I'm in the final testing a checking stages for the Salome Music.
This is the mastering stage which is a process of setting the volume levels and tweaking the EQ, this is the only time in music making that I tend to use equalisation, which is why I was developing a 10-band graphic equaliser. In the end, I haven't applied or used the new equaliser, but I'll keep it in reserve in case I can use it. For me, EQ is about making sure that all of the frequencies are covered correctly, but to some extent having to use any at all is a failure of good composing - although this factor was and is always part of music making. In classical music the conductor is producer and mastering engineer, ensuring the right balance for the composition. I now use visual and technical tools to compare some EQ 'tuning forks' to my mixes to see if anything is way out. In this case though things are good enough as they are. I like to make everthing 'perfect' but this sound quality is also part of the art - one rarely experimented with.
One other change is to edit the 'intermission' track. This is a live audio recording of the room chatter which took place during the live performance. I've removed a few snippets of conversation by people who I don't know and can't consult, although the key point of this track is that nothing is particularly audible, and that it is absolutely authentic. There are many albums of 'live' music made but I can't recall any making a track from the incidental auditorium noise. The most audible here are those of Mike Drew towards the end discussing the line-up for the open-mic part. It ends with the 'lights out' speech that opens At Freud's Lecture, so unlike the Beatles' Revolution No. 9, my 20-minutes of musique concrète leads to a dramatic resolution. We wait the entire time for enlightenment (in more ways than one).
Most of today has been making the 8-second 'canvas' animations for Spotify. These are based on the projections, but I've had to brighten some up, and of course make them loop perfectly. Many loop anyway, but not at exactly 8-second intervals, so some programming and other fancy editing is needed. Argus is so good for making these.
Other news. I've re-watched 1970s classic The Man in the Iron Mask, and must create a painting about it. Our next engagement will be at Crewe Hall on Sunday, an artistic accompaniment to the Worleston Music School concert there.
