It was a bad day. A lot of bad stuff happened. And I'd love to forget it all. But I don't. Not ever. Because this is what I do. Every time, every day, every second, this: On five, we're bringing down the government.
Monday, June 22
I'm tidying up all the files for Winter Collection, and I discovered that I hadn't saved the final version of the source file for the first track. I had saved it, but then I'd done some more changes, and not saved those, and then produced the .mp3 I uploaded from that unsaved version.
Spent about 30 minutes fiddling with it trying to get it back the way it was, then realised that what I'd done was put an intensity hold on it, which is why that track sounds so mellow. That done, I was able to reproduce it exactly.
I don't have a .wav output of the original either, so the best I can do is compare the original .mp3's waveforms with the new one. Or do a blind test to see if I can tell the difference.
Update: Eyeballing the waveforms, it's very close up to the 1:57 mark, then it diverges. Looks like some more tweaking is in order.
Update: Eurgh. Well, the sequence of notes is exactly right. Now I just have to place - at most - 17 intensity markers at half-section intervals until each sub-section matches exactly. Sigh.
Update: Aha! Had it almost right except for the ending. I couldn't persuade it to do an automatic fade and switch sections on cue; I could do one or the other, or I could switch sections and do a manual fade, but I knew I hadn't done a manual fade before, so it meant I was missing something. And so I was. Even when you manually place all your intensity cues, the composition parameter still affects the ending. When I set it back from 1 to 4, I was able to match the original mix.
It provides that special thrill you only get from strapping wriggling
little animals into an elastic band and then snapping them through the
core of the earth. Don't pretend you don't know what we're talking
I know not much has been heard from the Electric Ant Orchestra in the last couple of years, but we're still alive, still making music in our own weird way. And here for your enjoyment (or otherwise) is our latest album, Winter Collection.
There's eight compositions, three moods, four arrangements, six starting sections, and twenty variations on the one theme, not to mention the fact that the structure is very much dependent on the length, and that all those factors serve merely as a seed. So there's easily ten thousand different outcomes even before you really start to customise it.
Hum. Actually, apart from a couple of chorus sections in Counterpane and Antebellum that could do with punching up a little, I'm pretty happy with all four. So, having broken and then repaired the mu.nu virtual server (accidentally upgraded it from 8GB to 1GB instead of 10GB), I think it's time for bed.
The program is Cinescore, which is designed for creating background music for video. So the first pass is combinatorial - you choose a theme (a collection of pre-recorded instruments, rhythms and melodies), and then a bunch of different arrangement options, and specify the length of the track.
Then you can specify that, for example, you want this movement to be quiet and then slowly build up to a climax here and then fade away slowly until it returns with a sudden dramatic jump here - to match whatever's going on in the video.
Of course, I'm just noodling around trying to coax interesting noise out of it. Which is sometimes a bit frustrating, as I learn my way around the program. It's kind of the polar opposite of Acid, which I used for my previous compositions. In Acid you have to be very specific - you take a mandolin in F# playing a particular sequence and match it up with a cornet and a cello and a wood block, and you can time things down to 1/32nd notes. (And I have on occasion even edited the waveforms.)
In Cinescore, you say, uh, give me an intro, then a buildup, then something dramatic at 1:45, then a nice clean exit. And then you're not quite satisfied with the outcome (if you're picky like me) and you spend three hours fiddling with it trying to get it to do just what you want. It's an amazing program, but very annoying at the same time. It is still 1.0, so I very much hope they stick with it and smooth out some of the kinks.
I really want to get a copy of Vocaloid, but no-one seems to sell it. I'd be perfectly happy to use the Japanese voice sets, but I kind of need the application itself in English.
Posted by: Pixy Misa at Thursday, June 18 2009 04:11 AM (PiXy!)
First minute of â€œEscapementâ€ sounds a bit like Philip Glass.
(Which, BTW, is about all I can get - a minute or so of download, then the server closes the connection. D*mn dialups.)
Posted by: Old Grouch at Friday, June 19 2009 02:12 AM (uKJ7j)
First minute of â€œEscapementâ€ sounds a bit like Philip Glass.
The funny thing is that it might be.
Sony (and Sonic Foundry previously) get some pretty famous musicians to record stuff for their software, but the license says you're not allowed to even mention them in your work. So I credited my laptop instead.
Posted by: Pixy Misa at Friday, June 19 2009 02:53 AM (PiXy!)
Maybe I should put all my music up as a podcast feed. iTunes will restart a download if it drops out, and my fans can automatically get new tracks as they're released. (Like, once every five years...)
Posted by: Pixy Misa at Friday, June 19 2009 02:58 AM (PiXy!)
It's not a dropout, it's a forcible closure. Have the same problem pulling stuff I've posted (like here and here).
Posted by: Old Grouch at Friday, June 19 2009 02:08 PM (uKJ7j)
Ah. I think that might be related to the other problems we've been having, then.
We'll be moving to the new server in an hour's time, and that should fix everything.
Posted by: Pixy Misa at Friday, June 19 2009 03:00 PM (PiXy!)
You're close there. It's the only live-action I've watched in almost a year (Castle being the only other). Steven, the "Gene Hunt Show" is better than 75% of all anime out there. Criticize not what thoust not knowest.
If only there was a way to have Gene wander onto the set of Spice & Wolf.... hmmmm.
Posted by: Tiberius at Monday, June 15 2009 04:30 AM (TXmvK)
Err... is there a spoiler warning tag...? Too old and drunk to find it,so don't read this! Oh! That's where it was! Anyway --
Ashes 2 Ashes, and its predecessor, Life on Mars, is a Brit take of
Haibane Renmei.. The protagonists are much like the parrot in the Monty Python "Bolton" sketch. Which may or may not be a palindrome of Notlob.
In both series, as in
HR the main character acts within a limited environment to
come to terms not only with their own death, but also with their place in this great throbbing web of mucus we call the universe; desu.
It's an open question as to whether Gene Hunt knows what's going on (as if he were a
hero/servent ala Fate/Stay Night or whether he's just taking history's backwash as it comes. Nevertheless, if law enforcement is the question, then DI Hunt is certainly the answer.
Echoing P.M., I speak only to the Brit version; the US rip-off is dead to me.
Posted by: Tiberius at Monday, June 15 2009 01:06 PM (TXmvK)
you-know-what as a police procedural. That's a pretty good description.
Posted by: Pixy Misa at Monday, June 15 2009 10:20 PM (PiXy!)