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I'll be using a Mastodon/Twitter crossposter regularly, and because the majority of stuff will come from the Twitter end it may cause some odd formatting issues and other irregularities, I apologize for the inconvenience! However, I'll be monitoring both timelines regularly, so please feel free to chat anytime ☆

Despite synth drums really not being my forte, I'm at my third composition in a row using them...I still don't have any expectations of using them regularly, but I guess experimentation is good 😅

By online-based singing synthesis software I assume we mean this, right?

Somehow this also applies to Los Angeles as a whole as well. The number of actual producers is much lower than the number of passionate fans down here in Southern California would suggest...

I don't have any data to support this, but while there is a *massive* hardcore Vocaloid fanbase on the West Coast ( got one of her largest audiences in San Diego), most of the producers I know seem to be on the entire eastern half of the US 💦💦💦

We're going to put out something very very important tomorrow. In the short term it's not much but I hope it'll be the start of something very cool. Stay tuned 😎

Even on days when you didn't do any actual creative work, every day you look at things you like and appreciate what you like about it is a day you gain valuable study.

I have a lot of things I need to get done by December, but a certain intimidating threat to my productivity will be arriving on November 15...💦

In Japanese "crossfade" is wasei eigo referring to an album preview that shows small snippets of each song (regardless of whether they actually crossfade or not), but I get the feeling that's not much used in Western circles...but that begs the question, what IS the English word?

I'm thinking of going to MAGFest and/or KatsuCon next year (neither of which I've ever been to). Anyone else here planning to be there?

So on a personal level, the core members of Myriad are my friends; on a creative level, Myriad makes works that reside at the intersection of our styles; and on a greater scale, Myriad's goal is to help bring together creators from around the world. Not bad, right?

-- culture that is uniquely something we can do. That's in line with the original intention of Myriad as an international circle, connecting cultures and people, and in our name -- a myriad of styles, a myriad of participants, a myriad of works.

I don't think we exist as a circle in the traditional Japanese doujinshi sense, and I don't think we should. Our goals spring from and are heavily inspired by the existing physical-product doujinshi culture they have there, but we want to create a collaborative, creative --

I've been thinking about this, and in my mind, I think Myriad exists as an entity on its own -- one that makes its own creative work, living at the intersection of my and the other four core members' skills, but one that also hosts and uses its resources to help others.

That leads to us being the publishers for Dark Chocolate and Maraschino Cherry, and The Big Alliance, and hopefully more things to come. But then that begs the question: what, exactly, does Myriad *do*, anyway? Are we a creative circle, or are we a publisher?

-- to participate in physical product creation due to the high barrier -- it only seemed natural that we make use of the existing pipelines we set up in order to host other collaborative projects we're involved in, even if we weren't the sole creators of them.

So we have a pipeline, and we have the passion, and we've also started to put ourselves into larger-scale projects. And as we started individually wanting to promote these collaborative projects -- especially as there's still all too many people who don't get the opportunity --

-- it's often difficult to figure out the pipeline for it, especially when trying to deal with international logistics. But since we at Myriad were born, in a sense, out of doujinshi culture to begin with, we were all too eager to live up to our original concept.

I think we are at a time when things like Vocaloid compilation albums, or zines, or other things of the sort are getting increasingly common. But as a Westerner, it's still difficult to get physical products of some sort made without either deep pockets or crowdfunding, and --

Back then we named ourself a "circle", but we didn't expect to ever be doing any formal doujinshi work again, at most maybe an album in the future, but "circle" really just meant a "group" at the time. And then one thing led to another, and...that leads us to now.

We don't work exclusively within the circle -- in fact we collaborate when we feel it suits our whims -- and while we're a tight group of friends who trust each other deeply with each other's work and development, we formed that relation *because* of our work in this group.

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SoNoMu (Sound Noise Music) is a mastodon instance for musicians, sound-artists, producers of any kind of aural noise, songwriters, bedroom producers, sonic manglers and algorave livecoders. -> more...