so, i'm going to do that vst record after all - as a mirror image of the midi disc, to prevent it from seeming superfluous. so, i'm going to release it as a double. hey, it's a neat concept to have the thing flipped over like that, to demonstrate the changes in technology (available to me) that occurred between when the songs were written and when they were finalized.

i guess it turns out that there's more than one way to coherently present this material. rather than fight against that, i'd rather present multiple options.

so, there will be the two proper jjjjjjjjjj discs that have mixes of sequenced music and non-sequenced music. records 5 and 6. then there will be the flip of the midi disc, which has just purely sequenced vst versions of some of the material on the two proper jjjjjjjjj discs. then, there's the collection of singles that have all the versions of each specific track.

2^2*3^2 = 36.

i have to...

there's just too many variables to keep fiddling. this is actually the more efficient approach. which is what i said in the first place, then argued against, but it really is.

except everything came out weird.

i'm going to have to use a spreadsheet instead.

i'm also glad the days are getting longer, again.

i think i'm pretty much used to that hour difference, now. it's from moving from one end of the same time zone to the other end. i'm used to the sun being up by 6:30 pretty much the entire year - and becoming visible not longer after 4:00 during the summer. here, it's quite often not up until well after 7:00. even at the peak of the summer, you're pushing 6:00, which kind of makes it feel like spring the whole year. i made it home in the dark from a compost-drop at 7:45 the other day.

the flip of that is that the sun is still up at 5:30 for pretty much the whole year. which has got me feeling like fall never ended, because i never got the cue of night time at 4:00 on a cloudy day.

i've actually tried switching to central time to recapture the difference, but i just found myself constantly converting in my head. it was just reminding me of it, rather than helping me forget it.

so, i think i'm used to it. but i'd still be nice to get the sun up a bit earlier...

you know, i was going to say something about how people have to go to work in the dark here.

but i guess it's also true that people have to go home in the dark in ottawa. i can remember getting off work in the dark quite frequently.

i think it's kind of better to get off work in the dark, because it just plunges you directly into the night, which is where you want to be when you're working during the day, anyways. but that's just a perception.

i think the more valid reflection is that you're stuck with one way or the other up to a relatively high longitude.

you know, it's true - cats really are always plotting to eat us. like, that cat that's been following me around..

see, i always knew that the cat was really stalking me as a possible prey item, but i was trying to rationalize ways around that obvious deduction, because it's not something you really want to come to terms with. that cat is following me around because it would like to eat me. how pleasant.

i think if it was a really serious concern to me, i'd of course react differently. but it's a cute, black and white furry cat with a bit of a swagger in it's steps. it doesn't really strike me as ominous, even if i know what it's really thinking.

when it comes down to it, though, do i really want to get into a fight with a cat? they seem cute and harmless. but, they're very agile and absolutely capable of catching you by surprise. we have a weak spot - our necks. and, cats are entirely aware of that weak spot. it doesn't take much to take you out through your neck. a smart cat would be able to exploit this.

you think past it, though. it's just a cute cat.

a cute cat that sees you as a possible prey item, if it can just get the right opportunity.

i think these studies that suggest that people that listen to specific types of music are more intelligent because they listen to that music are getting the causality backwards.

first, if you're focusing on a specific genre, you're doing this wrong. if the idea is the abstraction in the music, no specific genre has a monopoly on that. you may get different correlations, depending on personality. debussy is going to appeal to a different type of person than mozart does. and skinny puppy is going to appeal to a different type of person than genesis does. but, it's all abstract music and it should all have basically the same effect, if the factor is the abstraction in the music.

focusing specifically on "classical" music is going to mostly simply produce class differences, which are well understood as having an effect on test scores. it's a situation where x is correlated with y, y is correlated with z and a fallacious conclusion is being drawn that z is therefore caused by y - when it could very well be that x and z are where the causal relationship is occurring.

but the point of this shouldn't be to isolate "intelligent people". "intelligent people" is a pretty broad category, that encompasses humans with a wide variety of tastes. rather, the useful conclusion is something like as follows:

"if you actually legitimately enjoy mainstream pop music, it is probably because you are not of above average intelligence."

but you don't need a study to understand that.

even that's maybe a little unfair, as it's not impossible that you could be into abstract music and still like pop.

maybe something like...

"if you *only* listen to pop music, then chances are high that you're not that bright."

i think the key thing that bugs me about the studies is that they tend to focus so much on mozart. mozart was not the most abstract, creative or interesting writer of his era from any perspective. even people that really like mozart will acknowledge how prodding he could be from time to time. if the studies were based on something a bit more difficult....

i'd expect that if they did a direct comparison between kids that listen to mozart specifically and kids that listen to a spectrum of other "classical" composers, mozart would actually rank near the bottom in terms of test results.

i entirely agree that things are constantly in flux, and the causal model has problems at the micro level. i think the intuitive understanding is that things are happening too quickly for causality to apply. i say intuitive, but that's a tricky thing to understand if you try to break it down, despite it being the intuitive way to kind of understand it.

i think you can try and put some kind of conceptual bounds around it, though. every causal reaction requires a finite amount of time. if there's so much energy in a system that it pushes the cause through faster than a reaction can occur in, then you'd see causality seem like it's not working. you could think of it like a censor failing, by missing a signal because it's too fast - or in some cases like a censor exploding by taking in a signal that zaps it like a laser.

depending on the scale of the subject, the micro might be very perceptible to us. so, the question of how music affects intelligence is micro on this scale - it's reinforcing each other, because it's happening at a time scale that is shorter than a reaction can develop in.

but i think you can still pull out patterns, and the patterns are still meaningful, even if they require some careful analysis.

so, there's two ways to finish a mix.

the first is to fuck with it until you get it right. the second is to fuck with it until you numb yourself to it, and what you've been listening to starts to sound right. the second approach is not inferior, as it reflects the way you've changed your idea of what it should sound like as you've brought it into reality.

this wasn't supposed to take this long; i didn't spend a lot of time setting the guitar modelling in the first place, i just got lost in it because something changed without me controlling it. so, i got lost in finding a "lost ideal". i need to acknowledge that and just move forwards with it.