Wednesday, March 26, 2025

SFXEngine v2.03, LFASS, ArtsLab

A full day. Began by updating SFXEngine, after discovering a small bug in my waking night. This led to discovering a larger bug (well, more like an error). I realised that I'd limited the Sine, Triangle, and Pulse waves to -24/+24 when this should be -48/+48. This was all fixed, tested and made live by 12:30.

Then, the new Fall in Green CDs arrived. I scanned and filed these, and did some more music admin regarding UPC codes. The admin of music is endless.

After that, I finally continued writing Oil Painting From Beginning To Master And Beyond, then launched the new SFXEngine pack. This evening, I'm typing up episode descriptions and track lists for the 118 ArtsLab episodes, to make it easier to upload the information to MixCloud (or any other platform) in future. This is a few hours work, but hopefully worth it.

Tuesday, March 25, 2025

20x20 Paintings, David Lynch, Zelenskyy, Bierstadt

I awoke early after many vivid dreams. I knew I had to paint today and started slowly. I looked at some paintings in the book '1001 Paintings You Must See Before You Die' while listening to 'The Life Scientific' on Radio 4. At 10am I started painting.

The four works to paint were: 'The Magic Of Drama', 'So Many Profound Ways', 'Repercussions Of The Decline', and 'The Days Of Kronos'. All were 20x20cm, and I needed to paint all today, as they'll be sold for £20 each, far too little to be worth putting time into. This is the sort of challenge I like. I chose the titles at random using Wiki Quote, and had no plans or preconceptions, except that the first title, when chosen, suggested to me David Lynch, who's death a few weeks ago touched me deeply.

Thus, the first painting became a portrait, with a strangely angelic Elephant Man. The sky became smoke, as per a old plan for a Lynch portrait with smoking eyes and hair. The second painting became a portrait of Ukrainian president Volodymyr Zelenskyy. It needed a second theme, so I combined his image with a painting by the American romantic painter, Albert Bierstadt. His heroic portrayal of the American landscape would, I thought, be an ideal emotion to add. These themes: David Lynch, The Elephant Man, Albert Bierstadt, and Crows became themes, with Ukraine a tangible theme not present visually except for Zelenskyy here, and for the yellow and blue of their flag; colours the world has come to know.

The third painting became a portrait of a screaming girl from The Elephant Man, but in blue to a flaming sky and forest, from the Bierstadt sunset. The fourth painting became a simpler portrait of Lynch, but here blending into Bierstadt and smoke. I was struck by the fact that Lynch often used smoke and steam as antagonists, symbols of fear and evil; particularly in The Elephant Man, yet, he professed a love of smoking cigarettes. He died of emphysema, also indirectly killed by the California wildfires, so smoke, his nemesis in film became his ultimate killer. Were his smoke fears a manifest warning?

Painting felt good, welcome. I completed all four paintings by 17:30 as planned. How sad I remain that I can't paint more, that no commercial gallery to date has given me a break. I can survive, like van Gogh, without sales or support, but things would be so much easier (not to mention profitable for all concerned!) if I had a sales outlet. I would certainly paint far more, have painted more; paint larger and more ambitiously, have painted larger and more ambitiously. There's no point in painting a large masterpiece here, as I know it would sit here as unseen as most of my medium-large work, and I have no more space. My lack of painting, when I can now paint better than ever before, saddens me, but I will do the best I can with the circumstances and tools that fate decrees. With these small competitions and exhibitions I have at least a little outlet, and one I've always taken used.

The Letters From a Square Spoon CDs are due to arrive tomorrow.

Today's painting has made me feel like an artist again, revived my soul. Onwards we must charge.

Monday, March 24, 2025

Vocals, Guitars, Dentistry

A slow day. Recorded the main vocals for 'How Lonely', then for 'The Light Bulb 1', then a trip to the dentist. It's hard to find one in Britain, nigh impossible to become an NHS patient, so I'm a private patient which is expensive, but I am lucky to have found this after 6 years or so without any access to a dentist. I remind myself that this was normal life for Beethoven and most people of the 18th and 19th century. The NHS is effectively non-existent for dentistry, with a declining number of legacy services distributed by luck and nothing more rational.

A little more work on the music when I returned, and guitar parts for 'Written on Rice' and 'How Lonely'. I recorded lots for both, but after hours of editing and trying this and that, the latter hardly used any, and I'm unsure if even the fragments that remain are needed. These tracks are just about complete I think.

My plan is to paint tomorrow, the 20cm paintings. I must summon strength and crawl forwards.

Sunday, March 23, 2025

64-Bit Preparations, ISRC admin

A full day of largely programming. Prometheus and SFXEngine have been updated to make a switch to 64-bit versions relatively easy. Both programs and plugins compile in 64-bit without warnings, and 64-bit Prometheus works with a test plugin; I'd have to spent a day recompiling them all to get it fully working. It can't load any programs or sequences saved from the 32-bit version, as the save-file structure sizes vary between versions. I'm confident that 64-bit SFXEngine would be the same.

There are two key benefits to 64-bit versions. Firstly, that 32-bit programs are limited to 4Gb, and potentially memory-hungry programs like these would benefit from more memory. I've only once (in 24 years) touched upon running out of memory with Prometheus, and the recent options to switch off interpolation on a per-sample basis actually save lots of memory, but larger capacity can't hurt. It would make some tasks, like making SFXEngine capable of processing full songs, or long tracks for audio books, would be a good thing. It may be capable of doing that now, but there's no harm in increasing the capacity. The second reason is that 64-bit programs on a 64-bit system are 20% or 30% faster. Prometheus is already faster than its ever been, and would have to go a long way on this PC to slow below real-time, but there's no harm in increasing speed either.

The downsides are minimal. A 32-bit program is smaller and has a lower memory footprint, but both programs remain small. 64-bit Prometheus is 1.03Mb, vs 834Kb for 32-bit. Plugins are 10Mb; perhaps then 15Mb for 64-bit. MuseScore 4, by comparison, is 81Mb, yes 8 times bigger, yet less powerful. The biggest downside is that I'd need to make new file formats for everything, the 6th new file format for Prometheus (the program needs to detect and import all older formats). This means new data structures for everything that can be saved/loaded, identical in all but size. SFXEngine would be the same, though it is less complex.

Today's changes took until 3pm, and SFXEngine v2.02 is now published.

After that, much music admin. I hand-checked every ISRC code for duplication and found 3 or 4 more duplicates. These were not too serious as all duplicates were for the same tracks with very slight changes, 2 or 3 seconds shorter, for versions shared between a core album and a compilation. Of these, only one version of any track is currently released on digital platforms, so the admin burden is low and not too important. Still, each track needs a unique ISRC, so new codes were created for the offline tracks. Since 2001 I've recorded and registered about 70 music tracks per year, so today's checks involved 300 or 400 text-file searches to check that each code was correctly assigned to a unique recording. This was 2-3 hours of tedious clicking, but it's all done now, my first such check in 24 years.

Saturday, March 22, 2025

Writing

Up from 7am and a day of writing, with a pause to add the 64-bit enhancements to SFXEngine. Writing has been slower. I'm unsure of the scale of the work. I'd like it to be epic and huge, but I continually think that many technical aspects, like a list of colours or pigments can't compare with an online database. I considered an online component to the book. The job seems, at the moment, overwhelming.

Friday, March 21, 2025

Art Books, Flight Dream, IRSCs, Prometheus 64-Bit

A frustrating few days, I've kept busy but don't feel I'm on a track, darting between too many different things.

Most of yesterday was spent on my art book. There is much to write here. I also started to think about Prometheus and how difficult or easy it might be to make it into a 64-bit application. It is rather easy, but there are a few caveats. One is that the files have pointers in the structures, eg. "long* lppointer". Of course, the data there is irrelevant, it's zero in the file, it's there only to make saving faster, but it means that the file structure itself is a different size on a 64-bit system. The solution is to have a file structure which simply uses an unsigned-long as a substitute, not a pointer, thus it can be the correct 32-bits big on a 64-bit system.

Overnight I had many fantastical dreams. I dreamed I could see the end of the world, which took place at a music event. The event was planned by Creative Crewe, and included as an organiser my old headmaster, Mr Bowers, a well-liked teacher, and the father of someone in my school class. He appeared in my Facebook feed yesterday due to the sudden death of his wife. The event included musicians, and a piano or harpsichord which could be split in two, high/low, through the keyboard and each half wheeled around. I was disappointed not to be asked to perform at the event, but held a hope in my heart that I'd be asked, I felt that they simply didn't think to ask me, quietly desperate though I was to be part of the event.

The event took place in a circus tent of some sort, and three signs, like giant keyboards hung above the ring; left, centre, right. In the cobbled courtyard outside, Deb was there with a bowl haircut, perhaps a little like Princess Diana, perhaps a little like my memory of the school friend. I became aware that she was in love with another man, an electric guitar player who was part of the show. Without much fanfare or any words, she left with him, leaving me heartbroken. The grey courtyard was high up on some rocks, and jutted out into the sea like a castle, and there was something medieval about it all. In my suicidal despair I leapt from the walls to my death in the churning sea below.

To my surprise, my descent slowed and I started to fly forwards, low over the waves, rather than hit the bottom. I began to feel happier, and glancing up at the horizon saw a fantastical city in my distance, among brightly coloured clouds, like a painting. The city appeared to be New York, or a fantasy version of it, with the Statue of Liberty appearing in the centre as I watched. I fell to the ground, which was now a beach of rippled sand and sea water. The beach was full of small gemstones, transparent cubic zirconium and very pretty. There were strange women around, like angelic beings.

Thus ended the dream.

Today I discovered, by pure chance, that I'd accidentally assigned the same ISRC code to two different recordings, one on The Dusty Mirror and one on the new Letters From A Square Spoon. This is a disaster for record keeping, these need to be unique. These codes are used in many places to identify the usage of a recording. I'm so lucky to spot this today, 4 weeks before the release of Spoon. This timing allowed me to remove the release in progress and re-submit it correctly. I was also set today to order the CD copies, which also include this code; so I managed to do this with the correct code. The codes are used in many places, but today I've managed to correct them all.

Duplications like these are rare, I've done it once before in the 15 years or so I've been creating codes; but this error was much more important than my older one, as today so much depends on accurate reporting and detection of a recording. I'm blessed to find the error today.

After that I worked on Prometheus 3.60, preparing it for 64-bit. The first step was to remove (the old and deprecated) DirectInput which I used for key-press checking. I don't really need it at all, as Windows itself has enough function for checking the keyboard, so this was done. Then I had to change strlen() to my own routine, as strlen returns a 64-bit value in Win64, and 32-bit in Win32. 32-bits is best for both for me, so I replaced it. The only other change was changing ITEMIDLIST* to PCIDLIST_ABSOLUTE when using SHBrowseForFolder().

After that, Prometheus compiled and ran in 64-bit for the first time. It didn't and can't do anything. It needs 64-bit plugins too, and needs a new file format and converter for it; but it's an amazing step to get it this far. These changes will probably bleed into the sibling programs of SFXEngine and Argus.

Wednesday, March 19, 2025

How Lonely Vocals, Prometheus v3.59, New Book Begins

A slower day yesterday, started by re-recording the main vocals for 'How Lonely' as they were too gentle before, but now seem a little harsh. I've stepped back somewhat from the music to reflect. After that, a trip to a friend to help with computer maintenance. I also updated Prometheus again after finding some minor bugs. This allowed me to add a feature to batch load and save instruments.

I'm still considering options regarding ArtsLab. One option is to upload all of the episodes to YouTube but mask off the commercial song content. This would be a better solution than MixCloud, which would/will ultimately delete it all anyway.

Today, I've charged into a new book about oil painting and have written about 5000 words. This is something I've wanted to write for a while. One key element is that it is more of a reference guide than a how-to book, something foe beginners and masters alike, but something which can be referred to over a lifetime. The order and structure will be unusual, and something a little like Cennini's book.

Monday, March 17, 2025

Album Admin and Filing

Two frantic but productive days of album admin.

First, Deb pointed out that on her fancy PC, our album art was a little fuzzy. I examined a few common resolutions (I think she has a 4K monitor) and reasoned that it was time for an artwork upgrade. The downside is the bandwidth and memory of 81 albums/releases; which feature a thumbnail and (usually) three booklet images. Before, each image was 400x400, with 300x300 for the pages. After some calculations and tests, 1000x1000 for the full album seemed a good size, so I spent yesterday updating all 81 releases.

The older albums varied in their artwork standards, so many needed revisiting and tidying up. That, more than the actual conversion, took longest. All in all, the 289 images took all day.

Today, revamping my primary music catalogue. Each album has a main type code (called a Release Group in Musicbrainz) plus sub-codes for media or 'Release', which is normally a CD release and a digital streaming release. Some are concurrent. The Flatspace Soundtrack, for example, is released on CD, and Bandcamp, and Distrokid (Spotify etc.), and Steam, all at the same time. Some releases replace and supersede older releases (some CDs are on a second edition, for example). Some have different tracks/audio for CD and Stream releases, in fact most of the newer albums do, like the Fall in Green Salomé album, although most of my post-2020 releases (which is a lot, perhaps a third of my total artistic output) don't have CD versions at all. When I do make some, their music will be different from the stream versions. All of this information needs storing in a clear way.

All of those codes and releases are now in the public Cornutopia Music Catalogue.

This took all day, and also helped spot a few 'bugs' and inconsistencies in the filing. You can't create without a good filing system; you'd get tangled up and lost. After that, renaming some folder names to clarify and unify these standards in the album filing system too.

Next, I must make and prepare the CD art for Letters From A Square Spoon.