Pot leaf in the keyboard

Hi, I am a first time pc builder. If someone could look over my build and make sure that I have not made any big blunders I would appreciate it! Additionally, if there is something you think I could do better, please leave your advice for a more cost effective build. Also, I am worried that I do not have enough watts on the power supply. The graphics card recommends 750, and my cpu seems to be on the higher end as well. Should I upgrade to a 750 power supply?
Thanks!
Info:
-brand new build
-I have all peripheral devices such as a mouse and a keyboard.
-I will use this pc to play helldivers 2
-I live in the US, but not in a state with a micro center.
-I do not need a monitor
-$1000-$1200 budget
-I will be using wired ethernet.
-I like the larger size case and at least an atx motherboard so that I can upgrade in the future with ease!
-I do not care about aesthetics or noise at all (as long as it doesn't sound like a leaf blower).
-Wanting an AMD cpu as I heard that they will continue to support the am5 socket for some time, which is not the case with intel currently. Again, I would like to be able to upgrade this pc in the future.
https://pcpartpicker.com/list/RkZVz6

Cigarettes and rebellion have always gone hand-in-hand, and in an age of cigarette packet-sized health warnings, now more than ever, smoking a fag says: 'I do not give a fuck.' But if Brandon Flowers is hoping to strike a seditious pose by sparking up at the start of the interview, it's not going according to plan. The Killers' frontman is on all fours rooting through the junk that carpets the anteroom at the band's rehearsal space. "Has anyone seen my lighter?" he asks, rocking back on his heels. The question hangs in the air while Brandon cocks his head, waiting for an answer like a meerkat listening for a predator. Twenty-five years old and with a delicate bone structure, there's something almost dainty about him. Receiving no response, he returns to his search. "Oh, Jeez," he sighs. "I had it just a minute ago."
It's a scene that emphatically does not suggest a rebel without a cause. The mess isn't helping. The Killers' HQ - an industrial unit sandwiched between a construction supplier and the offices of a housing development just off Dean Martin Drive in West Las Vegas - is ankle-deep in designer clothing. A Dior Homme suit lies crumpled by the door; there's a pile of shoes topped like a sundae by a pair of Marc Jacobs trainers; and anyone wishing to enter the shoebox room the band use as an office must negotiate a mountain of discarded jeans. Many items are identifiable as coming from the wardrobe of Hot Fuss, The Killers' hugely successful 2004 debut album - triple platinum in the UK with two weeks at Number One and five million sold worldwide. Look! There are the shirts, ties and suit jackets they wore when they thrilled Glastonbury 2005 with indie rock anthems Mr Brightside and Somebody Told Me. That was the crowning moment of a two-and-a-half year tour that finally concluded in October of last year. It seems that after playing that final date in Miami, they returned to Vegas and shrugged off their image onto the floor of this bland white box.
Now a fine layer of dust covers the dead clothes. The Killers have no further use for white tuxedos on their second album, Sam's Town. Today, Brandon wears a black polo shirt, black pin-stripe waistcoat, black jeans and black boots. Where there used to be a layer of foundation, there is now a beard - an untrimmed beard at that. Dave Keuning (30, guitar), Mark Stoermer (29, bass) and Ronnie Vannucci (29, drums) all echo Brandon's black ensemble. Ronnie has added Aviator shades and a handlebar moustache for a dash of motorcycle cop, Dave's frizzy bubble of hair gives him a Marc Bolan-ish air, and there's something very teenage about Mark's scuffed Vans.
Short of walking around wearing sandwich boards saying, "Our new record is a bit heavier than the last one," The Killers couldn't hope to communicate that message more effectively. And they have gained some musical girth on Sam's Town. The pop hooks that made Hot Fuss so irresistible survive intact - see the ringing guitar riffs on first single When You Were Young - but there's a newfound punchiness, coupled with an epic sweep. The minor-to-major uplifts on Bones are fabulously dramatic, the coda to Why Do I Keep Counting? thrillingly intense. Comparisons to Bruce Springsteen have been made. If they overstate the case a little, they are at leaset qualitatively accurate. The Killers are back and this time it's serious - they've got the bootlace ties to prove it.
"Hey, it says here that Springsteen's headlining Glastonbury next year," shouts Ronnie, who's flicking through the NME. He nods sagely at the page without looking up.
"Really?" asks Dave, nicknamed Crazy Dave on account of his alledgedly volatile nature.
"The Boss is headlining one night, we're playing second on the bill the next night and Kylie's headlining the Sunday," says Brandon, charging like a bull through Michael Eavis' as-yet-unannounced line-up with what subsequently proves to be a characteristic gaucheness.
But that lighter is proving elusive. This being America, none of the people hurrying to-and-fro prepping the world for the release of Sam's Town smokes. Manager Robert Reynolds - Bobby Rey to the band - barks into his mobile, booking his band onto eye-wateringly demanding tours. "We're going to make a lot of money," he cackles to himself before switching calls to make a series of stern pronouncements on legal matters. Dave, Mark and Ronnie disappear for a jam session. Artwork is approved, B-sides are decided on and schedules are hammered out.
"I can't find it," Brandon says, finally. But he's not going to be denied the opportunity to underline The Killers reinvention with a puff of smoke. "Let's go to the gas station. I'll have to buy one. It's too busy to talk here anyway."
+
Brandon's black (of course) Volkswagen Touraeg four-wheel drive is barrelling down West Flamingo Road into town. "I was a bell boy there," he says, pointing out of the driver's window at the stucco facade of the Gold Coast casino. "I was working there when we were signed."
Coming from Las Vegas, it is perhaps inevitable that casinos play a big part in The Killers' story; not only is Sam's Town named after one, it was recorded in one, too.
The band began writing songs while on the road with Hot Fuss, turning up early for soundchecks to run through new ideas. On a trip home to Vegas, George Maloof, a hotelier known for cultivating famous friends, invited them to record the album in the new studio he'd built at The Palms, his flagship hotel-cum-gambling den. When the tour finished in October 2005, they returned to Vegas and spent five month finessing the songs they'd sketched out on the road. Then, in February, they decampled to the third floor studio at The Palms and recorded Sam's Town over 11 weeks.
Producer Flood (U2, Depeche Mode) encouraged them to experiment. They overdubbed, fiddled with synthesizers and played with new equipment. It took them five weeks to get the backing vocals right. The band sang the harmonies, then double-tracked them four times. The end result recalls Queen wondering, "Is this is the real life? Is this just fantasy?" When Ronnie, a trained classical percussionist, brought some kettledrums down, eyebrows were raised; but the fabulously bombastic coda on Why Do I Keep Counting? vindicates his indulgence.
"That's kind of the Ben Hur of the album," he says. He's not wrong. Sam's Town is a record on an epic scale. "Yeah, it has drama," he continues. "But, at the same time, I think it's a little more exposed than Hot Fuss. It's a little more naked. Last time it was about a lot of fictional things." By "fictional", Ronnie means that Hot Fuss wore its predominantly British influences for all to see. Brandon's taste in music is rabidly Anglophile - he constantly references The Smiths, The Cure and Joy Division - and it showed. By contrast, Sam's Town is an unequivocally American record. The lyrical imagery is pure American dream - cars, girls, wide-open spaces and escaping to a better life. "We're burning down the highway skyline/On the back of a hurricane that started turning/When you were young," sings Brandon on When You Were Young. That's the basis of the Springsteen comparisons then, though the lack of pathos more closely recalls another blue-collar rocker from New Jersey - Jon Bon Jovi.
The phrase "this town" recurs throughout the album, and it's always receding into the distance as The Killers escape to a new life. "This town was made for passing through/I never did get along with everybody else," sings Brandon on This River Is Wild. On Read My Mind he "never really gave up on breaking out of this two-star town", while on the title track he offers something of an explanation: "Nobody ever had a dream round here."
"With the first record, there was this feeling that there was this world out there that we didn't know," says Mark later in the day. Before The Killers, he studied philosophy: now he's their quiet one. "We wanted to get out and away from this and be somewhere else. We hadn't had a lot of experience - hadn't travelled much - then we were gone for three years. We didn't sit down and say that we wanted to make a record about how we're glad to be home, but that's what happened naturally."
It's not an angsty record. The Killers have already escaped with Hot Fuss, and, having done so, they view the experience fondly now they're back. There's a mistiness to Brandon's eyes as he explains how the album got it's name.
"Sam's Town is a casino on the edge of Vegas," he says. "I grew up in Henderson, which is out on the way to the Hoover Dam. My mom and dad lived in a trailer park, and my dad used to hitchhike up and down Boulder Highway, which is the only way you could get to Vegas. Sam's Town was the first thing you saw on your way in to town. So, when you're driving down Boulder Highway from Henderson, I always thought you finally knew you were getting somewhere when you saw Sam's Town. It was kind of like a beacon."
"It's not a completely American album," contines Brandon. "We still have our English influence, but we're also from the Wild West. Somehow we've managed to unify all that on this album. it's just such a perfect resemblence of what we are."
At the petrol station, Brandon rummages through the glove box looking for change to buy a lighter. "This is a great album," he says, pointing at Highway Companion, the latest from iconic American rocker Tom Petty. "I've always been a big fan of his. He's such a great American artist."
Yes, Brandon: we get the point.
+
When Brandon finally lights his cigarette, he smokes it awkwardly, like a child mimicking something he's seen the grown-ups doing. However, when he cheerfully admits that, "I feel the same mentally as I did when I was 12," it's not a knowing nod to the fact that he sometimes behaves like a loveably precocious child, but a reference to an unusually comprehensive grounding in pop music at an early age.
When Brandon sings about "this town", he doesn't mean Las Vegas. He means Nephi, Utah or Henderson, Nevada, where he spent his childhood. His parents are Mormon and he is the youngest of six children. "I was a surprise," he says. "I've got a 42-year-old sister." If he was issues about his "surprise" status, he chooses to gloss over them. "It turned out perfect because my brother was a teenager when I was a kid," he says. "He would bring home things like Rattle And Hum by U2 and I would watch it. I remember he bought Live In Dallas by Morrissey. It was always him watching these things, or his door was shut and you'd hear The Head On The Door by The Cure blasting through the house and rattling the walls."
The Killers were formed when Brandon answered an advert Dave had placed in a local paper in late 2002. Dave cited Oasis as a big influence; Brandon had seen them play recently and responded; and, as Dave has said in previous interviews: "He was the only person to reply to my ad who wasn't a complete freak." However, the band was born in Brandon's brothers bedroom.
"His room was like a shrine," enthuses Brandon. "It was a holy place. I wish I could show you a picture of it. It was covered in posters. There'd be a big picture of Elvis wearing a bow tie that just said 'The Smiths' [the artwork for The Smiths 1987 single Shoplifters Of The World Unite]. You had The Cure wearing face paint [the artwork to The Cure's 1985 single In Between Days] - all that kind of stuff. I remember Morrissey being on the cover of the NME, with the halo [from 1985] - stuff like that. You just wanted to know about these people 'cause they were so cool. My brother seemed like such a cool person. But he was a teenager, so he wasn't going to be that nice to me, a kid."
Brandon was fascinated by his brother's collection of music, magazines and posters, but he was denied access to them - officially, at least. "I would sneak in," he says. "I knew he'd be angry if he found out, but I would go in as soon as he left the house." For a long time Brandon was too scared to actually play anything. "That didn't come 'til later. I just used to go in there because I liked it. Then I got to the point where I'd actually take a tape out and put it in. It took more guts to do that."
It was a life-changing moment. "I was ten and the first song I played was Sing Your Life by Morrissey. I remember dancing about to it."
The lyrics to Sing Your Life include the lines, "Sing your life/Just walk right up to the microphone/And name all the things that you love/All the things that you loathe." It's intriguing to wonder what Morrissey makes of the neophyte he inspired with these lines.
Eventually, Brandon inherited his brother's tape collection. "It was around the same time CDs started coming out in a big way. He started buying CDs and gave me his tapes. And that was it: it took off from there. I got a hundred of the best albums - all the New Order, all the Morrissey, all The Smiths, The Beatles. I started buying posters. I went to see The Cure in concert. It was just kind of a continuation of my brother. And it was nice because, though my parents were strict, they were already used to it from him. There was no, 'My dad doesn't understand me,' or any of that kind of stuff. My mum likes The Smiths."
Brandon was 13 and his favourite band was late-'70s/early-'80s American new wavers The Cars, and particularly their jaw-droppingly catchy 1979 single Just What I Needed.
"I wouldn't exist without that song," he says. "That was the one. I remember driving around with my mum when I was 13, and we're living in Nephi - a really small town - and I felt so cool when I put that song on. Like: 'I have something that none of these kids I'm going to middle school with tomorrow have.' That excitement is what music's about, isn't it? That's why I understand the mentality of people that don't like us because we've sold so many records. I used to like it when no one else knew about a band. So I get that - I do."
+
Brandon's first band was called Blush Response. It was never going to work out. Not because he refused to move to Los Angeles with them, but because he is utterly - comically - shameless. He's given to making outrageously boastful statements like: "It's not like the '60s, '70s and '80s now. There are only a few bands around that are really good, that just do it. I mean, there's what, five or six of us?"
For the record, in Brandon's estimation, those bands are Franz Ferdinand, Razorlight, The Strokes, The White Stripes, Yeah Yeah Yeahs and, of course, The Killers.
"I don't want people to think I'm lumping myself with other people just to make us sound cool," he says. Really? It sort of sounds like you are. But he just steamrolls through it. "Yeah, but you know what I mean," he says, grinning at his own cheekiness. He's so disgracefully forward you can't help but laugh along with him - Oh you are awful, Brandon! But joking aside, The Killers are the most commercially successful of all the bands he mentions.
Later, back at the rehearsal space, the band run through Sam's Town at deafening volume in preparation for the forthcoming tour - first the US, then the world. The infectious, almost contagious, chorus of When You Were Young sounds fabulous, as do the U2-like guitars and Twin Peaks synths of Read My Mind. Meanwhile, Smile Like You Mean It and Somebody Told Me benefit from the newfound harder edge.
They somewhat heavy-handedly underline the new direction by playing Paranoid by Black Sabbath and Get It On by T Rex. That's the thing: The Killers are not a subtle band. Their songs are like a wet kiss from a girl who's a bit too drunk. They are big and brash, and not everyone loves them for it. Mr Brightside and Somebody Told Me might go down as well at hip nightclubs as they do on the festival circuit, but the DJs play them with the same guilty look they wear when playing a pop record.
"I hate that," says Brandon. "Like writing a song you can hum somehow cheapens it? It makes me think of this quote by Morrissey. Everybody knows how he read Oscar Wilde, Keats and Yates when he was growing up and that he wanted to be a writer. He was talking to this journalist who asked why he hadn't become a writer, and Morrissey said: 'What I do is more powerful than what you do because I can write down these words and you get it to a melody. How can you beat that?' I'm of the same opinion. I don't understand why a good melody that's memorable is a bad thing."
Being dismissed as pop particular aggrieves Ronnie. "When we first came out we got compared to Duran Duran all the time. Jesus Christ! We got a keyboard player now all of a sudden he's Nick Rhodes! Come on!"
"The people who criticise us for being too poppy don't get it," agrees Mark. "I think that's the problem with a lot of rock music. People are afraid to write a song any more. Either that or they can't. And that attitude hurts music in general. The best bands ever have all written great songs. You can still do it and do it intelligently and it can be original. This isn't a studio creation with a producer writing these songs for us. We're not Avril Lavigne, or something like that. We're a real band writing real songs, just like a punk band would do, except that we write pop songs."
You get the impression that The Killers knack for showboating pop hooks that border on vulgar is inextricably tied up with the brazen side of Brandon's personality. But while his ebullient charisma, not to mention the songs themselves, mitigates his outrageousness, there is a less attractive side to his ego. He has a combative streak. He can't resist taking pot shots at emo bands, notably Fall Out Boy, whith whom The Killers share an A&R man.
Has he heard how many emo kids it takes to change a light bulb? "No." None. They just sit in the dark and cry. It's a full 30 seconds before he stops laughing. When he does he admits: "Yeah, we've had problems with other bands. You know, when you walk in the room it's like..." He whistles the theme to The Good, The Bad And The Ugly. "We're like gangs."
And while the other members of the band are diplomatic on the subject of Brandon, you don't have to read too deeply between the lines to conclude that there have been internal issues, too.
"Some people will think Brandon's the big genius," says Dave, visibly bridling. "There are songs, such as Why Do I Keep Counting?, where he's written every note. But there are others, like When You Were Young, that were more of a collaboration - like Mr Brightside, where I had some of the music and Brandon came up with the lyrics. We always have arguments about who wrote what. The truth is that we all help in that process."
When asked how success affected them, Ronnie says: "There were certain things that needed adjusting. When you're on tour for two years, people can get a little needy. It doesn't help that you're surrounded by yes men and everybody's working for you. At times we've had to say, 'Who do you think you are?' to people. No one wears the trousers, but some people would like to. I think if it wasn't for the people in the band kicking each other in the ass... Let's just say there was some ass-kickin'."
It doesn't take a genius to work out whose ass needed kicking most often.
+
It's the following day and The Killers are back at their rehearsal space. The topic of discussion is what to wear in the video for Bones, the second single. It's a big deal: the director is Tim Burton. "I feel like Frank Sinatra when I sing it," announces Brandon. "With maybe a little bit of Morrissey and a little bit of Elvis, too."
Of course he does. But if securing the services of Tim Burton tells you one thing, it's that The Killers are about to get even bigger, perhaps even make the leap to the same level as Coldplay et al. Already stars, they are about to become superstars. Brandon can hardly wait.
"Do you know that Rolling Stone didn't want to put us on the cover last time," he says indignantly. "They didn't think we were stars. We sold five million albums! What more do they want from a band?"
Whatever was required, Brandon would be happy to do most things. "I'll do stuff that some people don't want to do, 'cause I want people to hear the music," he says. However, even he has limits. "The Rolling Stone thing made the record label think: 'What can we do to make them stars?' If I go on vacation with my wife, do they have to send somebody to be there to take pictures of me? Is that how you become a star? I don't want that. I walked down the red carpet one time and I realised I don't like it. But you don't have to walk down the red carpet for people to hear your music. We do still have some of that indie blood running through our veins."
He heads off at a tangent: "When you walk around Liverpool, you think of The Beatles, or you go to Manchester and you think of The Smiths or Oasis. I want you to come to Las Vegas and think of Sam's Town. And I think we've started to capture that, which is a truer version of The Killers, 'cause that's where we're from."
He pauses.
"I used to live across the street from Sam's Town. Maybe it'll be like our Abbey Road where people go to take pictures."
Is that what he'd like?
"I wouldn't mind it," he says, desperately hoping it will come true.
He puts a cigarette between his lips, looks down at his trouser pockets and pats them in search of the lighter he bought yesterday.
"Hey, I don't suppose you've got one?"

Edit: List alphabetized for readability.
I'm working on a modpack right now and I'm trying to figure out what mod adds step assist so I can get rid of it or config it.
Here's my modlist:

[EMF] Entity Model Features [Fabric & Forge] (by traben_0) [ETF] Entity Texture Features - [Fabric & Forge] (by traben_0) Absent by Design (by Lothrazar) Ad Astra (by AlexNijjar) Ad Astra: Giselle Addon (by gisellevonbingen) Additional Lanterns (by SuperMartijn642) Additional Lights (by mgen256) Advanced Peripherals (by srrendi) Aether: Lost Content Addon (by ModdingLegacy) AI Improvements (by QueenOfMissiles) Ambient Environment (by Jaredlll08) Amendments (by plantspookable) Apotheosis (by Shadows_of_Fire) Apothic Attributes (AttributesLib) (by Shadows_of_Fire) AppleSkin (by squeek502) Architectury API (Fabric/Forge/NeoForge) (by shedaniel) Artifacts (by ochotonida) Athena (by CodexAdrian) AtomicStryker's Infernal Mobs (by atomicstrykergrumpy) AttributeFix (by DarkhaxDev) Balm (Forge Edition) (by BlayTheNinth) Beautify! (by Pandarix) Better Advancements (by way2muchnoise) Better Fishing Rods (by TrueRealCursed_Warrior) BetterF3 (by cominixo) Biomes O' Plenty (by Forstride) Blue Skies (by ModdingLegacy) Bookshelf (by DarkhaxDev) Botany Pots (by DarkhaxDev) Botany Pots Tiers (by Ultramegaaa) Botany Trees (by DarkhaxDev) Botarium (by CodexAdrian) Bow Infinity Fix (Forge/Fabric) (by Parker8283) Caelus API (Forge/NeoForge) (by TheIllusiveC4) Camera Mod (by henkelmax) Camp Chair (by dmitrylovin) Carpet Trapdoors [Forge] (by LordSebastio) Cat Jammies (by Buuz135) Cave Dweller Reimagined (by idk_someguy) Cave Dweller Sound Overhaul (by Scorchy) CC: Tweaked (by SquidDev) Chalk (by mortuusars) Charm of Undying (Fabric/Forge/Quilt) (by TheIllusiveC4) Chat Heads (by dzwdz) Chicken Chunks 1.8.+ (by covers1624) Chimes (by CicadaBluw) Chipped (by terrariumearth) Chisels & Bits - For Forge (by AlgorithmX2) Clickable advancements[Forge/Fabric] (by someaddon) Cloth Config API (Fabric/Forge/NeoForge) (by shedaniel) Clumps (by Jaredlll08) CodeChicken Lib 1.8.+ (by covers1624) Collective (by Serilum) Colorful Hearts (by Terrails) Comforts (Fabric/Forge/Quilt) (by TheIllusiveC4) Complementary Shaders - Reimagined (by EminGT) Complementary Shaders - Unbound (by EminGT) Configured (by MrCrayfish) Connected Glass (by SuperMartijn642) Construction Wand (by ThetaDev) Controlling (by Jaredlll08) Corail Tombstone (by Corail_31) Corail Woodcutter (by Corail_31) Cosmetic Armor Reworked (by LainMI) Craftable Horse Armour & Saddle [CHA&S] (by EwyBoy) Crafting on a stick (by OfekN_) Crafting Tweaks (by BlayTheNinth) CraftTweaker (by Jaredlll08) Create (by simibubi) Create Crafts & Additions (by MRHminer) Create Slice & Dice (by possible_triangle) Create: Steam 'n' Rails (by mattentosh) Creeper Overhaul (by joosh_7889) Cupboard (by someaddon) Curios API (Forge/NeoForge) (by TheIllusiveC4) Curious Lanterns (by Psilock1) Customizable Player Models (by tom54541) Customizable Player Models Simple Voice Chat compat (by tom54541) Customized Dungeon Loot (by XxRexRaptorxX) Dark Mode Everywhere (by Buuz135) Dark Paintings (by DarkhaxDev) Dark Utilities (by DarkhaxDev) Death Knell (by DarkhaxDev) Deep Aether (by TeamRazor) Deeper and Darker (by KyaniteMods) Default Options (by BlayTheNinth) Despawning Eggs Hatch (by Serilum) Ding (Forge) (by iChun) Do a Barrel Roll (by enjarai) Double Doors (by Serilum) Drip Sounds (Forge) (by PieKing1215) Duckling (by Frogipher) Dungeon Crawl (by xiroc_) Durability Tooltip (by SuperMartijn642) Dyenamics (by LobsterJonn) Dyenamics and Friends (by LobsterJonn) Easy Villagers (by henkelmax) Eating Animation [Forge] (by matyrobbrt) Eccentric Tome (by EccentricVamp) Edibles (by Serilum) EdivadLib (by 3divad99) Elytra Slot (Fabric/Forge/Quilt) (by TheIllusiveC4) Embeddium (by embeddedt) Embeddium (Rubidium) Extra (by dimadencep) Embeddium++ (by SrRapero720) Embeddium/Rubidium Dynamic Lights (by Anthxny) Emotecraft (Forge) (by KosmX) Ender IO (by crazypants_mc_the_second) EnderChests (by ShetiPhian) EnderTanks (by ShetiPhian) Energy Meter (by Relentless) Entity Culling Fabric/Forge (by tr7zw) Even More Instruments! 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(by ModdingLegacy) Potion Blender [Fabric/Forge] (by motivational_dragon) Potions Master (by thevortexFoxTopia) ProjectE (by SinKillerJ) Radiant Gear (Fabric/Forge/Quilt) (by TheIllusiveC4) Rare Ice (Forge/Fabric) (by shedaniel) Reborn Storage (by Gigabit101) Rechiseled (by SuperMartijn642) Rechiseled: Chipped (by the_iwolfking) Rechiseled: Create (by SuperMartijn642) Refined Polymorphism (by ninety) Refined Storage (by raoulvdberge) Refined Storage Addons (by raoulvdberge) Reliquary Reincarnations (by P3pp3rF1y) Repurposed Structures (Neoforge/Forge) (by telepathicgrunt) Resourceful Config (by ThatGravyBoat) Resourceful Lib (by ThatGravyBoat) Rhino (by LatvianModder) RS Insert Export Upgrade (by Ultramegaaa) RSInfinityBooster (by hexeptiondev) Runelic (by DarkhaxDev) Searchables (by Jaredlll08) Security Craft (by Geforce132) ShetiPhianCore (by ShetiPhian) Shrink. (by Gigabit101) Silent Gear (by SilentChaos512) Silent Lib (silentlib) (by SilentChaos512) Simple Backups (by MelanX) Simple Discord Rich Presence (Forge / Fabric) (by Sunekaer) Simple Magnets (by SuperMartijn642) Simple Shops (by wolforce) Simple Voice Chat (by henkelmax) Simply Light (by Flanks255) Sit (by bl4ckscor3) Skinned Carts (by Mrbysco) Sky Structures (by TrueRealCursed_Warrior) Sky Villages [Forge] (by y4z0n) SmartBrainLib (Forge/Fabric/Quilt) (by Scimiguy) Smarter Farmers (farmers replant) (by MehVahdJukaar) Snow Under Trees (by bl4ckscor3) Snow! Real Magic! ⛄ (Forge) (by Snownee) Snowballs Freeze Mobs (by Serilum) Snuffles (by schnappdragon) Sooty Chimneys (by mortuusars) Sophisticated Backpacks (by P3pp3rF1y) Sophisticated Core (by P3pp3rF1y) Sophisticated Storage (by P3pp3rF1y) Sound Physics Remastered (by henkelmax) Structory (by botanydev) Structure Essentials[Forge/Fabric] (by someaddon) Structure Gel API (by ModdingLegacy) SuperMartijn642's Config Lib (by SuperMartijn642) SuperMartijn642's Core Lib (by SuperMartijn642) Supplementaries (by MehVahdJukaar) Supplementaries Squared (by plantspookable) Sushi Go Crafting (by Buuz135) TerraBlender (Forge) (by TheAdubbz) Terralith (by Starmute) The Aether (by TheAetherTeam) The Graveyard (FORGE/NEOFORGE) (by finallion_13) The Lost Cities (by McJty) The Twilight Forest (by Benimatic) The Undergarden (by Quek04) Time in a bottle [FORGE] (by MangoRage) Time in a bottle Curio Support (by MangoRage) Tiny Redstone (by Danny_and_Son) Titanium (by Buuz135) Toast Control (by Shadows_of_Fire) Tom's Simple Storage Mod (by tom54541) Tool Belt (by gigaherz) Torchmaster (by xalcon) Trash Cans (by SuperMartijn642) TrashSlot (by BlayTheNinth) Tumbleweed (by bconv) Twigs (by ninnih_) Universal Grid (by Ultramegaaa) Useless Sword (by Furti_Two) Utilitarian (by LobsterJonn) UtilitiX (by MelanX) Villager Names (by Serilum) Villagers Drop Emeralds on Death (by exlinegames) Void Totem (Forge) (by Affehund) Voidscape (by Tamaized) When Dungeons Arise - Forge! (by Aureljz) Wireless Chargers (by SuperMartijn642) Wither Skeleton Tweaks (by Shadows_of_Fire) Wool Tweaks (by Serilum) YUNG's API (Forge) (by YUNGNICKYOUNG) YUNG's Better Desert Temples (Forge) (by YUNGNICKYOUNG) YUNG's Better Dungeons (Forge) (by YUNGNICKYOUNG) YUNG's Better Jungle Temples (Forge) (by YUNGNICKYOUNG) YUNG's Better Mineshafts (Forge) (by YUNGNICKYOUNG) YUNG's Better Nether Fortresses (Forge) (by YUNGNICKYOUNG) YUNG's Better Ocean Monuments (Forge) (by YUNGNICKYOUNG) YUNG's Better Strongholds (Forge) (by YUNGNICKYOUNG) YUNG's Better Witch Huts (Forge) (by YUNGNICKYOUNG) YUNG's Bridges (Forge) (by YUNGNICKYOUNG) YUNG's Extras (Forge) (by YUNGNICKYOUNG) YUNG's Menu Tweaks (Forge) (by YUNGNICKYOUNG) ZeroCore 2 (by ZeroNoRyouki) 

Timestamps
Additional pictures (only the items in timestamps are available): https://drive.google.com/drive/folders/1y9R5j7zmo2oRJdmFLo8K0HJynoCeqrZz?usp=drive_link
PLEASE READ: I will give discounts for buying multiple items, around $5-10 per additional item. However, I will not be taking offers on any of the items. Instead, every Wednesday, I will repost this listing with lowered prices, until all the items are sold. Prices for items that people have shown interest for will not be reduced upon relisting. Prices will be reduced based on their price the previous week as follows:

• items greater than $200 will be lowered by $20
• items greater than $60 will be lowered by $10
• items greater than $20 will be lowered by $5
• items lower than $20 will be lowered by $2

All prices are shipped to CONUS. I will not be shipping internationally.
Keyboards (all new, unbuilt)
If you want to buy any extras separately from their bundles, lemme know and we can work something out.

• wilba.tech Salvation (blue) - $220
• Think6.5 V2 LE 1u (black with polished chamfered edges, only 88 produced) - includes extra PCB - $430
• Think6.5 V2 brass badge (1u lightbulb)/weight combo - $90
• Think6.5 V2 e-white badge (1u anchor)/weight combo - $55
• Think6.5 V2 1u badges - 7 total, $18 each

Keycaps (all sealed)

• GMK 80082 (BL00 base/BL00 aesthetic) - 2 sets total, $120 each
• GMK Demon Sword (base) - $150
• GMK Mizu (novelties) - $140
• GMK Nuclear Data R1 (novelties) - $45
• GMK Pixel (base, novelties, spacebars) - $120

Other

• Keycult 1/60 wrist rest (brass) - $170
• MAK WongBox+ artisan case - $110

RAMA Artisans

X	1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16	17	18	19	20
A			$180 Monochrome Starry Night X	$180 Monochrome Starry Night O			$55 Minimal 2 X Black		$45 Bleached X	$45 Bleached O		$35 Classic Red O				$35 80082 Pink	$35 80082 Blue	$35 80082 Blue	$60 Vaporwave X
B	$45 Deep Navy X	$90 Dolch Black on Red	$90 Dolch Cyan on Gray	$35 MODO2 Red	$35 MODO2 Gray	$35 MODOL Red	$35 MODOL Cyan	$35 MODOL Gray	$90 Dots White Dot	$90 Dots Gold				$45 Metaverse R2 Red on Silver	$140 Jamon Bacon	$140 Jamon Eggs			$90 Peaches n Cream Peach	$90 Peaches n Cream Leaf
C			$35 Red Devils Horangi		$35 Sumi Kanji		$70 Kuro Shiro R1 Black				$55 Masterpiece Knife Gold		$70 Bento O Salmon	$70 Bento O Gold	$55 Bento R2 O Gold		$45 Bento R2 Kanji Gold	$45 Honor Kabuto Gold	$45 Honor Katana Silver	$45 Demon Sword Gold
D	$140 Mizu Navy GID	$140 Mizu White				$35 Red Dragon Gold Fire 1u		$70 Botanical White	$70 Hiragana White	$70 Hiragana Grey							$60 RAMA Wave Seq2 Gold Matte	$60 RAMA Wave Seq2 Moon Matte	$60 RAMA Wave Seq2 Gold	$60 RAMA Wave Seq2 Moon
E	$180 Keycult Black on Brass				$35 Pono Gray Kitty	$45 Pono Geo Kitty Rose Gold		$45 Amethyst Pick Gold			$35 Norse Aluminum	$45 Norse Brass	$35 Ion Kuro	$35 Ion Milk			$35 Redline Tread	$35 Minimal 2 Red Square	$35 Minimal 2 Green Triangle	$35 Minimal 2 Blue Circle
F	$35 Tuzi Bunny	$35 Tuzi Bunny			$35 ThinkCaps Row 1	$35 Apollo	$35 Dolch R5				$35 Pink on Navy			$45 Camping R2			$35 Beta	$35 Serika 2
G			$70 Sydney Meetup 2019	$35 RAMA Shrimp on the Barbie	$35 Zambumon		$45 NovelKeys Wave		$35 Fuyu		$35 Peach Blossom	$35 Oni 1u	$35 Amalfi					$45 Bread Gold		$45 B Silver
H					$25 9009 R3 Green Swirl			$25 Redacted Swirl	$25 Redacted Swirl	$25 MODO2 Swirl	$25 MODO2 Swirl	$55 Nautilus Nightmares Enter								$60 Ivory Rose Gold
I	$35 KAT Cyberspace X GID	$35 KAT Cyberspace O GID	$45 KAT Milkshake Silver	$35 KAT Mizu Navy GID	$35 KAT Mizu White	$35 KAT Mizu Red	$35 KAT Explosion Red	$35 KAT Explosion Gold	$35 KAT Atlantis	$35 KAT Lucky Jade	$35 KAT Oasis
J	$35 SA Mizu Navy	$35 SA Mizu White	$35 SA Dualshot	$35 SA Dualshot																$70 RAMA Knob Kuro

Thanks for looking!

1.1 A resonator vector has multiple base modes 1.1.1 At offset fifths all in resonator is laxative 1.1.2 At offset octaves is Parrafin wax 1.1.3 A resonator vector has a few ranges in semitone division C1-C2 Always Rubber C2-C3 Normally Rubber C3-C4 Base Crude C4-C5 Food Grade Oil C5-C6 Laxative Only C7-C7 Flavor Only 1.1.4 A resonator vector is best cured by a filter reds method 1.1.5 A resonator vector usually indicates rubber or a laxative when it is unmessed by the filter reds method 1.1.6 By default a resonator vector is a rubber source of latex rubber 1.1.7 Cured Resonator forms the LaTeX substance which has various functions 1.1.8 LaTeX and Resonator are slightly but not altogether that toxic 2.1 A corpus vector has a physical object 2.2 A beam object is the fluid object and a marimba object is the human object and a membrane object is the drummer object and a pipe object is the stoner object and a tube object is the dauchund object 2.3 Corpus appears in a few range 16.35-120 Roor 120-262 Bacteria 262-512 Plants 512-1024 Foods 1024-2024 Human Related 2024-4048 Human Perephiery Related 2.4 Corpus has brightness or object ID material or object scientifics spread or object alignment inharmonic or object wavy filter or object oily or smoky 2.5 Objects may be made magical by realigning their direct spread to mid 2.6 Objects encode the disease of the person that used it 2.7 Objects yield food tokens when used in correct 3 depth beam tube pipe then cooked with pizza box or otherwise 2.8 Objects have an exact identifier by harmonics or upclicks and version for different variant upclick 2.9 Objects have a serial identifier associated with them which is their direct harmonic offset 3.0 A grain delay vector is a fluid extraction vector 3.1 A grain delay causes a derrick to appear on the signal when configured correctly 3.2 A grain delay should be used on the aboveground portion of crude extraction 3.3 A grain delay pumps fluid 3.4 A grain delay is best used at 1 and -9 or -24 or +12 3.5 Do not exceed one grain delay per extraction as it is the sampled oil derrick 3.6 Do not use grain delay in an ocean or it will cause an oil spill 3.7 Do not generally use grain delay or derrick outside of a fluids extraction 3.8 Do not use grain delay spray or the derrick will break 3.9 Do not use grain delay parameter besides 1 or the derrick will break 4.0 Vocoder is the fluid extractions vector 4.1 Use negative formant to go underground 4.2 Proof the oil at up to total proof at depth 4.3 Use 40 vector for best usage 4.4 Use up to 200 bandwidth for best usage 4.5 Top sample peaks if they are excessive 4.6 Increase fluid flow if possible to reason 4.7 Take fluid from belowground to aboveground with top formant 4.8 Do not use any form of negative total proof or it will be a shower 4.9 Tune after each peak 5.0 Q or eq is the tune process 5.1 Use tune to make a different amount of the particular thing 5.2 Put things all in the right place and resonance to get the detailed oil or water out of a signal 5.3 Use tune to isolate a particular thing 5.4 Use one tune to get your hands on something or use a motor pool tool with classic tune 5.5 Use tune with a network to do maintenance on something 5.6 Use tune to isolate a specific force 5.7 Use tune to create a hormone effect on the body 5.8 Use tune to specify how many hydrocarbon rings something has 5.9 Use tune at octaves for rubber wheels 6.0 Ugandan process saturator 6.1 Saturator gets the commoners on it 6.2 Saturator increases crude oil yield 6.3 Saturator prevents fires 6.4 Saturator adds more content to oil making it less pure 6.5 Saturator is an early stage process not a late stage process 6.6 Saturator causes mutagen to appear in the signal 6.7 Using at least one saturator in extraction makes the oil ugandan method 6.8 Using more than one saturator in the signal makes the oil actually ugandan 6.9 Saturator should be used with radiation surpression protocol 7.0 Vinyl is the ugandan refinery 7.1 Vinyl is the base cost of oil to create one barrel of oil at 221$ for a ugandan barrel 7.2 Vinyl creates stasis noise 7.3 Vinyl at hydrocarbons modification creates the appearance of stereo vinyl signal which is the vinyl chloride 7.4 Only one vinyl should be used in the ugandan method, the initial hydrocarbons source 7.5 Vinyl can be used to isolate pure vinyl chloride with mid side 7.6 The product is always polyvinyl chloride for a synthesis which uses more than one vinyl 7.7 The product is actual vinyl chloride for a synthesis which uses the mid side extraction method 7.8 A specific cure for the vinyl chloride created in extraction method exists 7.9 Vinyl is the rather dangerous portion of the ugandan process 8.0 Tube Amp or get jonnay a sample 8.1 Tube Amp does a minor observation on the signal which is not the actual observation of the signal 8.2 Tube Amp is the process used at the pre cracking stage before pre cracking in the oil field lot to certify oil field purity 8.3 Tube Amp can get jonnays hands on it and make the oil light and sweet crude 8.4 Tube Amp biases the signal towards mutagen 8.5 Tube can deconvolve the foundry observation or keep it the same 8.6 Tube Amp allows for up to three or a twentieth of the sample oil taken 8.6 Tube Amp is generally nonessential but allows for the process to be modified to light sweet crude 8.7 The modification to light sweet crude takes no time 8.8 The process involved may define oil sources further 8.9 Tube Amp is toxic to use as is as a standard signal and a wideband cure exists 9.0 Chanel eq or smelly 9.1 Chanel eq is where smell is observed in the signal 9.2 Adding just one chanel adds 10 times the smell 9.3 Chanel can do basic tasks and even in a pinch more than the standard worker number of chanel could do product work 9.4 Chanel is a perfumes process which causes something to become odorfactant 9.5 Chanel can make a signal less mutagenic substantially 9.6 Endocrine disruption by chanel has a specific cure 9.7 At the foundry chanel causes typical foundry area petrochemicals smell 9.8 Chanel Eq can expose you to something odifacantly 9.9 Chanel EQ is a critical process of drugs sensing 10.1 Cabinet Cabinet puts something in the cabinet, with the garbage 10.2 Cabinet has the garbage bin of all your friends in it 10.3 Cabinet can be used to imply something kept secret, deleted, or otherwise specifically specified 10.4 Cabinet has the bacterial disease of the cabinet on it 10.5 Cabinet is no more dangerous than your garbage bin in your kitchen 10.6 Cabinet can access your garbage bin in your kitchen 10.7 Cabinet is an essential part of home renewal processes to specify which part of the house needed to be renewed 10.8 Renewal process exist for specifying 2 cabinet upgrade 1x12 and 2x12 cabinet can be fulfilled by the renewal system 10.9 Cabinet can cause skin irritation if the cabinet is destroyed 11.0 Amp is the process of a drug addict 11.1 Amp provides a drug addict with reasonable amounts of their drug 11.2 Amp uses the food of the drug addict to generate the smoke of the drug 11.3 Amp is very dangerous and if set to default and not the rock user will kill the user outright 11.4 Amp is a specific process which is used when heavy metals are in the signal like at the oilfield hell which went too deep often amp is used to create synthesis effect in the oilfield hell 11.5 Amp provides Amp MTN DEW to the user 11.6 Amp Unlocks the mail system to the user 11.7 Amp causes many disease and a cure only exist for about half 11.8 If cured amp must be set to specific amp MTN DEW Abilities like Obtaining AMP MTN DEW at a store or obtaining amp MTN Dew by mail 11.9 Amp is very dangerous but I heard you can store marijuana in it 12.0 Gate or medical epitalon 12.1 Gate heals a signal, when the appropriate full poly gate is given at gate inverse gate for the whole range, then the recreational drug is formed 12.2 When gate is given in appropriate range to heal a generic signal and there is a gate inverse gate assembly for the whole range and the range does not exceed healthy and unhealthy there is a vaccine 12.3 When the vaccine is used in the recreational usage there is a battlesedative usage 12.4 A purely recreational use FLIP (few) exists, a purely recreational use CBX (20) exists, REDS medical (156) and BAGS (30) Medical Exist all also using Medical Gate 12.5 Gate has no cure of itself but can detoxify itself and even fetch a signal 12.6 Gate is not a signal router so should not be used to route a signal, this is emergency feature 12.7 Gate has various parameters which are always REDS 9,.02,10,333,-inf in a medical usage 12.8 Many gate have a use to create pressure with nominal pressure, gates can create pressure 12.9 Gates can refine a computer signal to detect right and are involved with doing work on something 13.0 Compressor or Pipes 13.1 Compressor Routes a signal somewhere else 13.2 Compressor Does quality assurance on an existing foundry full product 13.3 Compressor does the engine compression of a car without causing framerate lag 13.4 Compressor can do something on bequest of another pipe 13.5 Compressor has a variable pipe response to different substance, different behavior can be specified 13.6 Compressor in quality assurance should use the same sybian knee and threshold equal one another 13.7 Compressor in quality assurance should not exceed 5 minor acts of quality control 6 or 1 major act of quality control 12 13.8 Compressor causes unsteady supply 13.9 Compressor causes internal combustion in internal combustion 14.0 Delay or phase 14.1 Phase or delay can do surgery at 500 and 1000 and 0 rather third unused there is surgery 14.2 Phase or delay can do a keyboard retrieval or a keyboard flash at 333,666,999 14.3 Phase or delay can do shift register at 5000 14.4 Phase or delay can do manual register at 375,500,1000 14.5 Phase has a specific infinite ammo use at 4000 14.6 Phase has a firearms use at 37.5,50,75,100,200 except in blueprint use 14.7 Phase has a blueprint use 1,2.12,5,10,11.1,15,20,22.2,25,33.3,35,44.4,50,55.5,60,66.6,70,75,77.7,80,100 14.8 Phase has specific blueprint use of the offset of the individual components at the high end 14.9 Phase has splitter use of 5000,2111, and the firearms rate in splitter 15.0 Looper, or Pizza Box 15.1 Pizza box automatically cooks food at minus 20 15.2 Pizza box creates more of the food than you can believe 15.3 Pizza Box allows for the food to be cooked from Pizza Box to Pizza Box 15.4 Pizza Box Allows theft of item when recording 15.5 Pizza Box Is An Obligate Time Consumer Using Wav 15.6 Pizza Box Allows You to Get an Item from the Pizza Box (PIZZA SLICE) 15.7 Pizza Box Only Actually Cooks the Item on Retrieval 15.8 Pizza Box is Not Watertight And Cannot Become Watertight 15.9 Hit Circle (PIZZA) To Add Pizza or Other Food to Pizza Box Directly In 16.0 Frequency Shifter, F(X), Oxidation Reduction 16.1 Use oxidation reduction at exactly 500 Therms of oxidation to cook a food 16.1 Add 11.1 HZ At 50HZ Oxidation Variation to Cook the Food Well 16.2 Change Offset at Oxidation Reduction Parameter Offsetor to Change Food Flavor 16.3 Put an Aircraft literally into the sky by Oxidizing it 16.4 Peroxos, or Base Frequency Shift In Parts of F100 are a critical part of many life processes 16.5 A specific peroxos, lowest phosphors peroxos .01 scanning peroxos is involved with vision 16.6 Peroxos F4100 is involved with life that uses credit stick 16.7 All the peroxos of the intermediary shift between harmonic are involved with life 16.8 Alien Peroxos set outside the reference 261.5HZ Pussy Yeast Bread Harmonic Ledger Are undiscovered 16.9 Different family tree have different total peroxos set (Saplings) 17.0 Power Tools Driver or EQ3 17.1 A power Tools Driver is the old way to disassemble something 17.2 A power tools driver at 300 is the life jacket and at 650 is the bedpan 17.4 A powers tool driver at 1400 is the water filter and a power tools driver at 4100 is the grinder 17.5 A powers tool driver action of all three below 200 50-200 is the cooking request action in classic usage 17.6 A specific powers tool driver action sensor exists for cooking below all three 50-200 total range action 17.7 A powers tools driver with osc unlocks power tools motor action 17.8 A powers tool driver is a worse way to do work than with your hands 17.9 A powers tool driver is good at removing but not adding 18.0 Limiter or Limiter Removal 18.1 Limiter brings in Shadow Company And IDF And Blind Doxxons at Lowest 18.2 Limiter Brings in the Marines at Mid 18.3 Limiter brings in the seals at High 18.4 Limiter causes framerate lag 18.5 Limiter causes A signal to exhibit a perfect quality control even at extreme levels 18.6 Limiter can be used to tame paddles 18.7 Limiter can be used to tame drilling 18.8 Limiter can be used to examine something under a microscope 18.9 Limiter can make the psychoacoustic quality better 19.0 Beat Repeat, or Illformed Glitch Driver 19.1 Glitch Has Large Amounts of Turing Capacity 19.2 Glitch Allows for a signal to be broken into parts automatically 19.3 Glitch has a natural synchro ability like phase 19.4 Glitch has the ability to knacker a signal more than any other effect 19.5 Glitch can cause thought looping when it is combined with a drug 19.6 Glitch involves the usage of more constraints than the other effects vector 19.7 Glitch Phase Decimates the Signal 19.8 Glitch Is the Natural Form of Rocket Leauge Ice Block 19.9 Glitch can be used in gung fu to cure glitch 20.0 Utility or PHEN 20.1 Utility is the medical modifier which enables medicine to function 20.2 Utility is the phase amplifier which allow a phase transistor radio to pick up a signal 20.3 Utility is the suppression signal which yields mid from amidate 20.4 Utility Leads to natural divisions of 6 max 35 20.5 Utility forms methanol when it is prescribed as a compound 20.6 Methanol as utility is critical to curing the body's natural influenza or feedback as the methylation factor 20.7 Methanol as the utility is dangerous as a precursor but not as a component of promethylation medicines 20.8 Utility comes in ethanol above and gaba below at threes for dimerism mixes 20.9 Only one utility should be used unless rezurecting and at its highest it is critical to security signals being sensed 21.0 Reverb or Impulse 21.1 Impulse 10 is the lock unlock signal 21.2 Impulse 5 is the locked signal 21.3 Impulse 20 is the weed lock signal locked 21.4 Impulse 60 is the lucas impulse 21.5 Impulse 120 is the notch impulse 21.6 Impulse 2 1/2 Was Purported but Never Used 21.7 Impulse is always measured at no parameter 21.8 Impulse yields push for 5 second -40-20+35 positive with negative ten second and measured trace at 5 second -60-40+42 positive NANDAND unlocks token 21.9 When attempted 60 and 120 Second Trace were successful but these parameter are lost. 22.0 Auto Filter, or Amidate 22.1 Auto filter is the lettering of the situation 22.2 300 Source 650 Sulfur 1400 Water 4100 SnoreLax Olestra Ketamine 6500 Motion 10000 Tropane 13500 Engine 17000 X-Ray these are the critical amidate to life process nominal 22.3 450 Metal 550 Mains 750 Sewage 850 Treatment 2250 Ethanol 3400 Methanol 4700 Corn Plastic 5700 Plastic 7500 Rimbonant 8500 Soap Use are the natural taxing process of the initial statement 22.4 2000 Gold 1000 Nutraloaf 1100 Starch 1200 Sugar 1300 Glycine 1400 Hydrogen 1500 Pepsi Cola (1600 Peptide 1 1700 Peptide 6 1800 Peptide 3) 4100 Foods these are the nutrient for the system 22.5 131 Female Voice 144 Your Voice 155 Kick Drum 165 Kick Transient 175 Pots N Pans 185 Pots Content 196 Button Mushroom 220 Cache 240 Stash 262 Marisol 276 Clorox 296 Bluewater 300 Source 315 Febreeze 330 Peroxide 350 Nitrate 370 Ammonium 396 Loam 420 Bud 440 Dirt 470 Wheat 496 Soil 512 Potato these are the farm goods for the system 22.6 541 Muffler 581 Transmission 641 Piston 681 Engine 741 Cargo 781 Chassis 841 Fluids 900 Vaseline 999 Nutraloaf 1090 Soylent These are the willis goods of the situation 22.6 60HZ Patient Voice 131HZ Therapist Voice 300 Breath 650 Reanolin 1400 Aquaporin 4100 Cholesterol 6500 Weed 10000 Cocaine 13500 Amide 17000 Lisuride these are the tactical therapist of the situation, normally limited to cholesterol below and tuned to exact bodily process 22.7 -18 Utility This takes 125% 3.00Q to Mid, where a Dual And Dual Q resolves it at -33(MID), and can adjust for the natural armor process of the body -20-0 gate to adjust for the high signal 22.8 5000 Prozac 5100 Benadryl 5200 Scopolamine 5300 Atropine 5400 Benzyldiol this is the resuscitators of the situation 22.9 At 69 percent of 100 percent of the auto filter, 85% resonance is automatic mid 23.0 Drum Bus or Mike Mode 23.1 Drum bus makes the oil automatically virtual like modulator mode 23.2 Drum bus oil is especially good for general tasks, but it virtual 23.3 Drum buss summons the better drummer out of the bus 23.4 Drum bus is able to be flangebent 23.5 Drum bus is similar to communion but just mike 23.6 Drum bus allows for the shape of the item to be controlled 23.7 Drum buss allows for quality assurance to be undertaken 23.8 Drum bus makes the item profiled by mike the drummer from garageband 23.9 Jake the Drummer from Garageband Generally profiles and designs the item otherwise 24.1 Drive Sends the Signal to pikachu 24.1 Drive makes the world on the pikadollar standard above 3 use in chain 24.2 Drive increases oil yield 24.3 Drive is similar to flaring but is in reverse, adds pyrolysis to the product but also flares 24.4 Drive can be used to flare and actually control beyond flaring a aeronautical ship 24.5 Drive can be used for afterburners 24.6 Drive increases the torque of electric engines and their tone 24.7 Drive can be used to amputate a torn limb or saw something when used with osc 24.8 Drive can be used to extract oil better underground with tuning high and low 24.9 Drive is a typical stimulant which assumes the amine profile and is a critical part of transition metals.

Here is a brief story of the last year or so: I had been working at a retail plant nursery for over 5 years, had worked in multiple departments and had picked up a fair amount of knowledge regarding plants even though its not a topic I'm passionate about. The job is something I just fell into and it was my first real job, and I am in fact 32. I had spent years in community college before then, could never get past the math hurdle when younger, and was mainly taking music classes.(if I can get past the math hurdle now, now might be the time to consider going back). I am a classical pianist, and very knowledgeable about classical music and I compose as well, but I do not have the heart I don't think, and maybe not the the level of talent or commitment or personality type to take it up professionally. But this is my passion in life. I love early keyboard instruments as well, like harpsichords and clavichords, and would love to learn woodworking to maintain and build them. I have had so many goals throughout my teens, 20s and up till now, that haven't had much practical use to me. Intense ambitions too. Now I believe I am being forced to redirect that energy and it is very hard for me. I am considering working at a retirement home, sending in an application to either be a server or something basic like that, while I finish up at community college. I have been without a job now for several months and live with my parents. I am not an undisciplined person really, in some ways I'm very disciplined. I practice all the time, and I have been a runner at times and meditated a fair amount. My body right now is very tight as well, and I have had to go to PT to do exercises. I fear I am very depressed although it may be largely situational. I am in a very deep hole and do not know how to get out. I know I need to take it one day at a time, and some days are indeed better than others. But I have absolutely no idea where to direct my energy. Therapy is simply not accessible, nor is career counseling. I have messaged a number of these professionals online and gotten no response. Another bit for background: I take a low dose of an antipsychotic and lithium. Lower than I used to take. Before I got my last job, I had been to the psych ward and gotten branded with the diagnoses schizoaffective, which is laughable now, because I take such a low dose and am fine. I have been addicted to pot in the past, but I no longer smoke. The last time I caved in was two months ago. It helps that it's not really at all enjoyable right now in my state of apathy and isolation. But I want to continue to stay far away from it, it doesn't help with memorizing music or general life motivation and is bad for my lungs.
I just don't know what my strengths are anymore, like I said, or where to begin. I was pretty good at the plant nursery with customer service, but boy did it drain me. I'd rather do more with my life. I wish I could focus this ramble more, but my level of motivation right now is so low.

An hour after getting back from the Mason apartment, Bruce Kenner had the distinct misfortune of meeting Bertha Henderson.
A plump, gaudy woman with wrinkles and sun beaten skin only an alligator could love, Bertha Henderson wore bright red lipstick, bright red rouge, and way too much mascara. Her tangled hair was a dull red color and her clothes - pink pants and a white floral top - stretched tight across her bulbous frame. She looked like the kind of woman who lived in a trailer with velvet pictures of Elvis on the wall and pink flamingos in the front yard.
She acted like one too.
From the moment she stormed into his office, she hadn’t shut up once. She scolded, chided, accused, and badgered, sometimes even wagging one fat finger in his face like he was a naughty little boy. Ten minutes into the dressing down and Bruce was beginning to fantasize about police brutality.
It took him another ten minutes to find out what the hell she even wanted.
“It’s my granddaughter,” she shot back, “she’s missing in your town.”
My town? Lady, this is barely my office. I share it with three other people.
“Well, if you’ll calm down, maybe I can help.”
Jesus Christ was that the wrong thing to say. She hit the roof and didn’t come down again until Bruce was this close to arresting her for assault on a police officer. “Young man, I do not appreciate the way you’re talking to me. My tax dollars are the only reason you have a job. If it wasn’t for me, you’d be working at a car wash.”
At least I wouldn’t have to deal with you.
Bruce took a deep breath and held his tongue in check. “How can I help you?” he asked.
“I told you, my granddaughter is missing. If you listened to me, you’d know this already.”
Bertha produced a picture and slid it across the desk. Bruce studied it. A girl, roughly sixteen with black hair, blue eyes, and dimples smiled back at him. “She;’s with that Rossi man, I just know it,” she said bitterly.
“Who?” Bruce asked.
Rolling her eyes like he was stupid, the old woman told him the story. Jessie - the dimple faced girl - had the rotten luck of having to live with Grandma Bertha after her parents went to jail on drug charges. They lived in Sand Lake, a little town in the mountains outside Albany, where Bertha was no doubt loved and admired by all. One day, Jessie, who her grandmother lovingly described as “A little troublemaker”, ran off. Bruce didn’t blame her. He’d known Bertha for half an hour and he wanted to run off. Bertha did some snooping on Jessie’s laptop and found that the “little whore” had been chatting with an older man, Joe Rossi. Rossi, or so Facebook said, lived in Albany and worked at Club Vlad.
“I want him arrested for pedophilia,” Bertha said and crossed her arms defiantly over her chest. “He’s a dog just like all men. She’s probably pregnant already. Another mouth I have to feed.”
Behind the old battle ax, Vanessa appeared in the doorway and lifted her brows as if to say What a piece of work. Knowing her, she’d probably been standing just out of sight this whole time with McKenny, the elderly evidence clerk, and snickering into her hand like a little girl. LOL she called him young man.
Bertha noticed him looking over her shoulder and started to turn. Vanessa’s face went white and she ducked out of the way, narrowly avoiding detection. “I’m glad you think this is funny,” Bertha said to Bruce. “Meanwhile, if I don’t get Jessie back, the state’s going to stop sending me my checks. I need that income. I can’t work, you know. I have gout.”
Too bad being an asshole isn’t a job, you’d be world-famous
“I’ll go talk to him,” Bruce said.
“I want more than talk, young man, I want action.”
“Yes, ma’am.”
When Bertha finally decided to waddle off and ruin someone else’s day, Vanessa came in and sat in the chair the old woman had so recently occupied. “Oh, my God,” she said, “that was intense. I was this close to radioing in a 1015.”
1015 was code for officer down.
“Funny,” Bruce said without a trace of humor. He had kids going missing, a dead guy someone moved around like a goddamn Barbie doll, and now this. What next, hemorrhoids?
“What do you think? Code 1 or code 2?”
Code 1 meant top priority. Code 2 meant not a top priority. Bruce thought for a moment. It didn’t sound like Jessie Henderson was in danger. It sounded like she met a guy - granted, one too old for her - and decided to hide out with him from her psycho grandma. Maybe it could be something more, but he had a gut feeling that it wasn’t…and his gut feelings were usually right. “2,” he finally said. “I got shit to do.”
By shit, he meant “Talk to the families of those missing boys again.” He’d been interviewing them for two days looking for clues, but there was nothing. It’s like they just vanished. Bruce didn’t like this. He didn’t like it at all.
“Well, I’ll leave you to it,” Vanessa said and slapped the desk.
When she was gone, Bruce sighed.
Never a dull moment, he thought.
***
Ed Harris - no relation to the Hollywood actor - had been the medical examiner for the City of Albany since 2002, and in all that time, he had never seen anything quite like this.
It was Wednesday evening and Ed was locked away in the cold, sterile space beneath the city offices that comprised his domain. With its puke green tiles, harsh lights, and cloying smells of disinfectant, the .coroner's office creeped most people out, but not Ed. He was at home here, as comfortable surrounded by toe-tagged bodies as a cactus was surrounded by desert. A thin man in his fifties with curly, steel gray hair thinning in the middle, he wore a white smock, blood stained over his clothes that made him look like a butcher instead of a low level government functionary. He had a dark and dry sense of humor, but then again, so do all people who play with dead bodies for fun and profit.
The coroner’s office was a vast, utilitarian vault segmented into multiple different rooms. Here, where the magic happened, three stainless steel tables stood in a row; a bank of refrigerated drawers kept watch, making sure nothing funny happened. One of the cold fluorescent lights overhead flickered with a hum of electricity, and water dripped rhythmically from a faucet. It was a cold, eerie place, but to Ed, it was home.
On most nights, only one of the tables was occupied, but tonight, two were. On one lay an old lady who died of what appeared to be cyanide poisoning. On the other was Dominick Mason.
Naked save for a white cloth draped over his groin to protect his dignity, Dom was the most corpsy corpse you’d ever hope to see. In fact, if you looked up dead guy in the dictionary, you’d see a picture of him. His body was pale and sunken, one side covered in purple splotches where his blood had pooled, and his eyes were closed. His abdomen was slightly distended with the expected build up of gas, and his flesh stuck fast to the bones beneath. In other words, he was text book. A normal corpse.
Mostly normal.
As men of his trade are wont to do when strange bodies mysteriously appear, Ed had opened Dom up, making a Y shaped incision from his neck to his groin. He hummed to himself as he did so, his hands wielding his sharp and shiny tools with the deft assuredness of a seasoned surgeon. Done cutting, he dipped his gloved hands into the cavity and started removing organs. A spleen here, a liver there, nothing Dom would miss. When he got to the heart, however, he stopped.
There was something…off…about it. At first glance, it was black and withered like an oversized raisin. An odd and putrid odor emanated from it and though he was familiar with the various smells and stenches the human body produced after death, this wasn’t one of them. Try as he might, he couldn’t place it, couldn’t even compare it to anything. Plucking a magnifying glass from the metal cart next to the table, he peeled back part of Dom’s chest and examined the heart closer.
That’s when things got really weird.
Dominick Mason’s heart was, indeed, shriveled, but it was not black. Instead, it was almost entirely covered by an interlacing crisscross of what appeared to be black mold. Here and there, Ed could glimpse flashes of the heart beneath: It was wrinkled and a sickly gray color. “What is this?” Ed asked himself at length. He grabbed a pair of tweezers from the tray and carefully, very carefully, attempted to remove a piece of the mold for analysis. The moment the cold metal tips touched the heart, it gave a violent spasm that sent Ed falling back with a shocked gasp, the tweezers falling from his hand and clinking to the tiled floor.
The heart began to pulse like an alien egg sac, slowly at first, then more rapidly. For a moment, Ed was frozen in place, unable to comprehend what he was seeing. Once you die, your heart ceases beating. That’s that. Only living hearts beat, and Dominick Mason was certainly dead. He was dead from the moment Ed first laid eyes on him earlier that day and he was dead now. Yet there was his heart, beating anyway.
It could be a muscle spasm. They usually aren’t that violent and consistent, but dead bodies sometimes do strange things. As he watched the blackened muscle expanding and contracting, however, Ed had the most eerie feeling. He went to rub the back of his neck, realized he was still wearing blood soaked gloves, and stripped them off. He was spooking himself out; he needed a break and a hot cup of coffee. He’d come back fresh and start over again.
With that mold.
Could you really blame him for being creeped out? That stuff wasn’t normal. He’d never seen anything like that before, not even in textbooks. Dom was scrawny and didn’t get enough vitamins in life, but overall, he was healthy; that mold…or whatever it was…had no business being there.
Going over to the coffee pot, which stood in the same room to save travel time, Ed grabbed a styrofoam cup. When he was done here, he planned to go home and -
A terrible, metallic clatter rang out, and Ed jumped. He turned around, and when he saw Dominick Mason standing next to the table, hunched slightly over and staring at him, an electric burst of fright shot up his spine and exploded in his brain, so strong it made the edges turn gray. Pale, hands hooked into talons, and the flaps of his chest hanging open to reveal the cavity beneath, Dominick Mason looked for all the world like a boy who’d been caught sneaking out to meet his girlfriend. A weak, involuntary, “Oh, God,” slipped from Ed’s trembling lips, and the spell was broken. Dom came alive and ran toward the door leading out to the parking lot. He slammed through it, and the sound of it crashing open and then falling closed again echoed through the empty chamber.
Shaking, panting for air, and soaked in piss, Ed sank to the floor in a sitting position, his eyes wide and staring like those of a soldier returning damaged from the front.
It was a long time before he composed himself enough to call the police.
***
Dazed and caught in a nightmarish twilight realm where nothing made sense, Dominick Mason limped painfully down the sidewalk, a stranger lost in a strange land filled with danger and hostile creatures. Barefoot and shrouded in a white sheet, he trembled with cold and struggled to ignore the dark, threatening shapes looming from the fog in his brain, shapes that would turn into unspeakable truths if he let them.
Passersby openly stared at him, their expressions either morbidly curious, disgusted, or alarmed. A man put his arm protectively around his girlfriend; a woman pulled her little boy to her breast, and another man sneered at him, his nose crinkling. Dom, his glazed eyes narrowed against the harsh glare of the many street lamps, headlights, and storefronts, lumbered headlong toward nowhere, his fear growing until he was shambling. He imagined he could hear every cough, every whisper; smell the odor of every unwashed body. Each car horn was deafening, every whiff of ass or armpits sent his stomach churning. The rustle of a passing pedestrian’s jacket jammed into his ears like icepicks, and the approaching globes of LED headlamps burned his eyes. He gritted his teeth and groaned against the pain.
The dense mist wrapping his brain made it hard to think. Like a frightened animal, he made his way on instinct alone. Home. He needed to get home. Out here, on the street, he was exposed. At home, locked away in his small apartment, he would be safe.
A car passed in the street, bass heavy rap music blaring from its open windows, and Dom’s brain exploded with agony. He threw himself against a street sign and held on for dear life, his legs weak. Dizziness overwhelmed him, and he almost went down. He was also cold.
So, so cold.
People around him quickened their step; they never took their eyes off him, as though he were a venomous snake that would strike at any moment. He needed to get away from them. They were going to hurt him; people always hurt him.
Pushing away from the sign, he began to hobble once more toward home, wherever home was. He looked over his shoulder several times as he made his way down Central Avenue, and each time, he saw that no one was following him as he had feared.
No one, that is, except for the man in sunglasses.
Tall and lank with curly hair, he wore dark Aviators and a leather motorcycle jacket over a button up shirt. His hands were thrust deep into his pockets and his face showed no expression. He was always there, always a few steps closer. Outside Capital Fried Chicken, a group of people openly stared at him, He heard their whispers as he passed. What’s wrong with him? Dude’s straight tweakin. And the one that struck him the most. That guy looks dead.
Dom hobbled faster, as if to outrun the realization that he was, in fact, dead. The man in sunglasses was closer now, his footsteps so loud that Dom winced. He turned around, and the man was impossibly in front of him. Dom ran into him and bounced backward, going ass over tea kettle and landing on the former. They were in front of a church on a darkened corner, the lights here either burned out or shot out - you could never tell in Albany. Even though it was dark, Dom could see everything with crystal clarity. Dom tried to scurry away, but he was too weak to escape. Right there and then, he decided to give up. Come what may, he just wanted this nightmare to be over.
The man stared down at him, emotionless, unspeaking.
Dom squirmed.
“You’re real lucky I came along,” the man said. His tone was flat, even.
Dead.
“Get up,” he said, “I’ll take you home.”
Home?
Yes.
Dom wanted to go home.
The man helped him up, and Dom followed him into the night.
***
Bruce Kenner stood in the middle of the medical examiner’s office at half past nine that evening with his hands on his hips and stared doubtfully down at Ed Harris. The lonely cavern was alive with activity as cops went over everything, all of them looking either bemused or a mused. Bruce was neither. He’d been at home, sitting in his chair and having a beer in front of AEW Dynamite when Vanessa called. “You might wanna get down here,” she said, sounding confused, “something really strange is going on.”
Ed Harris - no relation to that one guy - sat in a straight back chair beside his cluttered desk and gripped a styrofoam cup of coffee in both hands, putting Bruce - for some reason - in mind of a monkey. When Bruce came in, the old man was white as a sheet and shook like a leaf. In the last half hour, little had changed.
“Tell me again,” Bruce said.
He and Ed were pretty good friends. He knew that Ed knew standard police procedure. Cops don’t ask you to repeat your story a thousand times over because they’re forgetful fucks, they do it because telling it again and again helps to jog loose details that you might have forgotten. Ed, therefore, did not protest. “I turned my back,” he said and chopped the chair like Jackie Chan, “and I heard the noise.”
His voice was thick, unsteady, and halting. He sounded as squirrely as he looked…and he looked pretty damn squirrelly right now.
“I turned around…and he was looking at me. He was standing there and he was looking at me.”
This was the fourth time he’d had Ed go through the story, and nothing had changed. Bruce felt something stirring deep inside his gut. It was either disquiet…or he had to fart. He opened his mouth to speak, but sighed.
“You don’t believe me,” Ed said.
“I dunno, Ed. Dead bodies don’t just get up and walk away.”
Ed flashed. “I know that, goddamn it, but this one did.”
Bruce glanced at Vanessa. She looked uncomfortable.
“Are you sure he was dead?” Bruce asked.
Ed opened his mouth, closed it again, and said, “I did the autopsy.” His voice broke on the last word, and he sounded almost like he was pleading. “His fucking liver’s on the floor. He stepped on it. The man has nothing in him. I-I’m telling you, there’s no way he’s alive.”
During the autopsy, Ed had sat Dominick Mason’s organs on the little tray table where he kept his pointy things. Mason knocked it over while getting up. Indeed, there were human organs on the floor, and one of them did look kind of squished. Bare, bloody footprints led to the exit door, up a set of concrete steps, and then disappeared in the alley behind the office.
“You said you left his heart,” Bruce said.
“And his brain,” Vanessa helpfully added.
Ed pinched the bridge of his nose like a put upon professor dealing with two particularly stupid students. “Even with his heart and his brain, he’s dead. You saw the livor mortis. He was cold, he was stiff. His heart wasn’t beating, he wasn’t breathing. He was in one of those drawers for nine hours, not breathing, no blood flow - it’s impossible. It’s just…it’s impossible. I don’t care what you think, he was dead. And even if somehow he wasn’t, I cut out almost everything. I opened his stomach, I took his spleen - you don’t just get up from that. You don’t walk away from that, much less run.”
Bruce chewed the inside of his bottom lip because he didn’t have a Twix. He didn’t look like the smartest man in the world…and he wasn’t…but he knew a dead body when he saw one, and the body they took out of Dominick Mason’s apartment was D.E.A.D. And like Ed said, even if by some freak fluke of nature he wasn’t, he couldn’t just get up and go about his day with no liver, spleen, or kidneys. Hell, Bruce had his gallbladder out and he couldn’t even walk away from that.
“You said there was something funny about his heart,” Vanessa said.
Ed finished off his coffee. “Yeah. It was…moldy. I-I’ve never seen anything like it.”
“Is it possible that…has something to do with it?”
“Unless the rules of biology have changed overnight, no,” Ed stated.
While Ed poured himself another cup of Joe, spilling some because he was still shaking, Vanessa took Bruce aside. “So what do you think?” she asked. “Is he telling the truth?”
For that, Bruce did not have an immediate answer. All else aside, he was a cop. He followed the evidence - and his gut instinct - wherever it led him. Ed was a sober man - he was not a drunk, insane, or stupid - and no man on earth could fake the look of trauma in his eyes. Bruce’s eyes went to the bloody footprints leading away from the exam table and his stomach roiled. It might be cliched, but there had to be a rational explanation. “Yeah,” he finally said. “The kid got up like he said, but there’s no way he was dead. Maybe…I dunno, he had a surge of adrenaline or something. I’m not a doctor.”
“That’ll only get him so far,” Vanessa said. “We’ll probably find him on the street somewhere.”
He went back to the purple splotches on Dom’s face, to his cold stiffness. There’s no way he was dead?
Bruce was confused, and he hated being confused.
“I dunno,” he said, “maybe.”
But he had the gnawing feeling that they wouldn’t. They would never find him…and Bruce would be confused forever.
Goddamn it, Mason, he thought, where are you?

I'm trying to build a Wooting 60HE with Gateron Jades soon, and I've been considering what case to get. I'm pretty sure I've narrowed it down to either the Mekanisk Fjell or Wilba Salvation. I know both are pretty pricey options for a Wooting 60 build, but the overall design is just as important to me as its performance.
I'm a sucker for bigger bezels, so things like the Tofu60 Redux (while excellently priced) don't really do it for me since you can barely see the bezels.
In any case, Salvation and Fjell both work for me aesthetically in different ways, but I was hoping for some feedback on a few things...

1. For the Salvation, can you use the leaf springs with the 60HE+ assembly? And even if you can, do you still have to use standoffs? I assume you'd have to because the Wooting is tray mount, but does that affect or negate the benefits of the springs?
2. Does the leaf spring mount in itself negatively affect the wooting's performance? My understanding is that the whole assembly can't be too "bouncy" or "flexy" because the switches need to have a consistent distance from the PCB to perform well.
3. Does the Wooting in the Fjell sound good (again, considering I'm using Gateron Jades)? I always liked the design of the Fjell (and still do), but it's a pretty old keyboard at this point, so just wondering if it holds up today.
4. Any other options to consider beyond Fjell or Salvation considering I like bigger bezels, beveled edges, and generally just don't like plain rectangular keyboard cases?