Radioactive Soundtrack Complete, Francis Bacon

Slept long, until 9:30, unusual after two days of waking before 7. My father fell over on his back, outside last night. Bruised, he picked himself up and slowly crept upstairs, as usual, to prepare for bed. This morning he was difficult to rouse and seemed to be semi-conscious and partly paralysed. A stroke of some sort perhaps, we thought. An ambulance was called. He went to the local hospital and then, in something of an emergency, transferred to another regional hospital. A worrisome morning, though I feel he will recover in a week or two and that he is in the best place.

I managed to complete the tedious and exacting setting up of the sale of the Radioactive Soundtrack (or "Radioactive (The Official Soundtrack)" as it's technically correctly called. This was done by 3pm, and I managed to make two pieces of sheet music too, one for the in-game music, and for the main theme of Xenex.

After 15:00, I tried to fix mum's bike, but the brake cable is rusted into its sheath and immobile. After that, work on a mask for Deborah, a planned concept for the cover to our Tunnicliffe Fall in Green single. It would be nice to finish this and prepare it for a Christmas release.

I watched a South Bank Show Documentary about Francis Bacon yesterday. I took away some interesting ideas. He used photo references, but didn't want to represent 'things' as much as an instant mood; as do I. I capture mine in an instant flash, and try to interpret that faithfully. He said that he liked to use the reverse of canvases as the marks were permanent. I have this exact opinion, and joy from, my watercolours, but my oil work is slow and exacting, not spontaneous. I have, however, sometimes painted freely like that, once or twice. I almost always use photo references, but I suddenly thought that I might be better not doing so at all, painting only from imagination. Drawing skill is really useful. Painting from imagination would negate it, so I'd have to be careful not to let this skill fade, but Picasso too changed radically from exacting draughtsman to 'free' painter. There are a few advantages to painting from imagination alone. First, it's uniquely mine, the artists' style and vision. It represents me to the best degree, what is most human. It's painted solely and wholly from 'internal' references, nothing 'real'. What is real, out there, can be seen by anyone, painted by anyone. As we get better at painting we become more like a camera, and therefore more redundant as artists. Did Bacon decide how closely to copy his subjects when painting? How exactly the likeness, which areas of difference were good, which bad? When painting from the mind, it's all good, as it should represent the personal vision wholly, and camera reality not at all.

Of course, many 'abstract' painters feel this. Perhaps this is the very essence of abtract expressionists, yet are they painting from the mind or just using what is random? The latter I fear. The genre may be called 'abstract' but nothing IS abstracted, it's any 'old thing'. Those three words are the danger. What is represented is as vital as ever, as is the display of skill. Skill, that thing absent from abtract expressionists, yet hugely present in Bacon's work despite it not being photographically representational.

Xenex 2026, Radioactive Soundtrack

A long day working on the new version of the Xenex tune. Has taken a long time, and spent over an hour tailoring the bassline and chord stabs to echo the melody, but in the end this didn't sound quite right, as well as making it all quite different from the mod file, so I reverted back to the original bassline and chord pattern.

The structure is broadly the same but I've added a bit more drama here and there, extended the final up-key verse, and added some interplay between the main lead and the pulse-wave beep that appears later on. The drums have had lots of work, playing along to the melody and driving the energy of the track; and we have synth-tom drums.

So, the Radioactive soundtrack is complete. I need to do final mastering and level balancing. The tracks are:

1. Radioactive
The 2026 recording of the original theme, as featured on War And Nuclear Love.

2. Radioactive Funkatronic Rhapsody
New track on the theme of Radioactive.

3. The Abyssal Plain
A track last dated 24 March 1999, originally written using MED (most likely on Amiga I think, I can't recall having a PC MIDI interface, even if 1999 is after I'd bought my PC) and my Yamaha SY-85 synthesizer. These were re-recorded in 2021 just before I sold my SY-85, but the quality due the mixing isn't very good. The full track has been rebalanced here as best as I can.

4. Xenex 2026
Today's new recording of the theme to this Amiga game from October 1994.

5. The Ever Flowing Waves Of War
The title of the in-game music for Radioactive. It's been changed a little to make it loop seamlessly.

6. Radioactive Original Version
A remastered version of the original game theme.

Bookbinding, Old Amiga Games, Video Recompiled, Xenex Theme 2026 Begins

A busy day, starting with re-attaching the spine to a 50-year old book, a copy of Harry Harrison's Mechanismo. Its glue had yellowed and become a brittle plaster-like paste with no adhesive power, so I first carefully removed it with a scalpel. Then, found some wooden boards, as clamping the book in place for a few days will be important. I used a glue called Vinyl Acetate Ethylene, a water based glue which is recommended for book binding. I put glue on the outer edge of the signatures and the cover, then clamped everything in place, vertically spine down, to set.

Then, I considered how to convert my Amiga music for YouTube. The simplest video would be a still of the title page, but annoyingly, all but two of the 20 games lacked a screenshot for this, so I installed Amiga Forever and ran each game, taking an image of each title page. Then located the mod files. Many games have several tunes. Firefly, for example, has a main theme and three in-game tunes, so it makes sense to put them all up; 39 tunes in total. A simple video of a still and the music is easy, but I could do more; is this justified? A video showing the music running in Protracker is common, and more interesting to watch, but that's quite a lot of work, and I could probably improve on it with Argus without the need to screen-capture. I can convert the mod files to MIDI, import that into Prometheus then save out a list of frame numbers of the notes, so it would be quite easy to make a complex animation; but I'd want a consistent look... and animating like this may take longer than I'd like. It might be 'worth it' in terms of making a better video than others, and perhaps as the author it's my job to do just this. I could also fix the out-of-tune Arazmax main lead instrument too! I need to think on this for many days and perhaps make a test or two.

After this, I had to re-compile the videos for 'Nightfood' and 'The Dream Of Wasps', which I duly did, then uploaded. An unpleasant hour of waiting.

In the afternoon I started work on the new Xenex theme. The original tune is pretty, but simple, boring even, in the backing, like most of my Amiga tunes. I fixed on a bassline and beat and pretty much didn't change it. Now I want to add more, but I'm hesitant to change the basic structure which is intro, verse, verse, mis-section, verse, shortened verse, and two partial verses up-key in a new lead instrument. My guide is that it must be obviously and overtly better than the original.

Radioactive OST, Pre-AI Sound Effects

Two days broadly working on the Radioactive sound track, namely a new version of the main theme. What new can I add? I've slowed it down and made it more funky, groovy, urban, and added a romantic solo piano intro to the start. I've broken the structure a bit, adding new parts and playing with each instrument to keep it more exciting and with more variety than the 2002 version.

I wondered what else I can add to the soundtrack, and thought of some early music, then realised that I have lots of 90s tunes from my Amiga days that I've never really updated. This also led to a search for my first Amiga game, The Challenge of the Matrix. My notes say that it was released in September 1991, soon followed by Spectrum in December. 4 or 8 weeks was a long time to make a game back then! Turns out that there are lots of YouTube videos of The Matrix, but I still may 'officially' put all of my Amiga game tunes on there, on my Cornutopia Software channel, rather than my music channel. Musically they are crude, as were the games, but it is part of my legacy, the start of a long journey.

Of the other tunes, one of the most catchy and favourite of mine was the theme for Xenex, inspired by melodic Commodore 64 tunes. So perhaps I can make this for the soundtrack too. There are many old tunes I made in the 90s with OctaMED, sequenced for the Yamaha SY-85. I recorded these as a '4 CD' set before selling the keyboard, although the mix quality is all rather muddy and poor. I could include one of those tracks too.

I've also revamped the IndieSFX library, and again offered the full library as a download bundle. There seems to be a new interest in these pre-AI game sound effects, perhaps because they were certainly made before AI. The website has been selling them from 2002, the full library complete before 2022, and I expect that internet archives like the Wayback Machine prove this, so developers can be certain that the content won't be flagged as AI. Thus there's an unexpected AI boom, a boom in non-AI creative assets, and unlike other items of commerce, these are locked into the past; a future competitor can't appear because a key selling point is that they've been unchanged since before 2022.

Chesterton Drive, Little Jobs

A lonely day of stomach twitches, swelling and digestive pain. All beyond my control, there's little I can do but eat lightly and wait.

Updated my master index of writings. Created two short format videos of Nightfood tracks, which took a surprisingly long time. I could do more and perhaps should, but need a plan of what to post when. My promotional efforts all seem futile, but I do wish and hope that my work was seen and heard. I was encouraged as a child not to show off, to actively fear being noticed - this was not helpful training. Fitted labels and mirror plates to prepare the three paintings for Castle Park delivery.

Tonight, as has been the case historically when suffering with stomach pain, I went for a long night walk. A surprisingly mild night. My room of 17 degrees feels colder than outdoors. I went to Chesterton Drive. Number 4 was the home of my aunt and uncle as a child. I know the house well and it fills a surprisingly large part of my location brain. The Lego-like houses of the poets' estate perhaps made and make an impression, they always remind me of ancient 3D computer games like Mercenary on Amiga, Driller on the Commodore 64. My memories there mostly concern games, my first look at an Atari game console and Pong. A Vic-20, and later my joy of playing Commodore 64 games like Choplifter and Spy Hunter there, via its floppy disc drive.

The design of the house has bled into my writing. The house is George Vance's house, the protagonist of The Many Beautiful Worlds of Death. The garden and his kitchen in the early chapters is no. 4's garden and kitchen. The party is in the front room. His bed room the one upstairs and to the left. The under-stairs cupboard, which in reality is just a cupboard, leads in the book to his laboratory.

I must muster a plan and energy for some work tomorrow.

Prometheus v3.99, The First Five Albums, Writings Filing

A busy day, we have an extra hour! Updated Prometheus to enhance the NoiseStation file import and imported the old Radioactive in-game theme to transcribe to sheet music, this was done by about 10 o'clock. Most of the day spent completed the first draft of The First Five Albums, the book of all of the Fall in Green lyrics so far.

This make me look at the master file in which I file all of my short stories, books, essays, music booklets. I've got nearly 400 now. The filing hasn't been refined in years and could so with some tidying and amalgamation. Everything has a title and date, and each book has a subsection for publication in different formats (softback, hardback, ebook) but there are some mergings, some differences, and some items are all put together to save time. The same book in different languages (three of my books have Chinese translations) have different code numbers; I think these should really share the same one but have different format subsections.

So, lots to fix and neaten. Being neat and orderly in filing is essential for productivity. This will take a few days. Nothing more for me to do on the book for now, Deb must take a look and do some formatting of her words. One other pending job is some short videos of the Nightfood tracks for short-format social media.

Innuendo, The Joy of CDs, Enzymes

Just been listening to Queen's Innuendo. I now have all of Queen's albums apart from Flash. There are a few artists and bands I have most of their album catalogue: Queen, Kate Bush, Jean-Michel Jarre (and E.L.O. by chance, as Simon gave me his whole collection). I don't have all of any one artist, perhaps one or two albums missing. I did have all of Kate's, for example, but I disliked The Director's Cut so gave it away, and I dislike the drippy and passionless 50 Words For Snow, though I still have it in a paper sleeve of shame.

I digress. Innuendo is great album. Perhaps Queen's best, for several reasons. Primarily it's dominated by and suffused with Freddie Mercury's emotion. An expansive joy, a cry, not present in other work apart from his Barcelona. It's joy, but you can hear that it's a mask of his facing death, anguish and joy in an electric embrace. There's little like it in my collection, perhaps Strauss' Four Last Songs or the Beethoven's Late Quartets. I've not heard a vocal performance like it, again, apart from in Barcelona, the overwhelmingly saddest song I've yet heard.

What a joy it is to listen on CD too. Streaming is awful (I've never listened to an album by stream; apart from anything else, I don't have a device to do this with apart my huge desktop PC). For me, streaming has killed music, handed British culture (and indeed much of America) to a minority of super-rich American tech corporations who are culturally vacant and bleed their philosophy of addiction and greed into the world's minds, into the soul of the young and poor everywhere. If I were Queen, if I could meet Roger Taylor or Brian May, I'd ask them to take down all of their music from streamers and sell only on CD. Piracy, which was one of the main reasons for streaming at all, is less of a problem now because it's easily detected on the major channels; the very streaming architecture does this automatically. When pirated in secret, it's the same as it ever was. I'd ask Roger, ask Brian, to buy a CD player company, and team up with other bands to sign a stream-free pledge, form a collective of like minds to wrestle culture back.

Buy, sigh, even I don't do this. Streaming is, just about, my only audience. Hardly anyone buys my music on CD, I don't think any album has ever sold as many as 10 copies over the past 27 years. Many friends don't even have a CD player. My own philosophy would kill my personal expression. Alas. Alas.

My stomach is fine now. The magic bullet of Solgar's digestive enzymes has allowed me to eat totally normally in an astonishing way, an about-face to what is so often a struggle.

Onwards we slowly march. Head held high. Head held low. Onwards to the setting sun. Onwards to the rising sun. See, our rock-of-art awaits. Hello my rock friend. Hello again.

Nightfood 2026 Complete, Art Competitions

A busy yesterday, first proofing and rendering all of the music videos for Nightfood. Many have two versions, one with and one without subtitles, although some have no subtitles and some have subtitles only. After this, uploading, then rendering the archive versions for myself, which have a lower bitrate. A tedious and stressful part of this process is waiting, here rendering each up to three times.

By the mid-afternoon, all were complete and I spent the afternoon and evening with Deborah, but alas the night in agony again due to my recalcitrant digestive system. I eat at 17:30, but by 22:30 I'm still digesting and have a full or partly full stomach. My digestion is so slow and malfunctional and this causes great pain. By 5am my stomach was still busy, so today has largely been a fast day. All of this may be caused by stress (I hope there's no pathological cause), but once that is gone, the inflammation, twitches and other problems remain for many days. Such things make me fear food. I have great sympathy with Kenneth Williams (and Beethoven, and Ingmar Bergman) due to their similar problems!

Today, a rest day. I heard that all paintings were accepted into the Castle Park Open, so I knew my options for the Grosvenor. As this entry clashes with Castle Park and with Ty Pawb, it means a whole set of new paintings for it. This unusually means that almost all of the paintings I've painted on this productive year will be displayed (or at least entered into) one competition or another, or on show and for sale in Knutsford.

My next jobs for the week: to complete the formatting of a new Fall in Green book of our complete lyrics so far, an item which will be useful as gig merchandise. Then completing music for the Radioactive Soundtrack (exclusively for Steam, it will have a few unique tracks or mixes), and ideally working on the cover for our next single, but this requires that I make a custom owl mask for Deborah which depends on her work schedule. In November I'll work on the sheet music for Remembrance Service.

Dream Of Wasps Video, Quadrophenia

A power day of video work. Completed the 'Dream of Wasps' video, and compiled the subtitles for all of the others now have first draft videos for all 7 works.

One hard part of this is the time and tedium. A rendering in Argus tends to take 2 to 3 times the length of the video, so 8 to 12 minutes for a 4 minute video, and now four renders per video (mask layer, additive layer, subtitles, subtitle mask/alpha). The compilation using FFMpeg too takes ages, so much of the day is spent waiting rather than creative work; and always frustratingly so!

I've done the best I could using the time budget allocated. Also today, uploaded the album to my website and Cornutopia Music catalogue. Created YouTube text for the videos and thumbnail images, both jobs take longer than you might expect. Plus, edited the sheet music to remove the old PRS Tunecodes; I'll not use these in future.

Next, final proofing of the videos, then uploading (just that will at least take a day, assuming the proofs need no changes, most videos are large and have two versions - with subtitles and without). Then making the 3000kbps versions for archiving. Then the video work will be done, and the album technical work complete! Every promotional job on Nightfood 2026 after that is a bonus, but I'm already aching to move on to something else. How soon I become bored!

I've been listening to Quadrophenia. Brilliant! It takes hour of intense study, focused listening many times. Bliss. Of course, I love this sort of symphonic album music. Of note is the importance of the French horn as a key instrument: guitars, bass, drums, French horn, synthesizer, vocals, in rather equal measure.

Nightfood Videos

The music was listed yesterday, so had time to do the last part of the technical release registration. Awake for most of the night with agonising stomach pain; once common, a rare occurrence these days.

A full day today. Completed the first draft of the 'Nightfood' video, over 7:30, so no wonder I felt overwhelmed by it. Also completed a text-based video, with some animated elements, for 'Young, Attractive, and Physically Fit', and one for 'Dreams of You'. I'd like to try to do a little more for 'The Dream of Wasps', and have a day for this.

Power Days, Nightfood Video

Two intense days working on the 'Nightfood' video, for the title track of the album. Filmed some inserts yesterday. The video will have two independent tracks, as many of my post-Argus videos do; a filmed layer edited in AviSynth+, and an animated part made in Argus which features an alpha layer for the video parts, and an animated overlay. This is a simple but very powerful option. The 'Cat Covid!' video had 4 layers if I recall, but almost everything can be done with these two: mask and addition.

This means darting between segments, creating two videos and working out what will work when. For a 7 minute video, the challenges are considerable.

Today, submitted the music, and I noticed that the PRS Tunecodes for all of the tracks have changed since updating the records with the new ISRC codes a few days ago (noooo!). This is the first time this has happened in over a decade and 50 to 80 albums. It's not serious, but is a big headache regarding my admin work, as now some records (and the sheet music) have incorrect codes. I hope that the old codes are also still valid in some universe... to some extent. This is very annoying.

I've updated Argus a bit today, one key feature making easy to mass-colour tracks, as colouring these one at a time is too time consuming, and this multi-layer technique demands it.

I've decided to rein in the video work generally. YouTube is one of the main ways people listen to music, so that's one reason to make videos, but even the fast speed of a week or two per album is a quite a lot of time. With over 50 albums, that's over a year or my life just making videos, a medium I don't really like. Many are not as artistic or creative as my music or my painting, as well as being heavy in computing power and storage. If I had a year to live, would I keep making music videos for old music? Probably not. I would, I think, keep transcribing the sheet music as a legacy record of my musical art.

'Young Attractive' will feature a relatively simple lyric-video (still hand animated, of course). The first two tracks may use elements of 'Nightfood'. The waspy imagery is quite horrific at times, but it does reflect the dark nature of this music of loss and heartbreak, this romantic true story of those years from a decade ago.

I've heard that 'Punishment of the Sun' is to be exhibited in Ty Pawb over winter. This means finding new work for the biennial Grosvenor Exhibition on Chester. It's somewhat annoying that these two big biennials happen at the same time every two years. This will be the 4th time I've exhibited in the Ty Pawb Open; in every year it's been held apart from the Covid-19 year, which was heavily restricted. I don't think that one was possible for me to enter.

Nightfood Videos, Prometheus v3.98

Two slow days. Made a slight change to the Nightfood audio yesterday, and a final proof listen; it is complete! Also completed the video for 'Theme From Burnout', one of the better 'electric pinball' style of video which date back to my early days of 'Challenger' (and perhaps even 'China Syndrome' before that). My main job is now video work, although I already have two more videos than I had for the first version of the album, and the music is far better too, so even an immediate a new release would perhaps be good enough.

I seem to have hit a wall regarding the videos and am struggling with motivation. As a first step I decided to print out the song structures. I can use this as a mental guide, a skeleton onto which I can sketch. The structure of 'The Dream of Wasps', for example, is (as exported by Prometheus):

Section: Wind Intro, Measure/Beat: 0:0, Frame: 0, Sample: 0
Section: Verse 1 Intro, Measure/Beat: 14:0, Frame: 1400, Sample: 2469568
Section: Verse 1, Measure/Beat: 18:0, Frame: 1800, Sample: 3175168
Section: Verse 2, Measure/Beat: 26:0, Frame: 2603, Sample: 4591744
Section: Listening, Measure/Beat: 30:0, Frame: 3017, Sample: 5323648
Section: Verse 3 Intro, Measure/Beat: 42:0, Frame: 4217, Sample: 7440448
Section: Verse 3, Measure/Beat: 44:0, Frame: 4417, Sample: 7793216
Section: Solo, Measure/Beat: 50:0, Frame: 5015, Sample: 8846784
Section: Verse 4, Measure/Beat: 62:0, Frame: 5979, Sample: 10547264
Section: Makes Me Better, Measure/Beat: 68:0, Frame: 6459, Sample: 11394880
Section: Ending, Measure/Beat: 72:0, Frame: 6779, Sample: 11959360
Section: End, Measure/Beat: 73:0, Frame: 6859, Sample: 12100480


But I thought it would be useful to know the length of each part in seconds... so I updated Prometheus to add this; so I'm on version 3.98 now. In doing this I added a few more optimisations for calculating the end of the song. Some procedures demanded a 'Stop' event, but some sought a last event if a 'Stop' isn't found, so I unified these things. Anyway, after today's update the output is now:

Section: Wind Intro, Measure/Beat: 0:0, Frame: 0, Sample: 0, Time (Seconds): 0.000, Length (Seconds): 55.999
Section: Verse 1 Intro, Measure/Beat: 14:0, Frame: 1400, Sample: 2469568, Time (Seconds): 55.999, Length (Seconds): 16.000
Section: Verse 1, Measure/Beat: 18:0, Frame: 1800, Sample: 3175168, Time (Seconds): 71.999, Length (Seconds): 32.121
Section: Verse 2, Measure/Beat: 26:0, Frame: 2603, Sample: 4591744, Time (Seconds): 104.121, Length (Seconds): 16.596
Section: Listening, Measure/Beat: 30:0, Frame: 3017, Sample: 5323648, Time (Seconds): 120.717, Length (Seconds): 48.000
Section: Verse 3 Intro, Measure/Beat: 42:0, Frame: 4217, Sample: 7440448, Time (Seconds): 168.717, Length (Seconds): 7.999
Section: Verse 3, Measure/Beat: 44:0, Frame: 4417, Sample: 7793216, Time (Seconds): 176.716, Length (Seconds): 23.890
Section: Solo, Measure/Beat: 50:0, Frame: 5015, Sample: 8846784, Time (Seconds): 200.607, Length (Seconds): 38.559
Section: Verse 4, Measure/Beat: 62:0, Frame: 5979, Sample: 10547264, Time (Seconds): 239.166, Length (Seconds): 19.220
Section: Makes Me Better, Measure/Beat: 68:0, Frame: 6459, Sample: 11394880, Time (Seconds): 258.387, Length (Seconds): 12.800
Section: Ending, Measure/Beat: 72:0, Frame: 6779, Sample: 11959360, Time (Seconds): 271.187, Length (Seconds): 3.200
Section: End, Measure/Beat: 73:0, Frame: 6859, Sample: 12100480, Time (Seconds): 274.387, Length (Seconds): 0.000


I've done little else today! But have done some social work, preparation of some presents for the gift season. I really must get motivated and in the frame of mind for video. The job seems huge, and to some extent, pointless and devoid of reward - perhaps this is why I'm unmotivated. Perhaps I'm too relaxed at the victory of my work; the album is already more complete than the first version after 18 days of solid work on it.

Yet, I have some time to work on it, so I can allocate a week. Videos aren't my natural medium, but sometimes, as ArtSwarm showed, I can create interesting and startling new things that I wouldn't otherwise, when pushed. I must aim, as ever, to be artistic. What is artistic? It's a personal showcase of something memorable. Memorable is the key word. Only what is new is memorable, you can't be memorable twice in a row with the same thing. The best art is the most memorable, it's unforgettable. The worst art is quickly forgotten. There is no better definition.

I must work hard at the rock face.

Good Vibes, New Take This Rose Video

A couple of busy days. The Good Vibrations event in the library was followed by a visit to Oil Art Advisory, and delivery of the H. Beam Piper painting.

My big Nightfood job now is video work. The song 'Take This Rose' was written for ArtSwarm: Perfume, so this had a video, but it was too short as the song was extended with another verse for the album, so yesterday I filmed some extra parts and edited these into the 2019 video to extend it to fit the album version of the song; and at the same time made a new ArtSwarm-length edit of the remastered audio, so two new videos for this now exist. Like the 'Plastic Superman' video, these differ in technical quality from my current videos. These older ones are 1280x720 and 30 F.P.S.; my new videos are now 1080p and 25 F.P.S. - so it means these two tracks will be a different from the rest of the album in video terms.

In the evening Deb and I went to Congleton to see John Lindley and the Poachers in the new 'bijou' (tiny) venue of The Barley Hops, the first in a new series of gigs organised by Poachers' bass player, sound engineer, and general all-round musician John Miller. Deb and I as Fall in Green are due to perform there at one of these events next year.

Today, charged into a new video for 'Theme From Burnout', which is an Argus spectacular, using different glowing elements which evoke vector graphics, each of which is tied to an note and instrument in the music. This took a few hours, a few final touches remain. In the afternoon, some computer technical work for a friend.

The Stereo Underground TV programme on the Rewind Channel is showing lots of old music videos, and The Smiths' 'Ask' tonight had an unusual effect of duo-chrome brightly coloured band members overlaying various other footage. This colour effect is used in the Nightfood album art, so I may duplicate the effect.

Nightfood Transcription Complete

Sheet music complete! I always underestimate the time and work this takes. I keep changing my standards, my style guide, which annoys even me and it makes all of the older scores invalid and in need of fixing, but these standards are written for a reason. Anyway, there are now 24 scores for this.

At 7pm, managed to proof the album. Two small changes were needed. Was reminded how much of a potentially huge hit 'Young, Attractive, And Physically Fit' is. I also noted that the CD version (of which only I have a copy, it's never been released) is different and better than the stream version, because the tracks blend into each other. The album is ready to split and file musically; the videos are the next big job.

Two busy days in Congleton beckon.

Nightfood Transcription Draft 1, Prometheus v396

Managed to complete the first draft of all of the Nightfood tracks yesterday. These are some of the biggest tracks I've transcribed; 'Burnout' for example had almost every part, only a few small effects like vast snare drums on the intro and some white noise effects were missing, but it has 14 parts notated including the drums. This took until past 8pm.

Woke early today and have been out with Deborah as it's her annual holiday.

Came back and updated Prometheus with a couple of new features which would have aided transcription. Two main things; first the ability to add kill events after a specific instrument rather than all instruments. Most notes don't need a kill (stop) at the end as they often decay naturally by an envelope, but for MIDI export these kill events are quite important otherwise notes are presumed to sustain forever. The new feature allows me to add a kill only to instruments which decay, and not those which sustain, on a track which has a mix of both.

The second feature concerns merging tracks, also something needed before transcribing. If two notes occupy the same time, merge will delete one and then inform me. This isn't very helpful. Now it will warn that a clash is occurring, point to where, and ask whether to proceed. This makes it easier to make adjustments before the merge.

My next step is to make lots of alternative score versions for each track. This, and the pdf conversion, publication etc., will take a day. The Nightfood remaster is nearly done... in this step, but it's a seemingly never-ending process. Making the videos is the next big job.

Nightfood II Transcription, Creating Art

Two days working on Nightfood II. Recorded a few harmony vocals for 'Plastic Superman' yesterday but ended up discarding 80% of them. Balanced more tracks. 'Theme From Burnout' sounds better than ever.

Today, the start of the sheet music transcription. It's faster and more thorough than ever before, thanks to the tools in Prometheus. The 'Dream of Wasps' has 13 instrument parts, 'Nightfood' 12. This is full transcription of so much of these complex songs; not the drums though, except for accents like tam-tams, cymbals etc. I tend not to score regular drums, perhaps because I'm not a drummer and have never had the need to desire to drum live. It can depend though. In this case, these epic songs are more orchestral in scope. Anyway, it's trivial to export drum tracks from Prometheus to MIDI if ever needed.

I digress. Much of the work today was manually entering the notes for guitar solos, and fixing up the loose piano and harpsichord solos. Both done on these two tracks, which are the most long and complex on the album. I need to add the chord symbols, which I like to do on every score.

I'll aim for two more scores tomorrow, but if I manage those by 3pm I may be able to fit in the remaining three.

After this album... then what?

Most artists create work because they are commissioned, they are asked, or they find a job and obey the client. If there are no clients or patrons, they may create something based on what sells, or what is popular, or what is acclaimed. I rarely have commissions for paintings or music, I love it when it happens, but people very rarely ask me to create anything. I sometimes sell paintings, I've sold a third to a half of everything I've painted, but hardly ever music, the listening stats are still dominated by ancient music like the Flatspace soundtrack, only because the game was and is more popular than the other things I've done. That music is nothing like my music of today (excluding general brilliance). Nothing is really 'acclaimed', I've not had any music reviews since before streaming existed, so my choices or what to create artistically are governed by myself. Hobby artists, those inspired and enthused, do this all of the time but it's perhaps rare for someone who has been creating full-time for many decades.

Still, in many ways this is the way to create the best art. Feedback, good or bad, can be unreliable, and we can't create with the aim of pleasing; this never works. Whether we are popular or obscure, we must be doing new things, and better than before, forward looking and pushing harder, to the maximum of our ability. I'd love to create something popular and acclaimed, a hit, but obviously only a hit I'm pleased with and proud of, like I am of Nightfood for example. Most of hit making is marketing, not connected with the quality of the content, and marketing is a factor of the social which I inherently struggle with.

Chord Code

Completed the complex instrument explosion code for Prometheus, here's a not very informative screenshot!

The top row of purple notes is a flute which actually plays a chord with each stab. The red notes below (3 tracks worth) are those notes, calculated and extracted from the notes above. The note calculation is different for each sound generating engine, there were about 30 which needed attending to, but overall this complex code didn't take as long as I'd expected. This should help hugely with certain types of sheet music transcription.

After that, updated my social media profile images with new ones for the new season of music, then more work mixing and toying with Nightfood II. The mix of the Burnout theme is the most tricky, but it's already far better than the first version.

Smile To Fall Video, Prometheus v3.95 Chord Explosion

A steady day of working on the video for 'Smile to Fall'. The song has a Gothic sort of feeling, and my mind upon hearing it filled with imagery of chessboards and black and white tiles, so I've made the video black and white and little more, not even glows. Black squares and white ones mask the simple film. A chessboard appears for the solo. The video is only of my simplest, yet it matches the initial plan. The highlight is perhaps the sheer smoothness of the movements due to Argus.

The subtitles presented a bit of a problem in that they change very quickly, so I needed to insert a rapid change. I've also updated the Spotify canvases for these songs. Then I updated the artwork for the Flatspace and Flatspace II soundtracks on Steam; the art there was out of date, a lower resolution than Steam uses today. It was also (worse!) not filed correctly with the album. I created the art for the up-and-coming Radioactive Soundtrack too.

Then, started work on a new feature for Prometheus to help with sheet music transcription. Sometimes an instrument plays a chord, it has several engines which each play a different note. This can make composing more efficient; one track for a chord instead of three, and it allows an effect (like distortion) to be applied to all three notes after they combine. This, alas, makes transcription of the music a huge headache though, if an instrument has three saw waves set to pitches of 0, 3, 7, then the note of C4 in the sequencer would play C, E, G, so I have to work that out by hand, note-by-note; and this is a simple case. Some chords use monotone samples, where the note is set not by the note in the sequence, but by the unity note in the sample list (which can vary hugely)... and some chords have 4, 5, or 6 parts! This process took about an hour just to notate the organ chords for 'The Eternal Dogma' in Burn Of God, so I want to program a feature to help with future transcription.

The new feature will seek every note in a track and 'explode' each element of the instrument across several new tracks, so the C, E, G notes as sounded will now appear in three tracks, exactly as they should. This will require specific coding for each engine, as each has different tuning settings, and there are differences between samples, analogue waves, and monotone samples; but this will help hugely for the tracks which use this form of chord.

Women And Wives Video, Cliff Richard, Marie Louisa Wain

A long sleep, close to 12 hours and many vivid dreams. I was watching a film, a dark and grainy black and white film in a square spiral-stair tower of concrete, something like an M. C. Escher print with a spattering of Ingmar Bergman. A group were ascending but it got darker and scarier, until it became near pitch black. They seemed to sense that they were ascending to hell, a place behind a distant door at the 'top'. They retreated and things grew lighter, but oddly, descent started to make things darker again after a certain point.

In another part of the dream I was shown a painting by ancient Blue Peter presenter Peter Purves, telling a friend that I knew he was a painter, and rather good, that I met him at an art group hosted by John Craven which I'd attended once or twice.

I awoke feeling slow and still somewhat tired. My throat is a little sore and dry, the October disease, this rawness which hits my throat and ears, upper chest when the days turn cold. I'd be tempted to think it was due to the dryness of central heating if we had any heating here, but it seems to be endemic.

I started work on the 'Women and Wives' video. My plan was to create animated masks to reveal the filmed components, then add a top layer of additive glow effects. This went to plan, a square pulses with the drum beat, this done by saving out a list of all of the frame numbers with a drum hit (exporting this list is a feature of Prometheus) then importing this as a list of Set Modulator events in Argus, each triggering the attachment of a modulator to the square's size. The same shape was duplicated in the glow track with a glowing object. The square slides side to side in a sine-curve, once every 300 frames. This is almost all of the video. The rest was done in AviSynth, first adjusting the lighting of the masked (revealed) parts, then inverting the mask and showing a dark grey outline of the video. For some reason, this plan was instant in my head before filming even began and it looked largely as planned.

So, this is complete. I have 'Smile to Fall' to do tomorrow.

I've been watching a Cliff Richard concert on television. He hasn't been 'cool' since the early 1960s, yet he's the epitome of a star and a brilliant singer. What is 'cool'? He is perhaps too nice, too passive, too smiley and subordinate for cruel society. Cruel society looks down on nice people; perhaps the element of 'nice' is designed to be looked down on, we smile and surrender, but what is polite or kind is oddly usurped, others leap upon the kind as 'weak' - an easy step up the ladder of hierarchy. We can tread on kind people for free, so despite their niceness, kindness, they are not seen as ideal citizens; unworthy because they paint themselves as such. When we are treated badly we want kindness, but when we are not, we want a degree of cruelty... a challenge which we can rise up to. So, perhaps Cliff is too nice to be cool again, and was cool only when rebellious. It was all down hill after ground-breaking rock song 'Move It'. Yet, star to the core he is. He can't escape his personality, nor can any of us. I loved his humour when he was jokingly mocked by Kenny Everett. Like any true artist, I hope he can and will keep going forever.

Last night I started to write a short song about Marie Louisa Wain, the sister of Louis who died in an asylum. I wonder if I can finish such a thing. If I manage it, it may be the only thing poor Marie has ever been given.

Women And Wives Videos and More Nightfood

Sigh, a couple of long days of hard work, to match the lifetime of similar long and hard days in isolation, poverty, and obscurity. Yesterday Deb came to film me for 'Women and Wives' and 'Smile to Fall', the single is out on Friday so I'd like a video. In these days of AI, which I largely hate and distrust, I think it's more important than ever to be 'real', to reject anything too digital or fake looking, so I thought that a plain filmed video of myself should be the core of both films. Deborah is a natural camera operator and photographer, she has a good eye.

I'll use Argus to mask and add top layers this week. Nightfood II is broadly mixed and complete. It's not vastly different, but the vocals are. My main job this week is to complete the Women And Wives videos.

Today was spent painstakingly rasterising the lyrics for this and the Nightfood tracks, creating them as images then making them appear in the correct places in the video using Argus. To add some interest and creativity, I've made the 'Nightfood' words yellow and shaky, anxious, matching the look of the words in the (unused) CD artwork, and the words of the 'Neon Sonata' (which I named the second half of the album) as glowing neon letters full of bounce and joy.

A new head of BBC news appointed today. Her salary is more than 200 times my income; not twice, not twenty times, but more than 200 times. How pointless I feel my life is. On my break at 3pm I saved the life of a honey bee which had fallen into the plate of water we leave out for the animals. So, to that bee, I at least made a difference.

I've started to watch the Louis Wain film again, this time with Deborah. It made me triply blessed to know and love her, and doubly blessed to have known and loved Cat. Louis Wain, Freddie Mercury, Myself, Deborah; we are cat people, we four, we happy four, we band of brothers, and sisters...

Nightfood II Vocals

Recorded all of the new vocals for the new Nightfood, so different from the first version. Rest of the day spend incorporating and mixing. The vast majority of the need for any re-takes are due to not exactly knowing the correct notes or correct words.

Nightfood II Begins

A full day working on the Nightfood remaster. First, making dubs for all new vocals. Most of the vocal tracks were mixed fine (so it seems, hard to know exactly until the final vocals are in).

Most of the day was spent remixing 'Young Attractive And Physically Fit' and the Burnout Theme, both of which were far darker and muddier than I'd mix today.

Burnout was tricky at the time. The key to mixing is often high pass, high pass, high pass! In a flat mix of infinite tracks we would have pink noise which is far too bass heavy, we want white noise, so just about everything is bass-cut (or high-boosted) to some degree. Burnout is tricky because it has a filter-sweeping constant sound, such sounds need containing, some strings, which are often constant, sometimes solo, and a piano. Pianos always need bass cutting. They tend to be sparkly in all dance tunes, but even in rock (like in most Queen songs), they're kept sparkly or tinny, above the guitars. Here I've used my Engram Firegate, a sort of 'fast duck' which monitors the piano sound and attenuates the strings and filter-sweep in proportion to the piano (and its echoes, which we also want). With only a 20% fade it makes a huge difference to the clarity of the mix without any evidence of the quieter other parts.

Young Attractive uses a similar trick on the vocoded vocal, such vocals are hard to hear at the best of times. I don't like using this effect much, the ideal is a mix which naturally makes way for every part, but it can work wonders, and the effect is ubiquitous in recorded music. It's not something I used back in ye-olde days of 2021 when I first made Nightfood. I had programmed the ancestor effect (Waterfade) by that time, then Watergate on 3 Oct 2022, which used a better formula, then the modern Firegate on 6 Oct 2024 which used normal millisec time slopes that are frequency independent. The 'water' versions used exponential multiplying gates which worked well enough but only in limited value ranges and were not quite as elegant as Firegate.

Dubs are ready, I'll need to wait until I have the time and space to sing the new parts. Can't wait!

Hello Autumn

Happy Autumn! A power day, like many October 1sts! My quarterly backups started the day, then de-clamping and varnishing the frames in progress, cutting glass and the spacer. My Toyo glass cutter has started to wain so I've ordered a new head for it. Plus, a trip out for supplies, and the announcements and promotion of the Steam Autumn Sale - all of my Steam software is taking part.

A good day overall. For me, this marks the official start of 'winter' and the start of music, writing and non-painting arts, the end of the 'summer' dominated by painting. The music jobs are already large. I need to make a video for Women And Wives, remaster and partly re-record (and notate) Nightfood and Remembrance Service, possibly create a Radioactive Soundtrack and a new Fall in Green single.

On we charge!