I've decided after good example to write some diary pages with toughts and events.
Oh, in case anybody fails to understand, I'd like to remind them that these pages are copyrighted, and that everything found here may not be redistributed in any other way then over this direct link without my prior consent. That includes family, christianity, and other cheats. The simple reason is that it may well be that some people have been ill informed because they've spread illegal 'copies' of my materials even with modifications. Apart from my moral judgement, that is illegal, and will be treated as such by me. Make as many references to these pages as you like, make hardcopies, but only of the whole page, including the html-references, and without changing a iota or tittel...
And if not? I won't hesitate to use legal means to correct wrong
that may be done otherwise. And I am serious. I usually am. I'm not sure
I could get 'attempt to grave emotional assault' out of it, but infrigement
on copyright rules is serious enough. And Jesus called upon us to respect
the authorities of state, so christians would of course never do such a
thing. Lying, imagine that.
zda sine2.splin the directory where the file has been unzipped. The program should then start up and show an empty screen with menus on top. CLick on 'first' to see where the sliders are at the buttom, which can be pulled up with the mouse by clicking at the desired hight. The first 16 are for harmonics 1-16, with the sine basis sample the window above the sliders indicates the attack (start) portion of the computed sample as a waveform, adjust the c and ads sliders all prety high to get a non-zero graph. The letters indicate filter cuttof, resonance, envelope attack, decay and sustain, respectively (from left to right). The waveform is computed for about 4000 samples, and the harmonics and filter controls are linearly interpolated between the first and second set of slider, selected by the first/second menus. Once the sliders are adjusted satisfactory, press the 'send' menu to compute the waveform, which is then made visible, and can be scrolled through by 'prev' and 'next'.
This version is a beta: known imperfections are the 'set' indicator doesn't indicate second slider set, there are two to many sliders, the second cutoff slider should be limited to 93, some updates are not flawless in mouse pattern refresh, but they're fast at least.
Some things to know are that the filtering included a 3 sample fir high-of filter, that the intermedeate resolution is not completely up the the .4 percent distortion theoretically possible, the last point in the sample graph is made 0, the sliders themselves are 100% max controls per piece, there is no additional scaling, so clipping must beprevented by the slider positions, and a few more things that don't come to mind. Just thought about: the resonance is self oscilatory at 51 (roughly 50). That means that higher resonance values then 51 are normally not usufull, the signal from the filter will just 'explode'. Sometimes this may be desirable, just like the clipping (signal clamped by the upper or lower sample limit values) that can be achieved by a few or more high set slider, but currently it is not the intended use of the simulator, the signal is clipped neatly enough, but there is no non-linearity simulation, which usually makes the signal not too musical. The higher resonance range does serve a purpose: when the signal starts slow for instance, the resonance in no-signal yet portion may be set higher then 51, to high an upcoming signal with a lot of oscilation, as long as it is put lower (by the second value) on time. Not needed, but interesting effect.
There is no saving of the output sample yet, this program is for driving the microcomputer over the PC printer port, which someone may want to try, though I guess chances are slim. If so, simply the sample points are in sequence presented on the printer port, negatively clocked, without ready signal polling, at quite high rate.
Try a sine sample (sine.spl is a 256 long sine) with for instance slider settings of :
45 23 15 11 9 7 6 6 5 4 4 4 3 3 3 3 100 0 99 100 100 45 23 15 11 9 7 6 6 5 4 4 4 3 3 3 3 50 0 99 100 100for the first and second set, then the waveform shown is practically a sawtooth, made from sine partials, starting with open filter and almost gate-like envelope.
Now press 'send', wait until the sample counters stop indicating computations, and examine the rest of the generated wave sample with 'next'. Higher harmonics get filtered out more and more as the filter is slowly closed to a setting of 50 (which is pretty low, because it is a linear control the highest range has the highest effect). The wave becomes rounder and ends almost like a sine wave.
You may want to see what happens when all sliders but the first are put down: then a sinewave appears. The first portion of the wave is automatically redrawn when the mouse is released inthe slider screen, not the rest of the sample. Try all but the second slider to get a sinewave of twice the frequency.
A squarewave is the same pattern minus the even harmonics, so (45 0 15 0 9 0 6 0 5 0 4 0 3 0 3 0), notice that all this works simply by adding sinewaves, and that the resulting wave looks good enough, but does show limited harmonic content, which is better for sample replay, it prevents aliasing distortion.
Starting with the sawtooth or squarewave, it is interesting to see what the 'resonance' control on the filter does: the signal will start a little oscilation at the sharp changes in the generator signal. Note that both the additively generated signal and the filtered signal are draw in the sample graph, the filtered signal is orange (I seem to remember). First turn the cutoff control a bit down, to make the signal rounder (higher frequencies attenuated), now see what happens when the resonance is brough in: at the points where the current filter cutoff and resonance frequencies are present in the signal, the filter starts oscilating, amplifying these frequencies. At roughly 50, the filter almost generates a sine-type of wave all by itself, of a frequency controlled by the cutoff sliders.
The attack and decay slider determine the amplitude changes of the output sample, an attack of 100 means the signal from the generators is fed straight away into the filter, from the first little sample value on, attack of 90 makes the start of the first part of the sample a bit slower, more gradual. At 30 or so, it takes a long time for the signal to rise.
The decay does something similar, except that the signal amplitude is decreased at a rate determined by the decay control slider, until it reaches the eventual signal level set by the sustain slider.
The samples could be tried as raw files in another sample player, the intent is that they are looped over the final section of 256, they contain 7 start and one stop byte that should be stripped off. I'm considering writing (and reading, I've got the code already) wav samples for general use. Note that the zda.com program has been built and tested on a 286 machine, I don't expect miracles in portability area, though I could compile it for even a pentium, I think the (sphinx) compiler allows it.
The additional files are sources, also for the Z80 system, that is the sample player and sequencer (they are the real, actual sources), am assembler batch file, some samples (sl21.spl is a quite strong analog sounding one), and a hex file with the Z80 binary, as well as a basic program to create fractional increment steps for the notes of a 3 octave or so scale, with a set of values for the Z80 to do its phase increment.
Lets taste what that suggests from a dj's line: the presidents of the united states with the presidents of the united states. Aha.
There were times when I spelled the music magazine, lets say some time before and during my first synthesizer purchases. That used to be satisfactory, a matter of a few hours a day for a few hours once a month, and I'd slowly but surely learn about what they wrote about, and understand the backgrounds better. The 'understand the background better remark' has a funny association in me. I saw a (I guess) ex-moslim girl in a tv program some time ago, talking about a subject not related to that religion. Somehow a question is raised, and if she was preaching the holy gospel itself, to the queen of the earth, she sort of took a breath and uttered that sentence: 'let me explain the background of that', with a suggested but unpresent question mark, and everybody understanding something is hidden here. I think it end with explaining that long ago, some semi prophet felt the desire to create such a background, leaving her with the miseries of it.
The backgrounds of logic and thinking in the music magazine I always thought were not known good enough by me to explain many style, content and subject choices with, and I didn't particularly like all idea that sort of presented themselves, but I did have the strong impression that at least there was technology, music and skillfull artist knowledge present that were integral part of that background. This was definately not a (dutchism?) boulevard magazine, it had no sunday paper function, and I was aware of technology described in it intimately enough to know that at least the terminology and descriptions were completely sensible.
I was aware of the more popular music magazines, too. I bought the first (probably) because it had a little abba special book in it, and I did want those Agnetha pictures, and was interested in the rest, altough the main part of the info didn't make much happen or information clear. That was a decent enough version, but a completely different kind, not so much glossy, not necessarily sleezy, let's say the kind that A bit girls' stuff, just like sometimes (not by far always) my like for many abba songs felt a bit like. At the time that was. Now I think that my unclear image must have been at least also the result of the kind of abusiveness I described on other pages so much that it is even painfull thinking about it. It's kind of illustrative to make a deduction (reduction) work concerning the primary owner of the actual copyright of the songs (and production) I liked. Lets see just the lets say male part: chess sucked. And actually, at the time I tried hard, pretty hard to make it work in my head these were the same lets say composers, but it is realy quite impossible to excape the conclusion that the qualities, long term interest and growing on me that the materials should have are simply absent, even after trying hard, seriously, and without prejudice.
The other woman: 'something's going on', yes, I'll bet. Nive enough fifths, one of the first I tried in popmusic on my own-built keyboard, but no-one expects the same musical quality in 'to turn the stone', as in major abba music, seriously.
Then we have the Agnetha albums, and I did have a few on tape long ago, and later also on CD, and again I first sort of had associations that this might not be manly enough, lets say buying it together with a Hendrix and Queen cd at least makes it clear you're either compensating or just confused, or one is for the girlfriend. That sort of idea. Being provably musically edified and advanced enough, and not a teenager in thinking, all this is of course not a problem, but the thoughts popped up. Lets see, is that justified? In fact apart from some titles and certain niceness, no, not at all even. They are by and large strong songs, and again, they grow on you (me) after longer listening, like good compositions and productions can. What was her actual age at the time?
I like to play quite some of the abba reportoire on the piano or otherwise, and even to sing along with midi's, I guess because of certain things in there.
Is it a matter of political agreement to arrive at certain chart positions of certain artists? It at least is important that music is heared and pushed even to a prospect audience. Radio, clubs, friends, catchy advertisement, maybe even a distinctive CD cover or title. I'm sure radio and (clip) television are major contributors to making and maybe breaking certain acts and music. And seriously, I'm sure that certain music is 'pushed' into popularity way more than I like. Not that that is a crime, but it raises questions about what is desirable. Are there good bands and music out there that I would never hear about because of that principle? Yes, without question there are major choices of my music that I would hardly ever have been pointed at over ordinary pop channels. Evidenly various Jazz music I like. Albums that have only their main hit played and never another song. Various acts that did have a modest hit song, or that maybe were given attention in an alternative circuit, without sales reasons. Many blues artists, as well as various kinds of gospel.
And I've seen and even played in a few bands that would most likely never be seen on toppop, another dutch charts and clips program, I'm sure I first saw the 'chic' clip on, and that as I remember also had the habit of inviting also foreign (major enough) acts to play-back their hit song into the non-autocue. I read (in the reliable kind mag) that usually, for the dutch bands, only expenses were paid, and that there were consequences for absence.
Not that all that music would have to make a obligatory appearance in some popular and widely noticed scene, but there was seriously good music being made here and there, and seriously a significant percentage of for instance tmf clips has not good music in it. In general and objectively enough maintainable language.
Is that political?
Its sort of a question as 'is there state undermining art' in the behind iron curtain countries at the time. I mean, politics could be like in Jazzsoloing: most musicians wouldn't try, the ones that would maybe generally unnice or whatever, but at least somehow time is distributed among them, and they all get heard one way or another. How does that work? From not to fine, I'd say. I don't know, it depends on quality, on what is hip, on wether your band makes it on stage with you in it, wether there is enthousiasm from the audiance, on wether a close relative just died, on friends against friends, to many reasons.
But the ideas that one actually has to be able to (and dare to) play, is then heared by an audience that can respond, and a band idem dito is interesting. Similar logic can hold for pop musicians, but regularly their songs and acts are quite pre-cooked, and the element of inprovisation, inspiration, freedom I like to point at may well be missing completely.
For some of the people I've played with: luckily, for some it wouldn't matter much, and for some, well there are various recording I too liked listening bac too, which makes a point quite clear. And I'm picky enough.
But a free solo, or as regularly happened with various bands/combo's I played in, even a free improvised piece is interesting, refreshing, and chalenging, without regarding what the spiritual and practical implementations issues are. And of course songs have to come into existence somehow, and when that is on the fly it has most to do with direct forms of political behaviour, otherwise it goes in the direction of orchestra score writing and implementing, for which one has to be quite a composer to make it work inspiring. Then if you do it right to get all those instruments working right and together, preferably even in a well done production, well, then it can rightfully be put on an album.
But directly playing an instrument, with others doing the same, with considerable freedom present, that is something else. Various types of jazz (and (classical) pop, and blues) I like quite a bit has this element in it: a Scofield performance, the aforementioned Methiny trio, should i mention supertramp in the same lineup? What's 'don't try this at home' ( M. brecker) in comparison with these? Certainly more impactfull in the angle I mentioned than david sanborn, though that too may well be improvised and free enough.
I saw live performances of quite some blues performers, for instance BB king, and even though he's got very recognizable licks, obviously many songs to are around already quite some years, no boredom or lack of interest struck me at all during performance. Some redo's of older hits do have such effect. Is that performance skill, or simply because on artist happens to be more talented than another.
Now to get to the subject promised in the subheading clearly: what the HELL, or may how on EARTH or how for the love of God (no insult intended) is it possible that for instance for presidential election in various countries thousands and thousands of people have the spirit to have days and months of enthousiasm, incredibly big meetings, and tv coverage. Well the latter is understandable, power, person exposure, associated political ideas, that can be understood. But meetings the size of a very major rock concert just for a few speeches? Of course, I know my classics (Hitler, too seemed to be a charismatic orator, I'e witnessed with sort gun-shaped fingers pointed at the screen in compensation), I understand people can think together and agree with a certain person leading them, and feel some kind of empathy with nice and good leaders (though I do think that is a difficult subject combination). And may like to honour the winning sockerteam and have a party, fine, fine.
But seriously. How is it that various leaders can have such an effect in a political position. In Hitlers case, to take on extreme, I in previous pages have made clear I can imagine much badness as background and greed can be adequate reasons. But for lets say presidential elections in the us, what is the main reason for the multitudes to seemingly have such an interest being near even very early and uncertain outcome meetings. Prayer, no doubt, and the desire to have certain power, I'm sure, sensationalism, I guess.
Seeing political positions, also the higher ones as offices in a state system, for clear and objective reasons, that is to rule a country in its national and international affairs, makes the relevancy of the positions clear enough, but clearly, a simple fulfillment of duty for tracible and tangible subjects is of another nature than much of the hype, hidden background and lip-talk. We need public roads and lighting, bearable taxes, an army only for defence in peace, good schools, and adequate and affordable medical care. That should be manageable, depending on circumstances and a countries' riches. Not when half the country considers it agreable practice to be part of grave child abuse, babylonical / satanistic practices / services, fundamental and ideology rooted forms of exploitation, abuse, and oppression ranging from nazism to uncandid power and possession greed.
I was late in thinking about lets say what the hell must have been part of many kennedy womans' (and men of course) lives. And why marilin was such a fruitcake (in my regular opinion). Now supposing that the kind of evils I just pointed at are part of society, as they doubtlessly are in varying but grave degrees at various times and places, political systems should for the interest of state's official status, constitution, and purpose be completely against them and detached from them. Fairy tail, of course. Though I happen to believe there must be nations on earth that by and large and maybe officially can take a stand against (sexual) child abuse, and all kinds of related rites and habits, and where hopefully by for the majority it holds that being witness to such things would make them be inclined to simply kill and have it done with such type of criminals. May be hard on an average, official, visit to Libia, but at 'home' things at least should be st least good enough to live with, in my opinion.
I mean seriously, one can in most western countries afford to rent sexual explicit movies by the hundred if that's a persons (untainted) interest, legally even, normally. I lately read an piece on lynching in the 19th centure in the n.y. book review, that was not the right thing, but something about the pictures there was not just as in 'lynch lust'. This as in: sexual interest in normal and acceptable enough forms need not be a problem much after the 60's, also not officially, and certain forms of lets say intolerance are simply up to certai kinds of evil.
So we have religion and the spiritual, music and soul, politics and power, and then some mixup, or something? I was still thinking about certain meetings, the evident presence and influence and power of media, and the idea of people sharing being part of a multitude in various ways and for various reasons. I'd say religion should be for edification, prayer for unity and judgement, music mainly for pleasure and maybe release of tension, a good angle on life, some edification, and maybe more, and politics mainly to make pleasurable, peacable just enough and honorable, and affluent enough life possible, and at times make justice happen.
What greed could be present and notoriously big in political meetings?
Why are we here on earth? To earn our place in heaven is strictly catholic and incorrect answer. To have a ball, carpe diem and relish in all hedonistic pleasures thinkable is generally unwise but short time pleasurable answer, probably. To cling to an ideology with our lives and make the international world no longer the property of the rich, is not even unbiblical, but limited in appeal, power, and effectiveness. To do the will of God the Father, Jesus his only human-born son, and the Holy Spirit, and what?
A jew long ago answered that question in double reversal from another total jew, who also happended to be divine, quoting a third jew who even longer ago received that law supposedly directly from eternal and good and holy god:
To love the lord thy God with all thy heart and all thy mind, and thy neighbour as theyself.
Probably the wisest jew ever replied the other 'go, and do as such'. What does that mean? Can we even know God, and / or his will, even? How do we love Him? Who is my neighbour, and how do we love him/her and ourself? Music as worship, after all? What does that mean. A sacrifice of healty and juicy animal meat, and then eat it yourself, and making loud music in Gods house? Hard core and soft porn in Gods own word? Stephan must have done his eartly bookkeeping wrong. Or the earth did, they should have computed what it all adds up to.
What's pearls for the pigs? What does holy in all that mean, can one shake hands with amin or s housein and live? At least God makes them all be dead in the end, none of them last longer than 120 years. Maybe cell engineering would change that? Thus far it didn't, in the end they areall dead. Killer, wrapers, committers of all kinds of horrible sarifices, not minute they can add to their lifetime it seems, all dead in the end. Dead.
What's about having ones' conscience seared, what is having the number of the beast on ones right hand or forehead, and using its engraved handles, and whats christian about the great bowl and adulteries against God's spirit and his holy apostled and saints (various quotes from revelation, few with greek retranslations). Why were all those babies killed when the future saviour of Israel was supposed to be born, and why was that a mistake?
Sin, whatever the word exactly means, in Gods eyes is the reason for the punishment, damnation and death that is in the world as we know it. It means that Gods law is not fulfilled, that his standards aren't met, and a sinfull person would have to die even, according to old testament, for seeing God eye to eye.
Yet God came to earth to solve the problem, as He promised long ago, and He send his son to redeem, to save, to bring people to him, and to solve the problem of sin, and give his holy and eternal life in this world, even as it is.
The state of sin of natural man is completely deprived and devoid of the glory of God or anything that is of god, there is no way to God but through Jesus. Of course God did make himself and his laws known, they are in reasonable enough translation available in many hotelrooms. He didn't hide he hates evil, is against evil religeous systems, and his prophets, son and later apostles, servants and witnesses were usually completely public in their acts and uttered opinions and works.
It is the result of sin that the world sees decline, retardation, stupidness even, and is damned in many ways, it is Jesus who did pay for the ones that are his, and even to save the world, certainly in the end, in many ways in the meanwhile. Sin is the main verdict on any attempt to take gods position or a position in his works. That means He is holy, and did not give people the right to play games with his words and his own. It is sin to think that the Holy Spirit can be had or traded against or even sold by man, and the punishment is serious, in revelation it is made very clear that whoever takes from Jesus words his part will be taken from the tree of life, and whoever adds to his words, to him will be given of the plagues described in that book.
I got an email the other day about my hebrew interlinear scan and hebrew translation pages, a person, don't know who it was, asking me wether I know about the true translation of passages in early genesis; let me look some parts up.
The second word in the second verse of Genesis one is 'hatah' Hay, yod, Thav, Hay, which is underwritten 'was' (as in 'the earth was...'), which I remember should read 'became'. In the analytical concordance I still have, I can't find the root of the word, I guess 'to be' is to frequent to list.
In Genesis 2:27, the adam, contrary to earlier is used as at hadam, instead of the man in at adam, the extra hay is not normal I think. Often it indicates either a change of tense for a verb, or the feminine.
Another question is answered by that Elohim is translated by God, while yehova is simply repeated in roman letters.
Is temporalness, as opposed to eternal life for instance, necessarily sin? A banner supposedly is remembering me in a yelling font and colour, on top of the all-usefull altavista search engine:
"YOUR COMPUTER WILL BE OBSOLETE" ...As if I need to be reminded. Currently, the one I type on already is obsolete, for typing ascii it's fine though, and an even older one with strictly green phosphor screen maybe even preferable.
More than a third of work-efforts dedicated to our own thinking machines, isn't that vanity ?
The idea of going against a principle that normally isn't refered to as sin is known ideological direction, the idea that certain people and families own so much in terms of their riches, their official assets, that they control much if not most of the major, minor, official and professional affairs in countries and at world top level.
The idea of a country isn't a sinfull one in biblical sense, maybe it is an answer to certain sins, but it is ackowledged in itself. There is no scripture calling us to make a global village without country seperations, and the idea of considering mafia leaders, family clans and the owners of land, estate and the recent centuries' idea of production goods part of the normal, desirable life is in biblical sense, neither at state, nor at christian level acceptable.
In fact in Acts quite different ideas were recorded, and Jesus was also quite a hippie in these respects, though not calling all others to do the same, while He certainly didn't preach that the (religeous) establishment should be made into a monument of devine power structures, in fact freedom and sensible living seem more in line with his teaching and example.
Balance of such power is bull in my opinion, except maybe at times when one has no option, it is not part of biblical thinking. Good is good, bad is bad, ugly is ugly, death worhty is death worthy, and the roman sword is even menioned not as thing to use at will, but certainly as punishment for certain evils, I'd think for bad ones.
From James, where the last word is 'sins', in fact:
Cone now, rich ones, weep, howling over your hardships coming on you.
Your riches have rotted, and your garments have become moth eaten.
Your gold and silver have rusted over, and their poison will be for a testimony against you, and will eat your flesh as fire.
You have heaped up treasure in the last days, behold the wages of the workmen having reaped your fields cries out, being kept back by you.
And the cries of those having reaped have entered the ears of the Lord of hosts.
You lived luxuriously on the earth, and lived in self-gratification;
you nourished your hearts as in a day of slaughter;
you condemned, you killed the just - he does not resist you.
This is actual bible quote, from James 5:1-6.
It seems that the 'trinitarian bible society' hold actual copyright to the interlinear text I typed this in from (no cut and past this time), how about that ?! Copyright on the bibles' texts!
It has got pretty much all classical texts on line (I think) at least all the ones I'd have heared or learned about (I had about half a year of official highschool greek, about until the moment I was to memorize 47 verb tenses while it was an additional course only, and a year of latin, without all too much use for me at the time, I think).
The James imagery or let's say thinking in already the first verses bugs and interests me already a long time, for two major reason: they are strong, relevant and seemingly important lines, which I couldn't excactly put in place the way I think someone relevant driven by the Holy Spirit would intend them (this isn't associative poetry or spun out proze, there's doctrine in it), and the vocabulary didn't make much sense. Why would it be that people writing knowledgeable enough in straighforward and intentional greek use a distinct vocabulary for various words, when normal words would seem to suffice just fine. Typos ? Deleberate playing with language as in a strange desire to make their own? Certain later writers succommed or lowered themselves to such principles, no doubt. I mean some of the church father without doubt changing some language to hide the clear meaning of scriptures.
An example word that isn't normal enough in the first James verses is 'dokimion', in most translations 'to prove'. The word isn't a problem it seems, there is a close enough root meaning indeed that, though it should be mentioned it isn't a completely clear verse, at least not to me:
My brothers, count it all joy when you fall into different kinds of temptations, knowing that the proving of you faith works patience.
Looking at the main word meanings from an authoritive enough (non-christian bias) lexicon, the rendering could be something like
My brothers, lead forward all joyfullness when or falling into multi coloured trials, know the making clear of your trust works slow
Now neither makes complete enough sense to me, the second is by heart, I don't remember all word translations accurately.
Now what about that 'proving' word? Ckecking the exact, literal word in database, it appears to only be used a few times in this exact form: once in James, once in Peters' epistle, and once or twice in Plato. And that's it. Deliberate? There is a perfectly suitable alternative in the contemporary greek of that time, used hundreds of times or so by all kinds of writers. Now I'm not suggesting they were word f*s at the time and in their circumstance, I think there must be a deliberate reason to allude to the probably well known Plato use of the word.
I'll prepare more accurate analysis as I have opportunity, in short the context in plato is the sensation of various tastes, of meats for instance, and how the tonge perceives them, half-medically. The 'proof' word is the instrument of tasting the tong is in the context.
Remember that Jesus made greek/jew comparisons as well (see pages on 'he who sais to his brother...'; more/gentile), and that as the head of the church in jewish jerusalem, the old habits and the combination with the gentiles must have been seriously relevant. Be reminded also of the eating of the unclean Peter was confronted with by God.
There is another word with similar possible distinctionin spelling in the context, that slipped my mind, I'll look it up.
The idea of Zeus and 'golden chains to the heavenly', and ropes tied around the olympus, and the explanation of the utter power of Zeus was interesting to read, too. Again I don't remember the reason (another word from NT) I looked up the passage in Homer, but it did ring many old testament bells.
The whole thinking about society (ban the peasants ?!), the prefered social makeup, the severe punishment and undesirableness of (social) corruption and bribes, and various other subjects in the beginning of various books from Plato (about Socrates) gave clear resonances with the ideas in James at various points, too. To clear to not take as deliberate, I'm sure. Greek was fashionable, for instance Paul was quite into the greek, and edified in it, and it seems likely the jews too were knowledgeable of greek plays.
Maybe I've even read a reason for the song about the flute being played by children, and the audience not dancing as spoken about by Jesus in the beginning of one of the socrates stories.
The microcomputer would run the currently 16 step sequencer, which automatically loops playing 16 notes in sequence, programmed one at the time on the baby piano keyboard, and visible on the led display. All that was done before, and it fun enough. Two things were not tried yet: use the latest sound developments, and an addition to the z80 program to shift the key of the sequence during playback, to make it into a sort of qrpegiated chord player.
The combination of the two was definate party stuff: this thing now does what certain hit records from these type of records sometimes did: no ploing ploing octaves with needed variation, no pounding even, but a smooth yet almost agressive bass line with high enough arpegiating speed, and a sound to realy party with, using the right filter/envelope contours for the sequence (time and notes), and the right, strong, harmonic composition of the oscilators. Then when that is ticking, some nice harmonic changes, in both meanings of the word, by either playing a key on the baby keyboard to change the key of the sequence (timeable by the display or by hearing, and they sound wonderfull those 2/3/4/5 changes), or by changing the filter or harmonics characteristics with the graphical user interface on the old PC and making house effects look generally bleak and meager in comparison. Seriously, too, this thing doesn't even need loudness doing this stuff.
Today I was into the sweet stuff, a sort of chorussed clarinetish sound, playing around with detuning the oscilators, into also note intervals, nice. The additive generators, with decent sines, this time, combined with the filter makes it possible to add some nice extra phase shifts and warmth and life to the sound. Noise and modulation sources are needed, but the latter tends not to work over a sample for an extended note range, and easily suck for the nicer vibrato type of effects. I got my dsp for free, now what am I going to do with it..
Fire Water Burn Bloodhound Gang C Am C Am The roof the roof the roof is on fire G F We don't need no water let the motherfucker burn F C Burn motherfucker burn melodic line sort of: ||: cccc cee aaaa ggg :|| C Am Hello my name is Jimmy Pop and I'm a dumb white guy I'm not old or new but middle school fifth grade like junior high So I don't know mofo if y'all peeps be buggin' give props to my ho cause she all fly But I can take the heat cause I'm the other white meat known as 'Kid Funky Fried' Yea I'm hung like planet Pluto hard to see with the naked eye But if I crashed into Uranus I would stick it where the sun don't shine Cause I'm kind of like Han Solo always stroking my own wookie I'm the root of all that's evil yea but you can call me cookie The roof the roof the roof is on fire We don't need no water let the motherfucker burn Burn motherfucker burn Yo yo this hard-core ghetto gangster image takes a lot of practice I'm not black like Barry White no I am white like Frank Black is So if man is five and the devil is six than that must make me seven This honkey's gone to heaven But if I go to hell then I hope I burn well I'll spend my days with J.F.K., Marvin Gaye, Martha Raye, and Lawrence Welk And Kurt Cobain, Kojak, Mark Twain and Jimi Hendrix's poltergeist And Webster yea Emmanuel Lewis cause he's the anti-christ The roof the roof the roof is on fire We don't need no water let the motherfucker burn Burn motherfucker burn Everybody here we go Ohh Ohh C'mon party people Ohh Ohh Throw your hands in the air Ohh Ohh C'mon party people Ohh Ohh Wave 'em like you don't care Ohh Ohh C'mon party people Ohh Ohh Everbody say ho Ohh Ohh C'mon party people Ohh Ohh Everybody here we goWe've rappers delight somewhere (suing at least a Chiq bass line, I recently observed), generally often (in my opinion) boring and hardly musical rap stuff, and we have this. Now what? What an ugliness and lets say refutation of all the evil in it. And that combined with the draggin melody and chord lines. A sticker.
Is there a way out of here.
All Along The Watchtower There must be some way out of here, Said the joker to the thief. There's too much confusion I can't get nooooooo relief Business men they, drink my wine. There plowmen dig my earth. None of them along the line know what any of it's worth. No reason to get excited, the thief he kindly spoke. There are many among us, who feel that life is but a joke (Ha Ha- Ha ha) But you and I we've been through all that,(Yes we have) and this is not our fate. So let us not talk falsly, the hour is getting laaaaaate And All along the Watchtower, prince's kept the view. While all the women all the women all the women came and went Barefoot servants too. Out side in the cold distance, a wild cat did growl la la la la la Two riders two riders approaching, the wind began to howwwwwllll The thief he take my money take The thief he take my money take Am I insane Auf Wiedersehen Am I insane The thief is safe NO REASON TO GET EXCITED! (YEAH!....)
I browsed and read a bit in 'saint with a gun' about illegal private eyes, also in the us. What a violence in the opening quotes, these persons must also have deepo reasons to be against certain crimes. 'I got my own little game here' or something to that extend is a easily repeatable one, maybe I'll copy some others. The introduction and the thinking in it about crimes never allowing one to be satisfied with the justice system as it is, university like.
'Swiss in America' as diversion, about a 1000th of native swiss in the pupulation, from 1830 or so through way into the 20th century, with a peak of double as much after 1850. Nice old engravement of a sort of rectangular, solid house in a field in some new Geneva (Californian/mexican border?). I didn't realize the goldrush was so relatively recent, I did a (writing) piece on it, long ago, I remember the distinction between ethyl and methyl alcohol that was important. They even seem to have had celebrations because of the rush.