![]() ![]() Just when I think I know it pretty well, I find some other feature, tip, or workaround.īe that as it may, I enjoy trying new software and get some energy benefits from new discoveries in this area. Geany looks really simple, but I’m continually surprised by its depth. I’ve also got some global keyboard shortcuts which map to external tools that help me find and quickly edit files. I use the Commander plugin mapped to Ctrl+Shift+J to switch to commonly-referenced files. My version has zero buttons in the interface, just menu items, 150 or so document tabs, and the current document. I’ve mentioned before that I really enjoy using Geany and this holds true. I made a graph out of text symbols recently, charting the temperature in my office: ![]() Speaking of Microsoft Excel, I really enjoy creating little spreadsheets and graphs in text format these days. Even though EACH of you thinks the other is also pretty impressive to an unreachable degree. Meanwhile, I’ll bet that if you met a band member and said, “ah, I am really good with Microsoft Excel,” they’d say “f*** man, well much respect, that’s way out of my box,” and there’s a real chance that both of you would be standing there quite confused about your own life choices. Except FM radio, but don’t even know how or why they are tuning it the way they are, ergo no, I’m not an FM radio performance artist. So here, hand me those, I’m composing a message back. You know? They just spoke to me in bass, guitar, FM radio, drums, and keys. It’s also really depressing in those tired moments that none of this is any kind of excuse for why I feel as if I totally want to get a band like Parcels, but cannot yet speak their sensory-emotive language. But it’s hard to reconcile the “what’s happening” with “what I anticipated would happen” when your own life-system seems to be subverting you for unknown reasons. Since then I’ve learned some ways to work around that, like taking a design-first approach, and getting to know the psychology of those involved in a music project, as part of a learning process that can really ignite the outcome. Did I do it for someone else? Uh…a completely different slog. It took a lot of energy to make music for other people, and that was really frustrating: Did I do it for myself? If so, it often became a portfolio piece. I had to make sure I felt every single note or I was screwed. Back when I made musics as a professionals ( WAY back), I remember struggling to maintain interest in projects after a while. I often have little bouts of creative musical energy (yes, you just heard Marc Carson, Plastic Yamaha Alto Recorder Soloist on that tune) and they’re fun. But then I remembered-the more I try to conceptually tie off all the sensory details from square one, usually the astoundingly more difficult the result. I could try something chippy and fun but still hard, something retro and inspiring but also artsy, which is even harder, or something chippy and amazing but extremely detail-oriented. I thought a lot about how this cover version of Gamesofluck would sound when I was done. MilkyTracker is part of the module-tracker family of music software, which is part of my heritage as a C64, Amiga, and MS- DOS demoscene fan. Not sure what the hell I’m up to, really. A couple nights ago I started transcribing the bass part from Gamesofluck into MilkyTracker. ![]()
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