Daddy Master & Edit Notes

ep 9 - punk is dad
Daddy Master Notes
As you can see, depending on the session, Anthony’s notes can range from extensive to, in this case, extremely minimal. He
even notes that during play he didn’t even use the mechanics outlined in the Reddit link. The only additional notes, which
we’re holding back because Anthony wants to use them later, are the riddles he prepared for the dungeon.

https://www.reddit.com/r/DnD/comments/6bbdsa/help_making_a_battle_of_the_bands/
battle of the bands idea

Find way for Nick to take Glenn and leave. Scam Likely riddle dungeon for his freedom
Audio Edit Notes & Commentary
Intro
You can usually tell exactly what we’re talking about moments before we start rolling, as in this case, where
we were talking (for some reason) about UTIs. “Fightin’ Crabs,” incidentally is me confusing UTIs for STIs.
Also, I looked it up, the old Nalgenes do not have BPA in them. We also cut out our hilarious riffs on Twitter
threads.

Episode Notes with Timestamps

8:45 I did accidentally cut out a section from a previous episode where we address the
Birkenstocks quandary (i.e. Matt knows, but Darryl doesn’t). Whoops. Matt also fails to
address it this episode.

10:15 Dunking on bass players is a time honored band tradition, and plus I get to make that joke
because I play bass.

16:00 It’s important to note that we recorded this episode and the previous back-to-back, so
Matt, Will, and Beth are unaware of the secret conversation between Glenn and Nick and
their plan to steal the van, which is why you hear some nervous laughter at the end of the
episode when we skedaddle.

19:40 Cut Ron being mean to Cern because we have it later, with the great line about whatever
he’s saying about changing the vibe.

23:41 Some significant rearranging happening here going off of Beth’s line here about being a
“stealth ops operative.” We shorten this entire planning section considerably by getting to
the plan as organically, but as efficiently, as possible.

24:50 Beth finds the “Punk is Dad” joke here and reapplies it later after the song, which is much
funnier.

25:25 Cut our Clash puns.

26:20 We lose the clarification because knowing what direction the edit goes, we don’t need to
spend so much time clarifying and laying out a dungeon crawl that they don’t actually end
up doing. For me (since they don’t know that Nick/Anthony is selling a ruse) I’m trying to
do some IRL deception rolls on my fellow players by trying to sell them on the arrangement.

28:16 I think the reaction to Glenn’s reveal that he’s been kicked out is much better here, but
in the interest of flow, we use my in-character explanation. (Also, I really mean carbon
monoxide, not methane)

31:39 Worth noting that, at this point, my thought was “fucking up the band” involved messing
with the rigging or something, not actually infiltrating the band. In the final edit, we link
Beth’s initial thought and Will’s idea of actually being in the band.

33:58 In retrospect, Ron constantly being confident in his weird singing ability makes for
incredible unwitting foreshadowing.

37:50 Will is incredibly well read, so you can always count on some specific literature pulls from
him.
 39:16 Cut this additional clarification for what the plan is because we know how this is actually
going to go, and it’s not worth muddying the waters and setting up stuff that won’t happen.

41:26 Although Ron plays recorder, obviously Anthony is ensuring we go towards singing here.

53:20 Picked up Beth reading her rolls because of our recording arrangement means often her dice
throws ended up in front of one of the other players.

58:48 Put the damage roll earlier so as to not interrupt Henry’s insane justification.

1:01:06 Had to pick up Will’s low roll read.

1:02:35 Saved the “shame” part to when we’re explaining it to the band members.

1:04:40 Great example of Anthony taking stuff we’ve mentioned earlier in the episode and
justifying a mediocre roll story-wise.

1:07:05 The end tag, and also the moment we officially become “not intentionally a BDSM podcast.”

1:10:54 Knowing that I was probably going to be recording this song, we cut our discussion to figure
out how to do the mechanics of the musical performance. Also, this is one of the few times
the sound effects are linked with our descriptions (which usually we don’t do because the
descriptions of any given scene are often free flowing and subject to change, and when a
sound doesn’t match with that, it’s a bit jarring)

1:12:49 We separate out the bits where Matt and Will describe them getting ready to play to earlier,
so there’s more of a build up to Beth’s roll, and get a pick up of Beth/Ron getting ready.
Additionally, we splice in a pickup of Cern’s reactions to each of the dad’s rolls. The
goal here is to give as much structure and build-up to Beth’s natural 20 roll because that’s
obviously the narrative high point of the episode.

1:16:26 Both Anthony and I are astonished by that roll, so we spin our wheels here. We cut this
down to just simply accept our fate and make a run for it.

1:17:23 Lizardboy Scales McStuffins responding here, which gets chopped up into the previous
section.

1:19:26 You can hear Matt’s dawning realization and confusion here.

1:20:37 Anthony buried his head in his hands and went into his mind palace here because the
natural 20 roll so thoroughly derailed the plans for this episode.

1:21:00 The song is The Girl from Ipanema, which Anthony is singing remarkably in-tune.

1:22:15 The dads scamming themselves and Anthony explaining what would’ve happened through
Scam Likely gets a bit too meta, and the moment Glenn and Nick peace out is already the
end of the episode. Also, a lot of this explanation is inferred with what the audience knows,
so part of Anthony’s explanation here was explaining what was established previously to
the rest of the dads, who hadn’t heard the previous episode. As you can hear, we’re also
pretty excited about the idea of this cliffhanger.
Music Notes
Track 1, 2, & 3
Part of the BG of the Behind the Music intro segment. The goal is to pull three different genres/energy level
tracks as the editing style found in the actual Behind the Music intros essentially hard cuts and transitions
to a bunch of different types of songs from the artist underneath interview snippets. I realize now that I
accidentally left the click track in on the last song!

Silent Night
As noted on Talking Dad, this song has to hit the following points:

- A decent drum beat using only two drums, followed by an out-of-tune lute getting tuned.
- An otherwordly harmonized vocal performance of Silent Night
- An electric guitar that “catches up” with the rest of the song at some point partway through, played by
MPAA who is presumably pretty good at guitar.
- Be somewhat reminiscent of the work of Mannheim Steamroller.

So not having medieval instruments lying around, the “lute” is a 6-string guitar layered with a mandolin.

Beth/Ron’s vocal is a three parts - a two-harmony in Beth’s vocal range, and an almost spoken word Ron
track lightly underneath it, and pitch corrected to be exactly on each of the notes (except for Ron’s spoken
part, which I left as is)

Isolated, you can hear the synth arpeggiated track which is my attempt to nod to the fine holiday music
contributions that Mannheim Steamroller has brought to the world.

The song also transitions from diagetic to score after the verse in order to provide a backing for the moment
Lizardboy Scales McStuffins pulls out the picture of his kid. There were several revisions of this part,
including one with a pretty good guitar solo (if I do say so myself), but eventually I opted to go minimalist in
order to not pull focus away from Anthony’s description.

The Scam from Ipanema

This was sung impromptu with no reference to pitch or timing, so Anthony’s performance was cleaned up
from his mic feed, and lightly re-timed to match a beat grid. Because it’s being run through a phone filter, the
crosstalk from Matt and Will doesn’t register in the final mix, but can be barely audible here.