Some good news from Ty Pawb as, a despite record number of entries, I hear that one of my paintings has been selected for the Open there. This is as much a relief as a joy.
I don't know which painting was (or even paintings were) selected. Only one of the three is framed, and the Theresienstadt painting is brilliant anyway, so needs a frame, so today I cut this. I used my Frameculator software to measure the sizes, and made a slight improvement to the code to show the 'half way point' to cut. With a long (over 1M) length of wood, it's usually better to start by sawing it in half at the correct place. For decoration, I first roughened it with a wire brush; I wanted an aged and ancient look, then planed a bevel to give a smooth inner edge. Then stained in red-shade phthalo blue stain, then brown (a raw-umber hue). The result is a dark green-brown, just perfect.
I managed to cut my thumb on a huge splinter, then repaired the splinter by gluing it into place with a tiny amount of glue and tweezers, the stained that part with a cotton bud. The repair is now invisible.
In between frame work, I've started the music for the next Fall in Green track. All but 'The Silk Merchant's' song were recorded last year (apart from the vocals), which is why they've not taken long so far. 'We Used To Store Sunlight' is also known as 'Rest In Peace, Dear Chlorophyll', it changed name during composition, and I still get both names confused.
I wrote a tune for it for its premiere live performance at Tom's Tap years ago (Ah 11th October 2019, 5 years to this very moment). It has a simple melody with a regular 4-time beat. The mood is dreamy, like a tune called 'Waiting For The Rain To End' as used in a Flatspace Music Pack, and some of the tunes from Arcangel. The melody is a little magical, described as 'Hobbity' in the notes, and it does have something of Lord of the Rings about it.
I've decided to sequence it first rather than play live, then with a sequencer guide, play live afterwards. There's a lot more instrumentation than the piano here; it's mostly strings. I have so many ways of recording, and so many ways to record, and I don't use just one. One key difference between Prometheus and most Digital Audio Workstations, is that the latter are primarily triggers of audio clips, but Prometheus is primarily a synthesizer and triggers individual notes. Of course those 'instruments' can be audio clips, but it's core inspiration is Protracker on the Amiga, rather than a multi-track recorder.
