They couldn't have given me a worse last case before retirement. Old Catholic church out in the middle of nowhere, one missing woman, four missing kids, and one deceased old nun. The brothers and sisters or whatever the hell the people that work here call themselves are all terrified, and, worse, superstitious.
All except Father Clarke, who runs the place. Him and I drive along the farm roads at night, looking for signs of the missing people, and he makes for pretty good company. There are two kids left. Say they were asleep the night the four went missing. They also claim that the woman, Miriam Bell, isn't actually gone.
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When I ask where she is, they look at each other, then back at me, and tell me to ask her myself. This morning we found these very odd objects around the church. The best way I can describe them would be large, life-sized dolls made of sticks and dead tree branches. Someone must have placed them there while we were sleeping. Hoodlums, maybe, or a group of weirdos? The twins seem fixated on these doll things. They stare out the window at them all the day.
I even heard them shout that they saw Miriam standing around them, but when I looked there was nobody there. Maybe it's the strange behavior of the twins, or the hours of driving these farm roads at night, but this place is getting to me. I keep having the same night-mare where I'm standing out-side the church looking out into the fields.
I can see people looking back at me through the rows of corn. Their bodies are painted red. I should have known this place was no good. The signs were all around me. The disappearances. The creepy twins. The life size stick dolls Around two in the morning, we woke up to the sound of an old woman's cackle coming from the hallway out-side the twins' room. I know this sounds crazy, but when we got to the hallway, the laughing was coming from a painting of the Virgin Mary.
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We thought we had lost our minds. Just then, we heard a loud noise coming from the chapel. We got there just in time to see Miriam drag the twin's down the stairs leading to the basement. I drew my service weapon but was stopped by Father Clarke. He said something about God's work and headed down the stairs, sealing the opening to the stairs behind him.
The stairs don't seem to open from this side. All I could do is wait. I can't describe the noises I heard down there, but one thing is certain: the Devil is real. To anyone reading this: please, for the love of God, don't go down into that basement. You are hereby instructed to release Michael Davies from your custody and return him to his home immediately. A representative of the Church is currently en-route to their home to discuss compensation in return for their discretion.
The current investigation being conducted at Gallup Cemetary by the State of Connecticut Historical Society has been postponed until further notice. In the interim, we ask the public to avoid the cemetery grounds, the surrounding woods, any wildlife, and any unidentified persons roaming the area. Return to the Save Family tomb whenever you are in need of rest.
I've been freed. No more overbearing father-turned-violent-alcoholic. No more hiding my bruises and cuts. No more pills and needles. No more getting laughed at and kicked around. They'll never laugh at me again. By day my body withers away, but by night my mind explores forbidden worlds of power and knowledge, guided by beings of pure darkness. I have been trusted with secret knowledge of the demon's seal. I have learned the correct conjuring sign, drawing the inverted star along the rocks arranged in five Losing grandpa was the hardest thing I ever experienced.
We were really close. I cried about it for weeks. Then my stepmom introduced me to some of her friends. They asked me, "Would you like to see your grandfather again? That night my stepmom drove me to one of her friends' house. They took me down to the down to the basement. I saw my grandfather in there. Only it wasn't actually him. When I tried to run, they closed the basement door and locked me in.
I can't remember much else from that night. My stepmom's friends are always coming by the house now. They tell me I have a debt to pay. They say they have work for me to do. It is with great sadness that the Sterling community announces the passing of Cindy Marie Martin, 38, and Robert Kimball Martin, 40, devoted husband and wife and beloved parents. Their lives tragically came to an end on September 21st due to an accident in their home.
They were married March 12, in Voluntown. Though not particularly religious, they taught their children to be kind, generous, and involved in the community. Burial services will proceed shortly after. Nobody was thrilled when I got pregnant. Not even a little happy. Even my doctor seemed to be judging me. Each time I'd leave the doctor's office I'd see this strange woman across the street. All she'd do is stare at me and smile. No words; just a big, warm smile. Somehow, it made those visits a little more bearable.
After I lost the baby, I saw her again across the street from the doctor's. Her smile was as big as ever, but somehow not as warm and friendly as I remember. Yesterday I was walking and was shocked to see the woman standing in the middle of the path. Now she was pregnant. She beckoned towards me. I followed her off the path into the woods.
That's when I met Gary. Subject unable to maintain consistency in story for example stating that Amy was in the basement and then saying she was in the attic. Will advise Martin Family attorneys. I had to come back. I had to walk through the corn one last time. I wasn't sure what I would find. The dogs? The children? The thing that took them..? It had been five years. I couldn't even find the little graves anymore. I just walked in the field until I found that stupid grinning scarecrow. As I listened to the night wind blowing through the crops, it was like the scarecrow was mocking me.
I turned around to go back, and that's when I heard it behind me. Well, it was more like I felt it. I didn't dare turn around. We just stood there Finally, I mustered up a tiny bit of courage and turned to look. It immediately fled in the opposite direction, crashing through the rows of corn. I ran too. What little I saw of it drained the blood from my face and made my skin crawl.
I say "it" because whatever I was looking at didn't have a face. Just a bloody, gaping hole. We've got three cameras, a box of tapes, and enough beer and beef jerky to last us a week. On our way in we asked some of the locals about the church. It was mostly the stories we had heard before: evil spirits dragging children into the cornfield and secret tunnels under the chapel But there was this "Spindly Lady Game" that we hadn't heard yet.
Apparently it has to do with summoning the spirit of a woman who used to take care of the orphans back in the 50s. There was even an old rhyme they told us:.
We still haven't found a way into the basement, but we found something just as cool: a secret passage in the old confession booth leading to this hallway. Henry's going into town to buy a crowbar; we'll see if we can't get these boards off of some of these doors. But that's not even the best part. We caught an EVP. You can't hear it on tape very well but to us it kind of sounded like laughing.
Thank God we brought the nice mic. We'll review it on the sound gear once we get back into town. We're gonna be rich. We've caught supernatural stuff on camera before, sure. Doors opening on their own, things falling off shelves Tonight while we were trying the 'Spindly Lady Game' again, one of the candles lit up by itself as soon as Lars walked into the room. It was nuts and we got it all on film.
We're gonna make a fortune selling this to the TV stations. This is my final memoir, hastily scribbled on a page of the Good Book. I now descend the staircase, knowing full well that she waits for me ahead. Checking my old watch has revealed something quite astonishing. Time doesn't change down here as we know it on the surface; even now the hands don't move past God's work be done. I have been to where only the faintest lights shine and protect from things unspeakable.
God help me, Father Clarke, a foolish old man, going mad in this dark prison, ears bleeding from the screams of a demon. The bodies of three young people were discovered in the woods outside of Sterling last night, in what authorities are calling a ritualistic murder. Sandra Attwood, Angel Nogales, and Troy Ingles are the names of the unfortunate victims who were apparently stabbed multiple times and beheaded before being killed in a paganistic ritual.
Pandemonium regnat. Two of the victims' bodies were also partially burned, although authorities would not specify who. The bodies were found several miles from Gallup Cemetary, where residents reported a tomb had been desecrated. They also found trails of blood leading off into the woods. Investigators would not comment on whether or not these two incidents could be related. The arrangement of the bodies in a ritualistic pattern as well as the writing of certain symbols in blood matches the style of several murders that have occurred in the Sterling area since The killings may be connected to last week's brutal slaying of Amy Martin, a 17 year-old girl, by John Ward.
Ward had impersonated a priest to gain Amy's trust before luring her into the woods and killing her. Investigators are asking residents to report any suspicious activity to the police. Authorities are urging the people of Sterling to not mourn the loss of Attwood, Nogales, and Ingles because, after all, they were degenerate devil-worshipping thugs who were hooked on crack cocaine and hated their parents.
Why even conduct an investigation at all?
That's what you would like them to think, wouldn't you, John? They were just three pathetic outcasts who got what they deserved. You actually did the community a favor when you found them getting high in that tomb. You stalked them through the graves and killed them one by one. You ignored their cries for help, their pleas for mercy. You put holes in their ruined drug addict bodies and then you chopped off their heads because everybody knows that removing the head is the only way to kill a snake. Well guess what? Witnesses say they heard the shots approximately ten minutes after police raided the tunnels, where suspected murderer Joe Baumann, aka the 'Candy Store Killer' was alleged to be hiding.
At this time, it is not known how many officers have been wounded, although it has been confirmed that one officer has been killed. Officials are not saying if Baumann was wounded in the exchange, and efforts are being made to recover the casualties from the tunnels. The notorious 'Candy Tunnel', known in the area to be a home to addicts, gangs, runaways, and the indigent, has been the site of several grisly discoveries over the past three months.
Since May, five bodies have been recovered from the drainage ditch leading to the tunnels. Authorities are being pressured by concerned citizens to search the tunnels, amid fears of a possible connection to Joe Baumann aka the 'Candy Store Killer' who has claimed eight victims in Connecticut and Rhode Island over the past year. This is as far as I'll go to hide my stash. Nobody goes past the first pipe. Nobody except those strange people with their bodies painted red and their eyes like animals. Twice a month they come and pass right through into the deeper tunnels.
Sometimes I can hear them yelling or chanting. Sometimes I hear something like an old woman laughing. Sometimes I hear things that aren't even human. Whatever they are, they sound really, really big. We don't have much time. The Profane Sabbath is almost upon us. If they find Nate and Jason, they will perform a ritual on them to call forth a demon of unspeakable power. Sign In Don't have an account? Start a Wiki.
Contents [ show ]. Deryl Henderson's letter Location This note can be found in a graveyard, two screens up and one to the left of the well. Content Mr. Martin, It has taken longer than expected registering the markers on your property as a historical cemetery. Layton's letter Location This note can be found in the basement of the Martin house, within a crib. Content Dear Amy, Thanks for writing!
It really brightened my day hearing from you. I need to wrap this letter up and get back to work. See you in four months! Birthday invitation Location This note can be found in the well between John's car and the Martin house. Martin's first letter Location This note can be found on the doll sitting on the dresser in the master bedroom of the Martin house. Content Bob must be stationed somewhere in the Middle East because he sent over this weird looking doll for Amy's birthday.
Martin's second letter Location This note can be found on the dead tree, one screen up and to the left of John's car. Content Today I noticed Amy's favorite tree looks like it's dying. Martin's third letter Location This note can be found among what appear to be pieces of bone, to the left of the shed. Content Bob, The kids and I miss you more every day. Martin's fourth letter Location This note can be found in a puddle, two screens below the shed. Content I caught some people walking through the woods around the house last week. Martin's fifth letter Location This note can be found on the rubber duck near the tub in the Martins' master bathroom.
Content I don't feel safe in my own home anymore. Thank God Bob comes home tomorrow. Content I just got a phone call from Nancy about a man she saw at the twins' birthday party. Cardinal Gifford's letter Location This note is dropped by Michael in the itch. Content Father Garcia, You are hereby instructed to release Michael Davies from your care and return him to his home immediately.
Martin family photo Location This note appears on the wall of the foyer of the Martin house. Nate's drawing Location This note appears on the fridge in the kitchen of the Martin house. John Ward's first letter Location This note can be found by the shed. John Ward's second letter Location This note can be found in the foyer of the Martin house.
John Ward's third letter Location This note can be found in the master bedroom of the Martin house. Content I guess I was the only one who thought to check in the attic. John Ward's fifth letter Location This note can be found in the Martins' basement, near the ritualistic markings. Content Amy's parents could not endure witnessing the proceedings of the rite for long.
John Ward's sixth letter Location This note can be found in the hallway leading to the attic of the Martin house. Content The underlined passages do not originally appear in the game. Content was recently confirmed during Airdorf's stream Karen, The Church might contact you in a few days to tell you their version of what happened to me.
Ritual instructions Location This note can be found after defeating Amy Martin, when exiting the attic. Murder report Location This note is acquired by completing the "Murderer" ending of the game, which requires the player to shoot Amy Martin. The rest of the article is missing. Father Garcia's letter Location This note is acquired by completing the "Father and Son" ending of the game, which requires the player to shoot the gray man by the shed. Content Esteemed Cardinal Gifford, With all due respect, you cannot grasp the importance of the work I am doing for young Michael without being present here.
The photograph is missing.
Accident report Location This note is acquired by completing the "Hunter" ending of the game, which requires the player to shoot the deer. Gary's letter Location This note is acquired by completing "The Offering" ending of the game, which requires the player to shoot the mutilated fox. Content When this note comes on screen, a track called "Gary" plays. Hello Amy, I am sorry to hear about your parents' decision. Chupacabra report Location This note is acquired by completing the "When Faith Endures" ending of the game, which requires the player to shoot Michael Davies.
Content December 30 Dear Dr. McGlashan, It has been thirty days since the beginning of my treatment here at Yale Psychiatric Institute. Sincerely, John Ward. Note 2 What more could I have done? I don't believe in the Devil anymore. Whatever did this is much, much worse. Note 3 We have a new volunteer to look after the children and take care of things around the sanctuary: Sister Bell. Note 4 Sister Bell seems like a naturally cheery person, but when the new children arrived, she became positively elated.
Note 5 They couldn't have given me a worse last case before retirement. Note 6 This morning we found these very odd objects around the church. Note 7 I should have known this place was no good. Cardinal Gifford. Thank you for your patience. Tombstone Note I shook hands with the Devil I looked him in the eye He looked like a long-lost friend. You must first conjure His demon. You must then serve His demon. You must then walk among the children of men as His demon. Freed Note I've been freed. I will lure them into the woods.
Bruce Tambling. Possibly the greatest book on mixing ever written. Every time I pick it up I learn something. In fact, I just spent a couple hours with it this morning and am now trying out a bunch of the techniques mentioned. Level Setting Methods. Most great mixers think in three dimensions. Usually that means that all of the sparkly, tinkly highs and fat, powerful lows are there. Sometimes some mids need to be cut or other frequencies need to be added, but regardless what you add or subtract, Clarity is what you aim for. Again, experience with elements that sound good really helps as a reference point.
This is usually done with reverbs and delays and offshoots like flanging and chorusing but room mics, overheads and even leakage play an equally big part as well. Does your mix have any of these characteristics? No Contrast — The same musical textures are used throughout the entire song. Mixes That Are Noisy — Clicks, hums, extraneous noises, count-offs, and sometimes lip-smacks and breaths are all things that the listener finds distracting.
Inconsistent Levels — Instrument levels that vary from balanced to too soft or too loud. Dull And Uninteresting Sounds — Generic, dated or frequently-heard sounds are used. What makes a good one? They are:. This allows mixes to be more intricate than ever, and take more time than ever as a result, but the pinpoint accuracy of every parameter movement during every millisecond of a mix is assured.
For the most part, a mix where the faders remain more or less static can be boring and unexciting. Even before automation, mixers were constantly riding instrument and vocal faders during a mix in order to make sure they stood out in certain places or added an extra intensity to the mix. The best part about automation is that those moves can be exactly replicated on every playback. TIP : The key to understanding how to use automation to add dynamics is by observing a performance by a great band.
This will help you to be able to hear all the nuances that the dynamics of the mix needs in order for it to be exciting. Actually, I start with everything. Most of the people that listen to and tweak one instrument at a time get crap. If you put it up by itself you might be tempted to put more bottom on it, but the more bottom you put on it, the more bottom it covers up on something else. The same with echo. You hope that your ears are working with your soul along with your objectivity, but truly you can never be sure. How can you mix that? The way that I really learned about music is through mixing because if the bass part is wrong, how can you hold up the bottom end?
So you learn how to make the bass player play the right parts so you can actually mix. About the only thing that should move is the melody and the occasional other part here and there in support of the melody. Yes, because I learned how to balance things properly to begin with. Because, when you were doing the 4 to 4 bouncing down from one four track machine to another , you mixed as you went.
There was a mix on 2 tracks of the second 4 track machine and you filled up the open tracks and did the same thing again.
You mixed as you went along, therefore, after you got the sounds that would fit with each other, all you had to do is adjust the melodies. You choose the right instruments and the right amplifiers for the track.
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The sounds come from the instrument and not from the mixer. On rare occasion if you run into real trouble, maybe you can get away with using a bunch of EQ, but you can fiddle for days making something that was wrong in the first place just different. Suppose the predominate frequencies are 1 to 3K. So for me, compressors can modify the sound more than anything else. If you turn it way down low, you can hear everything much better. If you turn it as far as it will go before the speakers freak out, then it pumps. Obviously the idea is to make it work on all systems.
So every system you listen on, the more information you get. You can even turn up the little speaker in the Studer to hear if your mix will work in mono. It was harder to do and you had to be a bloody expert to make it work. In the old days we did mono mixes first then did a quick one for stereo.
I have some standard things that I do that more or less always work. I always need a great plate like an EMT and a short 25 to 32 ms delay just in back of the vocal. Usually but not always. You know what that was? Another thing we used was the old Binson Echorec. Page would say that he made me do it but he was down at the pub, but he did bring me his Binson Echorec for the track.
I suppose the GML is the easiest but I still have to have somebody there with me to help. Sometimes it makes you too clever for your own good. You let it flow through you. That could not be any better. Who was that man? With his work having achieved tremendous commercial success, Elliot Scheiner has also attained something far more elusive in the music business — the unanimous respect of his peers.
How did you get started in the business? He knew that I wanted to get into this business, so one day he brought me up to meet Phil. Phil hired me on the spot and I never looked back. Elliot Scheiner: Oh, it was the best. It was maybe the best studio in the country back in and one of the better ones in the world.
You started as an assistant, right? Elliot Scheiner: Yeah, they would generally start you as an assistant and I was basically like an assistant to an assistant until I learned what was going on. Obviously the technology was minimal then so you really had to know what mikes to use on what occasions and where to place them and the rest would come at a later date. But the main thing was just how to set up the room for each engineer. Was this in the days of 8 track? Elliot Scheiner: 8 track had just come in and I remember them talking about how wonderful it was, but most people were still primarily using 4 track at the time.
I remember Phil making records with Burt Bacharach and Dionnne Warwick and all of those were 4 track dates. How were the tracks usually split out? Elliot Scheiner: Track 1 would contain horns and strings, track 2 would be the lead vocal, 3 would be the rhythm section and 4 would be background vocals. If there were no background vocals, they would put the strings on 1 and the horns on 4. When did you start to engineer on your own? I was assisting Phil and he was doing a Jimmy Smith date at night. That was my first shot at engineering, but I think it was pretty much that way for most guys.
So did they trust you to be a first engineer after that? Elliot Scheiner: I went back and forth, but at that point the office knew that I could do some small dates so they started throwing me voice-overs for radio and TV commercials. Eventually I ended up doing advertising and then it moved on like that.
Something would develop into another thing. The way it worked back then was that everybody was a staff engineer so the only way that you really made money was when you left one position and moved to another. It was a different philosophy back then. Elliot Scheiner: Yeah it was. There were a lot of staff engineers that would just float around from studio to studio. It was a lot easier to do it back then obviously. What was your first hit? Artists like Van Morrison were more album oriented so what they did was more oriented towards album radio, so it would be hard for me to determine what was a huge hit singles-wise.
Do you have a philosophy about mixing? It was more about whatever part was played, if it was the subtleties of a drummer playing off beats on the snare drum next to the backbeat, obviously he wants that heard. If you were able to accomplish hearing every single instrument in the mix, that was a huge achievement.
I have to admit that the way some people record things today is a bit peculiar. So granted, it is a little more difficult to deal with those issues today, but I still take the same approach with every mix. If you have a hundred tracks, will you try to have them all heard? Or do you go in and do some subtractive mixing?
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