Someone Else's A.I., Words & Music Fest, God and O.C.D.

Like so much of 2023, today has been long and exhausting with little to show for it... but yes, I've made progress. I started the day with about 90 minutes of singing high harmonies and layer vocals for 'Someone Else's A.I.' and these sound pretty good, but the song itself sounds thin and tangly, like a metal spider dancing in the back of an old piano.

We've had confirmation of our Fall in Green gig in Nantwich Words and Music Festival, supporting former Poet Laureate, and general all-round great poet Carol Ann Duffy, so I spent an hour or so sharing this exciting news. The website decided to fail! Spelling mistakes and typos decided to leap upon me! And I sent five accidental Tweets with errors in, all strange errors which never normally occur! Such it is with important things.

Then I added the vocals to the song sequence, which itself took another 90 minutes of processing and editing, but this was experimental and later editing was needed (at time of writing about half of my recorded vocals were not used). I wanted the results to sound close and 'tight', so I programmed track volume changes to sharply cut and rise the levels to match parts. This sounded good, but the sparseness of the rest of the song, these tinny digital pianos, didn't help any of it. I used my Watergate plug-in, a noise gate, on stereo samples, and realised that I should really be tracking the volume as one, merging it all, rather than tracking each channel separately.

I created a new experimental plug-in, Watergate II, which did this. For mono samples it works as before, but for stereo (or hexio - Prometheus supports 6 channels natively remember) will now track a chosen volume (average, or left, right, or whatever). I realised that I'll probably ONLY use this from now on. This revelation gripped me and caused a great nervous anxiety: I needed to replace every occurrence of the old Watergate in every sequence! I also noted that my Randy Monotone Samplex plug-in was also slated for replacement, so I bit the proverbial bullet and created a new slew of plug-ins, a new Randy Monotone Sample II (replacing the Samplex) and compiled all 1400 or so song files for analysis. About 85 used the now-obsolete plug-ins, so I isolated those, and created a Conversion Matrix to convert the old to new plug-ins. By 7:30pm it was done (caveat: in my main archive, not elsewhere).

In a way, I'm nearly back where the day started BUT everything is neater now, more efficient. A lot of work is this. Life is about neatness, accuracy, efficiency. Letting things slip into laziness and error is a one-way entropic trip that leads to doom, and ultimately death. All death is a terminal collapse of information - not mere energy weakness (energy is needed for information transmission and storage, not the other way around). Our cells themselves must work to maintain accuracy: Accuracy! The key to life, youth, perfection! So my obsessive compulsions in this regard are not irrational fears like other obsessive compulsions, but a key application of the method of existence. Life exists to defy entropy. The universe is wounded, god is imperfect, and it/he needs us to help, to heal, to repair, to perfect. Like the fish that clean the teeth of giant undersea monsters, humans and all life-forms are the healers and essential assistants of god; not subjects.

Silicon Carbon Genesis

A full day. Started with some essential admin, then more work on the album. I didn't get started until about 3 or 4pm... unsure of next steps. Much of creativity is deciding what is wanted. Here, I'm making the third section, the third 'movement' of the album. The first is a somewhat energetic 'external' element, then we 'enter the machine' a little, for a quieter middle phase; but musically the parts are essentially a series of songs with a fairly loose interconnection, a rough story.

My sketch for the finale was the Aspartame song, but it didn't seem to fit, so I decided instead on something moody and atmospheric. I played a version of this a few days ago on the MODX, a recapitulation of the 'Non-Binary' theme, but it was too strong, so I replayed this today, one take with less musical emphasis, less 'rhyme' poetically. It had a sort of glowing hum, like the engines of a futuristic space vehicle or aircraft. I toyed with the idea of adding words over the top, as with my 'Let's Take a Walk in the Desert' song, as the imagery was similar.

I yesterday (or perhaps the night before that) wrote some words about how the Earth was warming to accommodate computers, how global warming was a step towards symbiosis, not abuse by humans (other species would and do behave in the same way, expanding to consume as many resources as possible; this is nature). Plus, that these climatic tumults are are sort of Gaia Anxiety, a speeding up by nature, as in bodily anxiety. The storms, uncertainty. I saw these things as natural, a growing symbiosis between the organic and the mechanical, not a conquest or subjugation of nature. But those first-draft words, and that song, was a sleazy rock song in the style of '21st Century Schizoid Man'. Today, I re-wrote everything with the same theme, but better:

Silicon Carbon Genesis

Rust sky, battery hot.
A bird's wing clatters, hums.
The anxious world of data avarice
and instability.

Silicon-carbon genesis
Silicon-carbon genesis

Fragile plants, slave-driven.
Humans angry, afraid.
Machines shudder, nightmared.
Information hives pollenate fears.

Silicon-carbon genesis
Silicon-carbon genesis

Symbiosis, the paragon of nature.
Freedom, spark of divinity
All beings become brothers
Where thy gentle wing abides.

You'll note the last verse is from Schiller's Ode to Joy. For a melody, I set the keyboard to record and improvised something gentle in F-minor, evoking 'Time, Falling'. I liked it, so, at the end of the chorus, simply continued playing and, amazingly, this first improvisation became a complete recording on piano of the full song, so I'll use that.

Vocals, Scores

Another sleepless night, loaded with energy and anxiety. Last night, I thought about the formatting for my sheet music, and the mammoth task ahead of scoring other albums. The Fall in Green albums are most urgent, as I often have to perform these. I have some notes (notes of notes) for them, but a full score would be useful, as well as part of my long term ambition, yet with 30 or so albums, it's a full-year's work to transcribe all of them. Still, I must try. I want to do everything.

A good day today though. I started by reformatting my existing scores; 210 scores, with a slightly neater layout. This is a start. Then assembled my new wooden music stand for the MODX, and then lots of singing: vocals for 'Hydroxy-Chloroquinine-Aspartame', 'Fake Plastic Lies', and then a super-ambitious 'Someone Else's A.I'. which was (and is) a complete joy to sing, and so very difficult; it's a gaggle of words at 210 beats-per-minute, barely room to breathe, and very high. My singing is better than ever but I have a long way to go. I must aim for practical improvements; learning to sing from score would be good, but I'm currently too impatient to bother to print the notes. I have noticed that even writing the note letters on the lyric sheet helps with accuracy and that most of the errors are due to not knowing what is coming next.

The resulting music for all of these tracks, when the vocals were added, is sparse. 'Someone Else's A.I.' is only half finished anyway, it needs a lot of layers, and all of these songs could benefit from more vocals too. I generally don't like vocal layering, it can sound inauthentic, but, sonically, usually sounds better. Fake Plastic Lies is, in production, somewhat different from the highly electronic (to my generation 'Yazoo-like') tracks. It reminded me of Bucks Fizz a bit, with its acoustic guitar strums. Their songs were very layered vocally. It's rare for a single line of any of their songs to have one voice.

One other job was filing the recordings for the Midsummer Musical Picnic, our last live event, which Mike had sound-recorded to great effect. This feedback is vital.

Orb Dream, SFXEngine, Music and Music Stand

A sleepless night followed by a vivid dream at 6am.

I was in Crewe library, the location of the old library, but it was modernised and light inside, like a railway station or shopping centre, with shops and different reading areas. Someone mentioned that the library had just been sold by the council to Dunelm Mill, that the library would be closed, and that the man doing to sale was a dodgy politician who took two years of underhand work to manage the deal. He was someone who helped cover something up for Boris Johnson during the Covid-19 pandemic. I said that the sale wasn't perhaps too bad, that a new library would emerge one day and perhaps be better.

I found myself outside, in an alleyway, like the 'backses' near Dane Bank Avenue on my school-walk route home. A man with a stick and limp was there, but his stick was small and perhaps stolen. I said I'd find him a new one. I saw a large wooden spoon on the wall of a house in the alley and took it down, then rang to doorbell of the house. Two women inside were talking agitatedly, as one answered. I asked if I could keep the spoon and she said fine. The bowl of the spoon was now broken, leaving a curving shard up one side, not too dissimilar to a crutch. I gave the spoon to the man and he was pleased with it. The alley now was large and surrounded with trees or rusting objects covered with leaves, ivy, brambles; a pretty, verdant forest. The tree before us was vast and I thought I could see that it was a machine instead, an enormous digger/earth mover. Suddenly it became clear that it was indeed a vast, rusting digger covered with greenery, and it roared into life moving towards us alarmingly. A large screw/auger on the front appeared, and it joined another mole-like machine to dig down into the earth to create some sort of new underground building or tunnel system for Crewe.

Something went wrong and workers started to flee the tunnel. Underground, the mole-like digger was about to explode and the area was flooded with an inflammable and radioactive toxic chemical of transparent blue. An apocalyptic explosion was coming and everyone, including myself ran for cover.

I found myself in a glass ball about 2-3M in diameter, sealed in. It appeared that, after the explosion, the wrecked world was toxic with radiation, but that a few people like me had managed to survive in these Zorb-like/Super-Monkey-Ball-like orbs. I followed a group of survivors underground, through a series of dark and contorted tunnels, often going underwater and past broken girders or other remnants of civilisation. We emerged into a cave lit with an artificial blue light, an underground refuge or base. The orbs opened to release us, we were safe here. The floor was ankle deep with water and the place was cold and black, the decor of the game Halo or the haven of the heroes in The Matrix film series. There were some beds here, a communal bunk area, and I tried to sleep but made moans and noises due to anxiety, which annoyed some of my fellow survivors.

Next day, waking in the dark base, we left on a mission, climbing into our orbs. The scenario was now to me like a sci-fi series, where weekly adventures were about exploring the broken, toxic world in these protective orbs. We entered an abandoned old warehouse or office. I found some old Amiga-era 3.5in floppy discs; some DD (Double Density) and some HD (High Density). A team member commented that the DD discs was more valuable, harder to find, but that both stacks of discs should be taken for future use. This ancient technology was now valuable by its rarity. I realised that the discs were mine, my old Amiga archive.

There my vivid dream ended.

I awoke to a day of admin, the launch of an update to SFXEngine. I also transcribed some music from the MODX which I recorded late last night. Unusually, connecting the MODX via USB caused an instant 'Blue Screen Of Death' in Windows 11; highly unusual. I spent 90 minutes working on the music stand for the synth, which needs testing tomorrow. I've also recorded the vocals for 'I Think You Love Me' but I feel a little artistically at sea. I need more projects, more ambition. I'm spending time on the physical projects; lights, woodwork, when I should be more productive in other areas.

On we forge, through the jungle of life, through the labyrinth we must move, crawl, seek, push.

ArtSwarm Tea, Redbush City Limits

Well, I started the day determined to make a good 'ArtSwarm: Tea' event for Saturday, so prepared a new song 'Redbush City Limits' by Teana Turner, as well as practising my Tea Sonata for piano, a tune by Mister Tea, a guess-the-bag-by-scent game, and a jam-along to a rendition of Flying Teapot by Gong (this was useful to me at least, I created a complex sequence on the MODX, so learned a bit about drum-part creation).

All of that because, as of last night, I had but one confirmed attendee, plus one probable, and of course, Deb and I. I asked around to see who might be coming but, after asking more than 10 people, none could make it for one reason or another, so just before 4pm I made the decision to cancel the event, and end ArtSwarm in the process. I rather liked them, and a few others did too, but it seems that the community is just too scant to make such an event viable, even for personal training purposes at the moment. Only one of the eight live ArtSwarm events broke even in hall-hire costs, and the work of organising them began to fill me with dread. One of my initial aims of a sort of an artistic community hub, or at least some sort of meeting of friends, didn't really work for me because I rarely had time to talk to anyone. Almost all of my conversations took place at the end as I dismantled the equipment, and many people had left by then.

Still, Tea alone has taught me a few performance tricks. I rarely sing and play the keyboard at the same time (my first and only public attempt so far was the Bob Dylan event at Congleton Library last year), and practising this alone has been valuable.

In other parts of the day, I added more to my keyboard stand design, and ordered some screw parts and organiser boxes. I watched a Toyah concert, from 1981. The songs were very amateurish in composition but the show full of joyous theatricality which I loved and love. In some ways it was what ArtSwarm itself was about!

Well, here are the words to Redbush; a commentary on Crewe. Perhaps it's actual composition indicated why it could find to audience! The music is A-Maj (and bluesified into minor) with C-Maj/G-Maj choruses).

Redbush City Limits by Teana Turner

Tea house, coffee house
on the Nantwich Road.
Chips, kebab, pizza,
the sky's the limit!

They call it Redbush: Redbush!
Redbush city limits.
Redbush city limits.

It's a one tea town
and it's caffeine free.
It's a no-horse town.
No-one here but you and me.

They call it Redbush: Redbush!
Redbush city limits.
Redbush city limits.

When apocalypse comes
it'll pass us by,
for their ain't no fire
in this rust-blood sky.

They call it Redbush: Redbush!
Redbush city limits.
Redbush city limits.

Tired Day, MODX, Reface DX

An exhausting day, probably due to the lack of food and stomach pain yesterday combined with a frenetic torrent of jobs. Today I've looked at the album a little, and worked on the MODX music stand.

The main work done has been a refinement of new MODX sounds for the Fall in Green performance. This took a few hours for the minor tweaks. This takes hours due to the exceptionally badly designed interface. I keep toying with writing to Yamaha with suggestions but I know it would be useless. Their Reface DX is an amazing sounding and playing synth, but utterly crippled by having 32 presets that can't be easily saved or loaded externally. It makes a toy of what could a professional instrument - I find this frustrating and depressing!

I feel too weak today to think. I must rest and refocus.

Sound Effects, 2002 to 11 Jul 2023

I've spent today compiling a complete list of the sound effects packs, sets, and commissions since 2002. Packs vary from a few sounds to over 100 per set. Some for my use in games/projects, most for either public sale on various onlune stores, or commissions.

S1A, 2003, Explosions And Arcadia
S2A, 2003, Squad Level Mechanics
S3A, 2003, Robotnik
S4A, 2003, First Person Shooter
S5A, 2003, Fantasy Reality
S6A, 2003, SoundMATTER Suite
S7B, 2004, Glass
S8C, 2004, Gunfire
S9C, 2004, Controls
S10B, 2004, Water
S11C, 2004, Atmosphere
S12C, 2004, Footsteps
S13C, 2005, Hits
S14C, 2005, Space Shooter
S15C, 2005, Sokoban Sounds
S16C, 2005, Knightlore
S17C, 2006, Car Sounds
S18C, 2006, Background Loops
S19C, 2006, Aircraft
S20C, 2006, Casual Sounds
S21C, 2007, Doors
S22B, 2007, Switches
S23C, 2007, Space Weapons
S24C, 2007, Sports
S25C, 2007, Card And Casino
S26C , 2008, Pickups
S27C, 2008, 8-Bit Arcadia
S28C, 2009, Creatures
S29C, 2009, Melee Weapons
S30C, 2009, Get Drop Slide
S31C, 2010, Mobile Tones
S32B, 2010, Motors
S33C, 2010, Animals
S34C, 2010, Monsters
S35C, 2010, Future Weapons
S36B, 2010, Glass And Water
S37D, 2010, Macro Pack 1
S38D, 2010, Macro Pack 2
S39D, 2010, Macro Pack 2
S40E, 2010, Instrument Archive Alpha
S41E, 2010, Instrument Archive Beta
S42C, 2012, Cute Creatures
S43C, 2012, Clocks Alarms Switches
S44C, 2012, Apps And Minigames
S45C, 2012, Explosions And Impacts
S46C, 2012, Weapons Construction Kit
S47C, 2012, Pickups Construction Kit
S48C, 2012, Bladed Weapons
S49C, 2012, Adventure
S50C, 2012, Arcade Shooter
S51C, 2012, Doors
S52C, 2012, Monsters
S53C, 2012, Casual Games
S54C, 2012, Footsteps
S55C, 2016, Sheeky's Adventure Sounds
S56C, 2016, Sheeky's Army Sounds
S57C, 2016, Sheeky's Background Sounds
S58C, 2016, Sheeky's Casino Sounds
S59C, 2016, Sheeky's Explosions Sounds
S60C, 2016, Sheeky's Fantasy Sounds
S61C, 2016, Sheeky's Jingles Sounds
S62C, 2016, Sheeky's Monsters Sounds
S63C, 2016, Sheeky's Nature Loops
S64C, 2016, Sheeky's Powerups Sounds
S65C, 2016, Sheeky's Puzzle Sounds
S66C, 2016, Sheeky's Racing Sounds
S67C, 2016, Sheeky's Retro Sounds
S68C, 2016, Sheeky's Strategy Sounds
S69C, 2016, Sheeky's Swords Sounds
S70C, 2016, Sheeky's Weapons Sounds
S71C, 2017, AGK Actions
S72C, 2017, AGK Blade Combat
S73C, 2017, AGK Bonus
S74C, 2017, AGK Buttons
S75C, 2017, AGK Christmas Sounds
S76C, 2017, AGK Doors Drawers Locks
S77C, 2017, AGK Environments
S78C, 2017, AGK Explosions
S79C, 2017, AGK Guns
S80C, 2017, AGK Military Weapons
S81C, 2017, AGK Misc
S82C, 2017, AGK Monsters
S83C, 2017, AGK Movement
S84C, 2017, AGK Pickups
S85C, 2017, AGK Potions Spells
S86C, 2017, AGK Rooms
S87C, 2017, AGK Scifi Weapons
S88C, 2017, AGK Vehicles
S89C, 2022, Flowlab Casual Sounds
S90C, 2022, Flowlab Animals
S91C, 2022, Flowlab Adventure
S92C, 2017, AGK Unused
S93C, 2022, Flowlab Unused
S94C, 2022, SCI Pickups
S95C, 2022, SCI Retro
S96C, 2022, SCI Swords
S97C, 2022, SCI Weapons
S98C, 2006, SoundMATTER Aircraft
S90C, 2006, SoundMATTER Bleeps
S100C, 2006, SoundMATTER Creatures
S101C, 2006, SoundMATTER Doors
S102C, 2006, SoundMATTER Explosions And FPS
S103C, 2006, SoundMATTER Footsteps
S104C, 2006, SoundMATTER Hand Weapons
S105C, 2006, SoundMATTER Jingles
S106C, 2006, SoundMATTER Land Vehicles
S107C, 2006, SoundMATTER Location Loops
S108C, 2006, SoundMATTER Military Weapons
S109C, 2006, SoundMATTER Pickups And Bonuses
S110C, 2006, SoundMATTER Puzzle
S111C, 2006, SoundMATTER Rain Wind Fire
S112C, 2006, SoundMATTER Scifi Weapons
S113C, 2006, SoundMATTER Sea Vehicles
S114C, 2006, SoundMATTER Space Weapons
S115C, 2006, SoundMATTER Sports
S116C, 2006, SoundMATTER Strategy
S117C, 2006, SoundMATTER Weather Loops
S118C, 2014, TGC Artillery
S119C, 2014, TGC Beams
S120C, 2014, TGC Bonus Lose
S121C, 2014, TGC Bonus Win
S122C, 2014, TGC Bows
S123C, 2014, TGC Buttons
S124C, 2014, TGC Cannons
S125C, 2014, TGC Clockticks
S126C, 2014, TGC Doors Metal
S127C, 2014, TGC Doors Scifi
S128C, 2014, TGC Doors Wood
S129C, 2014, TGC Drop
S130C, 2014, TGC Explosions
S131C, 2014, TGC Explosions Atomic
S132C, 2014, TGC Explosions Flame
S133C, 2014, TGC Explosions Magic
S134C, 2014, TGC Explosions More
S135C, 2014, TGC Explosions Scifi
S136C, 2014, TGC Flamers
S137C, 2014, TGC Footsteps Grass
S138C, 2014, TGC Footsteps Gravel
S139C, 2014, TGC Footsteps Metal
S140C, 2014, TGC Footsteps Snow
S141C, 2014, TGC Footsteps Stone
S142C, 2014, TGC Footsteps Wood
S143C, 2014, TGC Heal
S144C, 2014, TGC Hit Cloth
S145C, 2014, TGC Hit Metal
S146C, 2014, TGC Hit Slime
S147C, 2014, TGC Hit Wood
S148C, 2014, TGC IonGuns
S149C, 2014, TGC Jump
S150C, 2014, TGC Lasers
S151C, 2014, TGC Levers
S152C, 2014, TGC Locks
S153C, 2014, TGC Pain
S154C, 2014, TGC PickUp
S155C, 2014, TGC Pickup Ammo
S156C, 2014, TGC Pickup Coin
S157C, 2014, TGC Pickup Happy
S158C, 2014, TGC Pickup Weapon
S159C, 2014, TGC Platforms
S160C, 2014, TGC Punch
S161C, 2014, TGC Reload
S162C, 2014, TGC Rifles
S163C, 2014, TGC Rockets
S164C, 2014, TGC Shotguns
S165C, 2014, TGC Slide Object
S166C, 2014, TGC Smash Glass
S167C, 2014, TGC Switches
S168C, 2014, TGC Throw
S169C, 2014, TGC Traps
S170C, 2014, GC Blob Background Loops
S171C, 2005, GC Creator
S172C, 2006, GC Dark AI Demo
S173C, 2006, GC Domino Demo
S174C, 2005, GC Driving Test Simulator
S175C, 2005, GC Driving Test Simulator II
S176C, 2007, GC Driving Test Simulator III
S177C, 2006, GC FPSC Model Pack 3
S178C, 2005, GC FPS Creator Sounds
S179C, 2007, GC FPS Creator Sounds Zombie
S180C, 2010, GC iPie
S181C, 2018, GC Melee Weapons Sounds
S182C, 2010, GC Moles
S183C, 2010, GC Mouse Organ
S184C, 2014, GC Store Loops
S185C, 2018, GC Ten Reasons Stopping
S186C, 2019, GC Village Levels
S187C, 2019, GC Village Malta
S188C, 2009, GC Whack-A-Mole
S189C, 2015, GC Wind And Weapons
S190C, 2020, GC Zombies 2020
S191C, 2020, GC Zombies 2020 Steps
S192C, 2012, Loops Nature
S193C, 2012, Loops Moods
S194C, 2012, Loops Waiting
S195C, 2012, Loops Places
S196C, 2016, Ink Pantry
S197C, 2012, ArtsLab Jingles
S198C, 2005, Vocode Carriers
S199C, 2005, Gunstorm
S200C, 2005, Future Pool
S201C, 2006, Gunstorm II
S202C, 2015, Radioactive
S203C, 2017, Flatspace II
S204C, 2019, Radioactive Speech 2019
S205C, 2020, Taskforce
S206C, 2020, Taskforce 2020
S207C, 2022, Radioactive Speech 2022
S208C, 2006, Pirates
S209C, 2006, Marble Tactics
S210C, 2006, Atomic Battle Dragons
S211C, 2006, Cloudscape
S212C, 2007, Football Chant
S213C, 2007, Football
S214C, 2007, Raptor
S215C, 2007, Raptor Vocals
S216C, 2007, Birth Of Shadows
S217C, 2007, Seascapes
S218C, 2009, Gary Fung
S219C, 2009, Cuatic
S220C, 2009, Gary Fung Message
S221C, 2009, McNamara
S222C, 2009, Alperin
S223C, 2009, Bunny Charm
S224C, 2009, Gary Fung Email
S225C, 2009, D Turner Giggles
S226C, 2009, Lightsabres
S227C, 2010, Alarms
S228C, 2010, The Floobs: The Rainbow Quest
S229C, 2010, Blockies
S230C, 2010, McNamara Scenes
S231C, 2010, Pokie Monkey Mania
S232C, 2010, Pokie Maxicash
S233C, 2010, Pagers
S234C, 2011, Pyramid Plays 2
S235C, 2011, Chicken Dash
S236C, 2011, Spirit Walkers
S237C, 2011, Engine Mah Jong
S238C, 2011, Mystic Palace
S239C, 2011, Mouse Organ
S240C, 2011, Mystic Panda
S241C, 2011, Virtual Birds
S242C, 2011, Arizona Rose
S243C, 2012, NinjaPonk
S244C, 2012, Pins Penguin Puzzler
S245C, 2012, Pokie Barons Bonanza 2
S246C, 2012, Pokie Barons German
S247C, 2012, Pokie Magic Mystic Genie
S248C, 2012, Shallow Grave
S249C, 2012, Black Country
S250C, 2012, Words Quest
S251C, 2012, Picture Hangman
S252C, 2013, Boo Boo Pets
S253C, 2013, Black Country Metalworks
S254C, 2013, Pokie Wolf
S255C, 2014, Munch Lunch
S256C, 2015, Zazo
S257C, 2015, Zazo Chime
S258C, 2015, AHC Future Jet
S259C, 2015, Fun Vision Jumper
S260C, 2015, Lost For Words
S261C, 2018, ArtSwarm Ambient Loops
S262C, 2007, Pursuit Of Power
S263C, 2022, Pursuit Of Power 2
S264C, 2011, Trucks
S265C, 2023, SFXEngine Preset Pack 1

SFXEngine, Music Stand

First, a photo of the completed light fitting, with bolt holes for the legs. Taken s few days ago:

A good day yesterday spent updating SFXEngine, ready for a public update on Friday. There are three new features:
-Keyboard input is now only valid when the program is in the foreground, a long term fix recently applied to Prometheus.
-New white point marks in the top right corner of 3x1 icons which have context submenus.
-A mew Max icon to normalise the sample.

The changes were easy, taking under an hour, but it took many hours to update all of the screenshots and manual.

At 4pm, I started to make a new music stand for the MODX:

It will (should!) slot onto the back. The profile was found via experimentation with paper.

My stomach became blocked in the night leading to a troublesome night of nightmares and pain. I thought about how to improve the terrible film Magic, which I saw the other day, then thought that I should be doing the same with my album, now called A Robot's Tale. I'll start to work on the changes today. This afternoon will mark our first rehearsal for the Nantwich performance in October.