I woke early and thought about sine waves. I thought about pink noise and Pythagoras' vibrating strings. When making pink noise, one starts with white noise, then add successive totals of noise at half frequency. Now, this can't be fully synthesized in real time because time extends; you can't determine the single lowest note, the total number of layers needed. For example, to make 16 samples of pink noise you start with one wave of 16, one of 8, one of 4, one of 2, one of 1. Easy; but real-time isn't 16 samples but goes on for 'ever' (well, a finite but undetermined time).
You can start with one wav, then add more as it 'grows' in time, but that couldn't continue for ever, you'd run out of resources. Now, I realised that this happens for the universe too; for two reasonings. First, I started with the idea of an infinite number of overlapping sine waves. This would produce white noise, I imagined, but of course, you can't have 'infinite' sine waves in the universe, for the same reason you can't have infinite layers when making the pink noise. Things will start at high frequencies, then get lower and lower by layers over time; whether sine waves or noise turning from white to pink.
The sine waves will also interfere. I thought that some interferences would result in stable forms, and that this principle may help explain different species of particle, something like string theory, but more like an evolution of stability from a sea of chaotic waves. Chaotic arrangements (not Pythagorean resonant 'beauty') would dissolve.
I think more on this. One other conclusion is that this universe is not one of many, not one of an 'infinite number of possible unverses', but it is ONE; that this is the only possible universe, that Earth and all of the stars as we see them are the only possible arrangement there could have ever been.
I rose early and started by programming an audio plug-in called Pythagoras, in honour of my new idea, which is actually a simple arrangement of 7 overlapping sine waves of any different tunings. The result is a plaintive sine-organ sound, which is pretty, but probably not very useful, so at 10am, I filed it as a curiosity rather than include it in Prometheus.
Then, a tiring and exacting day of work on the We Robot sheet music. We Are The Damaged took some time, as did the complex solos which exist only in MIDI format and needed note-by-note processing, but the results are accurate enough. Flight Over Rust City looks amazingly simple in the end:
That's it for the 70 second piece, but there is a lot of timbral complexity, swerving and bending of the drone-like notes. Maybe I should add that to the score.
