Saturday, May 31, 2025

Smashing My House Of Cards

Back to music and art yesterday after a month of largely remastering and documenting old music. I must strive to make new things as much as possible. There are 10 tracks on this as-yet untitled album, but I've worked on more than 10, including one for the 'Light Bulb' concept (which has 3 penned tracks, perhaps these can be a future EP) and a re-recording of the very old 'Written On Rice'. I may not find a use for Written On Rice.

Of the current tracks, I've divided them into groups of 3, and the last 3 will be an aside, not as linked as the first 9. The first 9 are linked musically to the last track 'Fear is Everywhere'. One remained, so I've visited one of the original songs planned for this rather darkly themed album, a song called 'Smashing my House of Cards'. I started with a gentle, almost sleepy rolling theme with a Bossa nova-like beat, that moved gently between C-Major and E-minor. This was a bit too sleepy though, I needed more energy and 'funk', so I changed the rhythm for the 'chorus' part into a more standard rock-blues rhythm, and change to the tempo to compensate. The chords are simple, and drop to F-Major, but later revisit A-Major and F-minor in ways which jar expectation.

I'll keep working on this. The last of the 12 songs will be a general one I wrote originally for the Bob Dylan night in Congleton, but didn't use. I only have the words so need a melody. That can come after this. Here are the words to 'Smashing my House' so far. The last verse is an essential reflection and conclusion which takes us out of the song to a 3rd-party space.

Smashing My House Of Cards

Smashing my house of cards
I've been smashing my house of cards
I've been building my house for years
With gentle hands
Giving it kind attention
Hoping one day to see
Heaven or something like it
From the top

Of my royal house
But it's fallen apart
Like dried up twigs
Like windows of tears in shards
I've spent the day crying
Dying and raging
Smashing my house
Smashing my house of cards

Sorry for the disaster
Sorry for all the mess
Sorry for years of work
And wasted love

Isn't it often so
That our fears become our foes?
Blowing down our hopes
As they go

Thursday, May 29, 2025

Good Vibrations, Springsteen Night

A lovely, though exhausting musical day yesterday starting with a sing-along (and guitar-along) in Congleton Library.

Later, the 'Look Out Here Comes The Boss' event which had a large array of performers paying tribute to Bruce Springsteen. Most of the night was musical, people singing Bruce's songs, though there were a few original poems read, including a new one by Deborah about Tom Joad from Grapes of Wrath which included Springsteen lyrics, and two poems from Cherie. I sang the song I wrote for the night, 'My Guitar'. My performance wasn't quite how I'd rehearsed it, it was somehow much better, a little slower and more considered. I rarely play guitar live, I rarely play guitar at all, but this was certainly my best live guitar and singing performance so far. I have a long way to go regarding guitar playing. Are all performers always learning? I, at least, am always learning and striving to improve in all things.

There were many highlights of the evening, and actually every song and performance was very good, yet it was the overall warmness and welcomeness of the evening as a whole, the inclusive nature of John Lindley as host which made this, like all of his evenings, so nice.

We returned home at about 11:30 and I slept until 10:30, feeling somewhat weak and aching everywhere. I just don't seem able to digest enough or rest enough to recover these days.

A busy month is ending; one turbo-charged with admin work on older music, but I can't see an end to the treadmill. Changing distributors is an opportunity to change things, remaster old works, and a good many, 10 albums perhaps, could do with this, and all without really much work per-se. Most of the work is the administration side rather than the technical music work. That is now easier than ever.

Yesterday, between the morning and evening events, I managed to schedule the new Flatspace videos, so those are now ready and that release is now ready too.

My 'new album' is still waiting, and when that's done I must remaster or re-record parts of The Myth Of Sisyphus, which was the next in line. Yet, the summer sun is flying and I've not painted a thing, and my book on painting techniques has stopped at 20,000 words. I barely feel I'm doing anything artistic or new or brilliant. I feel trapped in a quagmire of this older music, and I may feel so for a year or two while I re-order it all. Perhaps this is the inevitable 'shoring-up' of the charging forwards with vocal music, which began in 2020.

What can I do but my best? What can I do but the most I can do? What can I do but obey my nature, to order, perfect, improve, neaten?

Onwards I must roll my rock, towards that nest bend in the road. Towards that next ridge. Towards that iron horizon of twilight.

Tuesday, May 27, 2025

Flatspace, New Guitar Lyrics

The new Flatspace soundtrack remaster was lined up this morning, and Letters From A Square Spoon submitted to a few new channels. Then, work finishing the Flatspace videos.

In between I've been practising my 'Bruce Springsteen' song for tomorrow. The link to Bruce is loose, it was inspired by his 'Used Cars', but that's it. Tomorrow will be a full day, performing in the library first, then back for the Springsteen evening. Here are the words:

I'm waitin' in the music shop for the man to come around
My dad is gazing at the sky, his head full of clouds
My brother's not allowed to touch the tambourine
Oh how he wants to touch it
I wish he'd let him touch it

I'm strumming easy Ds and easy Gs
The salesman is a staring at my prayer beads
He's hoping that our clothes are just a sham, but they're for real,
sorry man; because he knows we can't afford it
And I know we can't afford a new guitar

One day I'll get a song that is my own
One day I'll find a hidden chord that only I know
One day I'll strum a piece of luck
Upon my mind guitar
Today we have a used car
So I know we can't afford a new guitar

We're walking down the street, in october's lonely rain
My dad is telling me that santa claus is lost again
My brother's tapping rhythms with his cane
And how he loves to tap it
Oh how he loves to tap it

I'm humming easy Ds and easy Gs
When we get home I'll sing my frail old mum a melody
And I'll tell her of the instruments I saw this magic day
beyond that door; but she knows we can't afford it
And I know we can't afford a new guitar

But inside I have a song that is my own
Inside there is a hidden chord that only I know
One day I'll strum a piece of luck
Upon my mind guitar
And today will be a memory
And today will be the memory
Of the day I found a new guitar

Monday, May 26, 2025

Practice for Springsteen, Flatspace Soundtrack Videos

A full day of work. I need to learn to play the guitar version of my new Bruce Springsteen-inspired song before Wednesday so have been practising throughout the day. I reasoned that 10 mins of practice every 2 or 3 hours is more efficient than playing the same thing constantly. My finger tips and arm muscles can't play for long.

Most of the day has been spent working on new videos for the new Flatspace Soundtrack remaster. I've put lots of work into these, even though they are relatively simple animated videos. Each pushes things as much as I can given the time budget. These will never be stunningly popular, but they are better than nothing; pretty, and more interesting to watch than blank screen. Artistically, they are something like animated versions of the album artwork. Here are a few screenshots:

The track 'Conversion' uses an innovative spinning letter-box type shutter, which looks rather nice. 'Virtual L1', below, uses decals which flash to different instruments, the same sort of thing I did years before with the 'Challenger' video. I won't be making videos for the new Spiral Staircase tracks on there, I'll save those for the future Spiral Staircase remaster...

Will history ever wonder why I bothered making these videos? I sometimes wonder myself, except for the feeling of neatness, order, and completion; those essential qualities that define life. Most of my music, 40 original albums-worth (over 90 albums if you include remakes and unreleased albums), is unheard by anyone but me; though the odd track gets the odd listen by a few fragments of the 9-billion souls on this earth at this moment.

Perhaps one reason is that my family brought me up to know that being ignored was normal and to be expected, and that avoiding the terror of other people's attention was a vital survival skill; but another reason is that I've made about half of my total musical output in the last 5 years, at a time when the entire world seems to be making music. Music is now the most dominant form of art made by humans, due to technology and the ease with which music can now be made. The 5-year comment is of vital importance. My most popular music is the instrumental music I made 15 years ago. It takes a long time for music to gain traction. I've not promoted the new 'half' much and it still needs remastering and perfecting before I'll be happy enough to do so. Perhaps in 15 years, the things I'm making now will begin to become popular.

Onwards!

Sunday, May 25, 2025

Success

To be successful, you can either be spectacularly better than others for an instant, or consistently a bit better than others over a long period. The latter is worth more.

Saturday, May 24, 2025

Booklets Part 2

Another manic, and mammoth day. I feel so tired that my eyes are spinning spirals, yet I've managed to complete most of the technical registration work for the new Flatspace album, update all (50+) of my album data on a certain listings site, while registering the Flatspace remaster (or most of it, some data is pending upon pre-release) with PPL - PPL the worst and slowest music website for editing or administration. The PRS and Musicbrainz are a joy to use by comparison.

Most of the day has been spent creating the last 12 iTunes Digital Booklets. These were hard work, harder than yesterday as the source material is older, less standardised, and I felt the need to re-standardise it and update things like the track data, copyrights, bleed areas etc. etc. Stupid Computer Music, that old album from 2009, has never looked better. I re-mastered the album art while assembling the iTunes booklet. Other albums (like the Finnegans Judgement EP) have been reworked too. Here's the new Stupid Computer Music art:

Small changes, but important ones to bring the resolution and quality up to standard. This album, like The Twelve Seasons and other early (pre-stream) albums, had 20 CD copies pressed once. I'd like to do that again one day.

Now I must desperately try to relax. I slept 10 solid hours last night, and I feel yet more exhausted now, but elated too. It feels good to have completed the 44 iTunes booklets in record time. A few remain, but those are for forthcoming albums... like the up-and-coming Gunstorm remaster and The Modern Game. My back catalogue, at least, is more ordered.

One thing I'm facing now is a new system for filing older albums, those which have been or are due to be remastered. When is a remake a new album? Synaesthesia has 4 versions, but all are quite different, not really 'remasters'. Most of my remasters to date have had new vocals or new instrumental parts, but now I'm entering an era (starting with The End And The Beginning, and the new Flatspace album) where the mixing, track balancing and mastering (volume and limiting; I never compress tracks, never albums) are the primary differences. I must be careful to ensure that remasters are always better. Some by established artists are almost criminal, like the pitch-corrected remaster of Queen's debut album! Of course, I'd never do such a thing, remaster or not!

Onwards I charge.

Friday, May 23, 2025

iTunes Digital Booklets

An absolutely manic but productive day, creating iTunes Digital Booklets for the following albums:

Letters From A Square Spoon, The Anatomy Of Emotions, Christmas Smells, Lou Salome Empathy With Daisies, Heart Of Snow, Remembrance Service, War Is Over, Apocalypse Of Clowns, Animalia, Synaesthesia, Jabberwocky, The Myth Of Sisyphus, The Infinite Forest, Nightfood, Testing The Delicates, A Walk In The Countryside, Who Is Afraid/She Floats, Time Falling, Tree Of Keys, and Music Of Poetic Objects.

Most use the existing CD album art, but that being square means that pages frequently needed some sort of adjustment. Any text needed repositioning or re-rendering in the correct size, and some albums or singles now include lyrics. Many of the singles (Jabberwocky, Who Is Afraid/She Floats etc.) needed new pages creating as those typically have only one cover image; a booklet requires at least 4 pages.

I'm now spiral-eyed and very headachey after 11-hours work on these.

I can now say that 'there are less than 20 albums to go'.

Some, like the Marius Fate ones, don't need doing as I'll have to re-master and re-release that album (again) under my name. At that point, though, I'll need to redo the artwork and make a new booklet. Why do all of this at all? I am reminded how pretty the artwork is, and how important it is; how much I've done on these over the years. These albums, like everything I do must be the best I can do. Yes, many albums have sold very few copies (some perhaps none at all, digital sales are so ephemeral; I still aim to press many more CD copies), but I must target and assume ultimate success. For the past 5 years, my music has been in a hibernation phase. I've released lots of music, but not wildly publicised anything, I knew and know that things were growing, refining, improving; an essential part of the learning process. This is still is progress, but soon I will be ready and brilliant. Not quite yet, but soon and inevitably.

Some highlights from the 120 or so images I've been working on:

Thursday, May 22, 2025

Flatspace Canvases

Another full day of music admin, how overwhelming it seems! Yet I know I'm charging though things. Today, completed 11 Spotify Canvases for the new Flatspace album. These are simple loops, a mix of slow fades which used the album art effectively, and some simulations of the intro tunnel, which works well for The Spiral Staircase tracks. I wanted to unify things with the album art, although the Snow track is more generic, a fall of snow which is similar in operation to Bleak Forest from Heart Of Snow.

Last night I updated my online albums to first person (a change back, this has pros and cons, I rather prefer first person).

I needed to make a change to Argus for the canvases, a feature to control the lens flare intensity, so I added this and have updated Argus too. I'm charging though these albums at pace, though it remains a multi-year project.

Time is pressing and I feel a sense of constant pressure, constant frenetic energy. I must make some visual art soon, I need to paint a new series... this I must do in June. I also need to write the Bruce Springsteen song.

Onwards I run.

Wednesday, May 21, 2025

Music Musing

I can't help but feel somewhat overwhelmed with the music admin, this is more about being neat than a critical necessity. I must avoid taking this to an obsessive degree, this is not efficient; but it can sometimes be more efficient to be prepared, as making lots of things in one batch takes less time than darting between jobs. New releases should, ideally, be of the best quality and have all materials, more than ever before, so my priority is making materials for new releases or re-releases. As I remaster old albums, I can make the materials then.

This new release regime is what has inspired my new desire to reorder and re-examine my back-catalogue of music. I wanted to change distributor, to try another experimentally, and to benefit from a few new features. Listing my music back on Spotify, for me as a perfectionist of order, means creating new canvas animations. I also need new iTunes booklets, as these are a new feature too. Looking at the totals of my back catalogue, the albums, EPs, and single releases, the items needed are:
Sheet music: 22 (albums-worth) done, 18 to do.
Spotify canvases: 23 done, 27 to do.
iTunes booklets: 16 done, 33 to do.
Full videos for every track on an album: 12 done, 36 to do.

Of course, these vary in priority and importance. None are strictly necessary, though the sheet music and physical publication of it is a long term goal for me. You'll notice that the totals don't add up. This is because of small technical things, like a single usually having the same sheet music and canvas of a parent album (but not always, some singles have B-sides). Some releases are old and deleted, but still have materials, some are to-come and may or may not have materials.

Sheet music takes 3-4 days per album, as do full videos (or a lot longer, depending on the time budget, one video can take a few weeks if required). Spotify Canvases take 1-3 days for an album, again depending on complexity. iTunes booklets one day or less, depending on the quality of the album art, how much I want to include. All together, this adds up to 1 or 2 full year's work; all on old albums. This drains time from new music, new art. In the past I've made these things for albums that have never been released, or were-so only for short periods; so those materials were of limited use. Of course, these things are stored, documented. They are an odd artform, as valid as any other.

This evening I've completed to booklets for Burn Of God and The Golden Age, so that's enough for now. I'll try to create new work next. Most pressing is a new song for the Bruce Springsteen night next Wednesday.

More Music Graphics

More music admin today. One last album of Spotify Canvas animations to convert, then work on creating iTunes Digital Booklets. Today created some for Cycles & Shadows and Cycles III, Secret Electric Sorcery, The Dusty Mirror and Fear Of The Thing Itself, A Drive Through The Town and it's two singles, and Burn Of God. For The Golden Age, I hit a snag in that I was never quite happy with the cover, so today, reworked it a little; yet those little changes, for me at least, made all the difference. Here are the two versions (so far...):

Subtle to most, but the red/green in the second seems to have brought the image to life somehow. That painting itself was always about battles between things; red and blue, lifelike and abstract, nature and artifice. Here the cover moves a little more towards the same. More booklets to do, but I'll do the last today and move on to more pressing creative matters.

Tuesday, May 20, 2025

We Robot Release, Huge Spotify Canvas Updates

A hugely busy day of non-stop computer admin. We Robot and it's single AI And Celebrity is moving distributor and appearing in new places. Due to my inexperience with the system, the iTunes Digital Booklet I've created for We Robot will not ship with the release, but there is a new booklet for AI And Celebrity. A future remaster (!?) can restore the booklet. I could include it with the Bandcamp release. This is a lesson for me to take more care when submitting. Both releases will, however, include high resolution audio on Apple, that is 24-bit.

Most of the day was spent converting my existing Spotify Canvas animations from 30 FPS and 240 frames to 25 FPS and 192 frames, to take them under 8 secs. I did confirm that their new system won't accept exactly-8-second animations. This, for me, involved editing each Argus animation, then re-rendering, recompiling the animations from scratch; this for Gunstorm, A Walk In The Countryside, The Modern Game, Masculinity Two, The Myth Of Sisyphus, Nightfood, Secret Electric Sorcery, Heart Of Snow, Remembrance Service, The Golden Age, and Burn Of God; 91 videos. It is/was exhausting work, charging through the conversion and rendering process.

I still have Cycles & Shadows to do, and more canvases to create, for the new Flatspace Soundtrack, and for the Excessive Consumption single. I also have lots of iTunes booklets to create, but my plan is to do those in small batches as needed.

Still, I'm elated at having done so much today. Onwards I must push.

Monday, May 19, 2025

Music Admin

A manic day of audio admin. For each album I want:
-Well volume balanced and mixed audio (though this standard is constantly upgrading!)
-Full CD artwork
-Jewel Cased CD release
-Sheet music
-Lyrics booklet
-iTunes digital booklet
-Spotify Canvases for each track
-A music video of some form for each track

For 40 albums, this is a lot of work, certainly over a year considering the time to takes for some of these jobs. Some jobs can be done more quickly though, and today I've created the iTunes booklets for We Robot, and updated the Spotify Canvases for that and the Salome album to fit below 8 seconds. Modifying the 10 album's worth of existing, but incorrect, Spotify Canvases is my next job, all because the Spotify limit of 8 seconds is now 'below 8 seconds'. Still, I prefer the 25 FPS, 192 frame format: 7.68 secs.

Sunday, May 18, 2025

SFXEngine v2.06, Prometheus v3.67, Argus v1.53

A full day of programming here. First some updates to SFXEngine to add the new dithering support as included in the latest Prometheus. I discovered a small bug, forgetting that dithering could push values under/over -1/+1, so I limited that. Testing took all morning. Then, adding the limiting fix to Prometheus and a feature to increment names by text value, eg. "Chorus 1A" would be incremented to "Chorus 1B" automatically. A small improvement to editing ease.

Then, an afternoon of work on Argus. Lots added, including long planned lens-flare support, so I can now more closely replicate the Flatspace intro:

Lens flares were always there, but not turned on. I needed to make a few custom changes, like fixing them to the same aspect on any screen, and allowing some film-level options; in this case a global 'size' setting. The style of flare or its relative brightness can't be set (brightness is 20% of the object it is attached too). Those things are easy to add in future.

I also added accurate frame scaling. It turns out that many of my albums, 12 or so and 10-20 tracks per album (in other words 100+ animations), all have the 'wrong' Spotify Canvas length, but if made in Argus, these can be automatically scaled and rebuilt for 25 F.P.S. with relative ease. My second change was improving the rounding accuracy of this automatic frame scaling.

Then adding support for line-lists (like that Flatspace Tunnel) or point lists (though I have no point objects, and they may not render anyway).

That's it, a full day. Lots to test and file.

Spotify Canvases

Friday was about singing vocals for 'Another Dead Morning', the release of The Arcangel Soundtrack, the Castle Park 20x20 Art Preview in the evening.

Saturday, the immense and overwhelming work of music admin continued. I've decided to re-list my work on Spotify. I've taken most of my work off there, but retained a few tracks to keep that relationship alive. There are many reasons not to use the platform. They don't pay for under 1000 streams, but do take money for those and give it to other successful artists (which is even less fair than them simply keeping it). This I dislike as a fundamental injustice, but I presume they do this because most people listen for free, so they also expect most artists to give their music for free. I would hope that, should they make money, they will reward the artists at the bottom, even if past behaviour indicates otherwise.

Another reason I dislike the platform is false accusations of 'fake streaming' without grounds for appeal or evidence, and with instant and irrevocable harsh punishments. Most artists, it appears, accused of 'fake streaming' are innocent victims who've had their track picked up by a bot or a 'fake playlist'. It's easy, for example, for a big label (or anyone with a grudge) to 'fake stream' a rival track and have it removed and the artist reprimanded or even permanently banned. I suspect that this form of attack is big business, and that this is not discouraged, or even sought out or documented, by Spotify. This is a larger injustice than the first point; but both are related. If any track by a small artists generates royalties, Spotify refuse to pay, keep the money, and ban the track or artist!

But these injustices aside there are reasons to list on Spotify, and the primary one is that it is and remains a, if not the most, popular platform for music streaming. They do some things well. Their 'Spotify for Artists' feature was among the first (before Apple for Artists, before Tidal for Artists, before Deezer for Creators etc.). The single track link for music across countries beats Apple. They have a social aspect. Ultimately, a few small features that other streamers still lack, and ultimately all artists are in the same boat, so we must simply put up with unfair behaviour by those in power as better than nothing. People tend to pick a favourite platform and listen there. If their favourite artist isn't there they probably won't seek him elsewhere, and listeners or fans care nothing about the policies of each platform.

All of this means I need to create more Spotify Canvases (a feature I like), including new ones for The Arcangel Soundtrack and The Dusty Mirror. The Arcangel videos each used variations of the full videos, simple loops for the most part.

The Dusty Mirror was a little more challenging, but often used variations of the videos.

For 'The Arm', I used a waving arm. The actual video there is just a lyric video.

A few of the other canvases I've made in the past were 240 frames at 30 frames-per-sec, that is exactly 8 seconds, which was the limit. Now the limit is under 8 seconds, which instantly invalidated half or more of all of my canvases by a tiny fraction of a second (annoying!). I could speed them up to 31 FPS, though I feel like hand crafting them to my new format of 24 FPS and 192 frames. That task alone would take a week or two.

Friday, May 16, 2025

Nationalism, Protectionism, Immigration

There's a global trend, over about the last 15 years, towards nationalism, protectionism, and anti-immigration sentiment. Countries seem more self-centred than before, somewhat embittered, somewhat xenophobic and war-like. Why? It's no surprise that 15 years ago, social media was born.

The ultimate reason is that social and cultural trends have, as a result of internet technology, rapidly become global, whereas politics and laws remain strongly national or regional. Laws on personal representation, free speech and personal protection, and political representation, have not kept up pace with the global cultural shift that is the open communication of the internet. Politics operates slowly and more carefully. Even today, social media and internet communication is barely regulated by any government.

The result of this disparity between culture and political representation is that people feel less safe, less important, and less protected by their governments. The reaction is to a call for stronger, more isolationist governments.

But, like closing ones ears to the noise of social media, this is not a solution. Global culture will continue. Mass communication across the globe will lead to closer unity; a close integration of the melting-pot of cultures is inevitable. Trying to ignore or stop this creates anger or fear about those who are part of that culture, a literal xenophobia of the merging of our distinctive cultures and societies into something new and different.

It is a reaction against this which has created the trends for nationalism and protectionism; but it's a forlorn battle, both a futile gesture, because global cultural unity is inevitable, and an unnecessary one because there is nothing to fear from integration.

What is the solution?

Politics is certain to unify as culture has, although more slowly because politics operates more slowly than culture. A global government is certain, a global language is certain, a global currency is certain. A global network of laws, rules, and taxes is certain. Of course, even now there are global political institutions. We have the United Nations, we have the International Criminal Court, we have the European Union, and other supra-national groups. These institution are the prime target of the nationalist-protectionists (Napros?) for this reason. More disparate and common are the network of international treaties and agreements which countries have exchanged for centuries. All of these form the fronds of a growing global government. A global government is certain to form because governments are stable structures built upon laws and inclusive representation of the populace which create and enforcement them. These structures are more resistant to decay and disaster than chaotic governments, and larger structures are more stable still. As in life forms, larger and more stable structures survive, grow, prosper, and spread; and weaker and smaller ones die. Life exists not because it inherently thrives, but because it is informationally robust enough to survive cataclysms that weaker forms to not. The robustness of civilisation and its laws is why a global government is certain. Governments which undermine their laws undermine their robustness too, and are weaker and less resilient as a result. Such governments may persist, but will be more likely to collapse in the face of a disaster. This is the way all empires fail; not by wars or plagues, but structural weakness.

The future is a global government, with national governments, then regional, and local governments. Each must (and will, due to its strength!) represent its citizens such that laws and views can be made and can influence the whole. History shows that these structures evolve, though it often takes wars, and many decades or centuries of woe and ignorance for them to do so. It would be far more efficient to start with a clear vision and goal of the concepts and ultimate outcomes, rather than waste time and energy (and lives, and suffering) on alternatives.

But, we sigh, the weaker and more chaotic ideas like nationalism and xenophobia only break, as weaker life does, by cataclysm; by showing their weakness under times of stress, just as stable governments prove their strength by enduring it. Perhaps wars are the only way that the good can evolve, because wars prove what is correct by challenge. Perhaps, we can hope, these challenges don't have to be so violent and inefficient.

There are things everyone can do to help. Firstly, recognise that a global cultural mix, a global cultural average, is inevitable and good for everyone, that immigration or different cultures should not be feared; even though it can be instinctively natural to fear what is different. Second, to welcome and support supra-national political bodies, and lobby for fair representation in those. Thirdly, to know how politics operates, and the importance of laws. We must recognise those who call for rules to be bent as wrong, for those who call for protectionist policies as wrong. We must know that all wars stem from violations of laws, violations which begin small. All of history's dictators began as petty criminals. Their crimes grew, always to at least one murder. In due course such people create a nation of criminals. Good citizens need to be aware of these signs.

The most efficient country would have no tariffs, no taxes, so that people can trade without any viscous hindrance. The most efficient country would have no immigration controls, so that anyone can go to and from any country at will, live where they like. The most efficient country would have a few laws as possible, as much freedom as possible for people to do as they like, speak as they like, move where they like.

But of course, there are necessary compromises in those points. Laws are needed for stability and to preserve the very order that a government requires. Freedom cannot extend to those who wish to cause chaos or break the rules of law. Taxes are needed to fund the law makers and law enforcers.

Thursday, May 15, 2025

Photo Restoration, Table Easel, Another Dead Morning

A steady creative day. Started by working on a photo restoration of badly deteriorated old photo which is very pink with age and badly sun-stained. I tried AI solutions experimentally, but these were terrible. Any AI restoration or 'improvement' of a face gets it laughably wrong, the likeness changes to that of a stranger. AI 'restoration' can work wonders for animals and trees and other things that can be 'anything'; like the work of a bad painter, but that's the best it can do. Like a human, it would need knowledge of the likeness, of the person to restore. Still, I have a few creative ideas that AI could be useful for.

After that, I entered a small weekend-long exhibition which will take place in Tarporley in August. I'll show The Resurrection of Napoleon Bonaparte, and The Love Affair. We need to supply table easels, so I made a large one today:

This took most of the day but it works wonderfully. The vertical arms are about 42cm, so it's pretty large, and may be useful for other displays in future.

After that, the start of a new tune for the new album. My solution to the structure problem is to break it into three sets of three songs, so I've started work on one called 'Another Dead Morning', which uses a strangely happy variation of the 'Fear is Everywhere' melody, thus I can have variety and unity.

Wednesday, May 14, 2025

The Tainted Pain Production

The Flatspace Soundtrack remaster is complete, so this was filed today and the sheet music prepared for release in future. This, plus the regular Windows update, website updated and the music catalogue update completed the morning.

Then work on the new album, still untitled. I'm still unhappy with aspects of the structural integrity, though it's now more unified with the theme of the 'Fear is Everywhere' rhythm, which was already present in the largely improvised intro. There are 6 or 7 songs in the first half, but this feels like too many, the songs too short somehow. I will persist.

Most of today was working on one of these songs called 'The Tainted Pain'. It's fast and punk-like, the intro inspired by 70s Krautrock, the pace a contrast to the soul-searching lyrics. It breaks into a 3/4 blues solo which echoes Happiness is a Warm Gun, an extraordinary song which would be rare today due to the difficultly in wild tempo and mood shifts within one song; this is harder in most digital environments, hard to rein in control, but this is easy in Prometheus.

My focus will be on this for a few days. I want to complete this album! I'm unhappy with every part of it, but that's common when I'm working on any artwork these days, and not necessarily a bad sign. I must work, fight, struggle, battle!

Onwards.

Tuesday, May 13, 2025

Flatspace Remaster Continues

Sigh, more tiresome work on Flatspace. Made some final balancing changes today, boosting the bass levels on The Spiral Staircase, then resetting the volume.

I also started to upload some tracks to SoundCloud, after an unusually rash and panic deletion of them all yesterday due to AI harvesting paranoia, which in retrospect was driven by a transient social media frenzy in which I was caught. This was annoying, though no tracks had many hits, all below 100 apart from a short track called 'Yazoo' which had 800 hits, probably because of the name and length. This gives me an opportunity to reset and reupload everything with a fresh start and plan.

All of the day had gone by on this admin.

The last job is work on new Flatspace Soundtrack videos. A video of the game sequence was made in 2019, a screen capture using a custom-coded version of the program. This doesn't work any more, so I'd have to reprogram it, but I thought it would be better to create a new video using Argus, which is based on the same technology anyway. I can't replicate the lens flares (yet! 90% of the lens-flare code is in the program) or the stochastic spinning of the tunnel, but I can used a few different effects, like music-synchronised flashes and camera movements.

This remaster has been done at record speed but has still taken a week and may take another of admin. This is as fast as I can go. One day for the music. One for sheet music. One for mastering and track division. One for videos. All assuming no or minimal changes. Well, the sheet music in particular is a long term goal, and before today, the music didn't exist in a Hi-Res format, so the remaster was worth it for this; and of course the music quality itself has improved a little. I'm aching to work on new things and to set aside these musical relics.

I need to finish the current album, and write and rehearse something for the Bruce Springsteen music night.

On I push as best I can.

Monday, May 12, 2025

Flatspace Soundtrack Remaster

More work on the Flatspace Soundtrack Remaster today. First completing the scores, then balancing and checking the audio, dividing tracks and assigning codes and versions (this will have separate CD and stream verions, as with more of my albums). Then new artwork for the iTunes booklet, and revised artwork for the entire album.

Sunday, May 11, 2025

Flatspace Scores

A full day working on the sheet music for The Flatspace Soundtrack. There are many annoying aspects of MuseScore 4. The way the notes used to light up when a tune was played was so helpful, and is a massively requested feature by users, so much so that all requests for it are deleted as 'noise'! Yet, after years of requests, it remains ignored. The workspace/layout option is so bugged it won't work to any degree. Yet, MS4 it is faster to use than MuseScore 3 due to small improvements.

I've managed to complete all of the scores in draft today, an exhausting 12-hour day of work on them. The score for The Spiral Staircase Pt. 4 is 20 pages long, even when the blank staves aren't there, but none of the music is complex; it's all extremely simple and repetitive. This is perhaps one difference between that ancient music and my newer music.

I did some programming too. There's a feature to expand an arpeggio in Prometheus into individual notes. I improved that by making it expand only the next instrument in the sequence (if requested) rather than all, so that (for example) a major arpeggio can be expanded, then later the minor one. This speeds up transcription.

Saturday, May 10, 2025

20x20 Dropoff, More Remastering

Yesterday, dropped off the 20x20 paintings to Castle Park. I discovered that the paltry £20 sales were handled on a first-come first-served basis and that work would be taken off the wall as soon as sold, explicitly due to the laziness of the volunteer accountant who cannot be bothered with the workload of processing sales at the end if the exhibition! This is an awful situation. Not only forced to sell for a ridiculously cheap amount (anyone who bought a painting could instantly resell it online for double or five times as much) and then denied the chance to show them off. They may not even be on the walls for the artist's preview evening, which is two days after the opening date. Sigh - well I'm happy to have painted the works, even if nobody sees them. I was hoping that my parents might visit to exhibition and see them, as they haven't seen these yet. The Castle Park volunteers did make it clear that this was a first, experimental, exhibition and that the terms will evolve and may change in future.

The volunteers were friendly and helpful, I must stress. They were trying to persuade me to join the Northwich art group, though I have no way of getting there, never mind being an active part of a group based there. I've been to the Northwich VAC at least once with Lindsey, but I've probably only been to Northwich a couple times in my life due to the poor transport connections. The backwards economy of Britain is primarily due to it's exceptionally poor transport system. Even today, in the 21st century, it's impossible to go from major rail-hub Crewe to major city Manchester in the evening and hope to find a single train back. The trains are probably as bad as, or worse than, they were in the days of steam, and the buses are probably worse now than in 1925 too.

Today, have done more admin on The End And The Beginning album, including finalising the sheet music, preparing to add the album to my website, preparing the catalogue entry etc. Then work on The Flatspace Soundtrack remaster. This is relatively simple musically, primarily a matter of bass balancing.

One problem is that it includes about 25% of The Spiral Staircase, in this case the old 2002 version. This means I can now replace it with the 2008 version, but that I have to remaster that too. One problem here is that the original sequences were coded as one giant track, when I really should have numbered them one number per track, as with any other album. So my first task was to recode those 15 sequences, and update The Spiral Staircase filing to match. Apart from this, the differences between the old version and the remaster is that bass balancing, 24-bits vs. 16-bit undithered for the originals, adjustment of final volume levels, and good quality limiting rather than hard clipping. Those old reverbs had no bass cut, the whole of the old album was 'boomy' compared to my new mixes, but generally the difference is not particularly audible for this remaster.

My next step is to create the sheet music for these, which I will start on immediately. Time is short. Vita brevis.

Thursday, May 08, 2025

TEATB Remaster, Prometheus v3.65

Listened to The End And The Beginning remaster last night. How great it sounds! A few small changes needed. I've decided to aim for a CD release, despite the expense. The original art only had a 4-page booklet, so I need to make 4 extra pages. I thought that we need images of myself and Tor, so I've asked him. I have a few images of myself from 2009 which I could use. This one seems ideal:

And today I found a new crash bug in Prometheus so spent the morning tracking it down. It turned out to be caused by an engine called Anticlick Fade, which detects notes and fades the sound before and after each note. It crashed when NOT playing, when just pressing keys 'live', so no notes are actually there or should be detected. The problem was a now-invalid pointer to the 'active event'. I fixed it by initialising those pointers to zero in the Anticlick Fade code, and also keeping the active events pointers at zero when the sequencer isn't playing.

So, another morning spent bug-fixing. This time spent is the downside to using your own software. This one was unusual in being caused by the plugin, so created at a later time. These are an admission that over time bugs don't always vanish, there's always a chance of accidentally creating a new one.

After that, refinements to the album remaster. This has taken a long time, too long. I must charge on.

Wednesday, May 07, 2025

Daytime Teevee Vocals, Prometheus v3.64

Woke early yesterday to record the 'Daytime Teevee' vocals, then some general singing practice which has become my normal routine. Tuesdays are a good morning for this. I have a series of karaoke songs to sing along to. John Denver songs are spot on my range and are brilliant warm-ups for me. 'Running Scared' by Roy Orbison and Freddie Mercury's 'The Great Pretender' are also good practice, and I sometimes attempt 'Nevermore' by Queen to varying degrees of triumphant failure. That song still amazes me. An interesting note (literally!) is that the 'see' of 'can't you seeee', is a C-note, C5, a good top note. I can manage it after warming up, but have not come close to equalling Freddie's performance yet; though I've come close on the other songs to varying degrees. Such is practice.

Yesterday felt like a slow day but I felt tired and ill for much of it, perhaps due to anxiety and a flare up of immuno-attacks which fill me with spasms and rashes, so I decided to slow down a little. I've continued to test Prometheus and the dithering, though the dithering and the 16-bit conversion pass every test. Half-rectangular dithering works perfectly, so there can't be anything fundamentally wrong, but 16-bit triangle dithering seems to create a consistently unexpected average. The average in float should be 0.000022888, and my float-output is, but the average is consitently 0.000024888 when converted to 16-bit then back to 32-bit in SoundForge. It might be because 16-bit is technically ranged to -32768, but I use -32767, so the lower sample (parts of this go below zero) have a slight difference to the weighting when SoundForge converts from 16 to 32 bit; but I doubt this, as that effect should be tiny. I will try to ignore this. The difference of 0.000002 over a 60-sec average is too tiny to matter.

I found another bug, that, for some reason, pressing Alt-Gr generates a KEYDOWN of 17 when pressed down (emulating a press of Ctrl) but 18 for KEYUP when the key is lifted! I've no idea why, but it means that pressing Alt-Gr will behave as though Ctrl were held down, thus blocking all other keys. Even more confusing, this doesn't seem to happen in SFXEngine, which has identical key handling. Sigh. Well, a fix is easy, as I never use Alt, so an Alt-Gr KEYUP now behaves like a Ctrl.

These changes have taken all morning. I'm keen to complete this album, but it's only half finished at the moment. I must strive and battle for structural or musical unity, but this is proving difficult. One unifying factor, as with Nightfood, is the speech from ancient television programmes. I'd like more than this. 'Fear is Everywhere' doesn't quite seem to fit after 'Daytime Teevee', even though one would expect it.

Monday, May 05, 2025

Album Artwork Remastering

A day, yet another day, full of work updating my album archives. My albums were originally designed in 300dpi for 12x12cm CD covers, about 1417 pixels square. When I printed these, I realised I needed a bleed, to make the image a bit larger. Over time the resolution grew and at some point I updated everything to 600dpi, images that were 3166x3166 pixels with the bleed and 2834x2834 without. This remained a standard for years, and this was (and is) generally good enough for digital releases, but a couple of years ago 3000x3000 pixels became the defacto standard for album artwork. Only about 20% of my music was desgined at that size, and some had old 300dpi covers.

So, today I've slowly updated all albums to the 635dpi standard. About 40 albums needed updating. I've tended to design full CD art for every album, even though it remains an aspiration rather than actual plan to print them. As part of this I've made previews of the inner and outer art too. A few albums had a few problems. Two used fonts which came with Windows 11 but the system has later removed (bah!) so I've reinstalled those and fixed the art. I had also completely lost the rear artwork for The Spiral Staircase, so had to remake it from scratch.

Most of the albums were simple resizes (with the added benefit of better quality scaling for fonts or vector objects) but some needed high quality work on them. Stupid Computer Music now has higher quality images than even the old CD artwork had.

My album in progress is a similar style to Synaesthesia, Burn Of God, etc.; those albums which tell a story. It seems like a good time to arrange the back catalogue to a common standard. This isn't easy... many are balanced well enough; some now well. The new Cycles & Shadows remaster sounds far better than the old version, yet it's volume level is lower than my newer albums, but then, that suits a more classical orientated album.

My music rarely sells even a single copy. Even if each album sold but 10 copies it would be a huge incentive and boost to reworking the contents of my back catalogue, but the archiving and upgrading process will continue. One main job is music notation of each album, and remasterng all to the best quality of my latest output. The latter is a continual process... I've jumped at reworking albums in the past, like Tree Of Keys, only to leap forwards in skill and ability a short time later, so perhaps it is best to remaster gradually, even if I feel better than ever now, ready now, and able now to mix and remaster everything brilliantly!

Well, the art is remastered in the album data area, but I also file album art as artworks, so need to spend a few tedious hours updating that archive too. Onwards we roll our rock.

Edit: 12 hours after starting and today's task is done!

Sunday, May 04, 2025

Daytime Teevee, Remastering Thoughts

Yesterday, created some folders for annual photos. Deb and I print our photo memories each year as a long term record but sorting these out can be a chore. Now I'll do this throughout the year.

Then did more work on a new song called Daytime Teevee which I sketched out. It has a simple march rhythm, and uses Casio-style instruments. Here are the words so far:

Daytime Teevee

Daytime Teevee
Daytime Teevee
Daytime Teevee
Daytime Teevee

My life feels long
It lasts for ever
You make it fly
You kill the pain of why
And in my chair
I pass the days
The pointless years
I love you through my tears

Daytime Teevee
Daytime Teevee
Daytime Teevee
Daytime Teevee

With you I fly
Beyond this world
Beyond this room
Of dust and broken light
And I escape
Into your dreams
For I have none
For I have none

This follows on, in visual terms, from the 'Parents in the Walls' song, and 'Fear is Everywhere' seems a logical song to follow, as it begins with audio from a 1950s television clip. Much of Daytime Teevee is complete already, the production is deliberately simple.

The evening of an indigestible meal has led to a night of agonising pain once more, and drinking about 4 litres of water, all little more than my usual IBS, an irrational flare-up of self-attack by my immune system.

Emubands have added a new £90-per-year tier, plus unlimited uploads to its services. As with other distributors, this means that the music isn't permanent, but taken down when the annual payment stops; presumably to stop registering, uploading lots of music, then unsubscribing. I wouldn't expect many people to do that however, as any record company would require a long term relationship. One can pay £20 per release with or without a subscription to leave music there forever, so music there without an ongoing payment to process royalties must happen, but ironically not for those who do pay regularly. At this stage it makes their costs vs. services about on-par with Distrokid.

I'm feeling a overwhemed at the task of remastering all 50 or so of my albums for this re-release process. Might this continue forever? Must I stop at some point? I had aimed to re-work a few older vocal albums, up until We Robot, that was the first I think was good enough in balancing and mastering terms. Now, I have the chance to re-work everything back to 2002, and it's certain that some albums like The Flatspace Soundtrack, and the many computer albums like The Twelve Seasons would benefit from rebalancing and better mastering and limiting. The Golden Age was the first to use the Gothic Limiter, We Robot the better Cathedral Limiter. Before this albums were either much quieter (reduced to avoid clipping, like Remembrance Service) or excessively clipped like the old The End And The Beginning.

I need a long term plan here.

Friday, May 02, 2025

More Dithering

It seems that my original dither was right all along, but the 16-bit conversion/rounding wasn't. My 37% value was correct for full rectangular dithering, not half. Half rectangular should never span more than two samples, which I wasn't sure about. The width of the 'rectangle' is one sample, but will fractionally impinge on neighbours as the central value moves.

The end result is that I've got properly tested dithering, and triangle (which is a 'full' rectangle in width, that is two samples, but these are multiplied together like two dice rolls).

Tests now match the Sony dither and Prometheus is now updated to v3.63. I'll add these changes to SFXEngine at some point.

Testing, and Float to 16-Bit Sample Conversion

Bah! Late last night I thought about adding Triangular Dithering to Prometheus. This resulted in discovering that the rectangular dithering was wrong. It actually used quarter-rectangular rather than half-rectangular.

After adding triangle, the results still didn't match those of Sony SoundForge's dither. One problem with all of these dithering algorithms is the testing. I can output a stream of numbers as a sample, but we're testing in fractions of a sample, so most of the results are about statistical analysis.

My first job today was to create some test waves. I created a 1 sample 16-bit wav, then converted to 32-bit, and saved out 50%, 75% and 100% values as 32-bit test waves. The hard part is testing the resuling dithers.

For a 50% wav dithered at 16-bit, it should be an 1:1 mix of 0 and 1. This is easy to test; maximise/normalise the result and the average volume should be 50%.

For a 100% wave, it should be all 1 -perhaps-, though the rectangle may -just- touch 0 and 2. The average, however should be 1. Sony's Dither wasn't, for some reason. Mine varied between 0 and 2, producing a 50% average over a 28sec wave (over a million samples, a big enough test!)

For a 75% wave however, the results were harder to determine. Sony's dither, when maximised, created a wave with a 75% average. Mine produce an average of 37.4%. My floating-point results seemed correct. For 75%, the samples varied from -0.000007630 to 0.000053407 with 0.000022869 average; which is about 75% of one 16-bit sample.

What turned out to crucial was the 16-bit conversion. An important thing to note is that a 16-bit number can range from -32768 to +32767 but in 16-bit samples values should range -32767 to +32767; and this is the case in about half of (but not all) sample editors. It makes no sense to make the lower half of a sample have a different resolution to the top. When dealing with high-end audio, that technical distortion of the DC offset is not acceptable. Zero should be the centre of the wave.

Short to float conversion rounds down, and I forgot to add half-a-sample before doing this, so 0.9 rounded to 0, rather than 1. This makes all the difference when dealing with dither-level events.

I thought of the 75% result. We have three sample blocks A: -1 to 0; B: 0 to 1; C: 1 to 2. 25% of A is covered, 100% of B, and 50% of C. Now, that float conversion happens halfway though these blocks, so the resulting dither should create 3 units of sample 0; 4 of sample 1; and 2 of sample 2. This means that the average should be lower than 50%, so my 37% seemed correct...

More testing needed.

Thursday, May 01, 2025

Parents Vocals, Congleton Performances

More busy days. The 28th marked the launch of the Steam Wargames fest, and promotion of Radioactive. Much of the day was spent mastering new The End And The Beginning tracks to new volumes. The album sounds so much better than before. The remaster is largely complete.

The 29th was spent recording and adding the vocals to 'Parents', now called 'The Parents in the Walls', plus some scant guitar playing.

Yesterday was a full day of two performance events in Congleton, 35 minutes drive away. First in the morning to strum a little guitar for the Good Vibrations event. I had decided to avoid the keyboard, to force me to practice some guitar. It was easier than I expected for these simple chords, but I'm far from even a capable level yet. We played about 10 songs with simple chords. Deb read a poem from her new book Go Sprout The Grain!

In the evening we took part in John Lindley's 'Poets, Pints and Players' event. He'd stated that it wasn't well attended before, but this certainly wasn't the case yesterday, it was packed and the night ran from 19:30 to 22:30. Deb read three poems and sold 6 new books, the entire contingent we took, which had luckily arrived fresh from the printers a mere 4 hours earlier. We sold two copies of the Letters From A Square Spoon CD too, to kind friends and most welcome supporters.

I handed some music to Mike Drew, and without knowing the songs (or at least without knowing one of them at all), he played brilliantly enough that I could sing 'The Girl With The Pearl Earring', and the new 'More' with only his accompaniment. It was a lovely evening, even a cat became part of the audience. We arrived home close to midnight.

Today began with monthly backups, then scanning the new 20cm paintings for Castle Park. This afternoon, I've stripped a mirror bought in Sandbach on the 26th. I'm aching all over from yesterday's exertion, and must recharge before attacking art.