But I was also embarrassed and upset.īut then I finally called, talked them a little bit on my birthday.
And the Taliban wasn't supposed to get me, and they did. STU: You didn't want to call your family? So my 25th birthday, I woke up for the very first time to find out what happened. Then the 14th, I woke up for the very first time. The 12th, they cut my left hand off the rest of the way. After getting everything blown off on April 10th. I actually just didn't want to be a burden on her. TRAVIS: And it wasn't because I didn't want to be with her anymore or anything, I didn't love her. I saw a short video of you, where - I mean, you've - you actually - when you had your legs and arms blown off, you actually told your wife - you had a new daughter. And the author of the book Tough as They Come.Īnd you can tell already you're as tough as they come. Travis Mills is a quadruple amputee from the war in Afghanistan. GLENN: United States Army Staff Sergeant Travis Mills is with us. Listen to the hero's conversation with Glenn or read the transcript below.
The journey Mills took to becoming "tough as they come" didn't happen overnight. I actually just didn't want to be a burden on her," Mills said. "It wasn't because I didn't want to be with her anymore or anything, I didn't love her. When he finally spoke with his wife, among his first words to her were "Leave me." He told Glenn when he first woke up to find out what had happened, he didn't want to call his family. "I was a staff sergeant in 82nd Airborne Division. The United States Army Staff Sergeant who became a quadruple amputee from the war in Afghanistan joined Glenn's radio program to share his fascinating story on Monday. It's no wonder those who know Mills describe him as " tough as they come." In general, I’d say it’s a good rule of thumb that the listener should never actually hear you moving the faders unless you want them to.With four missing limbs and an award-winning smile, Travis Mills is a sight to behold. The earlier exit makes sense given the new sound effect on beat four, but I’m not quite convinced by the fade, because it’s neither quick enough to make a strong arrangement statement, nor is it natural enough to avoid drawing attention to itself. The third instance is quite different, though, with a slightly longer fade, but fading out a beat earlier. It makes me wonder if, by being more clearly audible, the gap’s subliminal psychological effect is diminished. The second case is interesting too, because it fades the piano out in a very similar fashion, but about 60ms earlier, and somehow that doesn’t seem to work as effectively. (If you don’t believe me, then it’s easy enough to edit the chord’s sustain to fill the gap, whereupon you’ll hear for yourself how much less assertive the vocal’s entrance feels.) In the first case, it shuts down fairly abruptly about 80ms before the vocal hook arrives, which somehow makes the singer’s first word pop out more. Listen to the bar before each of the three chorus entries, and notice how the piano chord in each case fades out.
This song, however, has a great example of this principle in action on a piano part.
I’ve often said that the end-point of a sound is almost as important as where it begins, but that’s usually within the context of editing drums and bass.
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