Yyyyup. We almost assuredly never said "sextuplet" 'cuz "sex". Welcome to the southern U.S.! No no, I never played for the Blue Devils, lol. Just high school drumline, but about five or six of us got realllllly technical with it. I learned that version of "Ditty" for snare, and then tenors (also called: "quints") and then partially bass, but the 'Devils have since changed it, perhaps even several times. I think, ideally, it'd get sprinkled in with rudiments and time signatures from each year's marching pieces. Sidestory, sorry: Went to high school summer drumline camp twice, and on the second time was kicked out, because I was caught at 10 pm by the local college campus police with two of my bandmates while they were smoking cigars at age 16 or 17. Sent home, the next morning. Parents furious. Ahem. Anyway, we'd make up phrases, like triplet cheese pataflafla para flam-flam, and pretended like it was code for something, by responding "AHHH... ohhhHHH. Yeesssss...". Then someone would protest by scatting trap set drum sounds as accurately as possible, like "tsi-tsi-brrr-cah-brrha-brr-ahpp-prrr-KAH!" or whatever, it was all totally normal. Ozone addict, here. I'm trying to make it the only plug-in I use besides Ableton's native stuff and Arturia's synths. Going for live performance, with two ex-drumliners, from above stories. Latency is a concern, obvz. It may be that I end up processing my master track and even some processing chains on a central rasperry pi hooked up to three synchronized instances of Albeton. Gonna have to work that out fully when our new "band" can actually meet up. I built a little studio in the past few months, so that's online now, and woooooooo! Been fun. Still getting my DAW legs back, though. My overcompression is perhaps at least semi-intentional. I think it's the genres I listen to that influence me, like vaporwave, futurefunk, and countless other electronic solo "french touch sampling disco tracks from mother's basement" type acts. I at least somewhat compress each track individually, then sidechain compress individual instrument tracks pretty liberally to the kick and snare, and then even introduce a little bit of Ozone's maximizer in the master. And it doesn't help that I still mix/master in headphones, because I live with someone that I care about, who, assuredly, doesn't appreciate hearing the same sample 153 times within one minute while I attempt to fine tune it. Even if they're on the other side of the house. And I've seen good mastering practice, but right now, for me, it's all about smashing things together and seeing what sounds come out ASAP, all the way down the chain. I've done some of this before, but going for original vox, now, and working towards a trio live performance, and so many more things, it's an entirely new scenario. Fun. Yeah, "Overtime" is great, longtime fave, but hadn't seen/heard "Time Traveler" yet, thanks :).