I shove the canoe some more
May. 3rd, 2011 08:46 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
catsittingstillTwenty minutes at a time. One of the useful apps my iPod came with is a timer. I set it for twenty minutes and use the scraper or the random orbital sander on the inside of the canoe until it starts blatting. Then I set it for twenty minutes again and do something else to let my back and hands rest. Lather, rinse, repeat. This keeps me from bending over the canoe so long I hurt my back, or strain my wrists. The in-between times I lay out the strips I cut for the gunwales. At least one of them will have to have a bad part scarfed out. I also sanded some of the saw marks out of the gunwale strips, in hopes that would let me see any damaged bits more clearly.
Seriously, if I keep progressing this way--well, there's all the dookie-schmutzing of cracks to do, as well as the dookie schmutz stems, so I probably won't be ready to fiberglass the inside at the end of this week. The stems, in particular, tend to take at least a couple of days.
I also spent some in-between times working on music. Cedarglass now has a mandolin counterpoint. I need to learn to play it well enough to be sure what I think of it, but it sounds nice in PrintMusic, and I have sort of sung/played it a few times, finding areas where I wanted to make changes. Somehow I have to alternate between the computer and real music several times before I get it right. Also, what I set the voices to be in PrintMusic makes a huge difference in how the finished piece sounds. For example if, in my counter point, I'm singing G D and playing D G, it sounds completely different voice-against-guitar (PrintMusic does not have a "mandolin" option--a serious oversight, really) than it does voice-against-violin. In the former arrangement I can hear the parts moving quite clearly, in the latter arrangement it just sounds like a repeated chord.
Not that it matters all that much as I don't plan to record the computer--played version, but it makes it easier to keep straight which part is doing what as I make changes to both.
Still enjoying Flight of the Godkin Griffin. This is darn good; I wish I had it in e-book or paper book form. I'm planning to try Spots the Space Marine next, but want to finish one story before starting the next.
Seriously, if I keep progressing this way--well, there's all the dookie-schmutzing of cracks to do, as well as the dookie schmutz stems, so I probably won't be ready to fiberglass the inside at the end of this week. The stems, in particular, tend to take at least a couple of days.
I also spent some in-between times working on music. Cedarglass now has a mandolin counterpoint. I need to learn to play it well enough to be sure what I think of it, but it sounds nice in PrintMusic, and I have sort of sung/played it a few times, finding areas where I wanted to make changes. Somehow I have to alternate between the computer and real music several times before I get it right. Also, what I set the voices to be in PrintMusic makes a huge difference in how the finished piece sounds. For example if, in my counter point, I'm singing G D and playing D G, it sounds completely different voice-against-guitar (PrintMusic does not have a "mandolin" option--a serious oversight, really) than it does voice-against-violin. In the former arrangement I can hear the parts moving quite clearly, in the latter arrangement it just sounds like a repeated chord.
Not that it matters all that much as I don't plan to record the computer--played version, but it makes it easier to keep straight which part is doing what as I make changes to both.
Still enjoying Flight of the Godkin Griffin. This is darn good; I wish I had it in e-book or paper book form. I'm planning to try Spots the Space Marine next, but want to finish one story before starting the next.
no subject
Date: 2011-05-07 07:19 am (UTC)Yes, voicing on computer-played music makes a lot of difference. I quite often go with totally different (and 'wrong') instruments when I want to hear the parts, much like Wendy Carlos' "Switched On Bach" did, to separate them aurally (hard panning can also help).
In particular violin has a load of harmonics so trying to determine the octave by ear is often a problem (indeed, with a real violin the second harmonic (octave) is often stronger than the root), and can often obscure repeated notes in computer versions (unless you have expensive software which allows you to control bowing). I tend to go more for the woodwinds with choral music.