This is the prototype of the first half of the new chapter of my science fiction radio play "Extreme Gravity" . . .
THOUGHTS I plan to add more instruments and foley sounds, but this is the prototype of the first half of "Chapter 14: A Murder of Clowns and Babblers" . . . In particular, I plan to add trumpets, a kazoo band, and spaceship sounds . . . Once all the instruments and foley sounds are recorded, I plan to do some submixes so I can control the overall instruments and foley sounds relative to the voices . . . [NOTE: This is mixed for listening with studio-quality headphones and Apple AirPods. There is motion and panning . . . ] Lots of FUN!
Last edited by Surf.Whammy on Wed Apr 10, 2024 7:53 pm, edited 3 times in total.
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That is very creative and fun! Good job! I got a chuckle out of the babblers.
I might suggest adding nuances to the snare drum - like volume, velocity, flams and ghost notes here and there. It sounds a bit machine-gunny; but maybe that is the intention given the material. Plus you mentioned you plan on doing more instrumental work so this may already be on your agenda. |
I added more instruments and foley sounds . . .
THOUGHTS Roll back the clock 20 or so years, and I was opposed adamantly to dongles and subscriptions, although subscriptions are a more recent appearance . . . Now there are iLOK USB dongles, and there are subscriptions for most of the VSTi virtual instruments and VST effect plug-ins I use . . . I have a few Apple computers, and the iLOK USB dongles let me take the licenses to the computer I need to use, which is very helpful and saves money . . . Subscriptions are similar, and I like them . . . In particular, UVI has foley sounds and various outer space style sounds, and I noticed today there is a new version of their classic set of foley sounds, as well as an "otherworldly" VSTi virtual instrument called "Glass Orchestra", so I downloaded and installed them via the UVI Portal . . . XTreme FX II (UVI.net) Glass Orchestra (UVI.net) I found a Kazoo sampled-sound library for Kontakt (Native Instruments) at Soundiron for $9 USD and purchased and installed it, which was very easy to do and worked nicely with no problems . . . Kazoo (Soundiron.com) [NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506 headphones and Apple AirPods . . . ] [NOTE: Until I do submixes to buses so I can control the volume levels of the instruments via "ducking", it's not so easy to hear the voices all the time; hence this is the matching script . . . ] Chapter 14: A Murder of Clowns and Babblers Lots of FUN!
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acequantum wroteThat is very creative and fun! Good job! I got a chuckle out of the babblers. The "Babbler" was spontaneous, and I like it, too . . . It's in the classical styles of "Surfin' Bird" (The Trashmen), "Papa-Oom-Mow-Mow" (The Rivingtons), "Scatman (ski-ba-bop-ba-dop-bop)" (Scatman John), and "Rowley Birkin Q.C." (The Fast Show, Paul Whitehouse) . . . [NOTE: This is a Dutch comedian, singer, and musician, André van Duin, who had a bit of FUN dancing silly to the first two songs in 1964 . . . ] The first time I listened to the babbling after recording it, I instantly thought it was a fabulous idea for a song, so that's on the agenda . . . It's babbling--no actual lyrics--so the key is to compose a happy, upbeat instrumental track . . . My thinking is that borrowing a few ideas from Rammstein will be super . . . [NOTE: I like the drum kit rhythm, electric guitars, synthesizers, electric bass, and baritone singing . . . ] Lots of FUN! P. S. From the perspective of music history or musicology, when you listen to music frequently and have an eidetic type of audio memory, it's nearly impossible to have truly original ideas; and this is something I embrace vigorously with the goal here in the sound isolation studio being never to have an actual original thought . . . Careful listeners will observe the Intro for the "Extreme Gravity" chapters is a caricature of the rhythm guitar chords for "Walk Don't Run" (The Ventures), "I Want To Hold Your Hand" (Beatles), and the back-and-forth electric guitar chords from "Heat Wave" (Martha & The Vandellas)--or is it? [NOTE: This is one of my favorite songs, and I had this album and listened to it over-and-over. My other favorite song in the sense is "She Loves You" (Beatles) for which I have the original Swan 45 RPM record. In some respects these are simple songs, but good luck playing them note-by-note in every respect . . . ] [NOTE: I love the rhythm guitar chords for the verses on this song. They are what I call an "Reverse Louie Louie", since from the perspective of bass, it's upside-down (4-5-1 rather than 1-4-5) . . . ] YouTube checks for copyright violations, and my songs and music are checked and approved by YouTube supercomputer algorithms, which is fabulous . . . Fabulous!
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acequantum wroteThat is very creative and fun! Good job! I got a chuckle out of the babblers. I usually modify and enhance the drums, although not so much everywhere . . . THOUGHTS My overall strategy is write the story or key parts of the story first, using an idea that occurs in a dream . . . When I have the script, I start doing voice-overs; and during this phase I use a relatively simple drumkit rhythm to act as a musical metronome, since it helps me with the meter of the words . . . [NOTE: Something I discovered after I got my first drumkit 20 years ago is that drums are melodic, and I devoted about a year to making the drumkit more melodic. More recently, I realized that voice-overs also are melodic, an epiphany which was helped by working with the melodies and phonetic scripts for Realivox Blue, which according to the license must be melodic rather than spoken word . . . ] Sometimes I have chords but not so often . . . The Intro is the one I composed 20 years ago and at first I did not have a drumkit or a practical way to emulate drums and cymbals, since this was before I discovered virtual instruments . . . Virtual instruments came later when I wanted to do a Bulería song and realized I could not do the drumkit rhythms on my real drumkit . . . This was when I started using NOTION in 2010, and a while later I discovered VSTI virtual instruments and VST effects plug-ins . . . Now I do nearly everything with virtual instruments and Realivox Blue (RealiTone), my favorite female soprano . . . Prior to discovering Realivox Blue, I read the female parts; so as long as Realivox Blue is melodic, I am licensed to have FUN with her; and among other strategies to make sense of the phonetic scripts, I focused on making her say very naughty melodic things, which I would record and send to one of my high school buddies . . . [NOTE: Once I had enough FUN sending my high school buddy clips of Realivox Blue saying naughty melodic phrases, I wrote a parody of "Smells Like Teen Spirit" (Nirvana) where in the future cyborgs are so realistic the only way to tell whether they are human is to taste them, since they taste like AXE® Anarchy body lotions, deodorants, and so forth. For reference, there is a detailed project in this forum on the song and what I had to do to make Realivox Blue sound as human as possible, which at one point required using the Melodyne Editor to create additional consonants, sibilants, and all that stuff. The words "taste" and "tastes" required a lot of work in Melodyne. This is mixed for listening with studio-quality headphones or Apple AirPods . . . ] Project: Realivox Blue (PreSonus NOTION Forum) So long as Realivox Blue is melodic, it's all good; and I use John Lennon's monotone singing on "Lucy In The Sky With Diamonds" (Beatles) as the rule, where even though Lennon is singing nearly monotone or one-pitch, it's melodic and is in a song rather than a spoken word recording . . . Related to this, I did song inspired by "Lucy In The Sky With Diamonds" to show folks in a guitar forum that you can compose a song based on another song . . . [NOTE: Instead of perhaps being about LSD, it's about absinthe, and it borrows a few bits from "Not Myself Tonight" (Christina Aguilera) . . . ] Lots of FUN!
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I consolidated most of the instruments and foley sounds to a set of buses, which makes it easier to do mixes . . .
THOUGHTS Putting subsets of Instrument Tracks and Audio Tracks on buses is easy to do in Studio One Professional, and as shown in the screen capture I put an Ik Multimedia "Brickwall Limiter" on each bus, which makes it practical to control volume levels with a pair of simple controls while keeping the volume sliders on the Mixing Board pegged to 0dB . . . This is more precise, and it allows doing something similar with the individual Instrument Tracks and Audio Tracks, including dynamics, echoes, panning, and volume level Automation . . . For example, if I want an instrument to be a tiny bit louder or softer, I can control this very precisely with one of the two knobs on the Brickwall Liimiter or White 2A Leveling Amplifier (IK Multimedia)--{Input, Output Ceiling} and {Gain, Peak Reduction}, respectively--something I do instead of messing with music notation dynamics, which overall probably is just as complex as using music notation dynamic marks but (a) is less cluttering, (b) does the same thing overall, and (c) makes sense to me since my background is more focused on audio engineering than using music notation symbols and marks . . . It's also consistent with my perspective that if you cannot hear it, then it's noise and generally does not need to be included, other than for possible dithering or whatever . . . Some folks like wide ranges of dynamics--and good for them--but my focus is on controlling the audio the way it is done by radio stations to comply with the various FCC rules and regulations, where one of the goals is to avoid exploding radios or shocking listeners . . . In fact, most of the VST effects plug-ins are precise emulations of this type of physical hardware processors developed in the 1950s and later for broadcasting use but soon were discovered by producers and audio engineers to have "magical" properties when used in recording studios . . . These devices originally were developed to make life simpler for broadcast engineers and radio stations by automagically ensuring broadcast signals complied with the various Federal Communication Commission (FCC) rules, regulations, and federal bureaucrats who administered them . . . In other words, a Brickwall Limiter sets the range boundaries and ensures a steady, legal range of broadcast audio, while the classic leveling amplifier does something similar using an optical strategy with no actual electronic circuitry . . . If you listen carefully with studio quality headphones like SONY MDR-7506 headphones (a personal favorite), you can hear the way various real external signal devices work in concert with a trained singer using a condenser microphone, where I use Elvis Presley and Dion as stellar examples . . . [NOTE: The producer and audio engineer set the levels of the physical reverb unit, leveling amplifier, and compresser-limiter but Elvis controls everything by his distances from the microphone and his singing levels. Whether this was by design or serendipity is another matter but I think it's a combination of both (a) being a naturally intuitive singer and (b) having trained producers, vocal coaches, and audio engineers, as well as superb recording equipment and microphones . . . ] [NOTE: You can hear Elvis doing melodic breathing and subtle hiccups in the studio version of "Fame and Fortune", which is a clue that he was not singing very loudly and in fact was singing at a nearly whisper level most of the time (pianissimo or softer), an hypothesis I base on being able to hear the melodic breathing and hiccups. It was all very controlled, and since everything was done live in those days, a key aspect was being able to do it repeatedly with high accuracy . . . ] [NOTE: Dion is another naturally intuitive singer who developed a way--or was taught--to add various types of vocal emphasis at the end of words, which is a variation of melodic breathing, where the most obvious instances are ending words with "ah", "uh", "oh", or something similar, which works nicely when the song is broadcast over the radio or played by a juke box. It also maintains a steady focus on the singing, which affects the way the various studio equipment is working consistently with no jumps and surprises . . . ] [NOTE: I keep some of the most important instruments and all the voices on separate tracks so I can adjust them individually. This includes the VSTi EB-0 "Devil Bass" (IK Multimedia) and the Melodic Flute (EW Composer Cloud "Hollywood Orchestral Woodwinds Gold") . . . ] Mixing Buses [NOTE: I create individual presets for each of the instances of VST effects plug-ins, so it's obvious which ones apply to specific Instrument Tracks, Audio Tracks, and Buses . . . ] Brickwall Limiter (IK Multimedia) White 2A Leveling Amplifier (IK Multimedia) The next activity is to write the second half of the chapter, and I already have a few ideas, where the high-level aspect involves wandering through a maze of elaborate tunnels and walkways similar to what might be found in a submarine . . . Thinking aloud, Prof. Darkstone can make his invisible drone ship and thereby himself small in a miniature way so he can travel through the tunnels and walkways of the Slammer Clown Ship undetected and can observe some of the surprising rooms and areas where more futuristic and perhaps disturbing things are being done by the Slammers and Clowns, some of which involve a large Art Deco cake, licorice jelly beans, Babblers, a Cyborg Mermaid, and Ramunculus the Overlord of the 13th Dimension . . . Lots of FUN!
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I ordered replacement headphone ear pads and they arrived yesterday . . .
THOUGHTS The old headphone pads were falling apart, and I knew they needed to be replaced but did not realize how important this is . . . When I was teaching myself how to use the whammy bar on a Fender American Deluxe Stratocaster that I modded, I recall reading about David Gilmour (Pink Floyd) doing extensive mods to his Stratocaster so he could whammy without needing to worry about breaking guitar strings . . . The Fifty Million Dollar Trinaural Stratocaster It was not just a set of simple things . . . Instead, it was very elaborate, and one aspect was to ensure there were no sharp places anywhere in the structure and mechanisms . . . I also know it's important to use a new set of guitar strings before a recording session or performance . . . Yet, even though I always include a note in my posts about songs being mixed for studio-quality headphones and Apple AirPods, I was surprised by the importance of the ear pads . . . The old ear pads had gaps and basically did not do an accurate job of conveying deep bass, and this led me to boosting the deep bass--mostly the kick drums and Gibson EB-0 "Devil Bass" electric bass guitar (IK Multimedia, MODO BASS) . . . Once I got the new ear pads installed, everything started sounding better; and part of the producing and audio engineering activity for the new version of "Chapter 14: A Murder of Clowns and Babblers" was focused on adjusting the deep bass and other instruments and foley sounds, as well as the voices . . . While this was happening, I wrote the second half of the story and then started composing the music . . . The new version, which now is the complete story and script for the chapter, has Realivox Blue (RealiTone), my favorite VSTi virtual female soprano singing some characters but I need to develop the phonetic scripts and then to refine them in the Melodyne Editor, which will take a few days . . . [NOTE: Realivox Blue is a third-party instrument and sampled-sound library for Kontakt (Native Instruments) . . . ] Realivox Blue (RealiTone) It's coming along nicely, and I have a title for the next chapter and a few ideas for the story but mostly just the title . . . [NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506 headphones and Apple AirPods. There are motion effects, panning, and echoes designed for each ear having its own separate and independent audio stream . . . ] This is the complete script, but I might make a few changes . . . "Chapter 14: A Murder of Clowns and Babblers" Lots of FUN!
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I started working on "Chapter 15: The 13th Dimension", but the power went out for a day or two . . .
THOUGHTS There is one high-voltage power line for our little city that comes from Louisiana, and a tree fell on it, hence no electric power and no web for a day or two . . . This was in the afternoon just after I cloned Chapter 14 and started working on the Intro and Outro announcing; so I went shopping as there was nothing else to do . . . At night, it was totally dark inside and all over town, so while I could cook (gas stove) it would need to be in the dark with a lighted hat or a flashlight, so I just enjoyed BAI Zambia Bing Cherry drink (sweet but no sugar and only 10 calories per bottle) mixed with seltzer (carbonated water) to add pizzaz . . . Then I decided to sleep, and after a while I awoke and had ideas for the Chapter 15 story but no way to write it on the computer; so I used the Voice Recorder app in iOS "Utilities" on my iPhone and kept doing this throughout the night as more ideas appeared and I awoke each time for a few minutes . . . In total, the audio recording of my half-awake dream thoughts is about two minutes, and I might reveal it in a YouTube vide to show how the Aliens From Outer Space beam ideas for the science fiction radio play directly into my brain via the quantum communication device they implanted in the late-1940s. Among other things, I was told that quantum dark matter actually is the fabric of the strongest but most elusive force--gravity--and that since the 13th dimension exists between the spaces and gaps that separate the other dimensions, this is the reason particle physicists and cosmologists only have detected dark matter but know nothing about it or how to explore it . . . It also provides the answer to the truth revealed in "Chapter 14: A Murder of Clowns and Babblers", which is that gravity actually is the strongest force, not the weakest force. FACT: Gravity is pervasive and is sufficiently powerful to create black holes of galactic proportions; yet most, if not all, particle physicists and cosmologists relegate gravity to being the weakest force. FACT: Nothing we see, hear, feel, taste, or smell would exist without gravity. More importantly, we would not exist without gravity. As published somewhere over the past few months, my new hypothesis is that it's all a matter of symmetry, which leads me to map {quarks and gluons} to {guarks and gravalons} but with somewhat different visibility properties, which I now realize is due to the fascinating but abstruse properties of the 13th dimension, which vindicates physicists of past centuries who hypothesized about a physical fabric they called the "ether" . . . [NOTE: Look at any university-level physics with calculus textbook, and you will find there are four major sections: gravity, electricity, magnetism, iight. You will discover that the middle two for a pair colloquially called "electromagnetism") where one generates the other and vice-versa, but what is the other pair? Obviously, at least to me, it's gravity and light; and we know from Albert Einstein that the gravity of the sun bends light, which is called the "red shift" and does not refer to an odd type of Russian line dancing in their version of Country Western dancing. This is the way I use the term "symmetry" in this context; and from a reflector mirror left on the Moon during the Apollo missions and Earth-based high-intensity LASER beams, we know that the force called "gravity" travels from Earth to the Moon at the speed of light. This is what my physics professor told me when I proposed they hypothesis that gravity travels at the speed of light, and it has been measured accurately in other ways since then, with one of the more recent ways involving Jupiter and a quasar . . . ] Explained another way, the current bunch of particle physicists who (a) devised the totally goofy hypothesis of "super symmetry" which has not been seen at the Large Hadron Collider (LHC) and (b) have not so far been able to produce a grand theory of everything, laugh and ridicule hypotheses that refer to the "ether", as if they are smarter than everyone else when actually they are mostly just pompous, minimally elucidated thinkers . . . Lots of FUN! P. S. Mostly this maps to having a bit of FUN with "Who Are You" (The Who), which for synthesizers is fabulous . . . Fabulous!
Last edited by Surf.Whammy on Wed Apr 10, 2024 7:12 pm, edited 1 time in total.
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This is the prototype for first half of "Chapter 15: The 13th Dimension" . . .
THOUGHTS This chapter introduces two new characters, (a) "Monsieur Mongo the Marquis of Moonlight Mirth", who like the Babblers, likes to babble and mumble and (b) the Concerned Listener, who mostly makes it possible for Elvis D. Trip to have conversations essentially with himself . . . [NOTE: For those folks who are not so fascinated with particle physics, this chapter provides insights into the use of certain words that sound like other words, with the primary example being "brane", which in mathematics is an object with any number of dimensions, where our universe is a "3-brane", although whether it's "3" depends on how many dimensions one allows. It's a fascinating concept, and it borrows a few ideas from music . . . ] ". . . a string, named after vibrating musical strings, is a 1-brane; a membrane, named after vibrating membranes such as drumheads, is a 2-brane." This is the script for the first part of the chapter, and this makes it easier to follow the story while I am working on producing and audio-engineering the voice-overs and instruments. "Chapter 15: The 13th Dimension" Lots of FUN!
Last edited by Surf.Whammy on Sun Apr 14, 2024 2:55 am, edited 1 time in total.
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I finished the script for "Chapter 15: The 13th Dimension" and composed the music . . . :)
THOUGHTS This chapter introduces a few new characters: (a) the Wiggles who are the species for whom Ramunculus the Overlord of the 13th Dimension is the ruler, (b) the Concerned Listener, and (c) Monsieur Mongo the Marquis of Moonlight Mirth . . . I plan to add a few more instruments and foley sounds . . . [NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506. There are stereo effects, motion effects, and echoes . . . ] This chapter recalls some of the characters and concepts from earlier chapters, but there are more characters, of course . . . Chapter 15: The 13th Dimension Lots of FUN! P. S. This is so easy to do entirely n Studio One Professional 6.6 that I have done two complete chapters in about two weeks, more or less . . . Once I discovered I can import tracks from previous chapters, it's easier to revisit sounds and music in new chapters . . . Due to the Epilogue or Outro of each current chapter referring to the next chapter, I usually have a few ideas for future chapters, even when it's only a title . . . Whether I will be able to do a chapter per week is another matter, but if they are 10 minutes in duration or thereabout, I suppose it's possible, which is fabulous . . . Fabulous!
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I finished the prototype for "Chapter 16: Lolla Waigi and the Imperial Director" . . .
THOUGHTS This is a prototype--mostly for the voice of Lolla Waigi, which I am doing by starting with a slow baritone in Audacity; doubling the speed; export as a WAV audio file; importing to Studio One Professional 6.6; editing with Melodyne (Celemony) to double the pitch; and then doing some producing and audio engineering . . . The first few audio clips are not so clear, but after doing the procedure a few more times, I think the last audio clip of Lolla Waigi is better . . . I could do it with Realivox Blue (RealiTone), but it takes longer, although it sounds more obviously female . . . I added Realivox Blue singing "la, la, la" in the background for Lolla Waigi, so that helps a bit . . . My current thinking is that "ducking" might be the key to hearing Lolla Waigi clearly; and I need to refine the doubling and pitch modification in Melodyne . . . [NOTE: This is mixed for listening with studio-quality headphones or Apple AirPods Pro . . . ] [NOTE: Until I develop a new voice for the Imperial Director, he apparently is a hillbilly, which I think is funny, hence I might let him be a hillbilly. The voice is similar to the voice for Prof. Dave Darkstone from a previous chapter. Only Nogly has a new voice, as well . . . ] "Chapter 16: Lolla Waigi and the Imperial Director" Lots of FUN!
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I did the prototype for the first part of "Chapter 17: Much Ado About Something" . . .
THOUGHTS This is the first part of the story, and the instruments are simple, other than in the Intro, so mostly are kick drums, snare drums, Gibson EB-0 electric bass, and a Hammond B-3 Organ . . . I plan to add more instruments and some foley sounds . . . [NOTE: This is mixed for listening with studio-quality headphones or Apple AirPods Pro . . . ] "Chapter 17: Much Ado About Something" Lots of FUN!
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I added some sequencers from UVI and did some drumkit enhancements, arranging, producing, and audio engineering . . .
THOUGHTS UVI has some nice synthesizers that combine several instruments to create what might be described as 1980s Disco . . . They are played in Studio One with single whole-notes once the desired preset is selected . . . It's a bit lazy, since everything already is programmed in the presets, but so what . . . [NOTE: This is mixed for listening with studio-quality headphones and Apple AirPods Pro ear buds . . . ] I need to write the script for the second half and to compose a silly "work song" for the Tworcs to sing, as well as adding more instruments and foley sounds . . . Lots of FUN!
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I did more arranging, producing, and audio engineering for this version of "Chapter 17: Much Ado About Something" . . .
THOUGHTS The biggest change is that I listened to the elaborate multi-instrument Disco synthesizers and identified the various melodies and parts "by ear", which took a few hours . . . Then I reproduced them with individual VSTi virtual instruments and music notation, which also took a while . . . One of the things that happens when a song and individual instrument parts are created by starting with a few measures and then doing a lot of cutting, copying, and pasting is that it often becomes visually confusing, which results in a few measures being in wrong places or incorrect sequences . . . The only way to correct this is to examine each measure of each instrument part that was cut, copied, and pasted to ensure everything is in the correct order and sequence, which takes a while but is necessary . . . For example, watch the Hammond B-3C organ part and observe the section where there is an ascending arpeggio followed by a descending arpeggio . . . This forms a geometric "mountain" and is easy to identify visually, but after pasting this over-and-over, some of the arpeggio pairs did not form "mountains" but instead were two adjacent downward slopes or "mountain sides" . . . This also happens with drumkit rhythms, electric guitar phrases, and pretty much everything else . . . When there are a lot of instruments, it's not so easy to tell when things are incorrectly sequenced, but so what . . . As best as I can determine so far, I think everything is sequenced correctly; but I might change a few of the new "Surf Lead" guitar phrases, although perhaps not . . . It's coming along nicely, and I need to write the second half of the chapter and add more instruments and foley sounds . . . [NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506 headphones (a personal favorite) and Apple AirPods Pro ear buds. It's a stereo headphone mix, and there are elaborate echoes and motion effects . . .] Lots of FUN!
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