get media working again

1 files changed, 12 insertions, 6 deletions

diff --git a/album/homestuck-vol-9.txt b/album/homestuck-vol-9.txt
index 2ff9323..f11b8ec 100644
--- a/album/homestuck-vol-9.txt
+++ b/album/homestuck-vol-9.txt
@@ -183,7 +183,8 @@ Commentary:
     But no.
     No, no, no.
     We ended up shopping for three hours at nine separate stores before we found those goddamn overalls. Bowman livetweeted our journey:
-    <img src="misc/overall-quest.jpg">
+    <img src="media/misc/overall-quest.jpg">
+    <img src="media/misc/overall-quest.jpg">
     Eventually we got the overalls and proceeded to take the most fantastic pictures ever. I’ll be posting up some other photos from that day later on so keep your eyes peeled!
     All in all, this track is probably the most involved I’d been on a Homestuck album and am so glad it was this one. I had a blast!
 Lyrics:
@@ -268,7 +269,8 @@ Commentary:
     I can’t say why Buzinkai wrote this piece the way she did, so I’ll instead highlight the differences between the original and my arrangement.
     <ul><li><p>Updated the instrumentation. Buzinkai’s usage of PXTONE is indeed charming and nostalgic-sounding, but I wanted to push things bit further. One major difference is the arrangement of the strings - Buzinkai’s PXTONE strings have an sharp attack to them, while mine come on a bit softer but are thicker. My strings then sound more “lush” but less “urgent.”</p></li> <li><p>I added a section between the original A section and B section with lower intensity. This was because the song got a bit too repetitive and static simply repeating like Buzinkai’s. Oddly, the repeats didn’t bother me in his track. I think this is partially because MY loop point, unlike Buzinkai’s, lowers the intensity a LOT more by removing a bunch of instruments where his simply flows into a repeat. I need to think about that more.</p></li> <li><p>Added an introduction and a true ending to make it more of a proper start-to-finish song.</p></li></ul>
     About the similarity to Teal Hunter and a fun syncopation lesson:
-    <ul><li>This was unintentional - I not only started my arrangement of this song before the contest was conceived, Buzinkai made the original song back in 2010. THOUGH as soon as I heard Teal Hunter I KNEW people would call out the similarities because, surprise, there are plenty of them! Here’s the big one:</li> <li><p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: <a href="https://www.youtube.com/watch?v=4nlCNVewMjA">Hollow Bastion</a>. Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count “one-two-three-one-two-three-one-two-one-two” very quickly along with each note the harp plays. You’ll get it. (And I’m just making things more confusing, but isn’t it awesome how the syncopation switches at the end of the  4-measure phrase to “1234 12 12 12?” The little bit of contrast makes it feel complete.)</p> <p>So, why don’t people just cut things up differently? like 3 2 2 3? it’s definitely possible! Here’s my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p></li> <li><p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than… great minds think alike???</p> <p>RANDOM FUN FACT: Awakening is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, <a href="misc/stresscombo.mp3">I’ll do it for you.</a> It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it’s the curse of the 123 123 12 12’s.</p></li></ul>
+    <ul><li>This was unintentional - I not only started my arrangement of this song before the contest was conceived, Buzinkai made the original song back in 2010. THOUGH as soon as I heard Teal Hunter I KNEW people would call out the similarities because, surprise, there are plenty of them! Here’s the big one:</li> <li><p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: <a href="https://www.youtube.com/watch?v=4nlCNVewMjA">Hollow Bastion</a>. Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count “one-two-three-one-two-three-one-two-one-two” very quickly along with each note the harp plays. You’ll get it. (And I’m just making things more confusing, but isn’t it awesome how the syncopation switches at the end of the  4-measure phrase to “1234 12 12 12?” The little bit of contrast makes it feel complete.)</p> <p>So, why don’t people just cut things up differently? like 3 2 2 3? it’s definitely possible! Here’s my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p></li> <li><p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than… great minds think alike???</p> <p>RANDOM FUN FACT: Awakening is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, <a href="media/misc/stresscombo.mp3">I’ll do it for you.</a> It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it’s the curse of the 123 123 12 12’s.</p></li></ul>
+    <ul><li>This was unintentional - I not only started my arrangement of this song before the contest was conceived, Buzinkai made the original song back in 2010. THOUGH as soon as I heard Teal Hunter I KNEW people would call out the similarities because, surprise, there are plenty of them! Here’s the big one:</li> <li><p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: <a href="https://www.youtube.com/watch?v=4nlCNVewMjA">Hollow Bastion</a>. Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count “one-two-three-one-two-three-one-two-one-two” very quickly along with each note the harp plays. You’ll get it. (And I’m just making things more confusing, but isn’t it awesome how the syncopation switches at the end of the  4-measure phrase to “1234 12 12 12?” The little bit of contrast makes it feel complete.)</p> <p>So, why don’t people just cut things up differently? like 3 2 2 3? it’s definitely possible! Here’s my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p></li> <li><p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than… great minds think alike???</p> <p>RANDOM FUN FACT: Awakening is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, <a href="media/misc/stresscombo.mp3">I’ll do it for you.</a> It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it’s the curse of the 123 123 12 12’s.</p></li></ul>
     Wow, I really got off track here. But I hope you learned something today.
     * Yes, Bill Bolin also started an arrangement of this piece before he left the team. I think we were both attracted to the same “essence” present in Buzinkai’s piece.
     ** Bonus challenge: See if you can count out how I divided the measures in this song! If you can do this, you can easily understand how to compose in time signatures like this. It’s actually VERY simple and derived directly from the other breakdowns I did.
@@ -367,11 +369,13 @@ Commentary:
     (<a href="https://plazmataz.tumblr.com/post/25536699941/jane-dargason-it-may-be-a-little-late-by-now-but">Tumblr</a>)
     It may be a little late by now, but I wanted to give one more of my songs from Volume 9 a post of its own.
     First let me say that RJ Lake is a joy to work with. We sent Jane Dargason back and forth between us, remixing each other’s remixes until the track was in its final state. For reference:
-    The original sketch put together by RJ sounded like <a href="misc/jane-dargason-sketch.mp3">this</a>.
+    The original sketch put together by RJ sounded like <a href="media/misc/jane-dargason-sketch.mp3">this</a>.
+    The original sketch put together by RJ sounded like <a href="media/misc/jane-dargason-sketch.mp3">this</a>.
     By the end of the process, things had evolved <a href="https://homestuck.bandcamp.com/track/jane-dargason-2">quite a bit</a>.
     I also want to take a moment to say that my good friend Dawn did a spectacular job on the track art! She has a wondrous way with colors, and her drawings of the Homestuck kids have a childlike optimism about them. Nothing could have been a more perfect match for a track like this one!
     (<a href="https://plazmataz.tumblr.com/post/23084666959/and-for-your-listening-pleasure-a-snippet-of">Tumblr</a>)
-    And for your listening pleasure, <a href="misc/jane-dargason-another-sketch.mp3">a snippet</a> of something called Jane Dargason. It is an unfinished track, part of my work lately putting together some music for Homestuck Volume 9. <a href="album/homestuck-vol-9/princess-of-helium.jpg">The beautiful artwork</a>, for which the music is arguably just a vehicle, is brought to you by the astounding talent of Tavia Morra.
+    And for your listening pleasure, <a href="media/misc/jane-dargason-another-sketch.mp3">a snippet</a> of something called Jane Dargason. It is an unfinished track, part of my work lately putting together some music for Homestuck Volume 9. <a href="album/homestuck-vol-9/princess-of-helium.jpg">The beautiful artwork</a>, for which the music is arguably just a vehicle, is brought to you by the astounding talent of Tavia Morra.
+    And for your listening pleasure, <a href="media/misc/jane-dargason-another-sketch.mp3">a snippet</a> of something called Jane Dargason. It is an unfinished track, part of my work lately putting together some music for Homestuck Volume 9. <a href="album/homestuck-vol-9/princess-of-helium.jpg">The beautiful artwork</a>, for which the music is arguably just a vehicle, is brought to you by the astounding talent of Tavia Morra.
     You remember [[Jade Dragon]], right? The rich wall of sound therein owes itself to the fact that it samples Viva la Vida, from its namesake Coldplay album. Jane Dargason is a spiritual successor, using samplework from Life in Technicolor off the same album. All of this is combined here to surprisingly lovely effect with sounds from an unreleased track by RJ (who, as we have discussed, is the coolest).
     In short, we have an anthemic Jane tune in the workings!
     <i>Florrie Haero:</i>
@@ -673,7 +677,8 @@ Commentary:
     The next day I got a message from Radiation saying he’d like to include it on the album (which turned out to be volume 9). So I went back and tweaked the mix a bit (mainly turning down the gain on the guitars and bringing out the strings in the descend section) and sent him the final wav which is what’s on the album. I’m really grateful to be included on the album and I’m glad people seem to like the track.
     Fun if somewhat nerdy fact: The power down sound that leads into the guitar solo section is actually the sound made when the Hammond organ is switched off while holding down the last chord. The tonewheels inside the organ that generate the pitches start to slow down before the amplifier cuts out so you can hear the pitch lower before the sound stops.
     After I posted Noirscape it got added to the tracklist for LOFAM2 and straightfacedgriff had actually started doing art for it before I had the chance to quietly let them know that it wasn’t going to be on the album. The art pretty much sums up the scene the music was meant to be describing at the start though (assuming jack has a few more knives up his sleeve for the other guards) so I thought I’d include it here.
-    <img src="misc/noirscape.png">
+    <img src="media/misc/noirscape.png">
+    <img src="media/misc/noirscape.png">
 -------------------------------------------------------------------------------
 Track: Dogfight
 Artist: Team Dogfight
@@ -714,7 +719,8 @@ URLs:
 - https://youtu.be/ZTkdO7c4MEE?list=PLy5UGIMKOXpOfcXVfECYjb09aHc2uSEUv
 Commentary:
     <i>Tavia Morra:</i>
-    Nick Smalley approached me about this one with a very specific image for this one. He wanted a night time version of Lexxy’s wonderful <a href="misc/together.jpg">Beta Kids image</a>. I had a lot of fun sprinkling details in to this image. I think the part that makes me smile most is little Minihoof curled up on Dirk’s chest.
+    Nick Smalley approached me about this one with a very specific image for this one. He wanted a night time version of Lexxy’s wonderful <a href="media/misc/together.jpg">Beta Kids image</a>. I had a lot of fun sprinkling details in to this image. I think the part that makes me smile most is little Minihoof curled up on Dirk’s chest.
+    Nick Smalley approached me about this one with a very specific image for this one. He wanted a night time version of Lexxy’s wonderful <a href="media/misc/together.jpg">Beta Kids image</a>. I had a lot of fun sprinkling details in to this image. I think the part that makes me smile most is little Minihoof curled up on Dirk’s chest.
 -------------------------------------------------------------------------------
 Track: Another Countdown
 Artist: Michael Guy Bowman