Project Diary: Spirituality - Climbing the Light

Intro: The following is my Project Diary kept for the construction of ”Spirituality - Climbing the Light” which is the first of 11 orchestral pieces in the series “Roads through the Mirror”.

Listen here on Zenapolae Netlabel

**231219**

Started the project “Roads through the Mirror” today 📅. It's a project I think will take 4-5 years to complete 🕒. I feel ready for this now and I've trained enough to create something that can really push my limits.

"Music like a Tarkovsky film" 🎥. That's the guiding star for the whole project. The first piece is "Spirituality - Climbing the Light" 🌟. I estimate it to be about 1 hour long and 3 months to produce. I'm working with generated Harmography for each Epochs.

I'm very sparing with external effects 🎛️. Each instrument should shine on its own merits first. The articulations on BBC are suggestions. I'm actually thinking about removing them completely so I can freely choose from available articulations. That's how it will be moving forward. I randomly select an instrument 🎲.

**231220**

Found the intro now 🎵. Tomorrow, I'll work on fixing Noise's automation. I want everything top-notch and easy to work with. Exciting to work on this piece and I have ideas for what's next. No problems here thanks to being organised 📂.

**231221**

When mapping MC-8, always use the settings on the instrument's name. Smart Controls are good, but since not all instruments work 100% with SmartControls, I stick to the instrument's internal mapping.

As usual, I want to try everything at once 🤹. A good start I think is worth continuing with is LCO-Curated Presets feedback drone 2 and piccolo, which I quite like 🎼. It's 400 seconds, and I place themes, inversions, retrogrades, and retrograde inversions in basic form to start. Then I transform each form by randomly choosing new note values. Same notes, different values. This way, I can place 8 different forms of the same notes. This is the result of 3 days of work 🎨.

That's how it should be. Nothing easy turns out great in the end. What's hard and has a rough process always ends up great. Besides note values, I can use "time handles," which are among my best friends ⏳. New variations noted and all possibilities logged in the Diary. Randomly picked 8 numbers between 1-400 for the placement of piccolo variations.

Once this is set, I'll start working with Noises. Then I have 8 different forms of the theme to work with.

Added Alto Flute from Studio series 🎶. More suitable for this part. Much softer sound, even softer than the transverse flute. Studio series has some instruments missing in BBC-Core.

Next steps:

* Edit alto flute with the techniques I have 🛠️

* Continue working on Noises and develop

* Strings and piccolo. Piccolo with newly generated variations and notes with triplets and 16/32nd notes. This makes the piece more varied but still familiar after the first part.

I'm practicing patience 🧘. It takes time. And I have the time to take it slow.

**231222**

Continuing the work today 🛠️. Calm and methodical progress. I made some notes yesterday on what to do. Listening this morning 🌅. Very eager to work on Noises, which will be a fundamental part of this series.

I need to organize Noises. I need to create random generators for some things. I have for Pre-set and bank. But then I need a random generator for the 8 channels. So, I'll create a generator that picks a random number between 1-8. That number decides how many channels I use. Let's say I get the number 5. I use 5 channels. Which ones? I randomly pick 5 numbers between 1-8. Now I know which channels to use. This instead of testing endlessly and never finding what I'm looking for.

1, 3, 4 was the result. Took 2 seconds on Giga Calculator, which I've bookmarked in Safari 📊. Now I can start sculpting the sound I want.

I'm aiming for a fairly bright sound that pulses somewhat and changes shape. As a contrast to the dark harmonies. The little I've tested so far gives the music a whole new character 🎨.

I've started adding cimbalom now 🎹. Sparingly and with just one phrase containing an interval.

**231223**

Good work this morning 🌄. Solved the Noises issue where the "pitch" kept reverting to an original value. It was in the settings. Wrote the first version of the end of Epochs 01 with new theme variations and used these to write voices. Rearranged chords with "voicings" from MUSE.

**231224**

* I'll work on articulations for Piccolo, Cimbalom, Alto Flute, and Tenor Trombone. It's another way to vary the theme besides note length (rhythm), time (time handles), and order (variations) 🎼.

* Also, continue working with Noises. Far from done with the sound for Epochs 01.

* The cimbalom/string part needs more work.

I've created a random generator for the techniques for "Alto Flute" 🎭. Interesting to see the results. Since I create on my terms, I can ignore what's reasonable to play in reality. In my music, it sounds good. That's what's important. My music is never written to be performed by an orchestra. Each performance happens in the listener's mind.

It turned out to be an excellent way. So, I've created a new process:

* Randomly pick a theme

* Make variations on them

* Randomly choose articulations and adjust note lengths

This gives me completely new variations. Again. 🔄

**231225**

Working on articulations for the alto flute 🎶. It's turning out really well.

As usual, Kontakt requires extra energy 🧠. I've now figured out how to have different articulations from 2 instances (or more) of the same library on the same Key Switch layout. Load the instances (Alto Flute - Core Techniques and Decorative Techniques). Set the same MIDI channel on both instances. From the lock menu, choose "Shared KS". This should work for switching articulations with different instances. However, it turned out the only difference between the two instances is FX. But they're not included in Art Conductor for some reason. So they're on a separate channel now. I need to work out a good routine. It's not worth switching to Key Switches. It's incredibly cumbersome compared to Art Conductor. Art Conductor is smooth as anything. But good to have solved a problem I've had off and on for several years.

Since "air" and "key noise" are odd but good birds 🐦, I'll exclude them from the random generator. They'll get their own placement in time when everything is more mature and I'm in a later phase. Think the same for other instruments that will appear. FX is only in the instruments in the Studio series, which might be interesting to consider.

**231226**

With the new articulation process, I'll beneficially let different instruments play the same notes simultaneously but with different articulations. Also arranged with different articulations. This will really develop my music.

Should I adjust note length to articulation? If I do, there'll be less variation, and everything will become smoother, I think. If I keep the original note length, it'll be a more interesting soundscape. Also, I write for playback through headphones 🎧. Nothing else. Mixing and mastering are for that medium. There's no intention to adapt anything else. If someone wants to, that's okay. But it's not something I strive for. I seek a peaceful life where I can concentrate on constructing music my way.

Regarding the first variations for Alto Flute and Piccolo, there's a lot to work on for a good soundscape.

**231230**

Worked last night and all day today. There are several things I want to change. Both regarding the soundscape and my processes. I've removed LCO Curated Drone for now. I want to use Noises more extensively. It's temporary to see if I want it that way.

**240101**

Worked a couple of days with MUSE and got a new foolproof version. Writing into and working on Epochs 2. Since I generated a new Epochs 2 with the new variant of MUSE, I'll change the instruments I put in with the earlier generation.

Solo: Tamtam 🥁

Pairing 1: Low strings - Short - Pizz Harmonics - Basses AND Curated Presets - Textures grid - chrome surfer

Pairing 2: Clarinet AND Curated Presets - Textures grid - chrome surfer

Pairing 3: Clarinet AND Flute 🎶

**240105**

There are now more notes in the Diary here for the music 🎵. I work more now, and finishing "Music from Undiscovered Civilisations" with the last three pieces has been cathartic. It meant incredibly much for my soul and self-confidence to complete that series.

Today was release day, and I had to deal with publishing according to my schedule. I could then listen to the first 30 minutes. The next 15 minutes are very promising and will be as good as the first 15 once I work on them enough.

The key is that I work and develop my music according to the ideals I have. Music like a Tarkovsky film, timeless beautiful music 🎥.

Next step is to work on articulations for the clarinet part and to make Dials much more varied.

I vary the articulations on the clarinet part. I use Giga-Calculator for the number series. There, I can generate random numbers without repetition. There are 9 articulations to choose from. I want to vary them as much as I can. Remember, I can actually adjust the length of the notes exactly how I want. Thus creating a good phrasing of the rhythm.

**230106**

Working with Dials today and tomorrow to create a soundscape that contrasts the instruments in an appealing way.

Epochs 2 takes an interesting turn with Tam-Tam, low strings pizzicato, and low woods with Dials. I manage well with just these 3 instruments. I have folk music and string parts I also need to use.

**240107**

I will carry out what I've planned, but in a different form. Tam tam is the solo instrument. Randomly generate a new series with 30 numbers (1 articulation every 30 seconds). Place them out and let them ring out fully. The length of Epochs 2 is determined by Tam Tam since it's the solo instrument.

Reorganized a lot in Epochs 2 today. Much better rhythm when using Tam Tam as the solo instrument. It develops in a good and interesting way. Very pleased with Dials. In the background but still absolutely necessary for the soundscape. More work tonight and tomorrow.

**240108**

Worked on both Epochs 1 and 2. Especially on Epochs 2. Divided it into two different parts now and think I've got a good structure for the first part. I'll hear tomorrow. Epochs 2 is under constant transformation. I've worked with Dials and then I have to rewrite the entire quartal harmony because it went wrong. That means I need to rework the bass pizzicato idea. This is actually a positive thing. I still have the clarinet part articulations to do. Also integrate flute and trumpet. Place the string sections. As you can see, there's much left before I can even say there's a frame I work within.

I double the flute and clarinet with different articulations and keep cimbalom as a steady foundation. Flute and clarinet with a fifth between them. Also use thirds, a fourth up or down, as well as a half step up or down. Vary the voices well and complement the octaves with cimbalom, clarinet, and follow up top.

Tomorrow:

* Quartal harmony (get it ready)

* Make double bass part in quartal harmony with randomized 1/4, 1/8, and 1/16 notes

* Make articulations for flute and clarinet respectively

This will keep me busy. 📅

**240111**

* Create the part for Low Strings - Pizzicato Harmonics. I have 5 chords in 4 different forms to choose from. Both pure chords, but also planing, chromatic interpolation, and quartal harmony. I want to create a "bass line" with these chords and notes involved.

Pairing 1: Low strings - Short - Pizz Harmonics - Basses AND Curated Presets - Textures grid - chrome surfer

So now I'm creating Low Strings. I've split all chords into separate notes. There are now 60 different broken chords to choose from. I randomly generate their order.

I've spent hours on Low Strings. But I still have to start listening. Placing the 64 chords in random order required a few tries before I found a good method.

Now everything is ready and organised. I set Dials on Low Strings. It turned out very well! Editing and adjusting, but that's where Dials should be at this stage of the piece.

I can finally start working. It struck me that the spacing between Low Strings should be randomised. Just like the other intervals. I'll zoom in to see and then use 1-5 steps maybe? Depending on what I need and which parts they are.

I have the folk music with Flute and Clarinet. I want to randomise the distance between them so that an internal rhythm emerges.

**240113**

As usual, it's about being organised down to the smallest component. Otherwise, I'll have to redo things, which is just unnecessary energy. Folk music for instance. I take the original, make a retrograde inversion. I split it into several parts which I can then switch between instruments or place in any order I want. BUT it's important that I do the first part of the work properly. That means everything should fit within an even meter and be adjusted to start and end. After copying to each part, I'm free to do what I want mainly based on articulations. This also gives a new rhythm to the music, but retains the melody's character.

I'll redo Epochs 2 this way. I then place the parts on cimbalom, flute, and clarinet. I lay out the different parts in random order in a strict sequence between the instruments. I randomise the distance between the parts.

I've now prepared the originals. Then I removed the Flute and Clarinet part since they were set with the old version.

Everything's in place with the new version. I'm not touching Cimbalom right now because they're automated with Dynamics. I have enough work. Maybe later.

**230115**

Things are starting to fall into place. I'm one month into the work now. I feel I'm working at a good pace and everything is taking its time.

I've put in the flute, clarinet, and cimbalom parts. It's starting to blend together well now. The strings have turned out really good. Naturally, there's still much work to do. But today I've edited "Music from" for the new videos, and I've taken a GIANT step forward in the right direction. 🚀

**230117**

Epochs 3:

Solo: Tam-Tam 🥁

Pairing 1: Piccolo (double) 🎶

Pairing 2: Low woods - Long - Mini Cresc + High strings - Long - Super Sul Tasto

Pairing 3: Noises 🔊 + Low brass - Long - Gran Flutter Bright Cresc

Exciting combinations as usual. Randomising them ensures variety and challenges. It's the second time Tam-Tam is the solo instrument. I need to think about what I can do this time. It should differ from how I did it last time.

**240118**

Starting work on Epochs 3 today. Also thinking about putting Valhalla Room on a Bus. As I've thought before to use the instrument's own reverb as much as possible.

As you can see, it's a big innovation that I've finally figured out how to work with Arrangement. Since I can now move entire Epochs around, it's much smoother to work since I'll always be working from left to right from now on. How didn't I think of this simple trick earlier!!!!

Starting to get really well organized with all channels. That means I can work on more complex projects over time. This is good practice. Going to randomise a new Noises now. Working with fantastic Noises again with MC-24! What an evening!!!!

**230119**

Working on the first part of Epochs 3 "Awakening the Light". Noises and Tundra Strings High Long Super Sul Tasto together. The base is the chord series transformed into a circle of fifths series, where the individual notes in the chords have different lengths. It creates an anticipatory and soothing atmosphere.

I should always randomise new Hainbach, Dials, String Murmurations, and LCO for each Epoch.

The first part in Epoch 3 is 5 minutes. Beyond Noises and Strings Super Sul Tasto, I want something more substantial. Tam-Tam for example at chord changes? Piccolo playing variations on the theme?

The intro is starting to take a firmer shape. After much experimenting with different things, Noises and Tundra Strings remain. I've changed a lot, but the version I have now, just before I call it a day, is clearly better than what I started with. It's always about cutting away dead meat and then simplifying, simplifying, and simplifying while I listen, listen, and listen. Always striving to find the story in the music and at the same time be true to my overarching ideal: "true beauty is a timeless perception."

Tomorrow I'll work on the strings. I want to develop them more. There's definitely more to do with them.

**240120**

Changed the entire dynamics this morning. The strings are now in the foreground all the way, I've toned down the tam-tam and am working with Noises. The variation I made yesterday is good. But I need to turn down Noises. Starting to find a balance.

It's far from what I want. Redid Noises and focused on filter cut-off to achieve a wavy soundscape. Erased the strings and started over from scratch. Will see where it ends. But today and tomorrow are crucial for this. The rest of today and tomorrow are social interruptions. I can return tomorrow evening and continue working. 📅

**240122**

Uninterrupted time today and tomorrow! Experimenting with strings right now. Using my specified chord progression. But there are things to vary within this group. One way I've done it before is voicings in MUSE. A random number series equal to the number of parts. Gives an interesting and very different soundscape. It's a good innovation. But now I have the same chords in different constellations. So in this piece as passing chords, tritone substitution, and in circle of fifths. I've taken the original chord "clean" and then the corresponding for the different variations and then distributed them with MUSE voicings.

It sounds like I've come up with a solution on the tracks for "Awakening the Light". Noise and Tam-Tam are the frame, and I have mirror-reversed (!) circle of fifths for the strings. Hard to mix the sound because of the earplug.

**240126**

Yesterday Crow Hill released Small Strings Gestures. It's going to be a classic. They continue to deliver things that are light years ahead of other sampling companies. I'll use them in Epochs 2 section 2. I'm working with passing chords. The idea I'm testing is to 1. MUSE voicings 2. Split into high and low parts and play them SEPARATELY. I can split the 4 chords this way and thus get 8 different constellations. Then I can randomise their order. Then start over with number 1 again. A completely new pattern, but with the same chords. These combinations apply for Epochs 3:

Solo: Tam-Tam 🥁

Pairing 1: Piccolo (double) 🎶

Pairing 2: Low woods - Long - Mini Cresc + High strings - Long - Super Sul Tasto

Pairing 3: Noises 🔊 + Low brass - Long - Gran Flutter Bright Cresc

**240127**

The solo part Tam-Tam becomes a retrograde from Epochs 2. Then I take the theme and variations and rewrite them to 1/2, 1/4, and 1/8 for Low woods. Then I take Passing chords or Tritone Substitution for Fortitude for Small Strings Gesture. I intend to make about 5 minutes of this, then we'll see where we land. But that's the plan I'm working from.

Taking the bass note in passing chords. Then the second note, then the third, and finally the fourth. This I then pair with the variations in Low woods. We'll see where it lands. Initially, it sounds really good with the contrast between low strings and woodwinds.

It works well. I adjust the counterpoint so that I get beautiful loops that move towards each other. But overall, a good concept actually.

Really good work with this intro. A lot remains but I've come a good way. And I have no reason to fear that I'll run out of ideas. Just to work. I'll master this section and upload to Soundcloud and on the VI forum. The bass strings are actually better than the legendary 8va in Albion. In the treble, this setup can to some extent compete with Tundra.

I've split it so that Low Woods play Theme and Retrograde, piccolo plays the other variations. Well thought out. 🎼

**240129**

I might have solved the Kontakt issue? It’s written in the diary how I did it. A solution with Host automation, Control Surface, and Nakedboards settings. Maybe now I have a stable solution? It seems so.

Pairing 3: Noises + Low brass - Long - Gran Flutter Bright Cresc; this I work on today. Fully mapped on MC-24 now and practicing to "play" with the controls. It's extremely exciting and educational.

Flutter and Noises (Climbing the Light Epochs 03) share a common sound, that typical vibrating metal sound. I'll combine these 2 sounds in a good way. Then I'm thinking of creating this part with "latch". Meaning I create the sounds in Noises in real time.

**240130**

Idea for the last 3 minutes of Epochs 3. I want to drive a rhythm through the base chords whose values I randomise. That, along with Tam-Tam and a piccolo duet, forms the backbone. I'm also using Small Strings Gestures and Low Brass. I want to push a faster tempo as an ending and maybe conclude epically with the intervals.

**230131**

I have an abundance of ideas for Epochs 3-04. I worked on this section yesterday and continue today and likely throughout the week. I've taken the chords from the previous section for Low Brass but made the notes of different lengths and spread across octaves. Simple 3-note chords that sound fine with Low Brass. I'm thinking of contrasting this with the low strings. Maybe repeat the theme twice?? There are also clarinet and piccolo available. I start by writing variations for clarinet and piccolo.

It feels right now like Epochs 3-04 will be longer than the time allocated. There are so many good things hidden in what I have and in the ideas I've got.

There are several parts in different voices that can be combined. I'm thinking about numbering them and then randomising to see what happens.

Small strings, Low Strings, Clarinet, and Piccolo have 4 variations each. Pair them randomly and see what happens. I think it will sound very cool!

Paired up and listened. It sounds incredibly cool!

I move things around to find the story. I need to work on the clarinet and create rhythmic variation with 1/4, 1/8, and vary the articulations.

I managed to put Epochs 3 together this evening. So I start by "cleaning up" in Epochs. Do a rough mix and tidy up the automation. Also, adding all parts to Bus 1 one by one. I've also removed Ozone 11. Gullfoss is enough. Then I have just Logic's Mastering. As simple and uncomplicated as possible.

I'm correcting and working with Cymbals. Working with H3 and B3. Those are the sounds I like best right now. Especially B3 which I've used before. Bow strokes on the side of a cymbal. Metallic and beautiful sound.

Worked a few hours on "cleaning up" and rough mixing. It's shaping up really well, I think. It's an enormous development compared to the last piece. There's so much to learn and so much to discover.

It's generally much better to regulate volume with microphone settings than with expression and dynamics. Also, work on note level to regulate volume. With dynamics at 0, I can regulate the volume of individual notes. Need to go through piccolo for example.

**240201**

Worked on Epochs 2 this evening. Fragile now with longer tones and with 27% random. Got much better! Will try to insert murmurations on fixed tones. I can start such a tone with 100% probability as long as it starts alone in the same part. But I'll do that tomorrow. Thermal bath today so my body and mind really relaxed. 🛀💆‍♂️

**240202**

Worked on creating uninterrupted time most of the day. Working now in the evening. Mainly listening to the strings which sound good with 37% probability. Also reworking Tam-Tam with only long or only short ones. Bought a stand today so now my "studio" is on its way to feeling complete for what I do. 🎵🎶

I was a bit foolish and mixed with Mastering active. That was not a great idea. It gets all wonky. So Mastering I'll do when I HAVE FINISHED MIXING, which is WAY ahead in time. I've spent the evening restoring the volumes and settings in Epochs 1 so it sounds even and good.

**240203**

Listening to Epochs 1. I'm leaning towards mixing and spreading out High string, High Brass, Low woods, Tenor trombone, Piccolo, and Alto Flute better. I think they lie too concentrated as "islands" instead of functioning like a musical delta. Now it feels like most is concentrated in the last half instead of being spread out.

**240204**

Listening through today. Will try to double instruments when they appear twice in different Epochs. It's for administration and workflow. I can then easily organise better with track stacks. Both when I edit and when I need to "hide" tracks. 🎚️

**240302**

It's been 1 month since I worked on this piece. The reason is I got a letter from XXX which has made it impossible for the calm atmosphere and uninterrupted time I need to work on these pieces. This will continue for a few more weeks before I get control over the process. It's taking too much energy right now to do both things.

Above all else, I want to return to the state I was in when I created this music. It's the best I can experience and makes me feel super good. 🌟 I will return there, even if it takes a bit more time.

I've now listened to the first 45 minutes of "Climbing the Light". I adjusted the automation twice, so the piece is in good shape. 🎶

**240303**

Brought out Harmography for Epochs 4. That's what I'll work on getting in place in the coming days. In a period where things around me are changing. 🔄

I work calmly and methodically. Otherwise, the project will bite me in the butt sooner or later when I have to spend time trying to understand what I did, with what, and why. Always organized!!!! 📂

One thing that confused me is the new intervals I have in the table marked with "A" and "a". That's Augmented and Diminished. It doubles the number of intervals. The other thing I'm doing now is actually listening to the randomised combination in Noises and tweaking the settings sometimes while I'm preparing Epochs 4. Mapping with MC-24 works like clockwork! So happy I invested in it! ⏰😊

It's SO lovely to sit and make my own music again. I never get tired of it. Noises is incredibly interesting to listen to and work with. It's truly unbelievable soundscapes that come out of this test setup.

Changed "a" to "d" which makes it clearer what it's about. Will change in the table as well. Didn't change it in the table because it was late in the evening. 🕰️

**240304**

Noises requires time. The slightest movement on any of the controls has an effect that makes it sound with different variations. Simply an incredibly fascinating instrument. The entire Hainbach bundle which I'll work with for the next 4 years. 🎹⏳

Continuing to prepare the different parts today. It takes 1-2 days to do this, but it allows me to work completely freely afterwards and experiment. 🎨

**230304**

Continuing to prepare the piece calmly and methodically. At the same time, I'm trying different combinations in Noises. What I've tested with great success is removing Valhalla Room "Vienna" and replacing it with Valhalla Supermassive "Ice floe Nowhere to go". It gets really massive and I could record 1 hour separately just of that and let it be. It's incredibly beautiful and soothing. 🌊❄️

Starting to get back into this again.

**230305**

Valhalla Supermassive does wonders for Noises. It sounds mythically beautiful and the variation is slow and soft. Everything vibrates and changes slowly like mist on an early morning. 🌫️

It's good to remember that each Epoch should contain its own instances of the instruments. I want to avoid having the same instrument included in 2 or more Epochs with only 1 instance. That makes the administration and structuring of the piece harder.

It's perfect having Noises+Supermassive in my ears while preparing Epochs 4. This can make for good stories along with photos I take on my walks. 📖📸

Another thing is that I must combine Crow Hill Murmurations and Small Strings in a table. Currently, Small strings aren't included in any selection.

Also, today there's been a lot of other activity. Looks like Friday could be a day with uninterrupted time. 🕒

**240306**

Listening to Noises as I work. It's very soothing and very harmonic. I've added a bit of crusher, which was good. Sticking to sample 1+2. That's plenty. I think I can create the series TIME-SPACE-THOUGHT with this combination. Noises+Valhalla Supermassive. 🌌🕰️

Right now, I'm rewriting the chord progression modally. Dorian and Locrian. I'm creating material to work with, of which maybe 10% will make it to the end. 🎶

**240318**

It's been a birthday and I've worked on other pieces. Now I'm going to start working on Epochs 4, and as part of this, I continue mixing from Epochs 1 onward. Currently, I'm on Epochs 2. It's clear that this piece is a big step up for me. There are things I wanted to write back when I had my old iPad and Notion. But it was far too early then. Now, after 4-5 years of intensive learning and the chance to gain routine, I can get a bit on the way. 🎂🎵

There's a lot I need to do here in Epochs 2:

* Separate flute and clarinet 🎼

* Rhythm in strings pizzicato, 1/4 and 1/8. The whole section should be randomised

There are also 50 measures where I'll change the rhythm. It's going slowly but surely forward. I'm also doubling the phrase. Will vary velocity by randomizing values between 11 and 53.

It's very nice to work again under normal conditions.

Lifted pp Low wood 2 octaves, Oh, what a difference. It comes out much better with Dails. 🎻🌟

**240325**

Today (evening) I start the work on Epochs 4. I started this work 3 months ago.

The conclusion of this first piece in my new series. Have no idea how this will turn out. Everything is prepared. Thinking about creating some kind of "narrative" in words. As support. Or is the theme enough?

Everything was not prepared. As usual, it's Kontakt that's fussing and taking time.

Solo:

Cimbalom 🎶

Pairing 01:

Timpani + Astral Whisper Trills 🥁

Pairing 02:

Triangle + High Woods 🔺🌲

Pairing 3:

High brass bursts + High brass bursts 🎺

Had to make a new instance of Cimbalom because I couldn't get individual notes with dynamics at 0. Written to Spitfire support about this. 📧

**240326**

The same thing happens again. When I open the project, dynamics doesn't work. Now I'm thinking about actually reinstalling this instrument. It's central. 🔄

Reinstalled cimbalom. Same result. It works fine when I create the channel and while I have the session open. Even when I close the session and open it again it works. BUT when I restart the computer or reboot, the effect of dynamics at 0% disappears. The solution is to shorten the midi notes to the smallest possible in the piano roll. Then it only registers a single strike. That actually solves my problem. 🖥️

"Longing" introduction I've redone. Cimbalom and high strings harmonics with high woods. 🌌

**240327**

Something that struck me this morning is how different it has become. I once thought I would spend entire days composing music. I do it because it was my goal, but it has really become different. There are a lot of technical things that must be in place since I do everything in Logic. Writing the pieces I write today requires for me meticulous planning and continuous administration. It's a constant development and ability to choose paths.

The first two sections "longing" and "despair" are now placed in a first version. Think it works well and I greatly benefit from the categorisations and AI-text. It provides new angles I wouldn't have thought of myself, and paired with my ideas it becomes a good collaboration between machine and human. 🤖🤝

Noises, I had set to a very fitting sound for it. It will run during the last half of the piece when it always gradually becomes calmer. In a way, I'm afraid these contrasts are too big. On the other hand, I want them because they create a very good story. 📖

I've now connected Noises from "Ascension" onwards, and it plays continuously in the background. It becomes a perfect complement to the rest of the orchestra. However, there's quite a bit of automation I need to organise. Right now, it looks like a rat's nest. Maybe I should just have it under Enlightenment? I'll see. Combined with single notes from High strings and Murmurations Fragile, it will be heavenly beautiful. All the conditions are there for that. But before I get there, I need to work on Turningpoint and Ascension. Good time to think about this in Dandár tomorrow. 🧘‍♂️

**240329**

I constructed Ascension very quickly! But I got the idea and foundation already last night. The word that describes the part is actually of great help. It will surely be noticeable when I get some distance and have rested from the piece for a few weeks. I feel freer regarding what I've randomised as aid. It's a starting point and never a recipe. But I dare to do more and more according to my own will and intuition. 🧠

**230331**

Have a cold which affects my day. And yesterday was a wonderful day in Vac. Will continue to work on Ascension. By combining sections, I can create what I'm aiming for. Tried a couple of times, but haven't found the right way yet. It will come. 🤧

I have several ideas on how to develop my composition technique in the next piece I'll do, Nostalgia - The Mirror's Longing. It will be a new piece around 1 hour. Start? I expect to finish the current piece shortly. Then there's mixing, etc. I estimate it's about 1 month before the current piece is mastered. So a good start might be planning begins around May 6? That gives me good time to think over things I want to implement in the planning process. I'm reading extensively about different composition techniques and angles. I will probably incorporate them into MUSE and then develop the presentation. I rarely lack ideas to move forward with. One thing I believe is important is to drive the process more towards simplicity. It requires properly dedicated work to achieve that. I started developing MUSE in 2017. It's been 6 years, so I've definitely come a long way. 📚

Tundra combination in Ascension. Use the entire dynamic spectrum on all instruments. They are long tones, so use only long tones.

It's very important that I continue to produce a lot of material to work with when creating music. Tundra now becomes woods and brass with countermelodies with 3 different randomised note values. Each part is based on the original chord progression which I then constructed an interval for. I then move notes to fit within the instrument's interval. This way, I can, in principle, use different variations of 1 interval infinitely. And it sounds beautiful every time. 🎼✨

Found a good solution for Tundra in this part. The next step I'll take is to adapt the strings to these chord intervals. Ab to Cm, G to B, and Ab to G. I will approach harmonically with the strings step by step from a large distance to a smaller one.

Good initial result. Especially the end turned out really well. There's of course still a lot of work left with this part. The strings move upward to symbolise Ascension.

**240405**

Had technical issues with this project. Most recently, everything froze after I tinkered with Kontakt to make it work better. Today I managed to "revert" to the oldest version. It seems to hold so far. I don't know what might be lost or what I'll miss. BUT it shows once again how important it is that the administration works. ⚙️

Now I've put everything in the right order. What remains to compose is the coda, the last 3 minutes. Today I have no idea what it should contain. 🎶🤔

**240421**

After starting work on the next piece, I've decided to remove Hainbach entirely from Roads through the Mirror. That might mean I need to rework Epochs 3. But after removing Noises, I don't think it's necessary. I will also refrain from using LCO going forward. I have a new and improved method I'll use. 💡

**240422**

Mastered the entire piece yesterday. There are still parts with distortion. I've removed Excite and reduced Loudness. Let's see if that helps.

I need to go through Alto Flute thoroughly from Epochs 1 onwards. Important to ensure each articulation comes into its own. Same goes for piccolo. There are different articulations in the variations, so I must rework each part separately. Piccolo is generally too high.

Work WITHOUT Mastering engaged. Otherwise, it gets messy with volumes, and I have a harder time achieving a good master with CloudBounce. 🎚️

Alto and piccolo. Thinking about having Alto play and using piccolo for reinforcement and complement in Epochs 01.

Considering replacing LCO with Gestures Chasing Angels in Epochs 1. Then continue replacing in the other Epochs too. Already tested, and I think it gets better. Really hope Crow Hill continues with woodwinds and brass in the same spirit as Gestures. 🎹🚫

Time handles for the win!

Very good work today with restructuring and rearranging Epochs 1. I dare to do radical things like cutting instruments, moving notes to new parts, and adapting to circumstances. But I work 90% on intuition. 🧠

I have a cacophony of articulations to work with and develop.

Epochs 3 is dull and unimaginative. 🥱

**240423**

Spending the day on Epochs 3, trying to make it more interesting. Made some progress, but far from done.

It's starting to take shape in the evening session. I work in the morning and then in the evening to give a little break for the mind and ears. But it's usually after 2-3 days that I can hear if it's become somewhat good or not. 🎶🎧

It will be good when I'm finished. Must give it time. That's the only thing that makes things better, more solid, and thoroughly worked through. That's the recipe for me to approve of it in 5 or 10 years. ⌛

It's becoming a more dramatic section than I initially planned. Now at Epochs 3-03, which is an incredible mix of good stuff and complete lack of imagination.

Had a good hour in the evening where things suddenly fell into place. I'll hear tomorrow if I was right or not. But right now, I think it's a clear improvement. More variation and more story in the music. 📖

**240324**

I'll be working on Epochs 4 in the coming days. I'll listen to Epochs 3 on Friday. If I listen earlier, I lose perspective. The first thing I'll do is adjust the volume. It's good that in Epochs 4, it's divided with descriptive words. That makes it easier when I edit each part separately. One thing at a time and systematically. 📅

I always place the midi regions on a guide track. When I'm in the final edit, I can move these regions forward or backward to achieve a more human effect and to avoid the tyranny of guide tracks. It helps to keep the music from becoming boxed in. I want to avoid that as much as possible.

I need to find a good way to organise my automation points. As it is now, it quickly gets quite messy with unnecessary points that distract. I want to develop a good standardised system that improves my method. I'll start by placing 2 points at the start and end of a midi region and have all parameters open when I use the shortcut command. 🎹⚙️

Listened to Epochs-3 while sorting and hanging the laundry. Big step forward, but there are things to do. A bit unsure if it becomes monotonous. More rhythmic elements in all instruments. I have a good method to vary in MUSE. Tundra always adds a nice touch. Think I've actually balanced the instruments well for this early stage. I can dare to be more emotional. I rarely dare to go all out. However, I've gotten better at noticing when I'm hiding myself in the music. For better or worse. There are no hidden caves here. Only unconscious ones, those are what I'm trying to find and avoid. If I can make partially completely honest music, I've come far. 🎵💔

Working on Epochs-4. The introduction is among the most beautiful I've written, actually. Incredibly melancholic. After "Longing" comes "Despair".

**240425**

Working on Epochs 4 today as well. It will continue for a few more days.

Good day and made good progress on "Turning Point". I've split it into 2 parts. Thought as before and after, when the point is passed. Timpani? 🥁

I've miscalculated a bit regarding the time for each section in Epochs 4, I've marked for 10 minutes each... which has resulted in quite a lot of music actually. Right now at 1:16 which is more than enough. Maybe best to stop there??? I'll sleep on it and come back.

Turned out the tempo was 8 instead of 31. Now the timing makes sense again. Thought it felt a bit odd, actually.

**240426**

Working on Epochs 4 "Despair". There are some things I can do to improve that part. Listened through, and there's a story in there, but I must be clearer in my storytelling. "Turning Point" should be more marked. Use timpani, which was actually introduced in Europe by Hungary in 1457. So it's an old Hungarian instrument with ancient roots. 🏰

There's a lot of work with timpani, but it will be worth it in the end. It's becoming really good, actually.

The last two parts were in very good shape. Now late in the evening, it feels like the structure is actually done! Work remains, of course, but the foundation is set. Epochs-4 is very good, and I've taken a couple of steps up—especially in "Despair" where I dared to be myself for a moment. 🌟

**240427**

Listening through Epochs-4 this morning. It sounds good, and I'm initially pleased with what I've accomplished over the past few days. Focused work over time always turns out well. What I thought about was to repeat a tenor trombone theme from Epochs 1-4 in Epochs 4. It fits well in the conclusion. This time, however, ascending.

Another thing is that I can reuse passages I like in other Epochs, like with the tenor trombone. But this happens in the final stages when everything is laid out, and I have a "grip" on the piece. I still have a bit to go for that. I think it's realistic to count on 4-6 months for these pieces moving forward.

Things I'll take with me to the next piece are to be more diligent with standardising automation. It takes me unnecessary time to correct because I don't use a good standardised method. I will also use and choose specific articulations more where possible.

I'll select and vary parts I like in other sections of the piece. Vary the instruments and use them more thoroughly. Also, maybe ensure that I automatically get a suggestion for an articulation from Tundra for an instrument.

**240507**

Starting the final phase of this piece. First of all, I analyze for Mastering. There's an update for Logic to Logic 11 coming on Monday.

92 1 1 1 - 102 1 1 1: Here I need to remix. It sounds way too muddy and in some places almost distorted. I want a clear sound. I'll work on that tomorrow. Now I'm listening through and noting what improvements I want to make.

112 1 1 1 - 122 1 1 1: Remix. Sounds way too muddy again. I'm aiming for a clear sound.

I've now lowered the Loudness, which was the issue for the notes I've made so far.

I need to remix Epochs 4. It's far too uneven. I'll do that tomorrow when my mind is fresh.

My impression: A BIG step forward. More complex with themes and better orchestration. More varied and expressive. It shows that I dare more now.

An option I have is to delete ALL automation and redo it from scratch with instrument volume and so on. With the goal that a professional engineer then does the final mix and mastering. I need to think about this. Even though I'm better at these things now, I can never match the result I get with someone who has years or decades of experience.

I have quite a bit of work left with this piece. It's good I've avoided setting a date. No dates ever. It takes the time it takes. I feel and know when it's finished. And I have a lot of work ahead before I can let go of this piece.

**240507**

This is my own final mix.   

Very good to make a copy and start over with all automation gone so I can begin fresh.

**240508**

I work slowly forward. Changing articulations that are unrealistic, they're there because I need to learn more. Trying to correct what's off by reading up.

In many ways, it becomes a new piece. It will sound better. And I'll put in the time needed until I'm satisfied.

I started in December 2023, so I'm nearing 6 months. So 2 pieces of this scope per year I think is the right pace for me right now. Time allows me to do a better job.

It looks like I can do 1 Epoch in 1 day. I'm always learning new things and can adapt. 📚🎶

**240509**

Continuing the work and today I did a master in CB for Epochs 01. The mastering didn't quite hold up all the way. The bass at the end wasn't good, and in CB the mastering revealed details like valve movements. CB also has a better frequency distribution giving a more airy sound, which I like. 🎧

Now I continue with work on Epochs 2. I start by cleaning up the automation of Epochs 1. Clean and organized it shall be. I also remove all the reverb channels because everything goes through Bus 1 Valhalla Room with my setting "Vienna," which is Vienna Musikverein. 🏰

I'm considering reworking Epochs 2 from the ground up. Currently, it's bass pizzicato, low woodwinds, flute, and clarinet playing and responding to each other. However, I think it gets a bit dull. So, break it up and use Fragile as the main voice and let the other instruments circle around the strings. 🎻

It's the wrong way to go. I know from old that I should avoid messing with arrangements I've worked on too much. There's a reason they are designed the way they are. So no big drastic changes. However, I will move around what I have. Strings in the background as a good continuation. But move things gently. 🧩

* The entire flute and clarinet part shall be provided with articulations 🎼

* The strings shall get a proper bass 🎵

**240511**

I'm now working on Epochs 3. It's all about rearrangement in parts of this section. There are several beautiful passages, especially in the last section. I shall create expectations for it earlier in the section. I'll make this part more dynamic and malleable. Wrote in the diary today:

"The music I create is a flow of time. It contains recurring themes and instruments, but fundamentally, it's a journey through the passage of time. A time shaped by fragments of memories, not always accurate or chronological. Therefore, should this music ever be performed by an orchestra, the audience should be encouraged by the conductor to sit comfortably and close their eyes. That's how they can hear time passing." ⏳✨

**240512**

What I wrote yesterday about my music being a flow of time might be the biggest breakthrough I've had. It finally allowed me to put into words what I'm trying to do.

Continuing work on Epochs 3 today. The last few days, uninterrupted time has been a lost illusion. Hopefully, it will be better next week. Today also had a good trip to Tata by train. That might bring a decisive impulse in some direction. It always comes as a surprise! 🚂🌍

**240513**

Working on Epochs 3 which has shown to have much higher potential than I thought. There's been very little uninterrupted time, but with some smart planning, I can enjoy uninterrupted time Tuesday, Wednesday, and Friday. It's the usual thing that I prioritise in a way that suits me. 🕰️💡

**240515**

It's moving slowly forward. Still missing "structure" and a narrative in this. I must keep moving forward.

The first two parts lead up to the last two parts, which are approved. Especially the strings and woodwinds. 🎶

**240516**

Made a bounce of Epochs 3 and listened through. There's definitely a story there. Maybe I should make it more passionate? The instrumentation is approved. I've corrected the microphone settings on the High Strings. That was the only thing I heard that needed fixing. At the same time, I know I should avoid tinkering with things at this level. It just goes wrong. There's a thought, conscious or subconscious, that holds it together. I do a new bounce and a master. Then I move on. I need a few days' distance before I listen again. 🎧

**240517**

Listened through Epochs 1, 2, and 3 while cleaning. I can conclude there's a good narrative in this music. Some parts are very well mixed, others need another pass. But overall, quite a good result. I could mix until I die. I have to make a good decision on any additional work. Discovered in Epochs 3 that the end got crazy. I've fixed this now. Currently making a new master on Epochs 3 and replacing the old one.

I've noticed these last few days how the anxiety of separation is there. I'm aware of it and accept that it affects my daily life during the period when I know I'll part with something I've worked on for 6 months. It was worse 10-15 years ago when I worked on each piece for 1 year on my iPhone. 📱

Now it's Epochs 4 left. That will be over the weekend and on Monday. Then I should be able to bounce the whole piece and do a Master in Cb. After that, upload to SoundCloud and let arnd listen. 🎵

**240518**

I'm in the home stretch. Worked through the first two sections of Epochs 4. Today working with "Turning Point". "Ascension" I believe is already done, and the last section "Enlightenment" needs polishing in the mix. I can probably assume this mix will be finished by Monday evening. What does that mean? Right now, I actually don’t know. We'll see what I decide to move forward with. 🌅

**240519**

Working on Epochs 4. This is the end of 6 months' work, so it's not odd that I'm dragging it out. It's hard to part with this piece. Today I'm testing a model where I have only 1 midi region for each part. I'll see if it makes automation easier and smoother or not.

"Turning Point" I'm editing quite a bit right now. Making the lines clearer and letting the instruments come into their own. Again, when will I fully accept this? Everything takes the time it takes. Time is nothing but uncategorised, distorted, and unsynchronised memories. It's the approach and dedicated work that matters. Not the result. These two insights I wrestle with quite often. Relearning is a slow process filled with setbacks and self-deception. 🧭

**240520**

Worked on Ascension this morning before the outing and made changes for better balance and expression for the different instruments. 🌄

**240521**

"Enlightenment" is on the agenda today, the final part. Listened through and there are some changes I need to make in the arrangement. Cimbalom and tenor trombone are the main instruments in this part. I'll feature the cimbalom as solo parts. The tenor trombone will lead in its parts.

Good revision and a step in the right direction. I changed the ending to gypsy strings and triangle (which is a little favourite of mine). 🎼🔔

I've done a master in Mastering and in CB. Mastering actually doesn't hold up. There's crackling in a couple of places. CB, on the other hand, holds well. To get perspective, I will now refrain from listening for at least 1 week, maybe longer.

**240623**

I listened to Climbing the Light this morning. What struck me was that the piece is 1.04 hours, but time was somehow suspended while I listened. It felt like only 10 minutes had passed. So, I'm extremely pleased with that. The second thing is that it's thoroughly worked through, and there's a clear narrative in this. The orchestration is well carried out. I might be able to make some parts "clearer”. As a summary: Climbing the Light is finished. I'll listen once more, at a higher volume this time. But I'll wait a couple of days for this. Very well done! 🎉

**241004**

I made the mistake of looking closer at the mix again. Discovered the triangle was missing in the intro. But it led me to start messing with other parts of this piece. It has its premiere on the 21/10, and I'll send the master any day now. I need to go through the whole piece again. BUT, so far it's been for the better as I'm actually improving things.

A good reminder for February/March when I can listen to Nostalgia - A Mirror's Longing after a couple of months' break. 🕰️