Pinned toot

anyway now that I'm on this site, time for a new post

hi! I'm Vera Lycaon (nevermind the handle), a 28 year old werewolf girl from the Netherlands
★ what -is- this whole gender thing, anyhow
★ I draw and make music every once in a blue moon
★ very pansexual, very trans, vaguely mixed with Black and white passing as hell
★ expect more of the same bullshit I posted on my old account

drawn eye contact, sketch of D&D character 

URGENT: meta, defederation, kiwifarms 

psa monsterpit broke earlier and many accounts on other instances were forced to unfollow monsterpit ones, so you may wish to refollow monsterpit accounts.

bound collective

fine I'll address the current fucking discourse (cw: csa) 

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fine I'll address the current fucking discourse (cw: csa) 

death, someone's GoFundMe 

inside you are two babas

:baba::is::you:

:baba::is::win:

you are awarded a dandelion

selfies, ec 

vent about bullshit discourse, blatant subtoot 

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meta 

vent about bullshit discourse 

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looking at their relatives, spiders are just another example of carcinization when you think about it aren't they

selfie, ec 

now, I could go into Big Theoretical Talk about tuning out commas and shit here, but basically taking these numerical near-coincidences and running with them mostly determines what musical movements make sense, so to speak - most chord progressions use that 9:8/10:9 equivalency, and the Coltrane changes use the (5:4)³=2 equivalency - both of these would slowly drift off to different keys in just intonation and other tuning systems that don't work that way, so to speak

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also since I completely forgot to address the 'more on that later' bit here thanks to horrible ADHD; basically, musical math doesn't *quite* work and as a result, you kinda have to squish things together to make things work out - our own 12 equal tones do some of this too, squishing 9:8 and 10:9 into one interval and also equating three 5:4s and four 6:5s respectively to one octave - that first one has been a feature of western music since the renaissance, thereabouts

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after that, it was... pretty much a matter of finding a good substitute for the diatonic scale (for which you have two options - either a seven note scale with six whole tones with one semitone jump inbetween, or an octatonic scale five whole tones and three semitones inbetween, distributed as evenly as possible)

I went with the latter, went for something that sounded close to familiar chord progressions, (basically mutated versions of the ol' V-vi-IV-I and vi-IV-V) and there you go

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shit, Wendy Carlos once called it 'uniquely terrible' when she was experimenting with this sort of thing herself back in the '80s - of the tones that you could use for that interval, one is way sharp and the other is way flat

stack them on top of each other though, and those errors kinda cancel each other out - the major ninth sounds pretty nice, so I ran with that and the inversion of what you get when you lop off an octave (the minor 7th - also good) to build chords alongside the usual thirds

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