March 27, 2015

8.30 pm. At the School, I packed the ACW material in readiness for the postman. Job done:

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9.00 am. Back at home, I caught up on student references and a little PhD admin, updated and made consistent my album websites, before returning to the sound mixing desk to begin a production revision of tracks that will be incorporated into The Aural Bible II: Bible in Translation CD. The CD (which is earmarked for release in late summer) is one half a larger whole that also includes The Floating Bible: Miracle of the Risen Word. This sound work is too long (57 tracks, lasting over 7 1/2 hours) to fit on the CD. (In fact, it would take two sound-only DVDs to contain it.) Therefore, realistically and affordably, the suite can be made available in a streamable/downloadable format only.

11.30 am. A problem with the analogue/digital interface drivers. (Ah, hum!) I’ve encountered this before, and fixed it. No success this time. I fear that the iOS has been compromised. I’ll try, for the first time, to reinstall it over the internet. In the meantime, and on a different MacBook, I have success with the driver installation, but not with the configuration of the software mixer. (More hum!):

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2.00 pm. While dealing with these operational ‘issues’, I’ve been remixing and recomposing tracks from the Free Deliverance (Deliverance) End-Time Deliverance Ministry suite of tracks. 3.15 pm. Success! The software mixer is working again. But the interface has a somewhat different layout and connectivity. 3.30 pm. On to the remix of You’d Better Not Listen to Him (If You know What’s Good for You). Tortured ‘demon’ voices holler from the speakers. A good start. From that, I moved to Catatonic (You’ve Been Found Out), and, finally, to the heartfelt Come on Out (Sealed Emotion), the title of which sounds like a Motown song.

6.30 pm. Practice session 1. 7.40 pm. I returned to the first remixes of the afternoon. One’s initial enthusiasm for a solution can sometimes be blunted on a second hearing. And that can only be good thing. One’s judgements about the quality of the work must stand up to repeated, intensive scrutiny over time. There’s usually something in the mix — a flaw — to which I’m presently partially deaf. But there’ll come a moment, in the future, when the whole will sound to me like a cracked brass bell. Only then will I be able to make amends.

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9.40 pm. Practice session 2.

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