Uke chord hey jude

Hey, I am a new player trying to learn how to play different chords on my Yamaha Pacifica. But every time I put the tiniest of pressure on the fret, that specific note sounds like an elastic band (if that makes sense). IDK what to do. Can anyone here point out what I might be doing wrong, and how I can fix this?

Hey everyone,
I was just wondering what people think what sort of genre a clean tone with a lot of fast, dynamic power chords with a lot of short riffs in between the chord changes would fall under? (A little bit like Hendrix?)
I hope I explained it okay and if anyone knows any songs like that I would love to listen to suggestions, thank you!

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82 Hours After the First Round of Interloper Interrogations. UNAFS Perseverance. General Mess Area.
Evina
Before I entered the mess area, my mind had been completely and utterly obsessed with the countdown towards tomorrow’s big mission.
There had been little room for anything else, even as Lysara continued on the last few medical checklists in the clinic, and even as I continued talking to Eslaan about anything and everything related to his interests.
That looming worry, the calm before the storm, was driving me crazy.
And it wasn’t like it wasn't for good reason.
This was going to be a reality altering mission.
The contents within that place were bound to change the course of my entire life.
And I’d thought absolutely nothing would be able to pull me from that obsession, not even sleep.
But that was before I entered the so-called mess area, half expecting your typical bland, but clean and well maintained, cafeteria-like setup; with metal benches, metal tables, metal cutlery, and metal serving trays.
I couldn’t be more wrong as I entered through that threshold however.
At which point, it felt as if I’d just stepped through some sort of a time portal, stepping centuries back to a pre-war era dining establishment untouched by war.
This place… was nothing short of a truly upscale restaurant, but transplanted and somehow pasted into a spaceship.
There were floor to ceiling windows that weren’t seen anywhere else on board.
The floors themselves were made out of some fake wood that felt real enough that I couldn’t tell the difference.
There were large curtains that barely hid the thick and industrial-looking metal shutters clearly designed to seal off the room’s windows in emergency situations.
The seats and tables placed throughout the open space looked jarring when set against the backdrop of space, as each and every one just didn’t look like they belonged on a spaceship. The former were all upholstered, and the latter seemed to be made out of the same false-wood the floors were, with a single table in particular draped with a tablecloth atop of it, signaling that it was probably ours.
My mind had been taken over by the sheer insanity of what I was seeing, which prompted me to turn towards Lysara, then Vir, in rapid succession.
“What the heck is this, Lysara?” I uttered out plain and simply.
“The dining area.” The alien responded curtly.
“No, I know that, but… what the heck is all of this?” I gestured around exaggeratingly. “All of this, just doesn’t seem very practical.” I surmised, as every iteration in the back of my mind agreed, save for the first, who seemed oddly quiet but very much at peace within this living time capsule of a reality untouched by the horrors of war.
“It was a common trend back in my era.” The AI stepped in to respond. “Back in the day, humanity always had a penchant for bringing a little piece of home with them wherever they went. This was true, even all the way back when ships were little more than rotating rings strapped onto a single FTL stick. It’s sort of in human nature to always be homesick, to always be nostalgic, always yearning for something that reminds them of the comforts of home. This is in spite of them always feeling this perpetual drive towards venturing into the unknown, and pushing the boundaries as to just how far they could take things.”
“They sound absolutely terrible to live with.” I responded with a snarky sneer, garnering a look of confusion from the AI. “This indecisiveness is probably a heck of a headache when deciding on what to eat… let alone what planet to jump to for a mission.” I offered jokingly.
“Well, again, here’s where that weird and seemingly arbitrary dichotomy comes in, Evina. When push comes to shove, they can be as decisive as they can be, and as stubborn in maintaining a course they set their minds to. So in many ways, they’re always a bit of an enigma. Some even liken them to having two souls constantly fighting for dominance. I’d say however, it’s this sort of back and forth that makes them so much fun. Their unpredictability, their quirks, and their at-times nonsensical anachronisms, manifesting in stuff like the mess hall you see here, acts as the spice that makes the bland and otherwise boring universe something that’s just a little bit more tolerable.”
“Honestly? Their tenacity to make places like these, when utility would demand it be a quarter of the size with a fraction of its embellishments, really strikes a chord with me.” Eslan offered, which prompted Lysara to continue off from that thought.
“It shows that they’re willing, and able, to make the effort to push just a little bit for those little things.” The alien reasoned. “Many people, my own people really, have likened existence to simple survival, boiling it down to utility. But it’s these small things, these unnecessary things, that truly breathes life and meaning to exactly why we have to survive in the first place. Otherwise… what are we even surviving for if only to live and to hunt another day? It’s the hope that in the future, everything, and everyone, can enjoy a little slice of this sort of unnecessary beauty, that really strikes a chord in me too.”
There was a moment of silence that followed as we sat at our table, as I felt a surge of my first iteration’s memories hitting me harder than they’ve ever hit me before. Sights, sounds, and scents of the pre-war world, and all of its unnecessary embellishments, made just sitting here feel overwhelming.
These were memories that didn’t often come out after all. And even when they did… it was usually some combination of somber and morose, as looking out into bombed-out cafes and crumbling restaurants brought on more a sense of longing for what was long-since lost than anything else.
But here?
The sights elicited that sense of hope that Lysara spoke of; a hope for a day where these little embellishments could become normal again.
I remained quiet, and so did Eslan, for the longest while.
This was eventually interrupted however by a rather unique looking robot coming over to hand us printed-out menus.
Granted, there were only three choices but… choice at all was already in itself a huge privilege.
“The options are a single Vanaran dish, and two human dishes I’m afraid.” Lysara explained. “The menu was made after carefully looking at your physiologies, to see what would most be compatible and least likely to cause adverse effects. Suffice it to say, it’s safe.” The alien continued, as I read off the descriptions of each dish, which simply boiled down to: A vegan dish, a vegetarian dish, and a dish with primarily grilled meats. “If there’s anything I can do to change it to your liking-”
“No, Lysara. This… this is already more than enough.” I explained through a reassuring smile. “You do realize that it’s been a good few decades since I’ve had decent canned foods right? Bunker life had that going for it at least, but topside? We were eating who knows what sorts of irradiated plants and animals every day of the week.”
“Oh, no these… these are actually fresh.” The alien explained, prompting me to squint my eyes towards him in extreme skeptic prejudice, before pointing frantically at the meat dish. “The vegan dish I get, fine, hydroponics is a heck of a thing. The vegetarian dish with the egg? Heck, fine, maybe you have a whole host of chickens somewhere, I get that. But the meat? You’re saying you have a hecking FARM ANIMAL or a whole FARM on board this ship?!”
“Well…” The alien paused, before exchanging glances with the AI. “The humans did call the food production bay — the farm.” He offered jokingly, before shifting gears back to his more reserved persona. “But in all seriousness, you’re right with the hydroponics. The meat and egg situation however, is a bit different. You see, humans, like my own kind, have long since pioneered lab-grown meats. Thus, we have what’s affectionately nick-named a meat-wall, where meat is harvested fresh. Hence why all the items on the menu, meat-products included, are in fact fresh!”
I was stunned for a moment, but that sense of acute confusion was quickly tempered by my first iteration quickly filling me in on the existence of that particular piece of space-age technology actually being something our own kind had thought of prior to the war. The sudden burst of familiarity cooled down my confusion, prompting me to internally thank my first iteration’s memories for filling me in on an otherwise completely alien piece of technology.
In fact, Eslan was now exchanging a fast-paced nerdy conversation with the likes of the AI on the particularities of the topic. The likes of which I felt my first iteration clinging onto. “Well, I haven’t had radiation-free meat in a while… so let’s go with that.” I finally managed out, breaking through the haze of disbelief and my first iteration’s overpowering sense of curiosity.
“Likewise.” Eslan quickly added.
With Lysara putting in his order, for the vegetarian meal no less, we eventually fell into a little back and forth. A pattern eventually emerged, starting with Eslan pointing and asking at everything he could see in the room, practically immersing himself in every nook and cranny of lore that existed around us. This was followed up by Vir’s more than informative responses, Lysara’s long-winded philosophical tirades, and my own two cents on the issue as it pertains to my current life, or one of my prior iterations’ lives.
There was an overall air of just outright… fun to everything. A feeling that I thought was only exclusive to childhood and pre-war sensibilities.
It was definitely not a feeling I was at all anticipating to be feeling following my departure from the bunker.
If anything… it was a welcome escape, a true reprieve from literally all dangers. As even within the bunkers themselves, there was always the gnawing concern of a system failing or a bunker-breach occurring at a moment’s notice. Even deep underneath the airport, in a bunker of my own design, there always remained a sense of ominous danger that existed simply because of our exposure to the outside world and its ruthless inhabitants. There was always the fear that we’d be raided, and that fear did come true not a few days ago.
However, here? Floating above it all?
I finally felt it click.
There were no dangers up here.
What’s more, there was a sense of lofty hope that came with the lofty missions and goals of the aliens present as well.
Tomorrow still felt ominous, yes.
However, that ominous looming horror was at the very least tempered by the joys of the present.
Whatever happens tomorrow, I’d still have today to look back on.
One final day of true normalcy.
One final day of genuine happiness with Eslan, and the two new allies I’d hazard to call friends.
And one final day of enjoying the world I knew and the life I sort of understood, before diving back neck-deep into what could potentially ruin it all.
“Hey Eslan.” I managed out, long after the food had arrived and our respective taste buds had been assaulted by a flavor that I hadn’t experienced in literal centuries.
“Yes, Evina?”
“You’ll always be my best friend, my brother, no matter what.” I managed out after a mouthful of food.
This comment clearly took Eslan by surprise, but not so much that he was thrown off by it, no.
It was instead just enough for him to shoot back that genuine grin he rarely managed out. “You too, Evina. And nothing can ever take that away from us. I know my memories from before you found me might be messed up…” He spoke darkly. “... but everything else after that, the exploration, finding the bunker, renovating it, protecting it, turning it into our home — all of that was real.” He insisted, prompting me to place a hand atop of his shoulder in solidarity.
“It was.” I nodded. “And it always will be real, Eslan.” I acknowledged, prompting the felinor’s eyes to well up with tears, right as dessert arrived. “In any case. Let’s dig in.” I spoke reassuringly, shifting gears back towards what little time we had left of tonight’s unmitigated bliss. “We have a big day tomorrow.”
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(Author’s Note: The gang all gather together before the big mission, as comradery grows between the group! The next chapter is already out on Patreon as well if you want to check it out!)
[If you guys want to help support me and these stories, here's my ko-fi ! And my Patreon for early chapter releases (Chapter 95 of this story is already out on there!)]

What's this?: Each month in Doctor Who Magazine they have a column by Russell T Davies (formerly 'Letter from the Showrunner', before that 'Production Notes') - a column by someone involved in the production of Doctor Who, and normally in the form of either the showrunner writing pieces about writing Doctor Who or the showrunner answering reader-submitted questions. Because these pieces and questions have often been used as a source for blogs to write misleading stories, they started being typed up for /gallifrey.
Hey thanks for doing this! Now I don't have to buy it: Yes you do, otherwise you'll be missing out on: in-depth previews of the first three episodes of the new series (Space Babies, The Devil's Chord, Boom); a joint interview with four of the stars of The Devil's Cord - Chris Mason (John Lennon), George Caple (Paul McCartney), Philip Davies (George Harrison), and James Hoyles (Ringo Starr); an in-depth interview with Jinkx Monsoon (Maestro); an interview with Anita Dobson (Mrs Flood); a feature on the construction and design of 'Jimbo' (the robot from Wild Blue Yonder); a deconstruction of "Smith and Jones"; the final part of DWM's Fifteenth Doctor comic-strip "Mancopolis"; reviews for all of this month's DVD/CD/Book releases and EVEN MORE.
It's available physically in shops and digitally via Pocketmags.com!
Want an archive of the previous Production Notes that have been posted on /gallifrey?: Follow this link.
I bumped into Sarah Lancashire recently. I said, "Matron Cofelia!" Without a pause, she replied, "Of the Five-Straiten Classabindi Nursery Fleet, intergalactic class." She still remembers!
I love those mad Doctor Who words, all those names and proper nouns that we'll remember forever. And now here comes a brand-new batch. Will we ever see Mondo Caroon? Where exactly is Bertie Lester? And how many people does it take to fly an Asteroid Hopper? All those words and more are hurtling towards you, starting May 11!
Here in the Doctor Who factory at Bad Wolf, we're clanking away, still shooting the climax of Season 2 - which includes the words "tinderbox", "Croydon" and "threshold", and oh, I wish you could see that guest star - but a lot of our focus has gone on to the most important thing of all, the launch of Season 1. By the time you read this, we'll be on the verge of our premiere in London, and then we're zooming off to launch the show in New York and LA too. Showbiz!
But be warned, screenings mean that spoilers will start to flow. And I know that's a tricky issue for some viewers, with episodes dropping at midnight on the BBC iPlayer, before they're shown that evening on BBC One. Doctor Who has had all sorts of transmission patterns over the years, with lots of bumps and changes. I can remember 1996, standing in the queue outside HMV at midnight to buy a VHS copy of Paul McGann's Doctor Who movie, five days before it was shown on TV. Five days! Even before the shop doors had opened, a man behind me spoiled the entire plot, yelling out, "And then the Master falls into the Eye of Harmony!" But still, I went home and watched it until 2am and loved it. Also, famously, in 1983, the BBC released the paperback novelisation of The Five Doctors weeks before it went on air. I bought it and denied it; I let it burn, glow and tempt me from the corner of my bedroom in Juxon Street, Oxford. All I did was flick through the first few pages, which had a marvellous chapter concerning Susan, the Doctor's granddaughter, walking through the ruins of a post-Dalek-invasion London... only to discover it was invented for the book and didn't happen at all on screen! And then, to top it all, The Five Doctors was shown in the USA a good two days before it reached BBC One on a Friday - not a Saturday! - night.
And now we have 2024. With plenty of warning of the new pattern, for you to plan ahead and choose your own viewing. And that's the point: choice. You're not having to change your habits to fit the show, the show is changing to fit you. And it's changing to adopt the patterns of all modern TV shows. Yes, I think all of them, very soon. This is the future, and it's here, right now.
If you want to stay spoiler-free before the Saturday night transmission, I honestly believe it can be done. I stayed spoiler-free when Game of Thrones would drop in the UK in the early hours of the morning. I'd happily watch it at 9pm that night, in blissful ignorance. And okay, maybe I'm not as online as you are, but that's the key. Manage your online activity for, what, 18 hours? And it's a Saturday too, have a day off!
Easily said, I know, I know, but consider Casualty. I watch that every week. I have done for decades. They now drop their episodes on the iPlayer on a Saturday morning, before that night's TX. And they recently had an episode which resulted in - spoilers, look away - the shock stabbing of Charlie, a good old-fashioned cliffhanger. And it was a surprise to me. I'd remained spoiler-free, happily startled on that Saturday night. And okay, I get you, Casualty might not buzz as much as Doctor Who online. The Holbyverse hasn't quite taken off in the same way. But to counter that, bear in mind: I do follow Casualty, it's made in the city where I work, I know some members of the cast, I know some writers very well, and a good friend of mine is a script editor on the show (hello Tommy, I bet he reads DWM). And despite that proximity, I still stayed spoiler-free. It can be done! It's actually fun.
And bear in mind, a midnight viewing could be lovely. Stay up! Have a party! And that includes kids, too - plenty of children went to midnight openings of bookstores when the new Harry Potter books were released. It was part of the game, part of the narrative, a story they'd tell for years to come. I'd especially recommend midnight for Episode 7, because it's shocking, frankly, and there might be screaming! And the planning of a viewing can be an absolute joy. I remember my Paul McGann midnight vigil as really fun and daft and dedicated, all part of the warp and weft of my life as a Doctor Who fan. These anecdotes make us who we are.
And even on the actual Saturday night, you own it now. Because, yes, you can sit there at the allotted time and watch your favourite show, as normal. But now, look, if the pizza is delivered late, you can wait. If mum's stuck at work and misses the bus, you can pause and start half an hour later. Or if you've got a party later that night, or a big trip planned for Sunday morning, you can start an hour earlier. If all your mates happen to be in town on a Saturday afternoon, you can have your viewing party then. And don't a lot of you like Doctor Who in the dark? So wait till 9 or 10pm, feel that unique Doctor Who terror that comes with drawn curtains and the lights low. The programme is yours, now. Yours absolutely. Yours to start and stop and pause and play whenever you want.
Thing is, we all want to make our own appointments. We wish that we could say to the doctor, or to Amazon, or the gas man: Saturday at 9am, please. We want to be in charge of our own lives. Now, with Doctor Who, we are.
Someone told me recently that Generation Alpha considers radio to be a really odd thing. How weird, they said, that you have records, chosen by someone else, played in a fixed order, and topics of conversation decided in advance, by unknown people, offstage. If you're young, I was told, that seems bizarre, because it makes you powerless. And I can see what they mean. At my age, I cling to a Radio 2 schedule, but I get it; I might disagree but I can also see how that opinion of radio is true. Which means, again, that choice is the way things are heading, and the tide cannot be stopped.
For now. Maybe one day things will change. They might revert back. They'll more likely find something even more new. Maybe in 10 years we'll have all programmes blipped directly into our brain by a psycho-link!
But seriously, I'm not making light of this. I can hear the worries. It's easy to say 'stay offline' when your health or job or nature might make that impossible. And I'm sorry, because then, yes, spoilers, will fly. Unfortunately, there's always been a subset of viewers hitting the spoiler problem, like the tons of people who work Saturdays and on night-shifts. They've had to negotiate this for years. So there has never been a transmission pattern in the digital age that's perfect for everyone.
And to be honest. If you're that online, and cannot change... folks, you stand a high chance of getting spoiled anyway. Before transmission. That's the modern world. Beyond my control. From April onwards, there will be screenings and previews and screeners and friends-of-friends who've seen episodes in advance. And Doctor Who is so popular, it's a victim of its own success. It has devoted fans who will talk, and share, and some who will move heaven and earth to discover information, and post it, far more than, say, good old Holby.
Some people have said to my face that they think our leaks are deliberate. That it's a deliberate attempt to drum up publicity. Let me tell you now and forever: nonsense. To try that with the press and online would be to dance with the devil. And also, inappropriate, because the BBC is a public service broadcaster. I promise. No leaks are ever deliberate.
But still they come! And we try to stop them. We have great people working very hard at the problem. One script was found recently in Brazil! Back in my old 2005-2010 days, a script with the actor's name watermarked on every page was found on a park bench. A copy of The Next Doctor was once on sale in a sci-fi shop in Florida! And I might laugh about this - you see, transmission becomes anecdote, in the end - but I know these spoilers are damaging. I'm told that the entire plot of The Giggle and The Church on Ruby Road were available online, in detail, months before transmission.
But there you go. If you're that online... you always will be. And, in fact, that's part of your joy too. You like it. You love it! So for the run of this season, the hours after midnight will be your ultimate playground. Okay. I can only hope that your happiness doesn't dent someone else's.
Right, let's sweep that off the desk - the most important thing is, NEW DOCTOR WHO! And not just Specials, this time, but an actual season, a great big proper season, for the first time since 2021. And new viewers! Hopefully, for some people, this will be their very first copy of DWM, and I apologise if I've wittered on about 1983 and VHS and Brazil. Ignore me! Because the crucial point is: this season is new, the Doctor and Ruby are new, and the monsters and stories and villains are new, new, new.
You can start here, first-time viewer. Don't worry about all those years of backstory. Truth is, there isn't one. He's a man in a time machine and she's his best mate, that's all there is to it. If you have questions, don't worry, Ruby asks them! And the show works like an anthology series - every week, a new time and place. Deep in history, or the future on far-flung alien worlds, or thrillers in the modern day, we've got them all. Lots of free-standing episodes, although, pay attention, because there are little hints and hooks here and there which might build up to something in the season finale.
And you, old faithfuls. Create new viewers! Have that screening party and invite someone new. If someone says "I don't know where to start," tell them: right here, right now! If I've worried here about transmission, it's because I want you all to have the best possible front-row seat as we introduce, ladies and gentlemen and others...
Ncuti Gatwa and Millie Gibson. The Doctor and Ruby Sunday. I adore this team more than I can say, and I'm so excited to unleash them upon the world. At this stage, I must've seen each episodes about 25 or 30 times, and yet I still see new things in their performances. Oh, they dazzle! What an honour to watch two brilliant actors seize these scripts and make them spin and sizzle and soar. I swear, those two will make you hoot and gasp and yell and weep, and then hoot all over again.
I have loved Doctor Who all my life. And now a brand-new form of Doctor Who is about to light up the sky. So whatever time you're watching, buckle in and settle down. Because here it comes. The ride of a lifetime. Hold on tight!

Hey guys! i'm trying to get the hang of making punk / rock music but i can't seem to actually make the rhythm guitar have depth, sort of like nirvana's or literally any popular punk or grunge band. I've found mild success in using some inverted power chords along with normal power chords but nothing's really clicking. Any tips? What should I pan? Anything you can contribute, thank you.

Hey u/rallier and fellow PTM fans! Looking forward to seeing you all this Saturday!
I’ve noticed some of the setlists from this tour include the “Hey Jude” outro. My first child, Jude, was born in January. It’s my first concert since he was born and 8th PTM show!
It would make my day if the band could include “Hey Jude” in their set.

I wanted to highlight a key issue I’ve been seeing with the balance philosophy over the past few years: I think it tends to hurt players more often than it should, and delivers them joy less often than we’d prefer.
While it’s a good thing that adjustments are made more often these days when it comes to keeping experiences fresh and attempting to keep meta dominant forces at bay, there’s a lot more to balance than nerfs.
Consider a tier S deck. It is by far the best thing to do, and if you don’t do that, you lose more games. These are your Undertaker Hunters and Ashes of Outlands launch Demon Hunters of the world. The best and uncontested by anything. These things do need nerfs to bring them back down in line with other decks, to give players the ability to explore other strategies, and so we face more variety in opponents.
Those goals are good as they give players more options to explore and more chances to find something to fall in love with, as well as reduce frustrations from clumping up in one particular area. Frustrations will always exist so long as losses do, but it’s important that play experience is varied to ensure those frustrations don’t come from the same places over and over again. As they stack from the same place more often, they tend to get more frustrating and the game more repetitive. We don’t want to add that level of frustration to the game experience.
Now that’s all well and good, but there are downsides to nerfs too, which tend to get less appreciated in players anger to get revenge on their opponents deck.
First, nerfs take things away from players. They can invalidate parts of collections and decks that people really enjoyed playing, leaving one with a sense of loss and that their time/money put into crafting a learning a deck was not well spent.
I remember many years back when I first started playing and was really into the original miracle rogue deck. While I knew it was a wasted investment, I decided I liked it so much I was going to make it gold. As I was part way through this process, Leeroy ate a nerf. I realized that this entire investment I was making was suddenly devalued (as I didn’t get a refund on all the other related cards) and it felt like shit. The same thing happened next time auctioneer ate a nerf. My good times playing the deck became much less good.
Were those nerds deserved? Sure, maybe they were. But it also felt like shit all the same because I was losing something I loved. Ideally, we want to minimize that feeling in players. Imagine how you might feel if you spent $50 on a signature Sif because you like the deck so much just to watch your Rainbow Mage eat nerf after nerf (even when not really warranted by win or play rates) until it’s unplayable trash. That’s a horrible feeling we’d like to avoid.
Second, nerfs do not create new strategies. It’s a strictly subtractive process. Now if one strategy is way too oppressive you need to substract sometimes so other decks can breathe, but if there is really nothing in the game, or an expansion that is viable and appealing to you, in terms of play experience, then nerfing the top decks won’t actually fix your problems. You need somethings to enjoy more than you need nothing to hate.
As an example, we can consider spell mage right now. That archetype sucks. It even got buffs and still sucks. If you enjoy the idea of spell mage, it’s unclear how many nerfs it would take to make it viable but, so far this expansion, that number seems to be “probably more than 30”. The number of times you’d need to delete other strategies and other peoples fun to push mage into the meta is unreasonable and undesirable. The same can be said of many archetypes, like Taunt Warrior, Combo Rogue, or those Demon Hunter cards that synergize with drawing cards. Nerfs to the best strategies don’t make those archetypes work because they’re extremely imbalanced.
Imbalanced, in this case, meaning exactly what it should: they are far from the average power level, just in the negative direction. The way many players focus on imbalances tend to be in terms of pulling top performers down, likely for the very simple reason that they see the top performers. It’s easy to forgot how many dead archetypes might exist but don’t because of how very weak and imbalanced they are.
This is where buffs can come in to really save the day. By bringing up weak and unplayable cards into the realm where people might start thinking about them as options for decks or role fillers, you can really create more fun, as you increase the ways to play the game (without getting harshly punished by losses), increasing the chances people might find something they really enjoy and increasing the variety of opponents you face on ladder, reducing frustrations and boredom.
Consider Henchclan Burglar. A 4 mana 4/4 pirate that discovers a spell from another class. That card will never go into a real burgle deck because it’s irredeemable trash right now. Like Shell Game, it’s a card that is bad and would be weak even if it was better. The number of nerfs that would need to happen to the meta for that to be a real card in decks isn’t reasonable. So right now the card, in practice, doesn’t exist. And it hasn’t existed for years. But if you buff Henchclan up to, say, a 2 mana 3/2 it’s now a card that might go into some decks without any fear of it being too good (as we already have the reference of Kajamite Creation).
There are dozens or even hundreds of cards in standard you might consider for changes in this way, across all class. You largely don’t need to worry about power creep in these case for the simple reason that it’s not power creep. It’s just taking a bad card and making it less bad. And hey, even if sometimes the process makes things too good, you can just nerf them back down. Balance is, after all, an iterative process.
In the ideal world, Taunt Warrior could be a 47% win rate deck some players enjoy instead of not existing. Same for coin rogue. Or spell Mage. Or draw demon hunter. Or deathrattle DK. Or anything in any other class. The more packages of cards get released that just suck, never get better on their own, and never get buffed to the point anyone might play them, the less fun there is to find in the game.
So in discussing balance, let’s really focus on balance, and not just try to tear down the top performers to replace them with new top performers that get torn down until everyone loses a deck or two they love without getting new fun things to do.
[Additional information: Let's get a concrete handle of the situation, using VS's last report:
In Warrior, buffed cards include: Shield Block (and Gift, by extension), Slam, Bash, Bladestorm, Armorer, Aftershock (after being nerfed), and Craftsman Hammer
In Rogue: All excavate cards (Scorpion), Flint, Velarok, Antique Flinger, Fan of Knives, and Tess
In Druid: Aviana, Wild Growth (ie. Gift), Swipe, Chia Drake, and Woodland Wonders
In Hunter: Ball of Spiders
In Paladin: Grimestreet Outfitter, Acolyte of Pain
In Priest: Pip
In Shaman: Hex, Lightning Storm, Hagatha, Altered Chord, Jazz Bass, Ancestral Knowledge, and Spirit Claws
In Warlock: Sludges, Popgar, Sludge on Wheels, the Fatigue Package, Furnace Fuel, Spirit Bomb, Molten Giant, Felstring Harp, and Symphony of Sins
In Deathknight: Much of the Rune system, Maw and Paw, and CNE
In Demonhunter: Going down swinging, Kayn, and Metamorphosis
In Mage: Manufacturing Error
These are cards and decks that are seeing play, in part, because of buffs. And that's a good thing. We just want more like it in more packages of cards and classes]

Hi all ! I've recently made my comeback to guitar about a month ago. I am 34yo and the last time I touched a guitar before that was almost 17 years ago. I'd say I played from 14 to 17 ish. I've always regretted being the little prick that I once was and thought about coming back for almost 2 decades until I decided YOLO. I bought my dream guitar, a used Gibson SG, and boy does this guitar have the mojo. I cannot put it down. When I plugged it in for the first time at home, it was a tear inducing moment. I was sure I would have to relearn everything and that I couldn't even play a chord. I was totally wrong , it felt really natural, instantly remembered some scales and chords, and even could improvise with some good old power chords. Now about a month in and I have relearned a few ''easy'' songs I once already knew (although very sloppy but making noticeable progress everyday). My question is this : I'm very into fast technical punk/rock like Propagandhi (my favorite band ever) and some pretty metal stuff. Whenever I look at tabs from these kind of songs I'm always like wow, that's impossible ! But when I actually sit down and try it, my attitude change toward ''hey, maybe if I slow it down and get at it everyday, I'll be able to play it in 6 months to a year from now'' Will I burn myself doing that ? Should I'd rather slowly work it up from easier song ? My reasoning being it is that if I wait 6 months to a year before I start learning some harder stuff, I will miss 6 months to a year of practicing it.

Hey all! Mr. Bomb's comments about the importance of documenting game development history struck a chord with me, so I'm putting together an interview series with a whole slew of people from Looking Glass and other studios from the same time.
Anybody have any questions they'd like considered?
Also, how do I go about asking the man himself? I tried his business email a while ago, but didn't hear anything back.

Greetings!
In todays session, we would like to talk about the best drug in the world, literally! Rather, we would like to bring further clarity!
It is, drum roll......... Magnetism!
(*distinctive disappointment from the crowd*)
"Nobody cares about Magnetism mate!"
"Hey! I HAVE FEELINGS!"
"Alright Magnetism, calm down... Why is everyone so sensitive nowadays!"
We of J believe that this is quite an accurate depiction of how Magnetism is treated. Oxygen you see, is a slightly magnetic atom, and magnetism has an edge over electricity as but a rule of nature.
There is truly, always more positive magnetic energy in the universe, this is a well depicted rule in nature for the observant. Gravity is a unique offset of this effect, a clever trick to diffuse the balance of the abundant positivity.
When your body becomes full of a paramagnetic gas or liquid, one can see a flow of energy in their body due to the sheer sensitivity of the nervous-system, this flow of energy is what we know in Tibet as Prana.
Filling the body with oxygen but not too much carbon requires such finesse, that only a tree you stare at for long enough could teach you how to do it.
It can take quite a while for the prana to reach the spinal chord, and you must maintain a constant pressure/attention in your brain to give the magnetic energy a direction to flow.
When the magnetic energy finally reaches the pineal gland, you begin to experience the U N I V E R S E!
Now, we cannot tell you the way to breathe, because it is always going to be personal to you, but if you learn how to breathe in the correct rhythm to balance the ratio of oxygen to carbon dioxide, such that there is always a little more oxygen than carbon in the body, as we place jokes aside, we truly believe (should you be grounded and have accumulated enough life experience in prior incarnations (you're probably a wanderer if you're reading this so you most likely qualify)) that you should be fully capable of experiencing cosmic states of consciousness on magnetic energy alone.
Getting the boat of prana flowing can be quite difficult, we highly recommend using any plant medicines that you feel are safe for you and if you begin to feel dizzy or like fainting, it is because you got the balance of carbon dioxide and oxygen incorrect and went back to being a magnetic insulator.
Recall a useful rule of breathing:
Start slow, it gets better slower.
Start fast, it gets worse quickly and better slowly.
Enjoying breathing is very hard in environments that lack prana, going into nature where there is plenty of magnetic energy looming around due to photosynthesis would be our recommendation.

Hey, i am struggling to make a decision between an octatrack mk 2 or a digitakt 2. My setup is analog rytm mk2 for analog live drums. Akai force for midi clip sequencing and midi control cc's. I am looking for an audio sampler where i can trigger longer chord parts, fx layers and drumloops and use the p lock elektron sequencer to be creative. Which elekteon device would you use for this ? octatrack or digitakt ? Thanks !
Edit : thx everyone. Octatrack it is ! Force as midi and audio clip launcher, all audio comes in external soundcard from synths. Force Main out to Octatrack, analog rytm into octatrack. Octatrack addon top layers with elektron sequencer and messing around live. Got it ! Thanks !

I'm a drummer in a band that isn't pop punk, but I decided bitch and moan here because I fit into this scene, not whatever jazz funk stuff of the band I'm in.
We have a frontman who is probably one of the 2 most self-centered, least considerate people I have ever met in my life. The band started with just him and I back when we were cool. This dude started buying thousands of dollars of gear to "make us sound better" (pro tip: we suck ass and need to practice more, idiot), fucked around with my drum kit until I flipped out on him one day and he stopped, and added a band member that used to be one of his buddies from years ago. I found out by walking into practice one day and him going "I'm gonna tell you this, I talked to that guy and added him in the band". The dude is cool and shit but he lives in another fuckin time zone and that makes things pretty hard to work around sometimes.
This dude has also gotten involved in my personal life and caused me pretty irreversible trouble, which I lost a literal majority of my friends over because he has to get involved in the middle of everything.
Well we get a text today telling us that he added another dude (a guitarist) and is just gonna start him off with some YouTube stuff. Not a fucking question, not looking for opinions, just a heads up. I told him I didn't like the idea but was down to try, and he sent back a big long ass text about how he hasn't led me wrong before.
I actually have been wanting to add a guitarist for a while. I would be pretty excited about it. But the fact that he didn't even throw out a "hey, want to try this dude?" text really pisses me off.
I keep wanting to quit but at this point being in a band that fits around my schedule is worth the price of the bullshit. Ive also learned how to become pretty detached and just come in to play music and cut my teeth so I have some experience for whatever band I actually end up in and give a fuck about. He is also constantly bitching at me because I want to enjoy playing music and he wants to grind out hundreds of hours perfecting the songs he writes (the dude doesn't know what a chord progression is. Again, we suck, and that's okay. But at least I'm not bullshitting.)
If you have a similar story, I'd love to hear it. I'm feeling pretty stuck right now, because if I quit the band I'll probably lapse in skill before finding another one, so Im just kind of riding this wave out.
What was the last thing the drummer said before getting kicked out of the band? "Hey guys, I have an idea".

Hey everyone. I’m trying to understand the theory behind songs I like, and how to apply that to my own stuff to improve.
There is one chord progression that I really like in a song and I was wondering if anyone could understand why it’s appealing? Like objectively, why do these certain chords sound good together?
https://www.hooktheory.com/theorytab/view/elliott-smith/christian-brothers
In the “Intro” section click on “piano” above where it says YouTube, then click play. The chord names are displayed on the website. Thank you! Sorry if this is a weird ask.
Also, these chords aren’t diatonic to one key, right, as it has both IV and iv? Just to clarify, am I correct that the major and minor chord of the same note aren’t ever in the same key (e.g. C major and C minor chords being in one key)?

Hey folks, I'm just diving into music production, trying to figure out how to nail those chords and melodies like the pros. I've got a decent handle on samples, but I'm still a ways off from the level of the guys I look up to (Metro Boomin, Kanye West, Pharrell, and Dr. Dre). Any tips on mastering samples, blending them with chords, and all that jazz? Know of any solid resources to step up my game?

Hey Delilah guitar tabs download as PDF and Guitar Pro on: https://paidtabs.com/search/fZWxGYfwO-M
Click here for a free preview of the score (first page)
This score has 8 PDF pages
Credit: this score was transcribed/uploaded by @liamlmd
If you cannot find the score, it might be because of a copyright issue. Click on "Request" button at PaidTabs.com to request and get the score.

Hey Music Theorists,
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Very soon I'll be on my high school senior project, where I'll be working with my local philharmonic and music school on general intern stuff, but the ultimate goal is to make a composition. There isn't a super strict criteria for the composition, but I was thinking a jazz ensemble/big band piece.
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For background on me, I'm primarily a vocalist, saxophonist, and violinist, but I've dabbled in bass, trombone, and a little bit of guitar. Theory wise, I'm pretty confident when it comes to scales, and keys and all that, but have very little knowledge when it comes to things relating to the rhythm section like drum notation, chord progressions, or really any composition in general.
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I'll also be seeking advice from peers and advisors, but I'm generally here looking for tips on how to get started, what I should know theory wise, and any other relevant advice.
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Thanks in advance!

Go to guitar bass drums fantano music rock audioengineering jazz progrockmusic and ask what modern music with rock/jazz/blues/disco/old pop instrumentation that will actually stand up against the great old bands, everyone will find bands where their favourite drum/guitabassplaying and take some singing and songwriting into account and fantano are't hugely into rock and is biased towards modern music anyway and will find standout acts. music and rock is more boomer friendly and look at more nostalgia acts, while audioengineering will give us albums with their favourite mixers and producers and recording rooms. The result will be very, very little common bands. If you ask preferences for 1971, 1981, 1991 there will be loads more common preferences. Your favourite drum/guitabassplaying and singing and songwriting in one band, with the best producers and recordings. Led Zeppelin and Black Sabbath and Cream and Genesis and AC/DC and Pink Floyd and Nirvana and Smashing Pumpkins and such. Those bands doesn't exist anymore. It just doesn't. It's one of the most intensively true sad facts of modern music. (And playing isn't technical - most of all it's sounding tasty. Roger Waters has an incredible song serving heart beat thump of his simple bass lines. Same for Grunge and Alternative rock guitar)
What might be up for discussion is how time filter outs preferences, but I can't really see that having a big impact. We won't find a common Led Zeppelin, or even half a Led Zeppelin when 2021 is as far away as 1991.
Why should we care about rock instrumentation? Well I could make it broader to call it heavily rock instrumentation based and rather seek what instruments Van Morisson and Joni Mitchell had on their great albums to straight rock to hugely elaborate instrumentation of something like Hey Jude or even Women in Chains. What it does great is its primitive nature. Human needs music and we have needed it for million of years and music has always been about human stories and togetherness and interplaying with human expression. We are all born into needing that. It's brilliantly displayed with rock instrumentation. Just enough members to remember and focus on all of them and they have very expressive playing and singing and interplaying songwriting and performance wise, and often great lyrics and stories.
I love most of the most loved electronic music over here at fantano. It includes Charli and Daft Punk and Sophie and Caroline Polasheck but programmed music is a novelty that will not speak to us in a timeless and sustainable way. I am beginning to thank AI that it makes more people realise that human expression and togetherness (actual bands) and stories with actual roots matter. (A fact that isn't making me counter-argue myself, but actually my points stronger, but also makes this more complex, because innovation can still be great, is that the electric guitar is the most EXPRESSIVE and dynamic instrument of all. Your hands are on the string and every nuance can be set to be amplified. You get string chords and Nile Rodgers and James Hatfield and Malcolm Young percussiveness and David Gilmour howling leads and Jeff Beck level of sounding unique, and the range between light to heavy, and sweet to the most aggressive, like no other instrument can compare to. There's really only voices who can compare.)
Stuff like Spellling's Turning Wheel and also Jessy Ware and Jeff Rosenstock and TPAB triggered me to make this post. Its incredibly far away to hear guitar bass drums rock audioengineering jazz progrockmusic talk about those. I kept imagining hearing David Gilmour and truly characteristic Ringo Starr drumming on Turning Wheel, with radical Revolver type striking Audio Engineering in parts. Phil Collin's type drumming on What's Your Pleasure. A drummer as remarkably recognisable and great Jimmy Chamberlin or Dave Grohl on Hellmode. Jimi Hendrix on a song like Castles Made Of Sand featuring Kendrick on TPAB.
I'm simply wanting more of it. I won't get much more maybe, and this might all be pointless, because many of you might and agree and say "yeah, but what good is it to choose the mindset to not expect to love modern music releases, when you can just slightly trick yourself into loving it a little more than it deserves?" (lol, sorry for making that an argument of itself) but I am here to argue against people who have this unreasonable unacceptance of modern music being somewhat worse, and just maybe make some people think just a little harder on this stuff. Try to argue against me or my pal Rick Beato which I agree with most of the time (not the side of him that is Steely Dan hyper fanboyism and ultra western music theory based understanding and language in music. But everyone who tries to counter argue him straight up fails horribly most of the time).
I also genuinely think more people need to look more into old music
Hit me as hard as you can!!!

Son of a dead head here and haven’t really dug into this music until about 2 years ago. Help on the way has become one of my absolute favorites. Especially on this last summer tour, I feel like they’ve been absolutely GROOVING on it. Don’t even get me started on Mr Fantasy -> hey Jude hahahaha that shit is whhswjwiwndhwbgagahvehwh!

From my understanding the standard tuning doesn't really have good shapes for power chords. When playing guitar songs on the uke it really bothers me to try to figure out how to translate the song.
Is there any tunning that fixes this? Is there any shape I could use?
I have more then one uke so I wouldn't mind having a different tune in the second one.

Hey everyone. I am looking to help people who no may be in a tough spot these days. This has helped me in the past so I figured I’d try helping someone else out, plus I could use a friend too! Let me try to sell myself to you!
My hobbies include: Hiking, fishing, camping, gaming, and (honestly my favorite) reading. I am trying to read a book a week this year! I’m always open to try new things and listen to any suggestions someone may have.
Music is something I have a hard time narrowing down. I really tend to like any kind of music, minus rap. I really want to broaden my horizons musically. I also just picked up guitar. I am just starting and know about 5 chords lol.
I was in the Army for a while, been to a lot of places and now I work in IT.
I have 2 yellow labs that I love to spoil. Love sharing pictures of them if you want to see
I really appreciate you making it this far. Thank you! Maybe this will be the beginning of a great new friendship! If you get this far tell me your favorite thing about yourself!