Nick Parker

I suspected as much. This is probably the culprit. Try using the L/Mono output. For stereo in your DAW, you'd need two cables for each output, or a stereo split cable. While some gear has a built-in USB audio interface, the XD is not one of them. That USB connection is purely for MIDI. So if you wanted to write a part on your XD and have it recorded into your DAW, rather than directly play it in, you'll need the following: 1. In Logic, set up a MIDI track, and have the output routed to the XD via the USB connection. This will send your written material to the XD, like giving sheet music to a performer. 2. Have a separate audio track to record the XD's performance. You'll have the XD output to the corresponding channels on your Focusrite (ex. Ch. 1 and Ch. 2 for the XD's L and R outputs for stereo). Monitoring is simply being able to listen to your instrument. So my question in other words, was to see if you could get the XD's audio heard through the Scarlett without Logic, as a means of eliminating suspects. I doubt this will be necessary after what I wrote above. Doubtful! Don't be alarmed. I actually recently "downgraded" to the Monologue, but for any synth or gear I use a Behringer UMC1820 audio interface.

I have to admit I haven't used the Scarlett or Logic, but I'll work backwards by asking obvious questions. I imagine there's a way to get monitoring on the Scarlett without using a DAW? Which output are you using on the XD?

I used to say it kicked Space Invaders' ass, but I can appreciate the different speeds and styles of both as an adult.

I thought only gay men could be bears?

I'll say it again, and more explicitly: Luke was not in the finale to be a full character, he's established to be the most powerful Jedi alive at that point in Star Wars, with his primary function to deliver Grogu from Din, and deliver some fan service as a bonus. That's it. Ironically, these "missed opportunities" people speak of would draw away focus from Mando. And we don't want anymore of that.

Crap like this is one of my greatest pet peeves in "modern" gaming, when games trip over themselves because they can't get out of the way of their own mechanics. That's one of the reasons I love Suda51 games: they'll streamline or expand the mechanics and structure of the game at various points to accommodate and enhance the narrative--having you play through something that in most any other game would be a cutscene to really make you as the player bear the weight of what's happening (and sometimes the reverse), or shift/eliminate certain "standbys" already established such as enemies, inventory, and basic objectives...just to name a couple vague examples. Not only does it support the literal narrative, but as a player it's very dynamic and you're always excited to see what the game is gonna do next.

yeah i think there might be a little bit

What's the name of the tune?

In the broadest senses I think you're right, but I also think there are some trends that won't swing on a pendulum. People like to cite the 60s and 70s as a time where orchestras in films were unpopular, then revived by Star Wars, as an example, to indicate that we're in a temporary "drought" that will be reversed at some point in the future. But I don't think that's necessarily a good predictor; orchestras will always have a place in film scores, of course, but the musical sensibilities have changed so much (including the types of musicians that would feel inclined to pursue film scoring in the first place), and the sensibilities about how film and music interwine have also developed so much--both aesthetically and the very art of how music is produced and set to film itself-- that I don't see mainstream film ever truly returning to the musical aesthetics of yore.

I got teary-eyed when Grogu and Din parted ways, yeah. Luke was just the catalyst for that moment.

I might be ignorant, so please correct me if this is false, but I feel like I've seen a greater prominence of the "big" indie/ arthouse films, as characterized most prominently by A24.

One of the things I really enjoy about Goransson, moreso in his feature length scores, are his dramatic instincts in terms of spotting and textures. I keep harping on Creed 2, but I loved that there would be conservation scenes between characters that would go unscored for minutes. Then a character would say a pivot line, and something intimate like a harp and french horn would come in. Felt really old-school and satisfying And those strings around the end? Hard to imagine many other film composers now writing those.

What is that supposed to do, hypnotize me?

Creed 2 is what made me excited for his announcement as the Mandalorian composer.

@KK Just a non sequitur tag apopos nothing.

The problem with those big boys for me is that there's a certain point where it's not really challenging, it just takes a long-ass time because you're squinting at microscopic numbers to make sure you're filling in the correct squares.

Why yes, it's on sale. ...That's why I clicked on it.

If anything it'd be the interface and controls that would do it for me, as well as different game modes, which I wish Jupiter would make more gamey like they used to. I can't imagine solving nonograms on a phone.

I saw Hades on sale in the eShop last night and clicked on it since y'all were talking about it. The moment I saw those Diablo looking perspectives and everything, "Nope!"

That's one thing I imagine being hard to reconcile as someone not familiar with the show. From the bjts I've seen, you have and series major characters, namely Ahsoka, and you're just supposed to suspend your disbelief that none of these critical people or things are even remotely on the mind of any of the characters during ROTS?

I mean right now it's hard to see where else they would go, but I wouldn't mind that inherently. I didn't like Bo Katan and the crew in their debut episode, but after the S2 finale their inclusion made sense to me. It's pretty tantalizing that Din is apparently now the unwilling ruler of Mandalore. I just hope like S1 they delve into him more. I wanna see Mando have actual character conflicts, dammit!

I feel like S1 also structured the character development and everything more dynamically, such as Mando's mistrust of droids caused by his traumatic experience as a child, and his growing acceptance of IG. And of course, similar to what you said, it was him and Grogu against the world. S2 had him rubbing elbows with so many people, and in a way that really didn't illuminate his character very much. We didn't get that until the last few episodes. Now that they got all the backdoor pilots out of the way, and even Grogu himself, I'm really excited to see where S3 goes.