try to like subtly alter the course of the game, some of the most epic meltdowns at a table? That’s it have resulted from that kind of like attempting to manage the players yeah right.
Well, I mean you’re you’re subverting the player agency in the game. Therefore, there’s no reason for the player to be there to be there right exactly and and if it’s just like running through the dungeon master story, it’s not it’s not a fun engaging way to play. There is a place for dungeon master creativity. There is a place for the dungeon master to interject their own opinions, their own ideas into it.
This is not about completely ceding the field to the players, and you are just the mere passive you know entity at the table. It is about making sure everyone gets a chance to collaborate, and everyone has a chance to have their portion of the narrative that’s being created at the table through play as an element of that, and not just like. Oh, it’s, the dungeon master and the players are left to kind of scramble for some way to connect to the setting and world and then find relevance and meaning in it.
It’s the dungeon master, going like here’s a par baked setting. Let’s get your characters in the mix, finish it off and play we’re going to hit the ground running and some of the most amazing gaming I’ve had has come from this style of game of player. Centered effing, a man deafening I’m like well, and what I love about the sword now is they have enough albums that now I could just keep listening to them and not get tired of them.
Yeah yeah because I’ve even gone back and listening to listen to high country again, and it’s still, my least favorite, but there’s still a lot of fun songs on there like I get what they’re trying to do, they want to do a more mellow, chill rock album And they have every right to do that, yeah lad that they did know. I begrudge artists at all who want to do something different now that it’s like you know, squeeze every amounts of imagination out of your brain and put it up on a article.
It’s just like I’m going to do whatever is exciting. For me, you guys can go deal with it. Yeah there’ll be a article there’ll be another. Album yeah there’ll be another article, another album so yeah yeah, but goddamn use future. So good yeah we were listening to apocryphon while
This is not a gaming blog today I’ll be showing you how I made the sound for the intro animation. Just so remember, okay, I do understand replay for you yeah. So now, let’s get back in time, so I can show you how I made this: let’s go alright, so I’m back from the future. Now, here’s an order 5 session and I’ve got imported the article using the session open article, and then I selected the article.
Now it is transcoded, so I don’t have to transcode it. If I selected, you see you get these options, import, transcode article. This is what you do when you first import your article to order and reference from current location previously transcoded. This is very easy, like self explainatory. So now it’s just going to reload the article because it was already there – and it looks like this when you’re doing sound design for animation.
To me, the key thing is to get the timing and to get the atmosphere, so I’m trying to figure out what sounds. Would fit this image? This move motion picture kinda, so there’s a lot of darkness. There’s some smoke, there’s some glittering lights or some noise happening in some bright flash at the end. There’s there’s a quick motion when the camera like zooms out or the or the letters fall in and then there’s lights, so this could be some tinkling tinkling and then it gets noisy, distorted and finally, there kind explodes.
So I can see some some clues to what the sound design might be. So what I’m going to do is actually add a bunch of units of effects instances. So I can just start synthesizing some sounds that will fit this and Xin is a pretty heavy plugin. So it takes a while to load into our door yeah we’re ready, I’m going to also use my external keyboard because it’s going to make the things easier. So, let’s see we have the first one, that’s already routed.
Some reason order was very smart and it already connected the MIDI ports, which is nice okay. So what what we have here, I imagine a swoosh like I could record this with a microphone, but first it would be very, very easy and I wouldn’t show anything interesting in the process and second, it would be difficult to make this really work because mouth sounds Are very organic and what we see here is very technic.
Very synthetic could of course, process the recorded sounds, but I’m going to try to stick to synthesis as much as I can like. I don’t have a strict plan of what I’m going to do, so this is kind of an exploration for me as it is for you. I have some tools. I have some experience of making this for clients, it’s good, that this is not for a client. So I can show you the process, because I wouldn’t do this with it this whip, if it works for a client, I want to make it swish.
So I’m going to going to record this, I’m going to press shift space which will activate there a record mode because the truck is armed and then it’s going to record them in notes. It doesn’t really the pitches, because I’m going to override this anyway, I’m going to press e to enter edit mode. So I can change the length of the notes. Now G go to the grab mode where I can edit the, and this is like yeah it.
The note is there, but it doesn’t draw it, there’s some stuff to report in the order, their tracker, let’s make this and noisy swoosh, I’m not sure how easy it’s going to be to fit everything on one screen, because I usually use two but well never know What do we have here? We have ad synth. Let’s try Adsense I’m going to go for white noise. We can use a keyboard to help us out. This is very, very bright.
It’s a little bit painful! I’m going to make this quieter and I’m going to want to make this yeah. This is the kind of tempo I think will fit this now. This is too short because the note is higher. I’m going to lower the note. I know it’s too long come on now, it’s a little bit short, but I’m going to change that with the with the envelope. Okay, let’s try it again. This could work. We can also later shape the fade out a bit with the automation, so it doesn’t have to be perfect from the start, because sometimes you know trying to get something perfect will block you for half an hour.
Doing just that. I want to make some motion with filters, so I’m trying to experiment with with the band pass and maybe make it a little bit sharper and start higher yeah. This is funny it’s a little bit too short kind of kind of sinking. I want to duplicate this voice, so I’m going to copy the clipboard switch to another one and paste it. So I can use a different filter or different settings for the filter, so I’m going to start off with a lower and make this higher and make this a little bit longer.
So we will have like, let’s, let’s here, second voice alone, I wan na make it a little bit sharper more resonance, yeah and the first one. The first one could be wider, yeah solely together form kind of a it’s it’s. There is brown noise and there is narrow noise, narrow, narrow narrow. So we have like complementary it’s. It has two characters at the same time, it has noisy character and has this more narrow we still like sound to it, which is very subtle? Actually it’s much more noisy than Swiss Li, but okay, let’s mmm, maybe try letting in some of the highs, because the low pass filter is by default kind of close from the top.
It doesn’t do any change an edible change in our mmm and this regular sound. Let’s see what we can do with effects here and I think some reverb could be good, but I’m going to not I’m not going to use as an internal reverb and I’m going to use a plugin for that, because I really like the sound of em a Verb so I’m going to leave this sound right now. Let’s call this. I need to disable the record disarmed for recording and then I can change the name.
Let’s call it swoosh and now, let’s insert some verb yeah, let’s hear it yeah. This actually could really work. I’m going to put it pre fader because actually doesn’t really matter for this kind of effect. It wouldn’t matter for a compressor or a distortion where the input level plays a big role in at what tone you get out of the processing, but for reverb it doesn’t really matter, but I prefer to have all plugins pre fader.
I want to try adding some. Maybe the chorus, maybe the cough multi chorus, let’s see and make a loop, so we can tweak the settings and hear what how they change the sound immediately. Can I disable the LFO completely? I think it the plugin isn’t made for like using this manually, but I could get away with some of the automation, let’s see and it’s modulation that let’s make it play so to play our automation, it kind of gives a little bit, I’m afraid it’s going to Drift a little bit because we still have some modulation, so we’re going to get different effects based on different time.
When we play this, we could bounce this to a track to a stereo audio track. Let’s insert just one right now for the input I’m not going to use this. The system hardware stuff would use this whoosh output. I’m going to record this I’m going to hit shift space. Let’s do one more yay. We have them swooshes. Now it’s mute. This original MIDI track control, app arrow, will shift the track up and this going to be our double click, swoosh kind of a misnomer, but anyway, okay, now we have the same effect just frozen in time.
So nothing changes, I’m going to mute, I mean muted. The second instance that I recorded, because I don’t really want to use it right now, so maybe yeah, maybe I’ll, do something with it later. Okay, let’s go over the next sound. Let’s do something for these bright, blue lights that appear on the edges. I want to do something electric, however, I’m not sure really what to do with it. So I will just experiment right now and we’ll see what happens.
The best sounds. I’ve ever made were just created out of experimenting, so good stuff might happen right now. Maybe I’ll try using a waveform like a square way, because I want something that will sound similar to a Maine’s hum this 50 or 60, depending on a burden you live, but that comes out of your power supply, yeah kind of this sick, oh yeah. However, the filter is affected by the velocity of the key hitting.
So if I hit it very slightly, we get a different tone. I don’t want that. I want this velocity sensing him out. Okay, now the the velocity of the key only affects is a loudness of the sound I want to do. I know what I want to do. I want to do some messed up ring modulation this, but I want to use external modulator, so I’m going to copy this voice over to be voice. Free yeah pace it here, because currently Zen some effects can can modulate different voices with different voices.
I made the first ever article of UV, UV 0-1, modulation, zenus of effects. Modulation. Madness goes a little bit more in depth about this. So if you’re, if you’re new to this concept, go there and check it out, but the thing is I can use the previous voices on the list like if you have the list like free voice, free can be modulated by voice 2 or voice one voice. To can image the way the by can be modulated by voice one voice 8.
Can we merge it about 7 6? Both err all everything above it because they are being calculated in order, so the first is completely voice 1 to free. When the voice 1 is calculated, it knows nothing about the rest of the voices, so it can’t use that for modulation, and this can be worked around, but it’s an overhaul and well it’s not going to happen soon. So now I’m going to make it first voices that are not going to be used.
Yeah, I’m the first two voices, the first two voices are now mute, so we only hear the third voice can see. We have a sign here if we turn it up now. The interesting part is our square wave has a fixed pitch. It doesn’t respond. The number of the key I play, but what we’re going to use for modulation does, if I make this audible, you can see our modulation, our modulator a will respond to pitch. So we’ll get different modulation pitch by playing different notes while having the carrier, so the modulated wave waveform stay on the same pitch, which is going to be interesting.
Probably let’s use ring modulation select external modulator, so this is the voice. We can you hear in the ring modulation going up. I don’t want velocity sensing. This gives you more modulation when you hit the hit, no, it’s harder, but if you turn it all the way up, you have no sensitivity like you have no key sensing, no matter how hard you hit the key. It’s going to always do the same amount of modulation and high-frequency damping.
It’s something that lowers the amount of modulation when you go with higher pitches. Higher frequencies give much more modulation which gets very noisy and bad, but we might want that so I’m turning it up. Turning it yeah turning it up, so I’m disabling the feature, and I hear the low-pass filter really messing up with our sound, so I’m going to turn it up and unless you’re reading 270 P on youtube, you probably can hear a difference right now and how about We make a pitch slide of the modulator longer, not so high starting yeah 64 is the middle, so 64 is no change below it’s going to go higher and start lower and pitching them go up.
How about we just shifted a few octaves up, make it an investment, wah wah how about inverting this? This is very long really like. This is a very short animation and what happens if we add a few voices to our modulator sorry, our carrier get a stereo. I think I want to do something with this sound, so it’s going to be more interesting and I might try modulating it again what the voice one so I’m going to go all the way up.
No velocity sensing, no high frequency damping – and it just happened so that we left a square wave very low pitch square wave, also doesn’t responding to the key number. How about we make this fade in so in the beginning, the voice, one is silent, so it doesn’t modulate the voice too. Actually I can’t hear any difference. Okay, how are we detune this slightly? So it’s going to be a little bit yeah.
I won’t try and enable a band pass filter on this, just experiment, so our voice, one, is a square wave. It’s going to be band fast, its modulating with ring modulation, the voice two, which is a sine wave, slightly falling from the sky. I like going up and then falling down in pitch, which is then ring modulating our square wave that is somewhere in the base. We used register and if I make this narrower and atom filter envelope funny we heard some harmonic and maybe it was the fundamental.
Well. That’s a little bit scary, I’m going to make this a little bit wider, so it’s not so intense when it hits the harmonic content and how about we make this higher or lower. There’s some kickass sounds in here. Okay, let’s make the envelopes little shorter for everyone. I want to add an arch filler here just to see what happens when I play a lower note, it sounds it sounds interesting. I like a notes notes of e.
Make interesting sounds, I guess, that’s probably caused by a certain frequency relation frequency ratio, relationship between the fixed tone and the notes. Okay, I’m going to record the e note hmm, so this is going to be our buzz okay. It doesn’t very closely follow our animation right now. I’ve just noticed our swoosh is very, very silent, very quiet like it. You can see it on the waveform, but it’s just right now.
I realized how quiet it is. I’m going to add presser keep the input not up yeah. I want this note to end ride when this flash goes off, so I’m going to hit II to edit, then I’m going to just drag the notes and notes and left okay, let’s replay home, we get this little slight bleep at the end, which is very nice. It it actually gives me chiptune memories. Now this starts very abruptly, and we need to do this, something about it because it’s very like it doesn’t really fit the gentle glittering.
We have here. So, what’s what we can do about that like she starts a road here, so let’s see what can I all tomatoe not donate the part volume I can automate the filter cut off the FM gain, which is, it is actually the amount of modulation on everything like Not just frequency modulation, every every modulation I’m going to use that, and so what we can do, because we can alter the amount of ring modulation applied in every single moment of our sound.
So I’m going to try to like outline what happens on the screen flee to make this sound kind of a little bit rude itself and in the image I’m going to it’s brighter than it lashes. You I’m going to save this session by the way, because our door sometimes crashes. Now I’m going to make this track a little bit bigger, so I can see it better kind of fades away. Let’s give it a little bit more and cynically, I incidentally, clicked on another track, inserting a midi region, i’m going to shift right-click to delete it.
Let’s hear what it does right now might be: shitty doesn’t okay, because we have said manual. I have to change to play now: it’s going to actually read the automation. Alright, so like we have when we have no ring modulation, we actually have louder sound because our square wave is unaffected because ring modulation actually changes the volume of the waveform, the amplitude. In time, but it does it so quickly that it alters the pitches.
If you do ring modulation very slowly, you get a tremolo effect, okay, but we also need to change the volume. I guess, or maybe I know what, because we can automate the filter cutoff and this is going to affect only the main, the global filter in an ad synth look like if we automate the pic filter cutoff, it’s going to only change this one. So I could like changes in the middle move it here, because the filter cutoff starts in the middle, so we can like shift it up and shoot it down.
I’m going to start with it change it to play, so it does play the automation and begin with the filler domain of the filter, cutoff all the way up and somewhere else, maybe down, and maybe I will just kind of mimic the what we did here very Very slightly, and I’m going to make me make this a little bit go up till the end, so it kinda gain strength to blow up in the end. Let’s see what it does yeah.
This is better. This is more what it more mmm. It fits the animation more. I don’t like this part where it doesn’t do anything and it’s really steady and boring. I think it should better just cut off there, so I’m going to change the note, so it ends here and then instant. Another note – and it doesn’t end right in right, where it should right now and maybe I’ll change the automation, so it starts with the cutoff fully closed, so our low-pass filter will just be opening right after the note started yeah.
I think if we add some distortion on top of that, it’s going to make a cool effect. Maybe I will split this into two separate tracks. It might be easier that way. I also think that it might do some good if I change the hats and global filter type to maybe not the type but make it a little bit sharper with resonance now. That sounds very old-school, and it doesn’t really mean it not necessary cool yeah.
I think we can hear more of the ring modulation and I think we hear a little too little of it, so I want to actually and give this higher values over also get more of the distorted, sound and just a clean one. Maybe this automation clip is a little bit too cluttered. I’m going to press G select a bunch of points and move them up. Yeah, like this kind of dies very quickly, and we don’t really else aria-pressed something F shift, Z, F, maximizes, a track or tries to maximize it in the VG visible space right now.
It fits also the automation tracks. Shift Z is like control Z for view. So if you just zoom somewhere else, when you can’t find yourself, you should press shift Z and it should zoom you out one step at a time, unfortunately, or fortunately depends and press e make this not a little longer. Maybe leave the ring. Modulation on and a press D to enter the draw mode and like just let the cutoff fall, it doesn’t really follow the motion of our sparks here.
So I need to do something go to the automation. I think I’m going to just make it very very simple. Just delete all the points. Thank you now want to deselect this okay, so I don’t delete it and yeah. This actually sounds better and it could be longer again. How about we use a different note here. Maybe go down one octave, you yeah, let’s see kinda it’s a little bit quiet, though Velocity’s all the way up.
1:27. Okay, it starts to sound more synced. I want to try some distortion and I’m going to try see the amp VTS, which is a plugin. I think it’s reworked a bit by mod team and it’s a very nice processor for guitars, keep it above others. So I can see it all the times at all times and I think I’m going to automate the gain. Let’s just loop this so I can experiment. I think it makes it more character for I’d like to add some very subtle reverb to just define some feeling of space, because there it’s well that’s too much.
Let’s try it before the distortion. Actually, I like the amount of reverb before the final blip, because then it’s like it should just wow just crack explode and there’s nothing. Just silence like the darkness. We see so I’m going to automate the mix ratio. It’s maybe use the right mode, so I just can yeah record this now it’s in touch mode, so place back, that’s great Wow! My timing is almost perfect with this look at that.
That is perfect. All right, I think I want some noise in here like there is very little noise, maybe because I have this woosh and play it. No, it is here. Okay, I’m hearing it. Let’s just make this a little quieter. Okay, I’m going to just maybe minimize the automation tracks, so they don’t disturb me and I want to open up a new track and I want just some noise. I just really want some noise, really it can be a simple white noise or maybe I can try making something a little bit more interesting.
Let’s try to frequency modulation with noise noise. Why not and make it bandpass filtered resonate Li wave an envelope going from down to long, I’m just doing random stuff. I don’t know what it’s going to sound like, and you know it’s going to be too much. If I do this yeah and in the end, let’s go with a slight notch filter make it go from up to down, because why not? Let’s hear it? Okay guess I I have too much resonance just too long yeah, let’s give it more voices and more stereo.
More detune for each voice, nah this sounds crappy. Let’s do it in the mono and I’m just going to duplicate this voice, panned them harder, left and right and then change something about it like the waveform or the pitch, and maybe let’s try some big different bass. Wait for him that it’s modulated, maybe sure. Ah, this is painful how about making it start hiring a pitcher or lower. Actually, it doesn’t really matter.
I like this. It sounds somewhere between a jet plane, an old synthesizer or tape, machine and Torm, okay, but it’s a little bit too long. It’s you shorten the shorten the envelopes cut, the envelopes cut them cut them down, yeah, let’s mmm, let’s give some fade in. Oh, that’s a really sick and give some fade-out. However, our global envelope is going to limit us right now, so I need to include a release there now it’ll be too long.
Let’s make the pitch fall once we release the key, maybe shorter. Okay, I wanted to do have two voices, so I’m going to copy this one pan it left, but not zero, because zero means random. I want this in the left. Blog now paste it here we still using the external modulate one. So nothing changes. We just change the padding and it sounds in mono, but now I can change the beach of one of them or the waveform, and it’s going to make a difference.
Let’s add some weird harmonics whoa, that’s very loud. I want to change the magnitude type to like something else, so we have more precision yeah. I want just a hint of that weird noise in the right blog and let’s do something else in the left, one. Let’s change the money to type the tango for higher, it actually kind of sounds the same but different, and it makes it stereo it makes it wider. Okay, I think I want to check the global filter.
How about this is fun. Alright, let’s I want to check what can I do with the pitch modulation pitch wheel? So I’m going to go to controllers in the global window, and here we have the pitch will Bend range in sense. 200 sense is 2 semitones, because 100 cents is a semitone. So if I want to go to an octave, I need 1,200 yeah. This is cool. If I can do this well, this is going to be great sound for the anticipation before the big explosion.
So I actually don’t remember if I tried before recording mud will in order 5. Let’s see what we can do with distortion. Also as it might do something cool might do something bad. Let’s turn out the gate gain so the drive it’s the pre gain and the post gain the level. Let’s keep it low. Well, that’s complete havoc what it will filter this before Distortion. I guess the gain the drive is way too much now we could add this.
Just a little bit to the original one, I think just a tiny bit of a strange reverb ation could help this. I’m not so big. Let’s go to random, make it very short. I want kind of room cellar, sound! Let’s try to give it some more high frequency, so I’m releasing the low pass. Let’s hear it all wet a room size. The initial delay welcome kind of could work. Let’s see if we shouldn’t eventually high pass a little bit of this because there’s a little ton of bass, I think search with a peak filter.
What is nice and what we wanted to remove yeah now it sounds a little bit less Bumi. Let’s try it. The weird thing is, I think, something’s different, I don’t know, okay, I need to hit the notes more gently, because there is a certain amount of modulation that is too much and it just destroys everything. It sounds better when I hit it slightly. Okay: let’s try to record this hmm okay! I guess I missed it.
I wanted to see if there is yeah the pitch wheel, you Gordon – and I guess it displayed back, but the note was too too hard. I like struck it very hard, so I’m going to use my mouse wheel to make it softer. I think we could also go with two octaves of pitch Bend. So let’s go to controllers. Ah, this is not this instance. Okay, send free controllers. We have 1200. Let’s go to 2400, the the big like the double arrows, go 100 cent, big jumps and the small go one which isn’t very useful to me.
I never use the small ones never, and you can see that it’s a bit jagged because we have very limited resolution. We have only 227 steps for the CC controls and the pitch wheel and the mod wheel pitch bender. The mod will apply. Also so you have you see, you see, we have a lot of a lysing, but we can actually draw our own automation, because this is very, very simple. Oh, we need to change the type of this mode, discrete linear.
Yes, this is what I want it. Ok, crap, I don’t know what what is the rest position. Ok, the first first samples. 8. 5. 7. 6. Ok, because I guess yeah, that’s the range of 700 1600. It’s a bit there yeah sounds awesome. I just need to cut it off in the right moment and I think I’m going to press the e key again. I think I’m going to cut it, I’m going to cut it short. Maybe let it sound longer, but I am going to use the fader automation.
Go for maybe touch, let’s you. If I can record it yeah, I’m just going to remove the last point and this one too. So it’s forever silent. Let’s see! Ok, I wasn’t so quick that it it’s as instantaneous because well, that’s not humanly possible. I’m going to add a little bit of a gain right in the end. Well, that’s too late, because this is the flesh, can’t you back this off, so we have zero decibels and can just and a little bit we have 6 decibels left.
So we can make a little bit of a click at the end. Oh it’s pretty difficult to select this okay got it um. There’s one shift right! Click delete stuff, let’s see actually yeah last a little bit longer. I think I’m going to fight you, okay, move them both. Oh, I can’t let’s hear this node again yeah. This is better and I wanted to start a little bit more silently. So I’m going to use the control two more points, so it will a little bit fade in ha.
Okay. Well can we call this I’ll call this screamer, because I can I can ass house borkus has internet burgers are now control-z. They don’t want to move. That point I want just to move this one I’ll remove it shift right, click, yeah, okay, what do we have and what do we miss? I think I want some more noise because I, like initially you know, remember: let’s try to frequency modulation. Let’s make some really.
No is this simply noise, just like that, just nothing extra, just noise! Okay, come on! You can do this. His stereo, I’m going to copy this voice, sit all the way to the right it steady annoys now. I think I want to use a band pass. Filter, Hey because the filter is tracking the keyboard. It responds to the pitch of the keys and P I’m hitting here. It is 60. Oh yeah middle is zero. Oh it shouldn’t be.
Ah I’m mistaken. It actually is the velocity sensing I’m going to disable the velocity sensing. I want frequency tracking. This sounds like tape. Stop, but it’s not. Let’s play C major. Okay, this the envelopes are cool, but a little bit too long. I’m going to make that I want to find the very base tone for the release and then make it a little taller. Okay, now, I would add a crap ton of reverb onto this, but it’s a very short make it big in a room size and make the dampening lower.
So we have more high-frequency Wow. How about we make this narrower, not a good idea. I’m going to make this wider, the plane noisiness might need some modulation, it might be so plain and uninteresting just add, a very, very subtle phaser and on to that a little chorus. Well, it’s very too fast and I think I need to get rid of the bass, because, after the reverb, the bass is very messy. Okay, let’s try to record some notes.
Okay, so we didn’t care we get away with it simple noise, all right, of course the decay is going to be cut off. I can do this right now like this. Ah sorry, this is too early. You, like the anticipation of the cutoff, so there’s a little bit of a gain. Okay, we’re not using this make it play. It sounds like it’s cut short, which might be a good thing or a bad thing. Let’s see what we can do, if I just let it decay, I think I won this DK, maybe not so loud yeah, just give it a few seconds up there yeah there’s no problem like this.
Can this? Can this can work? Okay, I think I’m going to be doing one less sound and this is going to be a hit for the explosion, and I want to try something like a broken glass. And how am I going to do this? Is I’m going to throw in a bunch of notes, are going to imitate different small particles of glass, have been smashed and are falling in all directions and the higher notes represents smaller particles, because smaller particles make higher pitch sounds.
This might be a little bit long. I’m going to see filter a edit mode. Maybe all these notes up, as you can see, it’s not very easy to end late now. Here are notes. They were unvisible. Let’s move this okay, you what happened? Okay looks like I can’t move this because it’s going to explode well well, but the timing seems to be right. So I’m going to open the broken glass, the simple sine wave and what I want to do is hmm actually like use an impulse.
I’m going to use a power wave and make it so that it it’s a snap. You can see that there is a lot of harmonics a lot of harmonic material, I’m going to make this down and use an amplitude envelope to make this. She has to want to click because it’s going to, of course, repeat yeah, but right now we have just one click. If I make this longer you, okay, yes, it’s this one, I’m not mistaken, and I’m going to change this to a bandpass filter, and you see if I made it very resonant, it simulates the fact that we have a piece of something that receives energy.
This is our impulse. The power wave, the simple impulse of the power wave is the energy, the blast the hit and the bandpass filter. Resonating is modeling the tiny shard of glass that is actually resonating this energy on a specific frequency band. Right now it responds to velocity so I’m going to disable velocity sensing and enable the frequency tracking I can play keep this very quiet, so I need to turn it up because you might not hear it actually right now.
Recording this isn’t in trouble yeah, and it’s going to sound better than this. So I’m going to remove this, I’m going to just record my broken glass part, not totally happy with it. Maybe I should make them sound, shorter or funny it’s kind of uh. Well, it would be nice if I could make the move the regions. I can’t yes a bit late – that I can handle this okay and record on time. Alright, this seems to be about right.
Let’s close this interfacing and I’m reopening it edit with generic controls, we’ll open a different interface and then I can reopen it and it will just pop in on the top. I want to make these a little bit, maybe shorter. You see the less resonance we get on the more of the impulse we have and the less of the tone. Let’s also make this pan ha randomly. So every note has different panning, so that kind of makes that cloud of the glass shards wider in stereo, and I think that actually this needs just a little bit of reverb and maybe some EQ more of the tail and less of the earlier reflections.
Maybe a little bit maybe shorter bit smaller yeah. I want to yes, it’s pretty hard and see what happens. I lower the threshold. Okay, it’s pretty loud and right now keep this above others I’m going to lower the makeup, gain and threshold and just think the attack and release very short. So it’s very closely following okay, it’s very loud right now and I wonder saying to quiter. Okay, let’s play the whole thing kind of interesting.
I missed some really something hard. So, let’s make it’s an explosion, I’m just going to dial in a single note right here and I’m going to do a very quick patch. Okay, we’re now like feeding the MIDI data right to the broken glass come show your face. You going to enable substance! Dialing, a little bit of harmonics make them really wide make them lower yeah, now give it a pitch envelope. Maybe you make it less.
Harmonic doesn’t do very, very big changes. Okay, let’s make it started with max, so we have a click on the beginning. However, I can hardly hear the difference right now made this shorter and louder yeah and now, maybe even at the bandwidth envelope. It kind of sounds like a snare, so maybe I should pitch it down yeah and make it shorter, because now it’s so long, okay, I just going to disable the stretch.
The envelope stretch so lower notes make longer envelopes by disable the stretch which here means. I turn it all the way the left we get the same envelope length for every note. Okay, now, the key to making an explosion sound is distortion. Once you get the noise, let’s make it low, give it the full width. Let’s try another passive Distortion and see some reverb of tail and type bandwidth, but on a very shorter huh.
I see that I also want this to be very much shorter. I’m going to convert this envelope to a free mode, because then I can add some points and I want shorter attack and then it’s very very slightly release, but I don’t want this to actually be so classic you see. I don’t want this over long distorted here at the beginning, but that would be too long yeah. This is great and finally, I’m going to insert an EQ and maybe is a high-pass with resonance to boost some hellos.
Maybe that’s not a usual user of Lopez, but I use that very little often because it cuts off what you don’t need and accentuate what you need. Yeah. I think adding these highs make it more punchy. It’s I think it’s a little too loud. Let’s see how it sounds with that: hey it’s a little bit too quiet, though I think I’ll, try you some Accession say. I think I could make it more punchy still, so I will lower the threshold and give it a longer attack.
So the initial hit of the explosion can go through the compression and then a shorter release without with not much difference. Let’s kick up the ratio and lower the threshold. It makes it kind of bit shorter, so I’m going to try to make it really so sure that it’s even working like a distortion and finally, I want to automate the release of the let’s set it to touch or no, let’s say to write. Well, I don’t know if that was good.
Oh it’s going to sound good. Let’s hear it let’s see! Well, I think the fade outs are a little bit too too loud and last is too loud. I’m going to also to mate its lease, so we have yeah. Maybe make the releases shorter, yeah, it’s very short and has some of the tail left behind, which is nice. I really like it. I think I want to do something else with the with the noise, because it’s kind of boring and I would like to maybe automate the bender to change the pitch a little bit throughout the note.
So I’m going to just draw an automation. Oh, I forgot that it doesn’t it wouldn’t have. It won’t have an effect because I’m using AA filter for that pitch, so I’m NEET to make it automate the filter. Cutoff. Let’s write down. No just, let’s see what happens okay, but this is way way too aggressive. I just want just a very, very subtle, I’m just going to yeah it’s it’s more lively, there’s something happening! This sound, it’s kind of a little bit of emotion, maybe a little bit more! Even that’s here now! That’s alright, too much because it’s! I don’t want this to be so lively, okay, I think we’re done with this.
Actually, what what is left is some mixing like balancing the levels which I’m going to try to do now. However, it’s good to let your work rest for a little while before you call it finished, because sometimes when you’re working on it straight for an hour or a few hours, you can really hear the differences and you can’t really hear the balance of the thing. So the next day you might play this and he will instantly hear that the bass like is way too much or there is no treble at all or there is no mid and all right, but for now I’m going to call this a day.
Oh oh wait. Wait wait, wait, wait, wait. We need to set the final levels. Okay, this is not done. You can’t really just use it right now. So I’m going to do is add a call. Flim etre, like their levels right now very low, and this might be good, but probably we’re going to need them higher. So I’m going to use the limit and we’re hitting like the limit just with the finally hit it, which is nice. I like this.
I usually disable the ASC because it does something that I don’t really understand right now and it something a little like the sound of it and it messes like with the release. I don’t know, I’m not sure how it works. Still, I read the documentation on the Caliph website, but I don’t really know what it does. So I disable it it’s on my default also what you might want to do, which is kind of I it’s hard to hear a difference, but I really might want to kick the oversampling up because get some math sounds, and this might round the sphinx a bit.
Also, I’m going to lower the output gain just a notch, maybe too much, maybe with control yeah, I’m just going to track this like negative 3 DB so or negative half. So we don’t hit the zero DB level because that’s Distortion and it come. You can’t really hear this, but it might behave a little bit unexpected. It might be some other surahs, so let’s keep it undistorted. Okay, so this is it okay? This is it for this article.
I hope you’ve learned something useful. If you have any questions about what I did about the tools I use, if you have any suggestions for what I should focus on in the next articles, please leave them in the comments and I will see you in the next article bye,
So this is one of the questions that I get all the time from guys who are interested in getting into style blogging, but don’t really know where to start or how to do it or what the best practices are. Now I’ve been doing it for five years now and over that time I’ve learned a lot.
I’ve gained a lot of knowledge and experience and we’ve had a good amount of success throughout that time. You know there. There really was no blueprint for me of how to do it right. We were really sort of making it up as we went along and defining what this was going to look like what this was going to be and how it was going to be done. And you know things are always changing and you always have to adapt to a certain degree, but there are some fundamental things that I think are extremely important to think about to consider and to really know before you get into it.
If you want to be successful now, the first thing you need to ask yourself is: what do you want to achieve? Are you just extremely passionate about something and want to share it? Do you want to make money? Do you want to get free stuff? Do you want to be famous? There are no wrong answers here, and no one of those intentions is more or less noble than the other, but you really need to look inside and be honest with yourself about what it is exactly that you want to get out of this adventure, because having a Clear answer to those questions will define how you approach this and will guide everything that you do.
Next is possibly the biggest question you need to ask yourself, and that is what do you offer more and more. This is becoming an increasingly crowded space, and you really need to have something that differentiates you not only so that you stand out, but just something that gives people a reason to want to listen to you and to follow you. What makes you unique? What is your point of view? What do you have to contribute to the conversation so on our whiteboard in the studio? We have three questions written down, and these are questions that you should consider before you even start and that I think you should continue to revisit over and over again as you progress and start to have some success and continue to evolve.
And those questions are what is truly unique about you, what is truly ownable for you and what right do you have to play and win in this content space? It’s good to answer those questions again to help define what it is, exactly that you’re doing and hope to achieve, and that flows into what I think is one of the hardest questions to answer, and that is why are you doing what you’re doing now, if you Haven’t already, I really recommend reading Simon Synnex book start with why I’ll put a link to it below in the description, because this book and the concepts in the book will really get you thinking about some higher level stuff.
I find that even if people think they know the, why of what they’re doing it’s often hard to put into words now I always knew what I’d hope to achieve with. He spoke style, but it wasn’t until I read this book that I was truly able to articulate it and, and once I was able to once I had written it down, everything became so much clearer and there was so much more purpose behind everything that we were Doing you know if you’re really committed to being in it? You really need to have that kind of focus and to use your time wisely.
In addition, if you don’t have a clear vision that will come through and be confusing to people, they won’t know what you stand for or who you are or what you’re all about. If you haven’t answered that question for yourself and just saying that you want to inspire people is not enough, that’s what you’re doing or that’s what you want to do. It’s not why you’re doing it, so you can see that it’s really not that easy to define your why, but it is extremely important, in my opinion, if you really want to have a deep and meaningful impact on people now, once you’ve figured out the higher level Stuff, you need to sit down and make a plan.
Before I published a single post on he spoke style. I had made a year-long content calendar, it’s good to see the big picture, it’s good to see where you’re going and it’s good to have a schedule. You never want to get into a situation where you’re operating day to day or not sure, what’s coming up next now it does take a little bit of time to put something like this together, but if you really want to do it right, this is something that You need to do the time you invest in making a plan like this will pay huge dividends and will make every part of the process go that much smoother and having a plan like this will help you with the next part, which is to execute and be Consistent, I cannot stress enough the importance of consistency when it comes to publishing online, whether that’s a website, your Instagram Facebook YouTube blog.
It is so important to train your audience to give them something to expect and to look forward to on specific days at specific times, and not only that, but consistency is rewarded by the bigger powers-that-be, like Google and algorithms. These engines look for things like that, and if one of your goals is to reach as many people as possible, you really need to publish consistently next. I think it is so important to publish only high quality original content and again this is one of the things that will make you unique.
Now I started he spoke style because a lot of the websites I was reading about classic men’s style did not have original images of the stuff that I was reading about. Sometimes they were archival images. Sometimes they were sourced from other websites and that to me removed a lot of the personal connection that I wanted to feel and that I thought was very important to really getting behind a certain point of view.
Like don’t just tell me about something, show me how to do it show me how something should be worn. Show me how you would wear it, not a bunch of other people that I can find online myself now when it comes to original content and especially original artwork, I will tell you that great photography is absolutely non-negotiable. Get a decent camera set it up on a tripod work with a friend who has an interest in photography, and you can also pay someone to take photos for you.
The reason for that is because the level of production and quality of content being put out there. These days is extremely high and to establish yourself in that world you really need to be at or as close to the level of what’s already out there in the market. All right blogs do you need a website, Twitter or Facebook. Instagram YouTube, snapchat pinch a podcast! Now I have a very specific opinion on this and it comes from the nature of how I’ve set up my business and and grown my business.
Personally, I think a website is very important. I think Instagram is very important and I think YouTube is very important right now, a couple of years ago I would have told you that Facebook was very important now for me and for my business I really feel that it is extremely important to have multiple blogs. I like to have a wider portfolio of services available, just to be able to offer a variety of things and to be able to tailor our packages to best meet the needs of the brands that we work with now.
Can you have success with just one strong blog? Yes, you can, and there are plenty of examples out there – of people who have had a lot of success just on Instagram or just on YouTube. The problem is the media. Landscape is always changing and there is some risk associated with devoting your entire effort towards one specific blog. For example, when I was first getting started five years ago, I met someone who had a million followers on Pinterest, and this was her business.
She made money through affiliate links on her Pinterest content. Well, one year later, Pinterest came and said we’re not supporting affiliate links on our platform anymore and just like that, her entire revenue pipeline was shut off. So that’s just one example of the risk you’re taking on. If you decide to focus specifically on one blog now, the other thing is that, because the landscape is always evolving and there’s a shifting emphasis on different blogs, there are people who will jump from lily pad to lily pad, depending on which way the winds are blowing.
At the moment, and although I feel they might have some short-term success – they’re really trapping themself in this kind of endless loop of having to redefine who they are and what they’re about and who they’re serving that. I think it dilutes their brand and kind of calls into question their authenticity, so, if you’re an aspiring men’s style blogger, those are some things to think about that. I think are key to being successful, asking yourself what you want to get out of it.
What do you offer? What’s your point of view, why are you doing what you’re doing making a plan executing that plan consistently only posting original high quality content and deciding what blogs are the best fit for you based on your goals, so the business of blogging is a topic that I Plan to cover from time to time, and if you have questions or specific topics about that, you’d like me to talk about, go ahead and leave those in the comments, I’m very passionate about mens style.
But I’m also very passionate about the business side of what we do and I am happy to share everything that I’ve learned over the 5 years that we’ve been doing. He spoke style. If you like this article, please give it a thumbs up and do not forget to subscribe to the blog. That’s all for now guys thanks for reading and stay tailor.
Is the letter p. But once you see how this can be done, it should be pretty easy to apply the same techniques to the rest of the alphabet, so i’ll go ahead and get started here in illustrator.
The first thing we want to do is set up a new document. That’s size to 1280 by 1280 pixels and we’re going to set up our documents that we’re all working with a similar view and with similar settings. So what I’m going to do is come up here to where it says view, and I want to turn off snap. The pixel, in fact, from the view, the view menu. The only thing we want selected is snap to point and then we’ll go to window and what we want selected up here is control a line color and gradient, and then we can close out of that and what I’m going to do.
First, is I’m going to come over here to the align panel and I’m going to make sure the align two I’m going to make sure that’s set to align to artboard and once that’s set, I’m going to come over to the rectangle tool up here? If you click and hold up over that button, you’ll get this little flyout menu, I’m going to grab the ellipse tool and I’m going to hold shift and alt on the keyboard and click and drag on the canvas to create a perfectly round circle like that and Up here from this drop down, I’m going to choose this red slash to get rid of the black outline and then for the fill.
Color I’ll just choose black over here and I’m going to take the opacity of that and bring that about in half and then I’ll click out of that to deselect it and right here where it says with ellipse with we want to make sure we have. This turned on this chain link. We want that constrained, width and high proportions. We want that turned on and I’m going to change the width to 300 pixels, so I’ll hit 300 hit enter and then I’m going to Center.
This up on the vertical and horizontal axis, like that, now I’m going to grab this select tool and I’m going to hold alt and click and drag this circle to create another copy and I’ll make the width of this one 50 oops, 150 and then Center. That up on the horizontal and vertical axis as well and I’m going to hold alt and click and drag to create another copy and I’ll Center that up on the vertical and horizontal axis.
And then I’m going to a hole. I’m going to click and drag this top node right here. This top anchor point, I’m going to click and drag that up and then hold shift until it snaps to the top of the circle like that, and then we can let go and once we’ve done that I’m going to click and drag over everything right here. All three of those circles and I’m going to hold alt. Actually, no I’m going to click on the the shape builder tool, which is over here and then I’ll hold alt and click on the center circle to delete that and then we’ll go back to the Select tool.
And then we are left with something like this. So this is going to be the round part of the letter P. What I’m going to do now is I’m going to create the the talent over here. So what I’m going to do is I’m going to click and hold on the ellipse tool until we get the flyout menu and then we can choose the rectangle tool, I’m going to click and drag to create a rectangle like that. I’m going to bring the opacity of that down in half and I’m going to make the width of this one 50 and over here on the inside of this rectangle you’ll, see these little round anchor points, I’m just going to click and drag that in until it Turns until those edges turn red like that, and then it’s going to become rounded, then I’ll grab the Select tool, I’m going to hold ctrl on the keyboard, grab this node right here and then just snap it to the left side of this inner circle right there.
Just like that, and now I’ll click off of the graphic to deselect everything I want to grab the pen tool now, which is over here and snap to the top of this shape. Click then hold shift and bring that line straight through all the way to the outside of the bottom of that shape and then go ahead and click again and now we can. Let go a shift and just finish this shape up going around the outside and back to the starting point.
I’m going to grab the Select tool, hold shift click on the original rectangle, so we have them both selected and I’m going to come over here to the Pathfinder tab. If you don’t have the Pathfinder tab, just go to window Pathfinder and then I should pop up and I’m going to choose minus front. So, what’s going to get rid of that right there and what I do now is I’m going to grab the direct selection tool and I’m just going to click and drag over these two bottom nodes or irin.
Just click and drag them up and I’m going to hold shift to lock it onto the the vertical axis. I’m going to bring this up to about here so that that tail isn’t too long and what I’m going to do now is I’m going to grab the select tool, click and drag over everything, and I’m going to want to zoom in on this. So I can get a better view of what I’m doing so to zoom in I’m, going to hold alt and roll up the mouse field a couple of times and I’m going to come back over to the shape builder tool and I’m going to hold alt and Click on this little piece right here, that’s sticking out from the circle, so that’s gone, and then I’m just going to click and drag over this area.
These areas right here so it combines them all to one shape and I’m going to do the same thing with this area and this area combined that all into one shape and then I’ll just turn that green actually don’t have to go back to the select tool And I’ll turn that green or you know what let me undo that you could hit ctrl Z to undo it I’ll click off that to deselect everything and then click on just this shape and turn that green.
So you can see the difference between the two. We have two different shapes here, so the next thing I want to do is just zoom out a little bit, I’m going to click and drag over both of these and bring the opacity of them all the way up, and I’m going to color them in now. With the gradient, so let me click off with the deselect everything I’ll click on just the black shape right here and under the gradient tab.
I’m going to from the drop the type drop-down I’m going to choose linear and if you notice it gives it a white to black rating we over over. Here we have the white stop and then we have the black stop over here. So I’m going to double click on the black one and then from this drop down, I’m going to choose HSB and I’m just going to choose a shade of pink something like that. Like a deep shade of pink, almost like a red, and we can click out of that, I’m going to double click.
This stop right here. This slider again choose HSB from this drop down and I’m going to make this one like a yellowish orange sort of shade. Maybe something like go with that right there and again click out of that to uh to release it and now I’m going to click on the green shape and I’m going to give that the same gradient so I’ll come over here. The gradient, the drop-down and choose linear, and it’s going to give it the same gradient only we want to flip this around so that the pink is on this side and the yellow is on this side.
So to do that, I’m going to come over here to the gradient tool and I’m going to bring the cursor just to the outside of the right of this strip right. Here it’s going to turn into a rotate icon and once it does that you could just rotate it around 180 degrees and then hold shift on the keyboard. So it locks up exactly on to 180 degrees, and then you could let go and there you have that right there.
So we’re just about done with this design. The only last thing to do would be. Let me grab the Select tool. The last thing to do would be to put a little bit of a shadow right here, so it looks like it’s casting a little bit of a drop shadow over this. To do that, let me click and hold on the rectangle, so I can grab the ellipse tool again and I’m going to create another ellipse, I’m going to hold shift and alt and click and drag to create a perfectly round ellipse.
Let me just make this blue. So we could see we could differentiate it up against the rest of this graphic and I’ll make the width of this one 50 and I’m going to bring the opacity of this down in half and I’m going to go back to the align tab and Center. It up on the horizontal and vertical axis like that. Let me grab the Select tool, I’m going to take this top node again hold shift and then just snap it to the top right there and I’m going to create another copy of this.
So I’m going to hold alt and click to create another copy, I’ll make this one green and then I’ll hold ctrl grab this node right here and snap it over to this node right there. So it’s lined up like that and then I’ll just click and drag this bottom-right node down I’ll hold shift and just click and drag it down a little bit, maybe about that much and then hold shift and click on the blue shape. So we have them both selected and now I will go to the Pathfinder tool and choose front just like that.
Then hold shift click on this shape right here and go back to the shape builder tool, hold alt and click on this interior air right here and now we go back to the select tool, click off with the deselect everything and take just this blue piece. That’s left over and press Delete on the keyboard and get rid of that, and then I’ll just take this blue shape right here, I’ll make that black and I’ll adjust the opacity of it until it looks about light, and that should pretty much do it.
For this tutorial, that’s how you can go about creating these simple letter logos using adobe illustrator. So if you have any questions, let me know and as always thanks for reading, yes,
So in this article today we’re going to do a review of the medieval Fight Club, crusading Knights data. That’S this one right here, hi guys it’s Ben from medieval mayhem. On this blog. We do a lot of reviews and we look at DIY costuming and furniture for medieval reenactment, the Society of creative anarchism and also for live-action roleplay game, as well as taking a good, in-depth look at many of the medieval cultures throughout the Western world.
So if you’re interested in the medieval period you might want to consider subscribe, hi, okay, I recently purchased this dagger. I was really looking for something to add to add some really nice touches to my costuming and my weapons. So I do some um some Hema, which is historical European, martial arts with one of the local reenactment groups and I’ve really gotten into it. I was really looking for a good sort of secondary weapon, as soldiers of today would refer to it.
I did a lot of research there’s a lot of rubbish out there. Then the market is really flooded with with cheap stuff and it’s just not packed right, but I found this one. It is actually very inexpensive, but the quality is really quite remarkable, so this cost $ 50, and I was quite impressed with that. The quality of the workmanship is very, very high. I’M really quite impressed the detail is is very good.
I find this a very easy sort of weapon to wield. It comes as a dull blade. It’S a total of 41 centimeters long, it’s a blade being 27 cm. The blade has a 35 millimeter width and weighs a total of four hundred and ten grams. So, let’s take a little bit more of a look already, so you can see this good shape of the blade here as a saying it’s nice and dull, so you don’t need to do anything with it to make it suitable for role play games, reenactment purposes.
That said, it is going to depend on the rules of your group. The the hilt has a really nice leather grip, and you can see it’s got a nice, rounded pommel. The cross guard is, is nice and firmly in place? I really like this. This is um. This is a classy piece of kit, I’m going to be making a leather sheath for this dagger in about a week’s time. So please remember check back so my recommendation fall of the crusading Knights.
Dagger is a 9 out of 10. I think it’s a fantastic piece of kit, otherwise guys please like subscribe and share and I’ll catch you in my next article
I know from personal experience that I have g’day guys my name’s Ben, for a medieval mayhem on this blog. We do reviews into other companies equipment. We look at DIY furniture and equipment, we do articles about costuming and all sorts of reenactment, but we also look at the politics and the religions and the battles of the time.
So if you new here, you might like to consider subscribing recently, I was purchasing some equipment from a company in Australia called medieval Fight Club, I’m going to leave the link in the description below and one of the pieces of equipment that I bought. I was very, very impressed with is this piece here, and this is the Norman dagger by medieval Fight Club. I was looking for something that was suitable for my son.
I’D need it to be a dull blade, something that’s not really going to hurt. Anyone he’s just 10 years old, so I didn’t want anything that was too heavy too cumbersome and too unwieldy, and it also needed to be safe and well-made. I was nothing but impressed with this one. I took this out of the packaging. This is incredibly well-made. It’S it’s a really nice weight. It’S it’s very easy to use, though the quality of manufacturing is really superb and I’ve got nothing but praise for this, and it wasn’t that expensive.
I was super super impressed. This is a total of 41 centimeters long. The thickness of the blade is three millimeters and you can see it has a rounded tip, so it’s reenactment safe. This is not actually going to hurt people. Obviously you need to be quite conscious of what you’re doing, but still it’s really good. You can see the pommel either is a really nice norman shape. This would be from around the sort of 12 ish 13th century sort of mark.
You’Ve got a nice leather wrapped handle it’s really good. It’S a nice one-handed, blade, obviously being a being a dagger, but you can see a lot of fantasies out there on the market and it just looks rubbish. The nice cross guard here is well built. I, like it, it’s um, it’s not overly, so that exaggerated or anything this is nice and simple and very functional. You have a good, fuller here. That goes, probably you know 80 % of the blade.
The blade itself is 25 centimeters long, and the width of the blade is 35 millimeters, and this cost at the moment $ 55. I thought was incredibly good. This is a really good value for money. You’Ll find it comes with a bit of an oily kind of greasy finish to it, you’re going to need to clean that off, and it will require some maintenance through the year so just to keep just to keep a um any rust off it.
And that kind of thing, but this is really good. I really like this – I’m nothing but impressed it’s. This is such a really good piece of kit I’ll be buying some more and similar sorts of knives and daggers from this company, because I think the workmanship is so good and it’s definitely worth my time in my effort. So look. I think this is a really good, solid, 9 out of 10 and I’ve, and I’m going to be doing a DIY dagger sheath in the next few days.
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