detailed general tone

wip/dsp-notes.md

@@ -0,0 +1,16 @@
+# digital signal processing 
+
+A boring lecture about signals and systems, and its digital implementation in DSP.  
+Borderline 'song' less 'poetic'.  
+
+The actual material (text that is read out by a vocal synthesiser) is in Japanese.  
+
+## Simple notes  
+ 
+For things that are not easily pronounced (e.g. formulae, expressions, symbols), inclusive either:  
+- Mark how the thing should be pronounced in a pair of adjacent parentheses  
+  - e.g. H(ω) (エッチオメガ)  
+- (inclusive) Or don't embed these elements too deep into the flow of sentences; use common, laymen's language instead  
+  - e.g. not `Fs/2（サンプリング周波数の半分）までの帯域を忠実に再構成できる` but `サンプリング周波数の半分までの帯域を忠実に再構成できる`
+
+The general direction is to stay boring, but the deadpan kind of boring. Keep technical language appearing but explain things in more laymen's language.  

wip/dsp.md

@@ -0,0 +1,219 @@
+# digital signal processing 
+
+A boring lecture about signals and systems, and its digital implementation in DSP.  
+Borderline 'song' less 'poetic'.  
+
+The actual material (text that is read) is in Japanese.  
+
+## Outline
+
+### 1. Signals and systems
+- What is a signal
+  - A function of one or more variables carrying information; here, amplitude over time
+- What is a system
+  - A system maps an input signal to an output signal
+  - Characterized entirely by its behavior on inputs — the internals are not required
+- Most systems are nonlinear — linearity is a special property, not the default
+  - Linearity: superposition holds — scaling and additivity
+  - Most physical systems violate this under sufficient conditions (e.g. overdrive: linear below clip threshold, nonlinear at and above it)
+- Time-invariance
+  - A time-invariant system responds identically regardless of when the input arrives
+  - Violation: any system with time-varying parameters (e.g. modulated effects)
+- LTI as the restricted, studied case
+  - Satisfies both simultaneously — analytically tractable
+  - A deliberate simplification; not a description of typical reality
+- The impulse signal; impulse response
+  - The impulse: unit energy concentrated at a single point in time
+  - The impulse response: what an LTI system outputs when fed an impulse
+  - Completely characterizes the system
+  - The impulse response is a function — it exists in the same space as signals; systems are absorbed into signal space
+
+### 2. LTI and convolution
+- An LTI system is fully characterized by its impulse response
+  - Any input decomposes into scaled, shifted impulses
+  - By linearity and time-invariance, the output is the corresponding sum of scaled, shifted impulse responses
+- Convolution as the operation
+  - That sum is convolution: y = x * h
+  - Symmetric in its arguments: x * h = h * x
+  - Signal and system are interchangeable operands — both are functions; convolution makes no distinction between them
+- Commutativity: for LTI systems, order of composition is irrelevant
+  - Two LTI systems in series have a combined impulse response equal to the convolution of each
+  - h₁ * h₂ = h₂ * h₁ — order does not affect the result
+
+### 3. Signal transformation
+- A signal in time can be equivalently represented in the frequency domain
+- The Fourier transform: s(t) ↔ S(ω); decomposes a signal into its constituent frequencies
+- Analog signals carry frequency components from DC to arbitrarily high frequencies
+
+### 4. Filters
+- A filter is an LTI system — characterized by its frequency response H(ω)
+  - H(ω) is the Fourier transform of the impulse response h(t)
+  - Filtering: shaping a signal's spectrum by selectively attenuating or preserving frequency bands
+- Basic types: lowpass, highpass, bandpass
+  - Lowpass: passes low frequencies, attenuates high
+  - Highpass: passes high frequencies, attenuates low
+  - Bandpass: passes a target band, attenuates above and below
+- In discrete time: finite impulse response (FIR) and infinite impulse response (IIR) filters
+
+### 5. Discrete time
+- Discretization on two axes: amplitude and time
+  - Amplitude: bit depth; finite resolution; hard clip at boundary (unlike analog soft limits)
+- A signal's frequency spectrum, not its time-domain values alone, determines what is lost in sampling
+  - Analog signals have components from DC to infinite frequency — not representable in discrete time
+  - Discrete time is viable if components up to a sufficient frequency are preserved
+- Nyquist: given sampling rate Fs, faithful reconstruction is guaranteed up to Fs/2
+  - What Fs/2 should be is an applied engineering question — Nyquist does not answer it
+  - Components above Fs/2 are lost: aliasing
+- LTI and convolution hold in discrete time — commutativity survives
+
+### 6. Nonlinearity and consequences
+- Real systems violate LTI: time-varying parameters, feedback, saturation
+  - Each breaks a different condition: time-variance breaks TI, feedback and saturation break linearity
+  - Examples
+    - Modulated delay (chorus, flanger): delay time varies with time → time-invariance breaks; same input at different times yields different output
+    - Overdrive: saturation above threshold → linearity breaks; EQ before overdrive ≠ overdrive before EQ
+- Commutativity breaks — order of composition is no longer irrelevant
+  - h₁ followed by h₂ ≠ h₂ followed by h₁ in general
+  - No universal rule; behavior must be examined per case
+
+## Text (lyrics if you insist)
+
+信号とシステム、そしてデジタル信号処理について説明する。
+
+### 1. 信号とシステム
+
+まず信号とは何か、次にシステムとは何かを定義し、
+その上でシステムの性質を議論する。
+
+信号とは、一つ以上の変数の関数として定義される。
+信号は情報を担う。
+ここでは時間を変数とし、振幅の時間変化として扱う。
+
+システムとは、入力信号を出力信号へ写す操作である。
+内部の構造は定義に含まれない。
+システムはその入出力の関係によってのみ特徴づけられる。
+
+システムの性質として、まず線形性を取り上げる。
+線形システムとは、重ね合わせの原理が成立するシステムである。
+入力をスケーリングすれば出力も同率でスケーリングされ、
+入力の和に対する出力は、各入力の出力の和に等しい。
+
+ここで注意が必要である。
+多くの物理システムはこの条件を満たさない。
+線形性は特殊な性質であり、デフォルトではない。
+
+次に時不変性について述べる。
+時不変システムとは、入力を時間軸上でシフトしたとき、
+出力も同じだけシフトされるシステムである。
+パラメータが時間とともに変化するシステムは、時不変ではない。
+
+線形かつ時不変なシステムを、線形時不変システムと呼ぶ。
+以降の議論はこの線形時不変システムを対象とする。
+これは解析的に扱いやすい、制限された特殊ケースである。
+現実の典型ではない、という点は記憶にとどめておいてほしい。
+
+線形時不変システムの性質をさらに掘り下げる前に、
+インパルス信号を導入する。
+インパルス信号とは、単一の時刻に単位エネルギーが集中した信号である。
+線形時不変システムにインパルスを入力したときの出力を、インパルス応答と呼ぶ。
+このインパルス応答が、線形時不変システムを完全に特徴づける。
+
+ここで重要な点を強調する。
+インパルス応答は、信号と同種の関数である。
+これにより、システムは信号と同じ操作の空間に置かれる。
+システムと信号の区別は、操作の上では消える。
+
+### 2. 線形時不変システムと畳み込み
+
+なぜそう言えるのか。
+任意の入力信号は、スケーリングされた時間シフトインパルスの和として分解できる。
+線形性と時不変性により、
+それぞれのインパルスに対する出力の和が、入力全体に対する出力となる。
+この操作を畳み込みと呼ぶ。
+
+y = x * h　（y イコール x 畳み込み h）
+
+畳み込みはその引数に対して対称である。
+x * h = h * x　（x 畳み込み h イコール h 畳み込み x）
+これは代数的な性質にとどまらない。x と h が同種の対象であることの表れである。
+
+この対称性から、重要な結論が導かれる。
+二つの線形時不変システムを直列に接続する場合を考える。
+合成されたシステムのインパルス応答は、各インパルス応答の畳み込みに等しい。
+h₁ * h₂ = h₂ * h₁　（h1 畳み込み h2 イコール h2 畳み込み h1）
+接続の順序は、結果に影響しない。
+
+### 3. 信号変換
+
+ここで話題を変える。
+これまでの議論は連続時間を前提としていた。
+しかしデジタルシステムにおいては、連続信号をそのまま扱うことができない。
+
+離散化は二つの軸で生じる。振幅軸と時間軸である。
+振幅軸の離散化はビット深度によって規定される。
+表現可能な範囲の境界でハードクリップが発生する。
+アナログシステムの物理的な限界とは異なり、これは硬い境界である。
+
+時間軸の離散化を理解するには、まず別の観点から信号を見る必要がある。
+信号 s(t)（エス ティー）は、時間領域での表現とは別に、周波数領域でも表現できる。
+これをフーリエ変換と呼ぶ。s(t)（エス ティー）と S(ω)（エス オメガ）は同じ信号の二つの見方である。
+この変換により、信号を周波数成分の重ね合わせとして捉えることができる。
+
+アナログ信号は、原理的にはゼロから無限大まで、すべての周波数成分を持ちうる。
+離散システムはこれを完全には表現できない。
+しかし、もし十分な高周波成分が不要であれば、離散時間は有効な選択肢となる。
+これが離散化の根拠である。
+
+### 4. フィルタ
+
+フィルタは、線形時不変システムの具体的な例である。
+フィルタは周波数応答 H(ω)（エイチ オメガ）によって特徴づけられる。
+周波数応答はインパルス応答のフーリエ変換である。
+フィルタリングとは、信号の周波数成分を選択的に通過させ、あるいは減衰させることである。
+
+基本的な分類としてローパス、ハイパス、バンドパスがある。
+ローパスフィルタは低周波成分を通過させ、高周波成分を減衰させる。
+ハイパスフィルタはその逆で、高周波成分を通過させ、低周波成分を減衰させる。
+バンドパスフィルタは特定の帯域のみを通過させ、それより低い成分も高い成分も減衰させる。
+
+離散時間においては、有限インパルス応答フィルタと無限インパルス応答フィルタの区別がある。
+前者はインパルス応答が有限、後者は無限である。
+
+### 5. 離散時間
+
+サンプリング周波数を Fs とする。
+ナイキストの定理が保証するのは、Fs/2（サンプリング周波数の半分）までの帯域を忠実に再構成できる、ということである。
+それが全てである。定理はそれ以上のことを言わない。
+Fs/2（サンプリング周波数の半分）をどこに設定すべきかは、定理が答える問いではない。それは用途が決める。
+Fs/2（サンプリング周波数の半分）を超える成分は再構成できない。これをエイリアシングと呼ぶ。
+
+重要なのは、この離散化によって線形時不変システムの性質が失われるわけではない、という点である。
+離散時間の線形時不変システムは、連続時間の線形時不変システムと類似した性質を持つ。
+畳み込みは有限または無限の和となる。
+可換性を含む全ての性質は引き継がれる。
+
+### 6. 非線形性とその影響
+
+では、現実のシステムに戻る。
+先ほど線形時不変システムは特殊ケースであると述べた。
+現実のシステムは線形時不変システムの条件を様々な形で破る。
+時変パラメータは時不変性を破る。
+フィードバックと飽和は線形性を破る。
+
+例を挙げる。
+モジュレーテッドディレイを考える。コーラスやフランジャーがその例である。
+ディレイタイムが時間とともに変化するとき、同じ入力でも入力するタイミングによって出力が異なる。
+これは時不変性の破れである。
+
+次にオーバードライブを考える。
+入力が閾値を超えると飽和が生じ、出力は入力に比例しなくなる。
+これは線形性の破れである。
+そして順序が問題になる。EQの後にオーバードライブを適用した結果と、オーバードライブの後にEQを適用した結果は、一般に異なる。
+
+このとき、畳み込みの可換性は成立しない。
+非線形システムでは、一般に
+h₁（システム1）の後にh₂（システム2）を適用した結果と、
+h₂（システム2）の後にh₁（システム1）を適用した結果は、等しくない。
+
+普遍的な規則は存在しない。
+各ケースを個別に検討する必要がある。

wip/pulse.md

@@ -1,46 +1,6 @@
 # pulse under latent semantic envelopes
 
-*Lyrics as well as the process of how it became like this*  
-
-## Lyrics, in full
-
-第一部。
-
-Surface.   
-The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.  
-Blurred and mangled electronic signs over the outbound atmospheric leeway.  
-Distant stations estimated in abnormal heat perform the inconsistent collimation rite.  
-
-Dive.  
-The black screen of stalemate conceals the massive stars, the charred comets, and the meteorites.  
-Their questionable glitters, once emissions of brave borderers and dark adventurers,  
-now the only traces, obscured and indifferent to all but those with a special breed of faith.  
-
-The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.
-
-An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived.  
-
-第二部。
-
-Subdued sonic scalars vectorise  
-Acoustic aberrations dissipate  
-
-Isotropic funnel strikes a packet rain  
-Fine-grained bags of acks ground astray  
-
-Ocean as a desert buries all of its life  
-Deck the shell with a perfect thermocline  
-
-Curtain shut before the Fresnel bights  
-Plasma buildup swells your rovers' thighs  
-
-第三部。
-
-Particulate pressure across a landlocked island  
-Ultraviolet utilitarian paints every third crag bland  
-Lossy lies lament the ludicrous lawful liberty  
-Siren sounds soaken in the sauna of substantiality  
-Eccentric sediments launch unbidden perpetuity  
+*(WIP. Description and pieces only now)*  
 
 ## Planning area
 
@@ -66,7 +26,7 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
 1. "Surface." - the breach, the fever-dream opener
 2. Instrumental - let the image settle
 3. Essay/documentary - the explanatory core, almost clinical, "semi-boring scientific" (this is where the concept gets stated plainly before the rest of the song complicates it)
-4. Instrumental - going into the poemic verses
+4. Instrumental + fragments - the logic starts dissolving
 5. Poem-ic verses - emotional density, maybe climax, maybe not
 6. P-U-L-S-E 5-liners - trademark closer, acrostic constraint
 7. Instrumental outro
@@ -75,19 +35,19 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
 
 ## Construction zone
 
-The first locked in draft version of the song. Things get developed even after this version.  
-
 ```cpp
 // Opener
 Surface. 
-The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.  
-Blurred and mangled electronic signs over the outbound informational motorway.
-Distant stations estimated in abnormal heat perform the collimation rite.
+The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves
+blurring the electronic signs over the outbound informational motorway.
+Images imagined in the imaginary region of the protruding obelisks many kilometres away
+from this here expanding entropy killing various variables as abnormal heat usually may.
 // think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream
+// 'Images imagined in the imaginary region' is half wordplay, half multimedia transmission with a loss (signal-wise). the obelisks are basically antennae.
 
 Dive.
 The black screen of stalemate conceals the black stars, the black comets, the black meteorites
-their questionable glitters, once emissions of brave borderers and dark adventurers
+their questionable glitters and gleams, once emissions of brave borderers and dark adventurers
 now the only traces, obscured and indifferent to all but those with a special breed of faith.
 // 'Dive' - an opposite to 'Surface'. This is on the receiving end. 
 // Just see this as 'receiving other guys' pulses'. 
@@ -97,9 +57,9 @@ now the only traces, obscured and indifferent to all but those with a special br
 
 // The pseudo documentary narration, half-blended into the background music
 // in a metalingual sense the music is the background noise and the narration is the signal with a low SNR. Or one could consider the roles swapped. 
-The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.
+The term "ambient frequency" refers to the aggregate of background signals present in a given environment. In urban contexts, this includes electromagnetic interference from power infrastructure, wireless communications networks, and consumer electronic devices. The ambient field is not centrally coordinated. No single source generates it. It emerges from the cumulative output of many transmitters operating within similar parameters. The resulting noise floor is persistent and of low significance under normal circumstances. Signals that fall below this threshold remain technically present but are not distinguishable from the noise itself, and are not considered practially receivable. 
 
-An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived. This property is considered foundational to systems analysis.
+An impulse signal, sometimes referred to as a unit impulse, is defined as a signal with zero amplitude at all points except for a single instant, at which point its amplitude approaches infinity while its total energy remains finite. In practical applications, true impulse signals cannot be generated; they are approximated by short-duration waveforms of high amplitude. The impulse response of any linear system - that is, the system's output when presented with an impulse input - fully characterises that system's behaviour. From a single impulse and its response, the complete identity of the system can be derived. This property is considered fundamental to signal analysis.
 
 // build some tension with bass and drum and fiddle here
 
@@ -107,118 +67,26 @@ An impulse signal, also referred to as a unit impulse, is defined as a signal wi
 // more 'rhythmic yelling' than singing, you get the idea
 Subdued sonic scalars vectorise
 Acoustic aberrations dissipate
+// sahb - duwd - sao - nihk - skay - lahrs - vehk - tahr - rayz,
+// (ah - ) kaws - tihk - ax - bahr - ray - shaxns - dihs - sah - payt
 
-// --- stanza: the receiving end ---
-Isotropic funnel strikes a packet rain
-Fine-grained bags of acks ground astray
+Spectral broadcast lossy with a narrow sight
+No perceived replies per design
+// needs further tweaking
 
-Ocean as a desert buries all of its life
+The ocean as a desert buries all of its life
 Deck the shell with a perfect thermocline
-// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.  
+// (thax - ) ao - sheh(n) - naes - ax - deh - zahrt - bah - riys - ao(l) - lahv - ihts - layf
+// (dehk - thax - ) shehl - wit - ax - pahr - fekt - thahr - mow - klayn
 
-Curtain shut before the Fresnel bights
-Plasma buildup swells your rover's thighs
+A dim light dies in the rover's eyes
+Or the next one could never come otherwise
+// Thoughts: 'the light dies' because a pulse is mostly dormant you wanker. You have to let the light die so it lights up again, simple as
 
 // ending verse(s) before the painfully long instrumental outro
-// P:
-particulate pressure plagues across a landlocked island
-// U: 
-ultraviolet utilitarian paints every third crag bland
-// L:
-lossy lies lament the ludicrous lawful liberty
-// S:
-siren sounds soaken in the sauna of substantiality
-// E-S-L-U-P:
-essential sentiments leave unbidden perpetually
+p.....
+u.....
+l.....
+s.....
+essential sentiments lay unconditionally permanent
 ```
-
-## Notes about this song
-
-I will be just writing about anything I think of related to this song. At least for the first go. It's not really creative when you set yourself an agenda and duly follow it.  
-
-### Why pulse
-
-Some time after witnessing the rover song go locally viral at the second transparent fes I said to myself there will be a third. Almost immediately after that, I was sure the keyword would be 'pulse'. Then it took me several months to figure out the third recursive acronym composition. Maybe more than several months.  
-The choice in 'pulse' is for a very apparent reason. It's literally the last kairo (original) song. That is, the last song in the last album. I know they had more 2hu released after that but that's a different business, isn't it.  
-It also is a very good word in itself because there is vitality, there is machinery, there is electronics and engineering, all in one package. It's kairo plus Northwich committee of magic researches.  
-
-### Educational rock
-
-It's now a traditional practice to sample random people speaking random stuff in a post-rock / prog rock / chill hip-hop / shoegaze / you name it song. There is a hip-hop remix of Niinistö's new year's day address but I can't really dig it out of the Internet rabbit hole. And to start with literally the first post-rock I ever listened to was the 2hu band 'the distant journey to you' by our Veto guy and there was an excerpt of Kon Satoshi's 'Paprika' in one of the songs.  
-When I really started to shape this song I was listening to way more Snakes Don't Belong In Alaska than I should. Two of their later songs sampled someone presumably giving a lecture or speech or that sort of presentation. I very much liked it as I'm a big podcast person. It's like listening to your podcasts with psychedelica music accompanying.  
-I also have been a firm believer that signal processing is something any music-aware people should have at least a slightest idea about. So here we are. It's only natural to make my own mini lecture about some signal basics and incorporate that audio signal into the song.  
-The other parts of the song are intentionally cryptic, evasive, indirect, fuzzy, ambiguous but the educational bit should be factual enough it can be considered a decent crash course on what it talks about. Aside from being the catalyst for the song's underlying emotional progressions. We'll talk about that later or never.  
-
-
-### Football manager ruined my life and LLM agents severed it into pieces
-
-Back in your 2022s and 2023s, I wasn't aware of Anthropic and ChatGPT was basically chat powered by GPT. But this time I approach my songwriting as a relatively heavy Claude user. I never fully hand the lyric composition to LLM agents or raw LLMs as that's the fun bit, not the chore bit.  
-What I personally do is usually tell the Claude 'hey I'm thinking about something like this' in either the plainest of languages or just a draft verse. 9 out of 10 times its response pisses me off. Which is consistent with the experience when you do these exchanges with any verified decent human counterpart. No disrespect to my verified 'I can talk poetic bullshit with them' friends but that just happens. And it happens for good.  
-You see the key here is I have someone to talk to, 24/7, super fluent in languages I speak or not, only restricted by usage limits. For writing lyrics I never hit the limits, by the way. An adversary is an essential upgrade to a rubber duck as it gives you feedback. LLM at the core means this adversary is complex enough to be considered unpredictable and thus inspiring.  
-Your Claudes and ChatGPTs and maybe Geminis out of the box loves proposing verses after verses which is less helpful. Fortunately, I've tweaked my instances to hold fire and communicate in a more atmospheric way. In a convo I get myself immersed in the atmosphere I initiated and the agent amplified. I guess that's where all the fever dreams root from.  
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-### On professionalism and why I consider myself pro enough even if I have no proper proof
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-In a way, I think it's probably true that flair and discipline has a dance of balance in many things, and I take music and association football as two seemingly irrelevant examples. Simply because I'm somewhat invested in those two.  
-A classical piece in the broadest sense takes many, many players with their respective instruments. There would be a leader violinist or a pianist or similar role but let's face it, for like 99% of the time, orchestra players don't play flashy solo phrases. I feel it's like how you have no-nonsense centre backs and anchor defensive midfielders like Jordan Rossiter, that in a sense stand out even less than a goalkeeper.  
-Your rock and pop bands of 3, 4, 5 people is something else. Basically everyone needs to be a star. Everyone will have flashy, tricky solo riffs.  
-And don't get me wrong, I by no means am stating that playing simple notes correctly is inferior to smashing an outrageous riff, or that only getting the ball and passing to the nearest full back is inferior to dribbling over 5 defenders and driving home with a full bollocks swing. That is just not true. Doing the less fancy 'basic' but proper and well is just a slightly, or very different dimension of professionalism. I personally very like no-nonsense centre backs because I played as one because I couldn't do fancy stuff on the pitch.  
-I don't think I can do fancy stuff in my FL studio either. The justification around all this equity of professionalism had a big portion of making myself feel less useless when I tried and mostly failed to learn to play the guitar then bass. Today I'm totally ok and free of complexes like that.  
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-The financial stability is also very real. My plan about music has always been 'find a job so I can play with music' and I've finally done it. I mean I never got anywhere around trying to be self-sustainable with music alone or as the main means, but having that peace of mind of a roof above is certainly helpful even for a hobby. Having music to unleash my creativity buildup when there is any also helps me cope with the 'boring' day job so it's a win-win. Probably.
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-### Music, bloody hell
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-I don't think one should be expecting me to elaborate on how delicate my music craftsmanship is after the revelation and identification as a no-nonsense FL Studio user at best Conference National level. But you see, there are people who watch Conf Nat as devoted as they themselves watch the Prem, or even more. Absolute skill levels are not that much of a matter.  
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-I opted to go for a classic dual-bass, dual-telecaster setup with various other helper instruments because that's simply my favourite. The second bass actually turned out to be utilised less than I originally planned based on how things went in 'rover over virtually eternal roundabouts'. 
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-Also, the song started as my experiment of a more techno-heavy style. It didn't end well, but the techno leftovers might be (I'm doubtful) spotted around the place.  
-Then I switched to the target of making this one the third piece in the recursive acronym trilogy, so essentially I'm doing humble plagiarism on the previous two songs. 'sauna as universal neural analeptic' and 'rover over virtually eternal roundabouts' if you're wondering (no one asked).  
-Like stated elsewhere the psychedelica influence from SDBIA is faintly visible (audible). I also applied some of the minimalism principles to the guitar lines, they should be perceivably sparser than some contemporaries.  
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-Drums and percussions have always been my passion but I think I just got too lazy to fine tune every loop pattern. A drum track of eternally-morphing patterns is not realistic in some sense after all.
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-### Vocal synthesis masterclass
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-Could be stating the obvious, but I'm much better at English than Japanese. When it comes to songwriting I might even argue English enjoys priority over my first language, which is Chinese. So it's a bit of a hassle when there is no good enough Yukari TTS on the shelf. On a side note, Kotonoha sisters got their official English / Chinese TTS but that's a shambles. To put it mildly.  
-When I discovered GPT-SoVITS which in English is something that allows you to generate many languages in person A's voice and person B's accent (partly), it's only natural that I immediately went for it. It fit like a glove on the foot.  
-You see, the problem with many voice changers, even in the l'époque de l'intelligence artificielle, is that they end up with English (simplified) pronunciations. Some give you RP but that's not what I want either. It's the models that are my problem and I needed something more weird.  
-The goal was to mix rallienglanti, Bristolian, and some Aussie flavour to produce the random and weird English I usually speak. The end product is nowhere near that, but equally far from 'standard' English. Which is very acceptable.  
-Also, this synthesised voice should not be considered truly Yukari in the copyright or trademarks sense. I credited Yukari because I included pieces of Japanese voice made with the authentic A.I.VOICE 2 editor with a valid license. Just saying.  
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-For the sung parts, Synthesiser V Studio Pro 2 is the weapon of massive destruction of choice as always. The actual labour is rather boring so I'll leave it as 'I mix-matched mostly Spanish and English phonemes'.  
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-### So what is this song about?
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-It's all in the title mate.  
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-Keep reading if you think that alone is not meaningful enough.  
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-I'm firmly against providing an answer as standard yet very happy to write my personal interpretations.
-On condition that no one promotes the following text as the only valid official explanation to the song, I can give this:
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-There is atmospheric pressure around every one of us. It is like the environmental noise that suffocates signals without malice. The noise itself also contains various meaningful, info-bearing signals but all piled up together as a big blob of something. This is the 'latent semantic envelopes' bit.  
-The pulse is an object as well as an action. It's both the signal that gets sent (and drowned) and the action of sending such signals. Not to mention it also means one's heart beats which is a necessary condition for that guy to be alive.  
-Pulsing, under 'latent semantic envelopes' or more straightforwardly, under overwhelming noise, is absurd. But if you subscribe to the absurd, it's not really a problem. 
-That's it.
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-I probably should have required signing an EULA to have access to this.  
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-### A personal crusade against claims of superhuman frequential cognitive abilities
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-The decision to use the 192 kbps MP3 as a source of truth, converting from that to nominally WAV and everything else was based on several grounds. But the dominant one is that I never liked high fidelity above a certain threshold of good enough. And that threshold for me is roughly 192 kbps of MP3. Another reason is that I would like even one more person to think outside of the box, into the channels, towards the corner flag, that this is a form of proper, intentional digital lofi rather than lossy media.  
-It's totally fair to consider this shithousery because shithousery is what I see it as. I'm not doing this digital lo-fi for the sake of art, I do this as reactive banter invoked by phonophile nonsense. If 192 kbps MP3 is good enough to me, then it's good enough.  
-I do think at 128 kbps I start to sense that something is missing and more information density would be appreciated. So the personal threshold is there or thereabouts.  
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-### Trivia
-- In case you didn't notice, the title forms a recursive acronym.
-- In case you didn't notice, the final verse is an acrostic of 'pulse'.
-- In case you didn't notice, the last line is a reverse acrostic of 'pulse'.
-- Brave Borderer and Dark Adventurer are RN fast patrol crafts, or in English, torpedo boats. And I believe both are playable in War Thunder which is why I know them.
-- 'Ocean as a desert buries all of its life' is a blatant steal from America's 'A horse with no name'. The original line is 'ocean is a desert with its life underground'.
-- I have to sneak in the exact words 'rover' and 'sauna', sorry. And in case you didn't notice, they are two related songs. 
-- Many of the words could be understood with a leaning towards their optical engineering aspects. That said, I was more on the electronics end of my opto-electronic science and engineering syllabus. 
-- Meta-trivia: this note is plagued by football cliches, and the song has contracted some.