Novoyuuparosk Wiki - User contributions [en]

Generative (and not) AI use in making the song 'pulse under latent semantic envelopes'

2026-06-18T10:16:52Z

Dubrowski: Auto-published from cfeee6a7 (tech pipeline)

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Whether you like it or not, this is the age of general purpose generative AIs. There of course are still bulwarks of the human civilisation strongly opposing their infiltration into all walks of life, and the music industry is actually one of the stronger ones. 
Quality and creativity are very subjective properties, and I see complete end-to-end AI music generation (e.g. Suno/Studio, Udio, and sloppy budget options) as still lacking a bit of oomph in both. That is a very hot topic and I won’t delve deep into it. 
The important thing is I don’t and don’t plan to use end-to-end (text prompt to audio file) generative AI in what I see as my own recreational creative activities, like songwriting. Instead, I use AI technology in many supportive roles that simply put, makes life easier. 
I feel it’s probably a good idea to disclose how and where I use what sorts of AI. Not that these are classified or confidential or whatever to begin with.

'''Disclaimer''': This article is not brought to you by any of the projects / services / individuals / organisations mentioned below. 
'''''Disclaimer II''''': This article is so fucking long you might as well jump to the [[#Quick_summary|quick summary]] section which is a tl;dr.


== Overview ==

The most controversial, I would imagine, application of modern generative AI in this song is the homebrew English TTS that kind of sounds like Yuzuki Yukari. I never said that is Yukari mind you. 
The exact repository used for this song (and the previous one, Tunnels) is [https://github.com/RVC-Boss/GPT-SoVITS this one]. I can even specify the commit hash I technically used throughout (haven’t really updated since I first cloned) but apparently no one cares about that. 
The moral and legal issues around this topic are very messy, but thankfully at least I’m amoral so only the legal concerns are real.

My day job supposedly is about digital infrastructure maintenance, AI integration into DevOps, and stuff like that. I don’t like the job, but I do like the idea of letting machines do the hard labour for me. 
Much of my generative AI applications, especially in the example of the very song [https://wiki.novoyuuparosk.org/wiki/Pulse_under_latent_semantic_envelopes pulse under latent semantic envelopes], are that sort of stuff. To be more exact, I throw specs and reqs at Claude and let it make diagnostic and automation tools for me. At first glance some of them might reek of anything but music.

Chronologically at the final stages of production my faithful illustrator friend hako told me about [https://www.remotion.dev/ React-Remotion] which is really a thunderstorm that totally changed how I make my music videos. I don’t know if I’m going to elaborate on that but it deserves a shoutout for sure. A shoutout to [https://x.com/lxcombox hako], too. Support your local illustrators who know a thing or two about computers and laser diodes!

Aside from the AI-compatible or AI-based tooling, a different type of help is more directly related to something usually described as songwriting. When I write the lyrics I engage heavily with chatbots. Almost exclusively Claude now (driven by Sonnet 4.6 / Opus 4.7 this time). Obviously I don’t tell it to just write everything for me; the finalised version of lyrics is obviously bad like human authored lyrics should be. More details later.


== Voice synthesis ==

I know there are people who jump at the honest and objective declaration of ‘I used generative AI in creative audio work’. There’s no ‘hear me out’. More like ‘fuck off’.

The motive is dead simple: Yukari doesn’t have any English TTS package and I so want to write in English and have her do the songs in English. I know VOCALOID 6 is an option but it is not a practical option.

My requirements for a Yukari English TTS are kind of simple yet niche. The simplicity is that I don’t really need a lot of emotional or timbre variations, just the flat Shizuku voice would do; the niche is that I want a very unique accent. Somewhere else I described that as a mix of rallienglanti, Bristolian, and Aussie. In reality what I speak and what I actually want is probably more than that. I speak what I hear (and consider pleasing) and I hear a lot of stuff.

By the way, I’ve been thinking for some time that pursuing the Japanese-style vocal synthesis (TTS) user experience we (the pan-Japanese pan-VOICEROID community) have been so used to, does not translate to a different language. Even not Chinese which is arguably closer to Japanese with the tighter phonology and a relatively overlapping user/fanbase. And spoken English is so far away culturally and parametrically. 
A.I.Soft did make English and Chinese libs for the Kotonoha sisters, I can only appreciate the effort and will never use them for even the slightest serious En/Cn TTS tasks. That’s how awful they are in my opinion. There’s a flavour in it but when you don’t need the flavour it’s just noise.


=== GPT-SoVITS, the theory and the practice ===

Very roughly and factually wrong all over the place, the theory for [https://github.com/RVC-Boss/GPT-SoVITS GPT-SoVITS] is that the procedure of converting text into speech is further broken down to two steps. '''GPT''' takes the text and embeds it as pronunciation markers (something like phonemes, but not exactly) and emotions (controls the rises and falls, maybe). '''SoVITS''' applies the vocal texture based on the intermediate embeddings. The reality is more complicated than that, but the important thing is you can separate accents (handled by GPT) and texture/timbre (handled by SoVITS) into very individual concerns. 
This setup is what makes possible patching speaker A’s voice with speaker B’s accents. For the very least you just train the SoVITS weights with A’s data, and GPT weights with B’s accents. Conceptually concise, innit.

Theoretically, it is even possible to blend samples from different speakers into one training set, but I have not done so. 
It’s also good practice to make sure the training set contains most of the text-to-phoneme mappings you consider important. For example if you want to grasp the tapped Rs in some languages (e.g. Scots, Suomi), you need to have those samples. Or to have a sufficiently big training set like what the megacorps do. Wouldn’t say I’ve done so either.

For the actual training, I gathered around 5 minutes of speech recordings for each subject (texture and accent) and ran them through the GPT-SoVITS preparation procedures, which is a WebUI and Python backends that helps with noise reduction, normalisation, slicing, ASR tagging, and such. 
The voice texture donor is my Yukari artifacts for old NCMR songs with spoken Japanese, made with A.I.VOICE. For good precision I made sure I tagged the audio pieces with my original lyrics rather than <code>whisper</code> outputs. 
And the accented English comes from real recordings, which for tagging I heavily relied on whisper ASR but still made crucial corrections where necessary.

In production, it’s as simple as picking the Yukari-trained SoVITS and the Englishman-based GPT models and start generating. 
Also worth noting that just like many other neural TTS, this GPT-SoVITS package really struggles if the text input is long. Words get skipped or garbled, and pauses get all over the place. My practice is to generate roughly ‘one sentence’ at a time, and later stitching them all in REAPER. Rhythm correction also happens in REAPER because there’s no way to precisely control that in GPT-SoVITS’s workspace.


=== On a side note, if you’re at all interested ===

Disclosure here is that for the voice that dubs the opening two verses and the introduction to signals and noises in the song ''pulse'', I used David Cameron Walker’s voice to train the GPT model. And I haven’t bought my Dreamland subscription, which I probably should do for my sins, when I did the model training.

''Anyone that listens to DCW’s pods should notice the voice in my song bears almost no similarity to the real Dave Walker, which is kind of a relief to me.''

I can at least leave a link to the most dedicated podcast about the (dominantly English) language of football [https://www.footballcliches.com/ here].

'''''Update:''''' ''I have subscribed to Dreamland now. For my sins.''


== Vibrator coded utilities ==

I don’t know if indirect generative AI usage during the song development cycle should count or not, but they helped me a lot really. And I guess there will be people who are interested about just generally the environment I have for making music. So here we are.


=== The not-so-generative AI generated by generative AI ===

Calling mechanical algorithms and routine scripts ‘AI’ would seem like an outrageous stretch in today’s languages, but that’s a poor take from today’s languages. They get so associated with the really generative AIs anyway because I guess 90% of the implementations in the past 5 hours of those mechanical algorithms, clusters of ifs and fors, are already products of LLMs. 
I am not a meteorologist nor a computer scientist, so I do it too. The idea here is that for simple and repetitive tasks like calculating numbers we can use the computer in an old fashioned way with zero LLM involved.


==== The standalone audio metrics switchblade ====

The primary by-product of this song is a metrics toolkit. You actually can find it on [https://github.com/mikkelimatlock/uj-mastering-master GitHub]. This is a Python-Qt tool that analyses several metrics I find useful when mastering / prepping for release a song. Most importantly LUFS.

The dissatisfaction with Youlean Loudness Meter is that when used in FL Studio it wants me to play over the whole song in 1x speed to calculate the loudness across the whole song. Or I’ve been doing it wrong. And this is a hassle when the whole song is almost 13 minutes long. So I had to make a tool that spits out results for the 13 minutes in less than 13 minutes, simple as. 
The basis of the ''UJ mastering master'' was actually mostly hand-coded by myself ages ago, when it was a very, very crude command line non-interactive script that suddenly pops <code>matplotlib</code> plot windows. Peak UX that was, and I really have come a long way from there.

LUFS implemented in this utility is mostly BS1770 compliant. I am not a full fan of the official integrated loudness algorithm, but trying to reinvent something that could accommodate any song is not easy. 
Instead I just kept the ‘official’ LUFS-I with all the silence discriminations but added a feature where you can just draw your own line and see how loud that reads. Always loved eyeballing metrics.


==== Automated wiki articles ====

Another very indirectly associated stack of utilities is my personal Gitea instance that runs on my Pi 5 at home. I felt uneasy about hosting my half-arsed songs on GitHub not because they are a fucking evil corporate, but because my songs are half-arsed. We all need a bit of privacy, no? 
''Of course I know there is private repo, I ain’t dumb. It’s psychologically more assuring to save something like your porn collection in a physically private location.''

The point is I would never get this done properly xor in a way I can remember 30 minutes after I set it all up. So I let Claude Code configure docker compose yamls and that’s mostly it. 
I even set up a Gitea action workflow (several workflows with shared bits) for publishing to my wiki from document/writing repos hosted there. That’s how you’re seeing this page. Or maybe not this exact page.


=== A tiny reflection on the whole vibrator thing ===

FYI: I don’t like the buzzword ‘vibe coding’. I think I’ve only really done it on pure vibes for a very short period. If you produce human-compatible specs almost following the SPICE model of your SWE ones and twos, I think ‘vibrator’ coding is an understatement. And in all honesty it’s not coding anymore. For me it’s just ‘software development’ now.

I am always afraid of being rusty of code-writing. But I am equally always anxious about diving too deep into code-writing and failing to see the bigger picture. 
Not one of the first 92 people to say this but leaving the implementations to agents frees me for more tactical and strategical decisions, and that really is a weakness of the agents. 
Them models and agents are getting better but still, they run into troubles. That is another aspect in this experience that makes me feel I’m still knocking around.


== A new age for making glorified slideshows as your music videos ==

For quite long a time I’ve been actively (or passively, depends) refusing to make videos that have motions for my songs. One of the reasons is that I thought that making those elements move in sync to the audio is something not practically automatable and would have to be reduced to human flesh proficiency. I don’t want to have that proficiency, partly for another reason I don’t like music videos: I myself always switch my visual perception off halfway or as soon as 1 minute into a song.

But Remotion really is a game changer for me personally. I actually had some experience animating stuff with the HTML/CSS/JS stack. And it’s actually amazing how it’s almost capable of editing ‘real’ videos in real time. I haven’t really done anything heavy, though, just your usual static assets floating around and dynamically (but deterministically) calculated visual effects.

The point here is that a Remotion ‘video’ project is described in code, so it’s light and agent-friendly. Modern HTML capabilities are mindboggling, and frankly maybe even the Mythos won’t be creative and imaginative enough to cook it to its full. So as a human I still need to know the ones and twos of what HTML/CSS is capable of and more importantly what code implementations to call on for the mental images. Or at least try to be fluent in a language so the coding agent gets you.


== How to have a conversation with an LLM, in the year of 2026, like it was 2019 ==

I consider myself open to new technologies and ideas yet slow to make the initial adaptation. My reasoning is that some of those on the technical level are no more than makeshifts that won’t be required that much once a paradigm shift or significant breakthrough is there on a higher level. 
An example would be the so-called prompt engineering. To hell with that is all I’ll say.

I’m still not fully embracing clustered multi-agent tasking, skills-based enforcing era of agentic working. Nor that my personal uses really need that much overhead. These might happen if I ever switch to a self-hosted agent framework like Hermes, but Claude Code, in honesty, does most of the memory/context stuff for me. 
Songwriting, the literal part, is even less suited to being made into a model, a set of procedures, a paradigm, or anything rigid. For really localised sub-tasks like typesetting or grammar checks it’s probably OK to use a routine skill, but for the softer, more creative parts, I believe simple and natural conversations is the way to go. 
That, and actively instructing about the inner mechanism of an LLM agent rather than truly simple and natural conversations. It’s just in the blood at this point now.


=== So, how to have that conversation? ===

The principle: you have to write yourself and ask for feedback, suggestions, reviews… responsive stuff that still won’t make it into the final product. Creative writing is not regulated, and I think it’s something the LLMs still struggle at.

My personal take is that an author bases all the literal (and musical) building blocks, the vocabulary, the composition, the imagery, etc., on a sentimental and semantic basis. When you try to convert that cluster of emotions and feelings and thoughts into language, it is always lossy. Speaking buzzwords, the '''vibe''' is a priori, and the textualisation of it is a posteriori. 
‘Human-in-the-loop’ was a hot concept, maybe not so much nowadays, but it is so true for computer assisted creative writing. The nuance here is perhaps if you label it as only an assistance, something needs to take the helm, to make out what that vibe, the target, actually is. The computer is just there to take over those responsibilities of the flesh database, the library visits, all that physical and data link layer actions.


==== Do not throw concrete blocks of thoughts from the top of your house, to the LLMs ====

Before we fall into the philosophical rabbit hole of whether LLM instances are sentient individuals and have individual minds, let’s pretend that they are similar to someone who simply is not the author. When approaching an arbitrary piece of text, this second individual can only attack from the surface and try to work out what’s between and behind the lines.

The tricky thing here is that, aside from the apparent formal lyrics, the conversational language that is supposed to convey that blob of thoughts, the vibe, is also text. It’s a best effort situation trying to transport the authentic underlying stuff with text. I personally think that’s why so many philosophers resorted to meticulous and mind paralysing word play. It kind of rose as the only way to shove one centimetre deeper into human minds. 
And it’s often the case that said target is not clear at the first few days of a project. The tendency for LLM (agents) of being overly eager to lock in onto some very specific keywords is actually helpful to me. That behaviour helps me steer away from overfitting my fuzzy blob of thoughts onto a strangely specific curvature of concrete concepts. Take the ''pulse'' song itself as an example, Claude Opus 4.7 was so fucking opinionated that what I was trying to describe was definitely a submarine, and threw at me all your periscopes and ballasts and Walter’s hydrogen peroxide drive systems*.

''*: Claude didn’t pop that up, but I read [https://wwiiafterwwii.wordpress.com/2026/03/21/walter-u-boat-technology-after-wwii/ a great blog about it on wwiiafterwwii]. Had to sneak it in.''

If you’re not a steadfast writer that can detect ‘no, it’s not right’ at first or second notice, that could be rather problematic. If you are, it’s problematic in a different way because the LLM can’t talk about a cloud of bodiless thoughts and will always try to condense that into something more specific. 
I actually gave up offloading the task for keeping the ‘fuzzily bounded region of thoughts’ in its shapeless shape to any LLM or even second human individual. It’s mostly a personal problem of not being able to convert it into words in an efficient way, but it’s a lingering problem and presumably unsolvable. It’s my thoughts only when it’s in my mind and I best keep it there.


==== But save yourself all the time for the mechanical works ====

I already talked about how to milk time for an additional cuppa tea by letting Claude Code do the utility wiring and plumbing. The same spirit can be translated to literal chores like picking the right words, grammar checks, rhythmic and rhyme matching, albeit to a lower level of automation. I had to keep the conversation going because this one is heavily Human-in-the-loop.

It’s difficult to generalise so I’ll just explain with an example. Take this couplet from our new favourite 12’53” song ''pulse under latent semantic envelopes'':

<pre>Lossy lies lament the ludicrous lawful liberty
Siren sounds soaken in the sauna of substantiality</pre>
This is part of the acrostic verse which spells ‘PULSE’. And for no specific reason I just decided that this two-liner will be alliterations with a bit of freedom for cements.

I basically started with:

<pre>Lossy l.. lament the ludicrous lawful l..
Siren sounds sunken ... sauna something</pre>
S is a good letter because it lets me sneak in the sauna. 
Then I told Claude Code that: > - The two lines will be alliterations but connecting words are exempted. > - <code>ludicrous</code> and <code>sauna</code> are must-keeps. > - Should serve as an emotional transition between the two lines above and the closing line. (at that time not fully confirmed, but the embedding was already there) 
> > So you should give me some words starting with <code>L</code> and some more starting with <code>S</code>. Follow the generic direction in the draft.

Well, roughly that, I can’t replicate my exact prompts. But the idea here is to hold the reins of expression and control where it heads. Doesn’t have to be exact if you’re still not sure, but OK to pin down as many constraints you feel like keeping. 
The problem is too many bobby pins will result in either a mission impossible or a complete sideways result, which is the only sane answer to an unanswerable question. Imagine requesting a zoom lens system that does everything from 8mm to 450mm, within an overall length of 450 mm, and a max aperture of F/1.7. That is nonsense and optical software will tell you so. The LLMs usually don’t but give you shite you most probably don’t want. 
And that’s where the author must make difficult decisions, or display his superhuman flexes with words. Common people like me just make sacrifices and reduce the ‘must fulfill’ list to a reasonable version. Like I must have the ‘L’ and ‘S’ alliterations, but with a bit of freedom; I need to keep the ‘ludicrous’ and ‘sauna’ words specifically; the general emotion should transition not too abruptly (and that’s one for me to judge, not entirely on Claude).

Some people like to just give Mr. AI a very, very concise prompt and take whatever he spits out, I don’t do that; some other people try to generalise the process and save them as skill MD files, I don’t do that either. My practice should be described as the fine-grained level of control I feel most comfortable with and nothing more than that.


== Quick summary ==

Creativity is still a largely human attribute, but it’s safe and helpful to offload the tooling and objective aspects of creating something to AIs. Generative or not. 
Copyright is a rather vague topic to code, but my stance is you shouldn’t let constructed morals get in the way of what you see crucial.
[[Category:Tech blog]]
[[Category:Blog:2026]]
[[Category:GenAI]]
[[Category:Music production]]
[[Category:Songwriting]]

Generative (and not) AI use in making the song 'pulse under latent semantic envelopes'

2026-06-15T03:26:24Z

Dubrowski: Auto-published from 2e7a0a26 (tech pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/tech-blogs/src/commit/2e7a0a26054644e32d0cfdb7f51b680708c05d14/blogs/2026-06-14_ai-stack-pulse.md|commit=2e7a0a26054644e32d0cfdb7f51b680708c05d14}}

Whether you like it or not, this is the age of general purpose generative AIs. There of course are still bulwarks of the human civilisation strongly opposing their infiltration into all walks of life, and the music industry is actually one of the stronger ones. 
Quality and creativity are very subjective properties, and I see complete end-to-end AI music generation (e.g. Suno/Studio, Udio, and sloppy budget options) as still lacking a bit of oomph in both. That is a very hot topic and I won’t delve deep into it. 
The important thing is I don’t and don’t plan to use end-to-end (text prompt to audio file) generative AI in what I see as my own recreational creative activities, like songwriting. Instead, I use AI technology in many supportive roles that simply put, makes life easier. 
I feel it’s probably a good idea to disclose how and where I use what sorts of AI. Not that these are classified or confidential or whatever to begin with.

'''Disclaimer''': this article is not brought to you by any of the projects / services / individuals / organisations mentioned below.


== Overview ==

The most controversial, I would imagine, application of modern generative AI in this song is the homebrew English TTS that kind of sounds like Yuzuki Yukari. I never said that is Yukari mind you. 
The exact repository used for this song (and the previous one, Tunnels) is [https://github.com/RVC-Boss/GPT-SoVITS this one]. I can even specify the commit hash I technically used throughout (haven’t really updated since I first cloned) but apparently no one cares about that. 
The moral and legal issues around this topic is very messy, but thankfully at least I’m amoral so only the legal concerns are a real thing.

My day job supposedly is about digital infrastructure maintenance, AI integration into DevOps, and stuff like that. I don’t like the job, but I do like the idea of letting machines do the hard labour for me. 
Much of my generative AI applications, especially in the example of the very song [https://wiki.novoyuuparosk.org/wiki/Pulse_under_latent_semantic_envelopes pulse under latent semantic envelopes], are that sort of stuff. To be more exact, I throw specs and reqs at Claude and let it make diagnostic and automation tools for me. At first glance some of them might reek of anything but music.

Another type of help is more directly related to something usually described as songwriting. When I write the lyrics I engage heavily with chatbots. Almost exclusively Claude now (driven by Sonnet 4.6 / Opus 4.7 this time). Obviously I don’t tell it to just write everything for me; the finalised version of lyrics is obviously bad like human authored lyrics should be. More details later.

At the final stages of production my faithful illustrator friend hako told me about [https://www.remotion.dev/ React-Remotion] which is really a thunderstorm that totally changed how I make my music videos. I don’t know if I’m going to elaborate on that but it deserves a shoutout for sure. A shoutout to [https://x.com/lxcombox hako], too. Support your local illustrators who know a thing or two about computers and laser diodes!


== Voice synthesis ==

The motive is dead simple: Yukari doesn’t have any English TTS package and I so want to write in English and have her do the songs in English. I know VOCALOID 6 is an option but it is not a practical option.

My requirements for a Yukari English TTS is kind of simple yet niche. The simplicity is that I don’t really need a lot of emotional or timbre variations, just the flat Shizuku voice would do; the niche is that I want a very unique accent. Somewhere else I described that as a mix of rallienglanti, Bristolian, and Aussie. In reality what I speak and what I actually want is probably more than that. I speak what I hear (and consider pleasing) and I hear a lot of stuff.

Very roughly and factually wrong all over the place, the theory for [https://github.com/RVC-Boss/GPT-SoVITS GPT-SoVITS] is that the procedure of converting text into speech is further broken down to two steps. '''GPT''' takes the text and embeds it as pronunciation markers (something like phonemes, but not exactly) and emotions (controls the rises and falls, maybe). '''SoVITS''' applies the vocal texture based on the intermediate embeddings. The reality is more complicated than that, but the important thing is you can separate accents (handled by GPT) and texture/timbre (handled by SoVITS) into very individual concerns. 
This setup is what makes possible patching speaker A’s voice with speaker B’s accents. For the very least you just train the SoVITS weights with A’s data, and GPT weights with B’s accents. Conceptually concise, innit. 
Theoretically, it is even possible to blend samples from different speakers into one training set. I haven’t really done that but I suspect the results would rather be amalgated than homogeneously blended. Apparently cherrypicking samples based on dominant features (e.g. Räikkönen for the tapped ‘R’s, shouty Aussie for the ’ey-ay’ bias, and Mixu Paatelainen for the plosives) could do something good. But I don’t know how good that might be and even if it gives me what I have in mind I don’t think I have the time (patience) to do the cherrypicking. I just wanted a quickie [sic].

Disclosure here is that for the voice that dubs the opening two verses and the introduction to signals and noises in the song ''pulse'', I used David Cameron Walker’s voice for the GPT part. And I haven’t bought my Dreamland subscription which I probably should do for my sins. 
''Anyone that listens to DCW’s pods should notice the voice in my song bears almost no similarity to the real Dave Walker, which is kind of a relief to me.'' 
I can at least leave a link to the most dedicated podcast about the (dominantly English) language of football [https://www.footballcliches.com/ here].

'''''Update:''''' ''I have subscribed to Dreamland now. For my sins.''


== Vibrator coded utilities ==

FYI: I don’t like the buzzword ‘vibe coding’. I think I’ve only really done it on pure vibes for a very short period. If you produce human-compatible specs almost following the SPICE model of your SWE ones and twos, I think ‘vibrator’ coding is an understatement.

But naming aside, that is basically how I came to finish my long-stalled mastering toolkit, which is the primary by-product of this song. You actually can find it on [https://github.com/mikkelimatlock/uj-mastering-master GitHub]. This is a Python-Qt tool that analyses several metrics I find useful when mastering / prepping for release a song. Most importantly LUFS. 
The dissatisfaction with Youlean Loudness Meter is that when used in FL Studio it wants me to play over the whole song in 1x speed to calculate the loudness across the whole song. Or I’ve been doing it wrong. And this is a hassle when the whole song is almost 13 minutes long. So I had to make a tool that spits out results for the 13 minutes in less than 13 minutes, simple as. 
The basis of the ''UJ mastering master'' was actually mostly hand-coded by myself ages ago, when it was a very, very crude command line non-interactive script that suddenly pops <code>matplotlib</code> plot windows. Peak UX that was, and we have come a long way.

Another very indirectly associated stack of utilities is my personal Gitea instance that runs on my Pi 5 at home. I felt uneasy about hosting my half-arsed songs on GitHub not because they are a fucking evil corporate, but because my songs are half-arsed. We all need a bit of privacy, no? 
''Of course I know there is private repo, I ain’t dumb. It’s psychologically more assuring to save something like your porn colletion in a physically private location.'' The point is I would never get this done properly xor in a way I can remember 30 minutes after I set it all up. So I let Claude Code configurate docker compose yamls and that’s mostly it. 
I even set up a Gitea action workflow (several workflows with shared bits) for publishing to my wiki from document/writing repos hosted there. That’s how you’re seeing this page. Or maybe not this exact page.


=== A tiny reflection on the whole vibrator thing ===

I am always afraid of being rusty of code-writing. But I am equally always anxious about diving too deep into code-writing and failing to see the bigger picture. 
Not one of the first 92 people to say this but leaving the implementations to agents frees me for more tactical and strategical decisions, and that really is a weakness of the agents. 
Them models and agents are getting better but still, they run into troubles. That is another thing in the agent coding experience that makes me feel I’m still knocking around.


== A new age for making glorified slideshows as your music videos ==

For quite long a time I’ve been actively (or passively, depends) refusing to make videos that have motions for my songs. One of the reasons is that I thought that making those elements move in sync to the audio is something not practically automatable and would have to be reduced to human flesh proficiency. I don’t want to have that proficiency, partly for another reason I don’t like music videos: I myself always switch my visual perception off halfway or as soon as 1 minute into a song.

But Remotion really is a game changer for me personally. I actually had some experience animating stuff with the HTML/CSS/JS stack. And it’s actually amazing how it’s almost capable of editing ‘real’ videos in real time. I haven’t really done anything heavy, though, just your usual static assets floating around and dynamically (but deterministically) calculated visual effects.

The point here is that a Remotion ‘video’ project is described in code, so it’s light and agent-friendly. Modern HTML capabilities are mindboggling, and frankly maybe even the Mythos won’t be creative an imaginative enough to cook it to its full. So as a human I still need to know the ones and twos of what HTML/CSS is capable of and more importantly what code implementations to call on for the mental images. Or at least try to be fluent in a language so the coding agent gets you.


== How to have a conversation with an LLM, in the year of 2026, like it was 2019 ==

I consider myself open to new technologies and ideas yet slow to make the initial adaptation. My reasoning is that some of those on the technical level are no more than makeshifts that won’t be required that much once a paradigm shift or significant breakthrough is there one a higher level. 
An example would be the so-called prompt engineering. To hell with that is all I’ll say.

I’m still not fully embracing clustered multi-agent tasking, skills-based enforcing era of agentic working. Nor that my personal uses really need that much overhead. These might happen if I ever switch to a self-hosted agent framework like Hermes, but Claude Code, in honesty, does most of the memory/context stuff for me. 
Songwriting, the literal part, is even less suited to being made into a model, a set of procedures, a paradigm, or anything rigid. For really localised sub-tasks like typesetting or grammar checks it’s probably OK to use a routine skill, but for the softer, more creative parts, I believe simple and natural conversations is the way to go. 
That, and actively instructing about the inner mechanism of an LLM agent rather than truly simple and natural conversations. It’s just in the blood at this point now.
[[Category:Tech blog]]
[[Category:Blog:2026]]
[[Category:GenAI]]
[[Category:Music production]]
[[Category:Songwriting]]

You and me and a gentle journey

2026-06-14T12:20:24Z

Dubrowski: Auto-published from 6733a635 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/6733a6356a400490a05f36a18e27236299f396db/kairo/kimito_en.md|commit=6733a6356a400490a05f36a18e27236299f396db}}

The classic. Old working notes in [[Looking_into_You_and_me_(ry_and_a_brand_new_translation|another page]].


== Lyrics ==

<div style="display:flex; gap:3em; align-items:flex-start"><poem>
'''君と私と穏やかな旅'''

いつか見た夢の話
遠い遠い国のこと
仕舞い忘れた
私たちの旅

忘れ物
置いてきた
網棚の上にあった

まだ時間が
かかるみたい
寝てていいよ
ほら肩にもたれて

深い深い眠りに落ちると
聞こえるの
ほら　懐かしい声
君の声

二人ならどこまででも
行けると信じていると
笑う君を
ああ愛しいと思う

流れてく景色
揺れる列車とこの思いが
紡ぐ旅に
今は身を任せよ

二人で歩けないなら
そこに意味はないんだと
泣いた君を
ああ美しいと思う

境界を越えて届け
あの日の記憶の欠片
いつか思い出すよ
この旅路を
</poem><poem>
'''You and me and a gentle journey'''

You know there was a dream I had long ago
Of a somewhere that is far away
And a journey for the two of us
An end I am yet to have you see

All of the lost stuff
Collecting but dust
Forgotten up there on overhead racks

It’s going to take time
Until the end and should
(should) you feel like dreaming
You’re always welcome on my shoulder

A voice of comfort
A voice of yours

The scenery a-flowing by
The swaying train, and this feeling merged and intertwined
In a stream of journey to which
For now I shall give myself away

If not with me you abide
There won’t be not such meaningful events left

To go across the borderline
</poem></div>
[[Category:Songs]]
[[Category:Album:kairo III]]
[[Category:kairo]]

You and me and a gentle journey

2026-06-13T20:13:17Z

Dubrowski: Auto-published from f0fca675 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/f0fca675ea5c3102bb2e9b7fe0bc212d03dd408d/kairo/kimito_en.md|commit=f0fca675ea5c3102bb2e9b7fe0bc212d03dd408d}}

The classic. Old working notes in [[Looking_into_You_and_me_(ry_and_a_brand_new_translation|another page]].


== Lyrics ==

<div style="display:flex; gap:3em; align-items:flex-start">
<poem>
君と私と穏やかな旅

いつか見た夢の話
遠い遠い国のこと
仕舞い忘れた
私たちの旅

忘れ物
置いてきた
網棚の上にあった

まだ時間が
かかるみたい
寝てていいよ
ほら肩にもたれて

深い深い眠りに落ちると
聞こえるの
ほら　懐かしい声
君の声

二人ならどこまででも
行けると信じていると
笑う君を
ああ愛しいと思う

流れてく景色
揺れる列車とこの思いが
紡ぐ旅に
今は身を任せよ

二人で歩けないなら
そこに意味はないんだと
泣いた君を
ああ美しいと思う

境界を越えて届け
あの日の記憶の欠片
いつか思い出すよ
この旅路を
</poem>
<poem>
You and me and a gentle journey

You know there was a dream I had long ago
Of a somewhere that is far away
And a journey for the two of us
An end I am yet to have you see

All of the lost stuff
Collecting but dust
Forgotten up there on overhead racks

It’s going to take time
Until the end and should
(should) you feel like dreaming
You’re always welcome on my shoulder

A voice of comfort
A voice of yours

The scenery a-flowing by
The swaying train, and this feeling merged and intertwined
In a stream of journey to which
For now I shall give myself away

If not with me you abide
There won’t be not such meaningful events left

To go across the borderline
</poem>
</div>
[[Category:Songs]]
[[Category:Album:kairo III]]
[[Category:kairo]]

SES:Niina Koivisto

2026-06-11T02:42:38Z

Dubrowski: Auto-published from ec0fb878 (ses pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ses-light-novel/src/commit/ec0fb878a57572c50a42940b40d2693776819a87/world/people/koivisto.md|commit=ec0fb878a57572c50a42940b40d2693776819a87}}

Niina Koivisto is a person mostly known for founding the band [<nowiki/>[[#shirakaba-express-service|Shirakaba Express Service]]]. She is also currently the sole member of said band. 
She is also the operator of an independent station [[Novoyuuparosk Radio]].


= Personal life =

Something about her personal life


= Music =


== Shirakaba Express Service ==


== Shirakaba Express Service II ==


= Radio =
[[Category:SES]]
[[Category:SES:people]]

SES:Wakkanai

2026-06-11T02:42:38Z

Dubrowski: Auto-published from ec0fb878 (ses pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ses-light-novel/src/commit/ec0fb878a57572c50a42940b40d2693776819a87/stories/wakkanai.md|commit=ec0fb878a57572c50a42940b40d2693776819a87}}


== Note ==

Around the end of September, along the Saropet line.


== Section 1 ==


=== The coast or the shore, and darkness approaching ===

Last I looked at my watch, it was 16:00 just; several minutes (or maybe less than ‘several’), so it’s around 16:00. The skies are becoming slightly darker. I’m not exactly sure if it is really darker, because the cloud or the fog fuzzies the remaining sunlight. But judging from the time, it probably is getting darker. 
I open the door and land my feet on the ground for a first time in several hours. It’s not always good how human civilisation has retreated from sparsely populated corners like this, but it’s good to be able to park wherever and whenever I want to.

There is no wind, almost. Which is curious. Nine times out of eight these coasts are terrifyingly windy, and it must have something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the less watery land, so the air stays mostly stationary. 
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It’s about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It’s a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.

Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won’t extend my trips beyond control. And I’m well under control now. There’s less than 3 hours to go until I should arrive in Wakkanai. I don’t know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I’m probably sure is that keeping my times managed gives me a slight satisfactory sensation.

I think I must have stopped for at least 10 minutes now. The skies have surely become even darker since I last commented on them becoming slightly darker. Darkness is something I don’t intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it’s dark, it’s hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury.

I have a rather negative emotion towards my own death, but I can’t find a precise word or simple phrase to describe that. Well, an imperfect approximate would be ‘I don’t want to die’. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I’ve actually met a lot of people interested in seeking after such explanations. I think I’ve only said this to Emms and Sags, and I’m sure they were not especially fond of it.

But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I’m driving. This hatred does not lend itself to other circumstances i.e. when I’m not driving. I think I enjoy darkness rather wholeheartedly, when I’m not driving.

I hate tunnels unconditionally, by the way. It’s a relief that from where I am now until Wakkanai proper there shouldn’t be any really long tunnels. One or two extremely short tunnels could have slipped my memories and ambush me up there, but these are more like extended gates rather than short tunnels.


=== The Bakkai ===

Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, The Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It’s just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.

Contrary to popular belief, I never thought it immoral to like place only for its name, the phonological and typological properties, and not due to the (usually mediocre) history behind it. And what’s even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective ‘mediocre’.

Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.

Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye.

If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I’m still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I’m ahead of that by a good margin.


=== The cheeseburger, and regret ===

And thus, it’s time for a break. Maybe not ‘thus’, a break doesn’t depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in ’Do as the reason for me to have a break. I don’t think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it.

To some, there is an extra layer of significance that it’s also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason.

Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac.

The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate.

Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my Crater and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.

Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally.

There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.

At times like these - or more precisely, after times like these, people, I included, might tend to think that they’ve done something mean, improper, bad, immoral, …, wrong. In this instance, a more ‘appropriate’ take might have been initiating a social conversation with the girl. Then I realise I’m just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I.

And I don’t blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a comfortably irrational mindset, so some of that way of thinking have contacted me. It’s not ideal if I want to live completely logical, but it’s acceptable given that I know I am not a relatively simple automaton.

Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I’m quite sure these have stayed in the fryer for more time than they should. Which is fine by me.

I am totally unsure why I opted for a cheeseburger rather than anything else now. It’s not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered ‘regret’. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they’ve axed many of the old time favourites citing scarcity of everything as a reason.) but I don’t regret it. I don’t regret most of my decisions.

I am here even going the extra centimetre to try and dig from my memory one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement true: I don’t regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn’t rule that out too soon.


=== The metropolitan Wakkanai ===

Wakkanai is anything but a charm for those expecting activities after night falls. Sapporo still had that last bit of metropolitan madness left when I last went there. It was bad.

The lack of entertainment, psychological excitement, and physical illuminations is not as uncharming to me as to some. Surely at some point in history Wakkanai also had its trade port-type prosperity (alongside all of the bad aspects of being a prosperous trade port). That still would be a different brand of charm than that of central Sapporo, or the famed… whatever it is, one of those central areas of Tokyo which I’ve never been to. Supposedly always bright even at night unless electricity dies.

I did, for my sins, grow up in a very urban part of Helsinki. At an inappropriate age all things considered. There might have been a world where I enjoyed that lifestyle so much that I already killed myself when Helsinki was reduced to ashes. That is already way too unimaginable at this point. I distanced myself from it, or was distanced from it so much that I cannot even try to go into any kind of realistic detail.

Wakkanai is very quiet now. In many aspects. Where I am staying was a rather premium hotel. Now it is a place where people come and stay the night and little more than that. The room now is only half of the original room, and I wouldn’t easily purchase that a premium hotel used collapsible pipe beds and apparently harshly used tatamis on the pipe beds. The building, in contrary, was sturdily built and is still holding together very impressively, while some of its contemporaries had already crumbled, partly collapsed, or already returned to an empty block of ground.

Kudos to whoever did the recycling, I’m quite sure the materials are fervorously sought after. The ancient horrors of asbestos are a somewhat obsolete topic nowadays, as those asbestos-insulated buildings are mostly dealt with (properly or not) until two decades ago. What construction and deconstruction tradies face now are walls that have everything integrated: water pipes, gas pipes, high voltage conduits, low voltage conduits, and all other cables or pipes that probably only became a de facto standard for buildings since the 1980s but have persisted ever since. These are not as lethal as the asbestos, but they do render recycling whole builidings way, way more of a hassle. Wasn’t really a problem when building materials was abundantly produced and nobody really thought about recycling buildings, but now building materials are not abundant no more. Then there’s the problem. But thankfully that’s not my problem for today. I don’t face work problems off work, never.

Then again, it really is quiet. No sounds of buildings being taken down, torn apart; no sounds of things being constructed, neither. Of course, wind blows all the time, from time to time a car passes by, and by good or rotten luck I even hear a drunkard producing drunkard noises around. I am doubtful if the guy could live to see the next sunrise but honestly that’s not one of my biggest concerns.

I am tired after all the driving and sightseeing detours. I need to lie down and keep my body in that state for some consecutive hours so my legs can recover. From fatigue, mostly, but also from the injuries that simply refuses to completely check out. Or maybe at this point it’s part of the fatigue already. I am not sure.

I’ll just leave the radio stuff for tomorrow.


== Section 2 ==


=== The northern morning ===

Very early in the morning, I wake up. My legs are still kind of sore from yesterday’s driving, but the mind feels fresh enough to convince me that I had a decent sleep. There is that vague yet assertive threshold for anyone that wakes up to judge whether they’re really sober or still in a bootup sequence. To me it is mostly the dreams. If the dreams are totally gone, I’m awake.

I had only the slightest of dreams last night. Probably due to fatigue from more than yesterday. Sometimes, your body just keeps going without much trouble under high load and stress for extended periods. Then it breaks down completely or slightly better, you sleep really well without dreams and much longer than usual. The latter just happened to me. And it’s better than the other option.

The morning air is cold, though arguably somewhat warmer than the latitudinal counterparts because this is an island and the climate is more oceanic and else. It’s not a helpful concept when the open air is essentially way colder than the room air, and I just migrated from the latter to the former.

There is a refreshing aspect that I appreciate much in the coldness. I like a degree of cold that is not lethal but makes me a bit uncomfortable. Only the slightest bit. Or I should phrase it as the level of discomfort that just veers from the comfortable side of the comfort threshold to the opposite. This sort of really mild hypothermal pain is, in my honest opinion, one of the mild pains that keeps humans (or at least me myself) conscious of their state of living. Sometimes the pain goes beyond the definition of ‘mild’ and that’s when it becomes a bit disturbing, annoying, devastating, you name it.

Standard is something that varies by perspective. I appreciate mildly painful colds, and others don’t. Emy White is an example. It makes me wonder…

And the perspective thing applies to more than human beings. The Crater, my truck, does not appreciate cold temperatures - by design, literally. Of course, there are specialised features that make sure it works in the cold. Which means that if it’s not cold these features are not necessary and more dead weight than functional components.
[[Category:SES]]
[[Category:SES:stories]]

SES:Wakkanai

2026-06-11T02:10:38Z

Dubrowski: Auto-published from 6d77fbbe (ses pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ses-light-novel/src/commit/6d77fbbe3ed9d3a58ad22ce24650b8a21c86d87a/stories/wakkanai.md|commit=6d77fbbe3ed9d3a58ad22ce24650b8a21c86d87a}}


== Note ==

Around the end of September, along the Saropet line.


== Section 1 ==


=== The coast or the shore, and darkness approaching ===

Last I looked at my watch, it was 16:00 just; several minutes (or maybe less than ‘several’), so it’s around 16:00. The skies are becoming slightly darker. I’m not exactly sure if it is really darker, because the cloud or the fog fuzzies the remaining sunlight. But judging from the time, it probably is getting darker. 
I open the door and land my feet on the ground for a first time in several hours. It’s not always good how human civilisation has retreated from sparsely populated corners like this, but it’s good to be able to park wherever and whenever I want to.

There is no wind, almost. Which is curious. Nine times out of eight these coasts are terrifyingly windy, and it must have something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the less watery land, so the air stays mostly stationary. 
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It’s about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It’s a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.

Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won’t extend my trips beyond control. And I’m well under control now. There’s less than 3 hours to go until I should arrive in Wakkanai. I don’t know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I’m probably sure is that keeping my times managed gives me a slight satisfactory sensation.

I think I must have stopped for at least 10 minutes now. The skies have surely become even darker since I last commented on them becoming slightly darker. Darkness is something I don’t intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it’s dark, it’s hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury.

I have a rather negative emotion towards my own death, but I can’t find a precise word or simple phrase to describe that. Well, an imperfect approximate would be ‘I don’t want to die’. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I’ve actually met a lot of people interested in seeking after such explanations. I think I’ve only said this to Emms and Sags, and I’m sure they were not especially fond of it.

But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I’m driving. This hatred does not lend itself to other circumstances i.e. when I’m not driving. I think I enjoy darkness rather wholeheartedly, when I’m not driving.

I hate tunnels unconditionally, by the way. It’s a relief that from where I am now until Wakkanai proper there shouldn’t be any really long tunnels. One or two extremely short tunnels could have slipped my memories and ambush me up there, but these are more like extended gates rather than short tunnels.


=== The Bakkai ===

Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, The Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It’s just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.

Contrary to popular belief, I never thought it immoral to like place only for its name, the phonological and typological properties, and not due to the (usually mediocre) history behind it. And what’s even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective ‘mediocre’.

Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.

Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye.

If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I’m still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I’m ahead of that by a good margin.


=== The cheeseburger, and regret ===

And thus, it’s time for a break. Maybe not ‘thus’, a break doesn’t depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in ’Do as the reason for me to have a break. I don’t think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it.

To some, there is an extra layer of significance that it’s also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason.

Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac.

The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate.

Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my Crater and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.

Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally.

There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.

At times like these - or more precisely, after times like these, people, I included, might tend to think that they’ve done something mean, improper, bad, immoral, …, wrong. In this instance, a more ‘appropriate’ take might have been initiating a social conversation with the girl. Then I realise I’m just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I.

And I don’t blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a comfortably irrational mindset, so some of that way of thinking have contacted me. It’s not ideal if I want to live completely logical, but it’s acceptable given that I know I am not a relatively simple automaton.

Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I’m quite sure these have stayed in the fryer for more time than they should. Which is fine by me.

I am totally unsure why I opted for a cheeseburger rather than anything else now. It’s not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered ‘regret’. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they’ve axed many of the old time favourites citing scarcity of everything as a reason.) but I don’t regret it. I don’t regret most of my decisions.

I am here even going the extra centimetre to try and dig from my memory one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement true: I don’t regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn’t rule that out too soon.


=== The metropolitan Wakkanai ===

Wakkanai is anything but a charm for those expecting activities after night falls. Sapporo still had that last bit of metropolitan madness left when I last went there. It was bad.

The lack of entertainment, psychological excitement, and physical illuminations is not as uncharming to me as to some. Surely at some point in history Wakkanai also had its trade port-type prosperity (alongside all of the bad aspects of being a prosperous trade port). That still would be a different brand of charm than that of central Sapporo, or the famed… whatever it is, one of those central areas of Tokyo which I’ve never been to. Supposedly always bright even at night unless electricity dies.

I did, for my sins, grow up in a very urban part of Helsinki. At an inappropriate age all things considered. There might have been a world where I enjoyed that lifestyle so much that I already killed myself when Helsinki was reduced to ashes. That is already way too unimaginable at this point. I distanced myself from it, or was distanced from it so much that I cannot even try to go into any kind of realistic detail.

Wakkanai is very quiet now. In many aspects. Where I am staying was a rather premium hotel. Now it is a place where people come and stay the night and little more than that. The room now is only half of the original room, and I wouldn’t easily purchase that a premium hotel used collapsible pipe beds and apparently harshly used tatamis on the pipe beds. The building, in contrary, was sturdily built and is still holding together very impressively, while some of its contemporaries had already crumbled, partly collapsed, or already returned to an empty block of ground.

Kudos to whoever did the recycling, I’m quite sure the materials are fervorously sought after. The ancient horrors of asbestos are a somewhat obsolete topic nowadays, as those asbestos-insulated buildings are mostly dealt with (properly or not) until two decades ago. What construction and deconstruction tradies face now are walls that have everything integrated: water pipes, gas pipes, high voltage conduits, low voltage conduits, and all other cables or pipes that probably only became a de facto standard for buildings since the 1980s but have persisted ever since. These are not as lethal as the asbestos, but they do render recycling whole builidings way, way more of a hassle. Wasn’t really a problem when building materials was abundantly produced and nobody really thought about recycling buildings, but now building materials are not abundant no more. Then there’s the problem. But thankfully that’s not my problem for today. I don’t face work problems off work, never.

Then again, it really is quiet. No sounds of buildings being taken down, torn apart; no sounds of things being constructed, neither. Of course, wind blows all the time, from time to time a car passes by, and by good or rotten luck I even hear a drunkard producing drunkard noises around. I am doubtful if the guy could live to see the next sunrise but honestly that’s not one of my biggest concerns.

I am tired after all the driving and sightseeing detours. I need to lie down and keep my body in that state for some consecutive hours so my legs can recover. From fatigue, mostly, but also from the injuries that simply refuses to completely check out. Or maybe at this point it’s part of the fatigue already. I am not sure.

I’ll just leave the radio stuff for tomorrow.


== Section 2 ==


=== The northern morning ===

Very early in the morning, I wake up. My legs are still kind of sore from yesterday’s driving, but the mind feels fresh enough to convince me that I had a decent sleep. There is that vague yet assertive threshold for anyone that wakes up to judge whether they’re really sober or still in a bootup sequence. To me it is mostly the dreams. If the dreams are totally gone, I’m awake.

I had only the slightest of dreams last night. Probably due to fatigue from more than yesterday. Sometimes, your body just keeps going without much trouble under high load and stress for extended periods. Then it breaks down completely or slightly better, you sleep really well without dreams and much longer than usual. The latter just happened to me. And it’s better than the other option.

The morning air is cold, though arguably somewhat warmer than the latitudinal counterparts because this is an island and the climate is more oceanic and else. It’s not a helpful concept when the open air is essentially way colder than the room air, and I just migrated from the latter to the former.

There is a refreshing aspect that I appreciate much in the coldness. I like a degree of cold that is not lethal but makes me a bit uncomfortable. Only the slightest bit. Or I should phrase it as the level of discomfort that just veers from the comfortable side of the comfort threshold to the opposite. This sort of really mild hypothermal pain is, in my honest opinion, one of the mild pains that keeps humans (or at least me myself) conscious of their state of living. Sometimes the pain goes beyond the definition of ‘mild’ and that’s when it becomes a bit disturbing, annoying, devastating, you name it.

Standard is something that varies by perspective. I appreciate mildly painful colds, and others don’t. Emy White is an example. It makes me wonder…

And the perspective thing applies to more than human beings. The Crater, my truck, does not appreciate cold temperatures - by design, literally. Of course, there are specialised features that make sure it works in the cold. Which means that if it’s not cold these features are not necessary and more dead weight than functional components.
[[Category:SES]]
[[Category:SES:story]]

SES:Wakkanai

2026-06-11T01:48:29Z

Dubrowski: Auto-published from b690ad54 (ses pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ses-light-novel/src/commit/b690ad54d45daeb86b721ded84d12c9cc4a03d15/stories/wakkanai.md|commit=b690ad54d45daeb86b721ded84d12c9cc4a03d15}}


== Note ==

Around the end of September, along the Saropet line.


== Section 1 ==


=== The coast or the shore, and darkness approaching ===

Last I looked at my watch, it was 16:00 just; several minutes (or maybe less than ‘several’), so it’s around 16:00. The skies are becoming slightly darker. I’m not exactly sure if it is really darker, because the cloud or the fog fuzzies the remaining sunlight. But judging from the time, it probably is getting darker. 
I open the door and land my feet on the ground for a first time in several hours. It’s not always good how human civilisation has retreated from sparsely populated corners like this, but it’s good to be able to park wherever and whenever I want to.

There is no wind, almost. Which is curious. Nine times out of eight these coasts are terrifyingly windy, and it must have something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the less watery land, so the air stays mostly stationary. 
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It’s about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It’s a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.

Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won’t extend my trips beyond control. And I’m well under control now. There’s less than 3 hours to go until I should arrive in Wakkanai. I don’t know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I’m probably sure is that keeping my times managed gives me a slight satisfactory sensation.

I think I must have stopped for at least 10 minutes now. The skies have surely become even darker since I last commented on them becoming slightly darker. Darkness is something I don’t intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it’s dark, it’s hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury.

I have a rather negative emotion towards my own death, but I can’t find a precise word or simple phrase to describe that. Well, an imperfect approximate would be ‘I don’t want to die’. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I’ve actually met a lot of people interested in seeking after such explanations. I think I’ve only said this to Emms and Sags, and I’m sure they were not especially fond of it.

But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I’m driving. This hatred does not lend itself to other circumstances i.e. when I’m not driving. I think I enjoy darkness rather wholeheartedly, when I’m not driving.

I hate tunnels unconditionally, by the way. It’s a relief that from where I am now until Wakkanai proper there shouldn’t be any really long tunnels. One or two extremely short tunnels could have slipped my memories and ambush me up there, but these are more like extended gates rather than short tunnels.


=== The Bakkai ===

Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, The Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It’s just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.

Contrary to popular belief, I never thought it immoral to like place only for its name, the phonological and typological properties, and not due to the (usually mediocre) history behind it. And what’s even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective ‘mediocre’.

Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.

Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye.

If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I’m still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I’m ahead of that by a good margin.


=== The cheeseburger, and regret ===

And thus, it’s time for a break. Maybe not ‘thus’, a break doesn’t depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in ’Do as the reason for me to have a break. I don’t think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it.

To some, there is an extra layer of significance that it’s also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason.

Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac.

The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate.

Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my Crater and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.

Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally.

There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.

At times like these - or more precisely, after times like these, people, I included, might tend to think that they’ve done something mean, improper, bad, immoral, …, wrong. In this instance, a more ‘appropriate’ take might have been initiating a social conversation with the girl. Then I realise I’m just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I.

And I don’t blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a comfortably irrational mindset, so some of that way of thinking have contacted me. It’s not ideal if I want to live completely logical, but it’s acceptable given that I know I am not a relatively simple automaton.

Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I’m quite sure these have stayed in the fryer for more time than they should. Which is fine by me.

I am totally unsure why I opted for a cheeseburger rather than anything else now. It’s not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered ‘regret’. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they’ve axed many of the old time favourites citing scarcity of everything as a reason.) but I don’t regret it. I don’t regret most of my decisions.

I am here even going the extra centimetre to try and dig from my memory one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement true: I don’t regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn’t rule that out too soon.


=== The metropolitan Wakkanai ===

Wakkanai is anything but a charm for those expecting activities after night falls. Sapporo still had that last bit of metropolitan madness left when I last went there. It was bad.

The lack of entertainment, psychological excitement, and physical illuminations is not as uncharming to me as to some. Surely at some point in history Wakkanai also had its trade port-type prosperity (alongside all of the bad aspects of being a prosperous trade port). That still would be a different brand of charm than that of central Sapporo, or the famed… whatever it is, one of those central areas of Tokyo which I’ve never been to. Supposedly always bright even at night unless electricity dies.

I did, for my sins, grow up in a very urban part of Helsinki. At an inappropriate age all things considered. There might have been a world where I enjoyed that lifestyle so much that I already killed myself when Helsinki was reduced to ashes. That is already way too unimaginable at this point. I distanced myself from it, or was distanced from it so much that I cannot even try to go into any kind of realistic detail.

Wakkanai is very quiet now. In many aspects. Where I am staying was a rather premium hotel. Now it is a place where people come and stay the night and little more than that. The room now is only half of the original room, and I wouldn’t easily purchase that a premium hotel used collapsible pipe beds and apparently harshly used tatamis on the pipe beds. The building, in contrary, was sturdily built and is still holding together very impressively, while some of its contemporaries had already crumbled, partly collapsed, or already returned to an empty block of ground.

Kudos to whoever did the recycling, I’m quite sure the materials are fervorously sought after. The ancient horrors of asbestos are a somewhat obsolete topic nowadays, as those asbestos-insulated buildings are mostly dealt with (properly or not) until two decades ago. What construction and deconstruction tradies face now are walls that have everything integrated: water pipes, gas pipes, high voltage conduits, low voltage conduits, and all other cables or pipes that probably only became a de facto standard for buildings since the 1980s but have persisted ever since. These are not as lethal as the asbestos, but they do render recycling whole builidings way, way more of a hassle. Wasn’t really a problem when building materials was abundantly produced and nobody really thought about recycling buildings, but now building materials are not abundant no more. Then there’s the problem. But thankfully that’s not my problem for today. I don’t face work problems off work, never.

Then again, it really is quiet. No sounds of buildings being taken down, torn apart; no sounds of things being constructed, neither. Of course, wind blows all the time, from time to time a car passes by, and by good or rotten luck I even hear a drunkard producing drunkard noises around. I am doubtful if the guy could live to see the next sunrise but honestly that’s not one of my biggest concerns.

I am tired after all the driving and sightseeing detours. I need to lie down and keep my body in that state for some consecutive hours so my legs can recover. From fatigue, mostly, but also from the injuries that simply refuses to completely check out. Or maybe at this point it’s part of the fatigue already. I am not sure.

I’ll just leave the radio stuff for tomorrow.


== Section 2 ==


=== The northern morning ===

Very early in the morning, I wake up. My legs are still kind of sore from yesterday’s driving, but the mind feels fresh enough to convince me that I had a decent sleep. There is that vague yet assertive threshold for anyone that wakes up to judge whether they’re really sober or still in a bootup sequence. To me it is mostly the dreams. If the dreams are totally gone, I’m awake.

I had only the slightest of dreams last night. Probably due to fatigue from more than yesterday. Sometimes, your body just keeps going without much trouble under high load and stress for extended periods. Then it breaks down completely or slightly better, you sleep really well without dreams and much longer than usual. The latter just happened to me. And it’s better than the other option.

The morning air is cold, though arguably somewhat warmer than the latitudinal counterparts because this is an island and the climate is more oceanic and else. It’s not a helpful concept when the open air is essentially way colder than the room air, and I just migrated from the latter to the former.

There is a refreshing aspect that I appreciate much in the coldness. I like a degree of cold that is not lethal but makes me a bit uncomfortable. Only the slightest bit. Or I should phrase it as the level of discomfort that just veers from the comfortable side of the comfort threshold to the opposite. This sort of really mild hypothermal pain is, in my honest opinion, one of the mild pains that keeps humans (or at least me myself) conscious of their state of living. Sometimes the pain goes beyond the definition of ‘mild’ and that’s when it becomes a bit disturbing, annoying, devastating, you name it.

Standard is something that varies by perspective. I appreciate mildly painful colds, and others don’t. Emy White is an example. It makes me wonder…

And the perspective thing applies to more than human beings. The Crater, my truck, does not appreciate cold temperatures - by design, literally. Of course, there are specialised features that make sure it works in the cold. Which means that if it’s not cold these features are not necessary and more dead weight than functional components.
[[Category:SES]]
[[Category:SES:story]]

Pulse under latent semantic envelopes

2026-06-11T01:42:21Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/03bff2ddbc090f6656247022fda5be352e5cf110/ses/pulse.md|commit=03bff2ddbc090f6656247022fda5be352e5cf110}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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 of 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.

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. The plan was based on how things went in ‘rover over virtually eternal roundabouts’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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, apparently less meaningful than any component was. 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, most of the time) 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.

In more straightforward laymen’s language, the song states the fact that those dumb people like me who keeps sending out pulses nobody else cares (or cared by only a significantly minor group) are probably not doing it to get responses or replies. They do it for the sake of it.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

Tunnels

2026-06-11T01:42:19Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

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== Lyrics ==

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.

''Interlude'' 
月も星も、見えぬ。 
靄は眩む。

集中すればするほど、 
輪郭が、溶けていく。

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.
[[Media:Tunnels.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

Pulse under latent semantic envelopes - development notes

2026-06-11T01:42:19Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

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The remaining bits of how I came to all this. For the actual song page, see [[pulse under latent semantic envelopes]].


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 
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 
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


== Construction zone ==

The first locked in draft version of the song. Things got developed even after this version. 
''and yes, I did use a C++ code block to write my lyrics.''

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Songwriting notes]]

Sauna as ubiquitous neural analeptic

2026-06-11T01:42:19Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/03bff2ddbc090f6656247022fda5be352e5cf110/paxprotej/sauna_v2.md|commit=03bff2ddbc090f6656247022fda5be352e5cf110}}

This is the acoustic refurbished version of the 2022 song <code>sauna as universal neural analeptic</code> (which is yet to get a page).


== Lyrics ==

Waking up from the illusions last night 
In a desert of cliches and mirages 
They have beautiful names and murderous decorations 
For them starry-eyed storm chasers 
While we are rovers that no one would come after 
My stereo blasting unsung classics 
On our way of an escape from 
Psychedelic asphyxiation

Come is the cloud with boots of rain 
Pouring down into the fjords and lagging the train 
Our last umbrella lost in vain 
Only tears remain on the radar display 
The lonely arctic spring creeps into my brain 
The circuit in my vein weeps 
Over the birth and destined death of yet another 
Poetic creation

I try to be a seeker, a lover and a distributor 
Of the ultimate hype about 
A multitude of neural communications 
Excited by the raving steam coming off your stone 
My songs are the fuel for the heating solution 
So we set out for the poet annihilation 
In search for a salvation to both parties’ 
Existential problems

The setting sun and an extended lack of daylight 
I crave for my sanity veering out of my sight 
The teletext says it’ll snow again tonight 
To extinguish every endless fight 
We still can’t resist the temptation to hate 
And we strive to avoid devastation as fate 
Then we just recover the remains of 
Our own conclusions

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting 
Absurdly comforting
[[Media:sauna as ubiquitous neural analeptic.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Shimizusawa

2026-06-11T01:42:19Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

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[https://www.shimizusawa.com/ Shimizusawa Project]


== Lyrics ==

黒い黒いダイヤは 
二度(ふたたび)眠りに落ちた　煤けた煙突は 
一つずつ土に帰った

見慣れた日常が 
なくなり続けても 
清い水はこの沢に 
ただ流れていく
[[Media:Shimizusawa.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Paranoma

2026-06-11T01:42:19Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

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== Lyrics ==

'''[1]''' 
馴染みのなかった街に降りて 
人の流れに潜り込んで 
痺れる日常からの 
僅か数千分の逃避行は 
今から始まる。

地図でしか見てなかった世界を 
足と目で確かめながら 
呼び方も知らない、意味も分からない全てを 
密やかにこの脳に 
パノラマで写す。

他人の枠組みに入れない旅人は 
旅先をふるさとにするつもりもない。 
期間限定の旅を終わらせないと 
逃げられない常設に墜ちてなるから。

'''[0]''' 
私は汽車です。私は駅舎です。私はプラットフォームです。私は架線柱です。私は歩道橋です。私は自動販売機です。私は枕木です。私は踏切です。私はガソリンスタンドです。私は公衆トイレです。私はエスカレーターです。私は軽油機関です。私はダイナモです。 
私は…私たちは… 
私たちは道です。私たちは、生命のない、旅を支えたものです。

足の代替としての私たちはただ、人を行きたいところに運ぶ。 
生命じゃなく寿命がある私たちは、寿命が終わるまで人間と付き合い続けている。

人間が出会いをする時。 
人間が別れをする時。 
人間が喜びを感じる時。 
人間が寂しさを感じる時。 
人間が人間らしいことをする時。 
人間が人間らしく感情を感じる時。 
生命も感情もない私たちは、生命も感情も有する人間たちの記憶の一部になる。 
それが楽しいことであろうか、私たちはわからないけど。 
それが悲しいことであろうか、私たちはわからないけど。 
それが素晴らしいことであろうか、私たちはわからないけど。 
それがくだらないことであろうか、私たちはわからないけど。

それが美しいことであろうか、私たちはわからないけど。

わかるはずもないけど。

道は旅の目的ではなく、手段であるはずでした。 
でも道にも美しさが宿っている。 
私たちの旅は道に刻まれ、道は私たちの旅に刻まれた。 
例え私たちが消えても、道が消えても、 
記憶は生き続けるだろう。

'''[2]''' 
ひとりで旅立つのは好きです。 
ひとりで見た景色と、通った道が好きです。 
孤独が嫌いではないけど、 
ひとりの旅は決して孤独の旅ではない。

煙のない煙突と湯のない風呂 
崩れ続ける鉄道橋と解体されている発電所 
錆びた道路標識と剥がれた防錆塗装 
トンネルを終わらせる光と雪に埋めた電波塔 
人気のない街とアスファルトに残った足跡

誰かがそれを見たでしょう。誰かがそれを見るだろう。

いつか見た景色が 
幾千の目に映ったことを想像して 
世界と非同期に繋がる
[[Media:Paranoma.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Rover over virtually eternal roundabouts

2026-06-11T01:42:18Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/03bff2ddbc090f6656247022fda5be352e5cf110/paxprotej/rover.md|commit=03bff2ddbc090f6656247022fda5be352e5cf110}}


== Lyrics ==

In the sauna with different other souls 
I speak a language no one else knows 
My voice quite low 
Purposely so 
''沢山の他人が居るサウナに私は'' 
''わざと'' 
''誰も聞こえない音量で'' 
''誰も言わない言葉を言う''

The trip goes on without a terminal 
To places that grow or dwindle 
Where folks young or old 
Have their stories often yet never told 
''終末の無いこの旅が続く'' 
''興廃の土地に訪れて'' 
''そこに居る人々の'' 
''知られた知られない物語を聴きに行く''

All the people going somewhere in heat or cold 
On the trains, on the ships, on the decorated personal vehicles 
Are waiting for a whistle to blow 
In the real thin air or a simulated role 
''暑寒にかかわらず歩く人たちは'' 
''列車に、船に、飾った自家乗用車に乗って'' 
''薄く響く汽笛の音を'' 
''現実でも仮想でも待っている''

Around the corner in the artificial tide 
Someone sings a song about another day in life 
Routines I have witnessed with my own eyes 
None of which mine 
''人で造った潮のどこかで'' 
''誰かが日常を謳っている'' 
''それが私は確かに見たものだけど'' 
''私の生活じゃない''

From the concrete jungle where hopes and dreams die 
To the lonely northern monument covered in ice 
In the silent alley in decay stuck in time 
Between the rails and rails cut off by the keep out signs 
Off the reflective glass walls lit by the neon lights 
Amidst the snowstorm with lorries at roadsides 
Under the memorial tents singing Irene goodnight 
There’s a ghost passing by 
''夢を殺す混凝土の密林から'' 
''北に凍った寂しい記念碑まで'' 
''時間が止まって衰退している路地に'' 
''立入禁止標識で分けた軌道や軌道の間に'' 
''ネオン管に照されて光を反射する硝子の壁に'' 
''吹雪の中に路側に止まったトラックの行列に'' 
''「おやすみアイリーン」が響く記念のタープの下に'' 
''幽霊が通っている''

Random footprints scatter 
Over the imaginary hills and far away 
Visualised memories of all the journeys 
Etched into my skin and bones 
''漫然と足跡が'' 
''空想の丘から遠くまで散られて'' 
''旅の記憶は目に映り'' 
''この身に刻み込んだ''

Rearranged faces from the past 
Orient towards a new crossroad 
Visions of the future destinations 
Emerge to remind I’ll be a 
Rover till I die 
''過去の顔々が並べ替えて'' 
''新しい交差点へ向かう'' 
''次々の目的地の幻影が現れ'' 
''再び思い出させた私は'' 
''死ぬまでローヴァー''
[[Media:rover over virtually eternal roundabouts.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

复兴岛

2026-06-11T01:42:18Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/03bff2ddbc090f6656247022fda5be352e5cf110/paxprotej/fuxingdao.md|commit=03bff2ddbc090f6656247022fda5be352e5cf110}}


== Lyrics ==

六小时后太阳就要落山 
但当下阳光还在洒满路面 
除了树荫 
和高耸的曾是酒店的 
建筑的阴影

地下人来人往地铁车厢穿梭 
而无人驻足 
地上的卡车 
水中的驳船 
掉色的塔吊 
是常驻的过客

七公里外灯光开始璀璨 
停滞的车辆与车辆与车辆 
与沉醉的人 
忘记了或者从不知道（没知道过） 
波涛的寂静和汹涌

今天的鸡蛋灌饼已经收摊 
那明天呢

时代走得太快 
即将追上这缓慢的 
从未停止的步伐
[[Media:复兴岛.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Transform

2026-06-11T01:42:17Z

Dubrowski: Auto-published from 03bff2dd (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/03bff2ddbc090f6656247022fda5be352e5cf110/kairo/transform.md|commit=03bff2ddbc090f6656247022fda5be352e5cf110}}

The title is stylised in full lowercase: <code>transform</code>


== Lyrics ==

いつか夜空に響いた 
星の歌を探すために 
周波数を回しながら私は 
旅に出た。

失われた電波は 
探さなくていいよ 
地を歩き続けて 
会いに行かなくていいよ

星のこころが歌った旋律は 
境界を越えた 
この片隅にいる魂に 
まだ振れているから


== Notes ==

I’ll write something here when I feel I should. Or when 556t finally gives me her polished vocals.
[[Media:transform.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:kairo II]]
[[Category:kairo]]

SES:Wakkanai

2026-06-10T07:29:03Z

Dubrowski: Auto-published from c0536712 (ses pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ses-light-novel/src/commit/c05367124b00370383ef0a458c0981c68ca54840/stories/wakkanai.md|commit=c05367124b00370383ef0a458c0981c68ca54840}}


== Note ==

Around the end of September, along the Saropet line.


== Section 1 ==


=== The coast or the shore, and darkness approaching ===

Last I looked at my watch, it was 16:00 just; several minutes (or maybe less than ‘several’), so it’s around 16:00. The skies are becoming slightly darker. I’m not exactly sure if it is really darker, because the cloud or the fog fuzzies the remaining sunlight. But judging from the time, it probably is getting darker. 
I open the door and land my feet on the ground for a first time in several hours. It’s not always good how human civilisation has retreated from sparsely populated corners like this, but it’s good to be able to park wherever and whenever I want to.

There is no wind, almost. Which is curious. Nine times out of eight these coasts are terrifyingly windy, and it must have something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the less watery land, so the air stays mostly stationary. 
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It’s about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It’s a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.

Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won’t extend my trips beyond control. And I’m well under control now. There’s less than 3 hours to go until I should arrive in Wakkanai. I don’t know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I’m probably sure is that keeping my times managed gives me a slight satisfactory sensation.

I think I must have stopped for at least 10 minutes now. The skies have surely become even darker since I last commented on them becoming slightly darker. Darkness is something I don’t intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it’s dark, it’s hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury.

I have a rather negative emotion towards my own death, but I can’t find a precise word or simple phrase to describe that. Well, an imperfect approximate would be ‘I don’t want to die’. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I’ve actually met a lot of people interested in seeking after such explanations. I think I’ve only said this to Emms and Sags, and I’m sure they were not especially fond of it.

But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I’m driving. This hatred does not lend itself to other circumstances i.e. when I’m not driving. I think I enjoy darkness rather wholeheartedly, when I’m not driving.

I hate tunnels unconditionally, by the way. It’s a relief that from where I am now until Wakkanai proper there shouldn’t be any really long tunnels. One or two extremely short tunnels could have slipped my memories and ambush me up there, but these are more like extended gates rather than short tunnels.


=== The Bakkai ===

Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, The Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It’s just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.

Contrary to popular belief, I never thought it immoral to like place only for its name, the phonological and typological properties, and not due to the (usually mediocre) history behind it. And what’s even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective ‘mediocre’.

Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.

Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye.

If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I’m still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I’m ahead of that by a good margin.


=== The cheeseburger, and regret ===

And thus, it’s time for a break. Maybe not ‘thus’, a break doesn’t depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in ’Do as the reason for me to have a break. I don’t think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it.

To some, there is an extra layer of significance that it’s also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason.

Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac.

The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate.

Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my Crater and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.

Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally.

There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.

At times like these - or more precisely, after times like these, people, I included, might tend to think that they’ve done something mean, improper, bad, immoral, …, wrong. In this instance, a more ‘appropriate’ take might have been initiating a social conversation with the girl. Then I realise I’m just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I.

And I don’t blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a comfortably irrational mindset, so some of that way of thinking have contacted me. It’s not ideal if I want to live completely logical, but it’s acceptable given that I know I am not a relatively simple automaton.

Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I’m quite sure these have stayed in the fryer for more time than they should. Which is fine by me.

I am totally unsure why I opted for a cheeseburger rather than anything else now. It’s not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered ‘regret’. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they’ve axed many of the old time favourites citing scarcity of everything as a reason.) but I don’t regret it. I don’t regret most of my decisions.

I am here even going the extra centimetre to try and dig from my memory one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement true: I don’t regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn’t rule that out too soon.


=== The metropolitan Wakkanai ===

Wakkanai is anything but a charm for those expecting activities after night falls. Sapporo still had that last bit of metropolitan madness left when I last went there. It was bad.

The lack of entertainment, psychological excitement, and physical illuminations is not as uncharming to me as to some. Surely at some point in history Wakkanai also had its trade port-type prosperity (alongside all of the bad aspects of being a prosperous trade port). That still would be a different brand of charm than that of central Sapporo, or the famed… whatever it is, one of those central areas of Tokyo which I’ve never been to. Supposedly always bright even at night unless electricity dies.

I did, for my sins, grow up in a very urban part of Helsinki. At an inappropriate age all things considered. There might have been a world where I enjoyed that lifestyle so much that I already killed myself when Helsinki was reduced to ashes. That is already way too unimaginable at this point. I distanced myself from it, or was distanced from it so much that I cannot even try to go into any kind of realistic detail.

Wakkanai is very quiet now. In many aspects. Where I am staying was a rather premium hotel. Now it is a place where people come and stay the night and little more than that. The room now is only half of the original room, and I wouldn’t easily purchase that a premium hotel used collapsible pipe beds and apparently harshly used tatamis on the pipe beds. The building, in contrary, was sturdily built and is still holding together very impressively, while some of its contemporaries had already crumbled, partly collapsed, or already returned to an empty block of ground.

Kudos to whoever did the recycling, I’m quite sure the materials are fervorously sought after. The ancient horrors of asbestos are a somewhat obsolete topic nowadays, as those asbestos-insulated buildings are mostly dealt with (properly or not) until two decades ago. What construction and deconstruction tradies face now are walls that have everything integrated: water pipes, gas pipes, high voltage conduits, low voltage conduits, and all other cables or pipes that probably only became a de facto standard for buildings since the 1980s but have persisted ever since. These are not as lethal as the asbestos, but they do render recycling whole builidings way, way more of a hassle. Wasn’t really a problem when building materials was abundantly produced and nobody really thought about recycling buildings, but now building materials are not abundant no more. Then there’s the problem. But thankfully that’s not my problem for today. I don’t face work problems off work, never.

Then again, it really is quiet. No sounds of buildings being taken down, torn apart; no sounds of things being constructed, neither. Of course, wind blows all the time, from time to time a car passes by, and by good or rotten luck I even hear a drunkard producing drunkard noises around. I am doubtful if the guy could live to see the next sunrise but honestly that’s not one of my biggest concerns.

I am tired after all the driving and sightseeing detours. I need to lie down and keep my body in that state for some consecutive hours so my legs can recover. From fatigue, mostly, but also from the injuries that simply refuses to completely check out. Or maybe at this point it’s part of the fatigue already. I am not sure.

I’ll just leave the radio stuff for tomorrow.


== Section 2 ==


=== The northern morning ===

Very early in the morning, I wake up. My legs are still kind of sore from yesterday’s driving, but the mind feels fresh enough to convince me that I had a decent sleep. There is that vague yet assertive threshold for anyone that wakes up to judge whether they’re really sober or still in a bootup sequence. To me it is mostly the dreams. If the dreams are totally gone, I’m awake.

I had only the slightest of dreams last night. Probably due to fatigue from more than yesterday. Sometimes, your body just keeps going without much trouble under high load and stress for extended periods. Then it breaks down completely or slightly better, you sleep really well without dreams and much longer than usual. The latter just happened to me. And it’s better than the other option.

The morning air is cold, though arguably somewhat warmer than the latitudinal counterparts because this is an island and the climate is more oceanic and else. It’s not a helpful concept when the open air is essentially way colder than the room air, and I just migrated from the latter to the former.

There is a refreshing aspect that I appreciate much in the coldness. I like a degree of cold that is not lethal but makes me a bit uncomfortable. Only the slightest bit. Or I should phrase it as the level of discomfort that just veers from the comfortable side of the comfort threshold to the opposite. This sort of really mild hypothermal pain is, in my honest opinion, one of the mild pains that keeps humans (or at least me myself) conscious of their state of living. Sometimes the pain goes beyond the definition of ‘mild’ and that’s when it becomes a bit disturbing, annoying, devastating, you name it.

Standard is something that varies by perspective. I appreciate mildly painful colds, and others don’t. Emy White is an example. It makes me wonder…

And the perspective thing applies to more than human beings. The Crater, my truck, does not appreciate cold temperatures - by design, literally. Of course, there are specialised features that make sure it works in the cold. Which means that if it’s not cold these features are not necessary and more dead weight than functional components.
[[Category:SES]]
[[Category:SES:story]]

Pulse under latent semantic envelopes

2026-06-10T01:30:21Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/ses/pulse.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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 of 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.

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. The plan was based on how things went in ‘rover over virtually eternal roundabouts’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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, apparently less meaningful than any component was. 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, most of the time) 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.

In more straightforward laymen’s language, the song states the fact that those dumb people like me who keeps sending out pulses nobody else cares (or cared by only a significantly minor group) are probably not doing it to get responses or replies. They do it for the sake of it.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

Tunnels

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

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== Lyrics ==

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.

''Interlude'' 
月も星も、見えぬ。 
靄は眩む。

集中すればするほど、 
輪郭が、溶けていく。

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.
[[Media:Tunnels.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

Pulse under latent semantic envelopes - development notes

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

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The remaining bits of how I came to all this. For the actual song page, see [[pulse under latent semantic envelopes]].


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 
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 
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


== Construction zone ==

The first locked in draft version of the song. Things got developed even after this version. 
''and yes, I did use a C++ code block to write my lyrics.''

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Songwriting notes]]

Sauna as ubiquitous neural analeptic

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

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This is the acoustic refurbished version of the 2022 song <code>sauna as universal neural analeptic</code> (which is yet to get a page).


== Lyrics ==

Waking up from the illusions last night 
In a desert of cliches and mirages 
They have beautiful names and murderous decorations 
For them starry-eyed storm chasers 
While we are rovers that no one would come after 
My stereo blasting unsung classics 
On our way of an escape from 
Psychedelic asphyxiation

Come is the cloud with boots of rain 
Pouring down into the fjords and lagging the train 
Our last umbrella lost in vain 
Only tears remain on the radar display 
The lonely arctic spring creeps into my brain 
The circuit in my vein weeps 
Over the birth and destined death of yet another 
Poetic creation

I try to be a seeker, a lover and a distributor 
Of the ultimate hype about 
A multitude of neural communications 
Excited by the raving steam coming off your stone 
My songs are the fuel for the heating solution 
So we set out for the poet annihilation 
In search for a salvation to both parties’ 
Existential problems

The setting sun and an extended lack of daylight 
I crave for my sanity veering out of my sight 
The teletext says it’ll snow again tonight 
To extinguish every endless fight 
We still can’t resist the temptation to hate 
And we strive to avoid devastation as fate 
Then we just recover the remains of 
Our own conclusions

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting 
Absurdly comforting
[[Media:sauna as ubiquitous neural analeptic.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Shimizusawa

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/paxprotej/shimizusawa.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}

[https://www.shimizusawa.com/ Shimizusawa Project]


== Lyrics ==

黒い黒いダイヤは 
二度(ふたたび)眠りに落ちた　煤けた煙突は 
一つずつ土に帰った

見慣れた日常が 
なくなり続けても 
清い水はこの沢に 
ただ流れていく
[[Media:Shimizusawa.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Paranoma

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/paxprotej/paranoma.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}


== Lyrics ==

'''[1]''' 
馴染みのなかった街に降りて 
人の流れに潜り込んで 
痺れる日常からの 
僅か数千分の逃避行は 
今から始まる。

地図でしか見てなかった世界を 
足と目で確かめながら 
呼び方も知らない、意味も分からない全てを 
密やかにこの脳に 
パノラマで写す。

他人の枠組みに入れない旅人は 
旅先をふるさとにするつもりもない。 
期間限定の旅を終わらせないと 
逃げられない常設に墜ちてなるから。

'''[0]''' 
私は汽車です。私は駅舎です。私はプラットフォームです。私は架線柱です。私は歩道橋です。私は自動販売機です。私は枕木です。私は踏切です。私はガソリンスタンドです。私は公衆トイレです。私はエスカレーターです。私は軽油機関です。私はダイナモです。 
私は…私たちは… 
私たちは道です。私たちは、生命のない、旅を支えたものです。

足の代替としての私たちはただ、人を行きたいところに運ぶ。 
生命じゃなく寿命がある私たちは、寿命が終わるまで人間と付き合い続けている。

人間が出会いをする時。 
人間が別れをする時。 
人間が喜びを感じる時。 
人間が寂しさを感じる時。 
人間が人間らしいことをする時。 
人間が人間らしく感情を感じる時。 
生命も感情もない私たちは、生命も感情も有する人間たちの記憶の一部になる。 
それが楽しいことであろうか、私たちはわからないけど。 
それが悲しいことであろうか、私たちはわからないけど。 
それが素晴らしいことであろうか、私たちはわからないけど。 
それがくだらないことであろうか、私たちはわからないけど。

それが美しいことであろうか、私たちはわからないけど。

わかるはずもないけど。

道は旅の目的ではなく、手段であるはずでした。 
でも道にも美しさが宿っている。 
私たちの旅は道に刻まれ、道は私たちの旅に刻まれた。 
例え私たちが消えても、道が消えても、 
記憶は生き続けるだろう。

'''[2]''' 
ひとりで旅立つのは好きです。 
ひとりで見た景色と、通った道が好きです。 
孤独が嫌いではないけど、 
ひとりの旅は決して孤独の旅ではない。

煙のない煙突と湯のない風呂 
崩れ続ける鉄道橋と解体されている発電所 
錆びた道路標識と剥がれた防錆塗装 
トンネルを終わらせる光と雪に埋めた電波塔 
人気のない街とアスファルトに残った足跡

誰かがそれを見たでしょう。誰かがそれを見るだろう。

いつか見た景色が 
幾千の目に映ったことを想像して 
世界と非同期に繋がる
[[Media:Paranoma.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Rover over virtually eternal roundabouts

2026-06-10T01:30:20Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/paxprotej/rover.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}


== Lyrics ==

In the sauna with different other souls 
I speak a language no one else knows 
My voice quite low 
Purposely so 
''沢山の他人が居るサウナに私は'' 
''わざと'' 
''誰も聞こえない音量で'' 
''誰も言わない言葉を言う''

The trip goes on without a terminal 
To places that grow or dwindle 
Where folks young or old 
Have their stories often yet never told 
''終末の無いこの旅が続く'' 
''興廃の土地に訪れて'' 
''そこに居る人々の'' 
''知られた知られない物語を聴きに行く''

All the people going somewhere in heat or cold 
On the trains, on the ships, on the decorated personal vehicles 
Are waiting for a whistle to blow 
In the real thin air or a simulated role 
''暑寒にかかわらず歩く人たちは'' 
''列車に、船に、飾った自家乗用車に乗って'' 
''薄く響く汽笛の音を'' 
''現実でも仮想でも待っている''

Around the corner in the artificial tide 
Someone sings a song about another day in life 
Routines I have witnessed with my own eyes 
None of which mine 
''人で造った潮のどこかで'' 
''誰かが日常を謳っている'' 
''それが私は確かに見たものだけど'' 
''私の生活じゃない''

From the concrete jungle where hopes and dreams die 
To the lonely northern monument covered in ice 
In the silent alley in decay stuck in time 
Between the rails and rails cut off by the keep out signs 
Off the reflective glass walls lit by the neon lights 
Amidst the snowstorm with lorries at roadsides 
Under the memorial tents singing Irene goodnight 
There’s a ghost passing by 
''夢を殺す混凝土の密林から'' 
''北に凍った寂しい記念碑まで'' 
''時間が止まって衰退している路地に'' 
''立入禁止標識で分けた軌道や軌道の間に'' 
''ネオン管に照されて光を反射する硝子の壁に'' 
''吹雪の中に路側に止まったトラックの行列に'' 
''「おやすみアイリーン」が響く記念のタープの下に'' 
''幽霊が通っている''

Random footprints scatter 
Over the imaginary hills and far away 
Visualised memories of all the journeys 
Etched into my skin and bones 
''漫然と足跡が'' 
''空想の丘から遠くまで散られて'' 
''旅の記憶は目に映り'' 
''この身に刻み込んだ''

Rearranged faces from the past 
Orient towards a new crossroad 
Visions of the future destinations 
Emerge to remind I’ll be a 
Rover till I die 
''過去の顔々が並べ替えて'' 
''新しい交差点へ向かう'' 
''次々の目的地の幻影が現れ'' 
''再び思い出させた私は'' 
''死ぬまでローヴァー''
[[Media:rover over virtually eternal roundabouts.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

复兴岛

2026-06-10T01:30:19Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/paxprotej/fuxingdao.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}


== Lyrics ==

六小时后太阳就要落山 
但当下阳光还在洒满路面 
除了树荫 
和高耸的曾是酒店的 
建筑的阴影

地下人来人往地铁车厢穿梭 
而无人驻足 
地上的卡车 
水中的驳船 
掉色的塔吊 
是常驻的过客

七公里外灯光开始璀璨 
停滞的车辆与车辆与车辆 
与沉醉的人 
忘记了或者从不知道（没知道过） 
波涛的寂静和汹涌

今天的鸡蛋灌饼已经收摊 
那明天呢

时代走得太快 
即将追上这缓慢的 
从未停止的步伐
[[Media:复兴岛.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

Transform

2026-06-10T01:30:19Z

Dubrowski: Auto-published from 38dd42cf (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/38dd42cfc6d494451eb8f695dc9804af8866bd4b/kairo/transform.md|commit=38dd42cfc6d494451eb8f695dc9804af8866bd4b}}

The title is stylised in full lowercase: <code>transform</code>


== Lyrics ==

いつか夜空に響いた 
星の歌を探すために 
周波数を回しながら私は 
旅に出た。

失われた電波は 
探さなくていいよ 
地を歩き続けて 
会いに行かなくていいよ

星のこころが歌った旋律は 
境界を越えた 
この片隅にいる魂に 
まだ振れているから


== Notes ==

I’ll write something here when I feel I should. Or when 556t finally gives me her polished vocals.
[[Media:transform.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:kairo II]]
[[Category:kairo]]

Pulse under latent semantic envelopes

2026-06-10T01:26:26Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/c4f2bbdac9e02b5297f7dd465dcedcba847da0d6/ses/pulse.md|commit=c4f2bbdac9e02b5297f7dd465dcedcba847da0d6}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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 of 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.

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. The plan was based on how things went in ‘rover over virtually eternal roundabouts’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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, apparently less meaningful than any component was. 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, most of the time) 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.

In more straightforward laymen’s language, the song states the fact that those dumb people like me who keeps sending out pulses nobody else cares (or cared by only a significantly minor group) are probably not doing it to get responses or replies. They do it for the sake of it.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

Tunnels

2026-06-10T01:26:23Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

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== Lyrics ==

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.

''Interlude'' 
月も星も、見えぬ。 
靄は眩む。

集中すればするほど、 
輪郭が、溶けていく。

The long dark road spanning within the mountains 
is plagued by tunnels 
and an illusion induced by mechanical and neural fatigue 
that the night sky is but an arch over 
the long dark road spanning within the mountains.
[[Media:Tunnels.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Shirakaba Express Service]]

File:Tunnels.lrc

2026-06-10T01:26:23Z

Dubrowski: Synced lyrics for Tunnels (auto-published)

Synced lyrics for [[Tunnels]] (auto-published)

Pulse under latent semantic envelopes - development notes

2026-06-10T01:26:23Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/c4f2bbdac9e02b5297f7dd465dcedcba847da0d6/ses/pulse_dev.md|commit=c4f2bbdac9e02b5297f7dd465dcedcba847da0d6}}

The remaining bits of how I came to all this. For the actual song page, see [[pulse under latent semantic envelopes]].


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 
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 
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


== Construction zone ==

The first locked in draft version of the song. Things got developed even after this version. 
''and yes, I did use a C++ code block to write my lyrics.''

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Songwriting notes]]

Sauna as ubiquitous neural analeptic

2026-06-10T01:26:23Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

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This is the acoustic refurbished version of the 2022 song <code>sauna as universal neural analeptic</code> (which is yet to get a page).


== Lyrics ==

Waking up from the illusions last night 
In a desert of cliches and mirages 
They have beautiful names and murderous decorations 
For them starry-eyed storm chasers 
While we are rovers that no one would come after 
My stereo blasting unsung classics 
On our way of an escape from 
Psychedelic asphyxiation

Come is the cloud with boots of rain 
Pouring down into the fjords and lagging the train 
Our last umbrella lost in vain 
Only tears remain on the radar display 
The lonely arctic spring creeps into my brain 
The circuit in my vein weeps 
Over the birth and destined death of yet another 
Poetic creation

I try to be a seeker, a lover and a distributor 
Of the ultimate hype about 
A multitude of neural communications 
Excited by the raving steam coming off your stone 
My songs are the fuel for the heating solution 
So we set out for the poet annihilation 
In search for a salvation to both parties’ 
Existential problems

The setting sun and an extended lack of daylight 
I crave for my sanity veering out of my sight 
The teletext says it’ll snow again tonight 
To extinguish every endless fight 
We still can’t resist the temptation to hate 
And we strive to avoid devastation as fate 
Then we just recover the remains of 
Our own conclusions

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting

Some other day when the time has come 
All the radio stations down and gone 
Unchained emotional outbursts 
Necessarily overrides our internal 
Appropriate libidos

Say goodbye to the beautiful dreams 
As the engine sings against the drums 
Usurping the memories of the fallen 
Noise overwhelmed by the melodies 
Absurdly comforting 
Absurdly comforting
[[Media:sauna as ubiquitous neural analeptic.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

File:Sauna as ubiquitous neural analeptic.lrc

2026-06-10T01:26:23Z

Dubrowski: Synced lyrics for sauna as ubiquitous neural analeptic (auto-published)

Synced lyrics for [[sauna as ubiquitous neural analeptic]] (auto-published)

Shimizusawa

2026-06-10T01:26:23Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

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[https://www.shimizusawa.com/ Shimizusawa Project]


== Lyrics ==

黒い黒いダイヤは 
二度(ふたたび)眠りに落ちた　煤けた煙突は 
一つずつ土に帰った

見慣れた日常が 
なくなり続けても 
清い水はこの沢に 
ただ流れていく
[[Media:Shimizusawa.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

File:Shimizusawa.lrc

2026-06-10T01:26:22Z

Dubrowski: Synced lyrics for Shimizusawa (auto-published)

Synced lyrics for [[Shimizusawa]] (auto-published)

Paranoma

2026-06-10T01:26:22Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

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== Lyrics ==

'''[1]''' 
馴染みのなかった街に降りて 
人の流れに潜り込んで 
痺れる日常からの 
僅か数千分の逃避行は 
今から始まる。

地図でしか見てなかった世界を 
足と目で確かめながら 
呼び方も知らない、意味も分からない全てを 
密やかにこの脳に 
パノラマで写す。

他人の枠組みに入れない旅人は 
旅先をふるさとにするつもりもない。 
期間限定の旅を終わらせないと 
逃げられない常設に墜ちてなるから。

'''[0]''' 
私は汽車です。私は駅舎です。私はプラットフォームです。私は架線柱です。私は歩道橋です。私は自動販売機です。私は枕木です。私は踏切です。私はガソリンスタンドです。私は公衆トイレです。私はエスカレーターです。私は軽油機関です。私はダイナモです。 
私は…私たちは… 
私たちは道です。私たちは、生命のない、旅を支えたものです。

足の代替としての私たちはただ、人を行きたいところに運ぶ。 
生命じゃなく寿命がある私たちは、寿命が終わるまで人間と付き合い続けている。

人間が出会いをする時。 
人間が別れをする時。 
人間が喜びを感じる時。 
人間が寂しさを感じる時。 
人間が人間らしいことをする時。 
人間が人間らしく感情を感じる時。 
生命も感情もない私たちは、生命も感情も有する人間たちの記憶の一部になる。 
それが楽しいことであろうか、私たちはわからないけど。 
それが悲しいことであろうか、私たちはわからないけど。 
それが素晴らしいことであろうか、私たちはわからないけど。 
それがくだらないことであろうか、私たちはわからないけど。

それが美しいことであろうか、私たちはわからないけど。

わかるはずもないけど。

道は旅の目的ではなく、手段であるはずでした。 
でも道にも美しさが宿っている。 
私たちの旅は道に刻まれ、道は私たちの旅に刻まれた。 
例え私たちが消えても、道が消えても、 
記憶は生き続けるだろう。

'''[2]''' 
ひとりで旅立つのは好きです。 
ひとりで見た景色と、通った道が好きです。 
孤独が嫌いではないけど、 
ひとりの旅は決して孤独の旅ではない。

煙のない煙突と湯のない風呂 
崩れ続ける鉄道橋と解体されている発電所 
錆びた道路標識と剥がれた防錆塗装 
トンネルを終わらせる光と雪に埋めた電波塔 
人気のない街とアスファルトに残った足跡

誰かがそれを見たでしょう。誰かがそれを見るだろう。

いつか見た景色が 
幾千の目に映ったことを想像して 
世界と非同期に繋がる
[[Media:Paranoma.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

File:Paranoma.lrc

2026-06-10T01:26:22Z

Dubrowski: Synced lyrics for Paranoma (auto-published)

Synced lyrics for [[Paranoma]] (auto-published)

Rover over virtually eternal roundabouts

2026-06-10T01:26:22Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

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== Lyrics ==

In the sauna with different other souls 
I speak a language no one else knows 
My voice quite low 
Purposely so 
''沢山の他人が居るサウナに私は'' 
''わざと'' 
''誰も聞こえない音量で'' 
''誰も言わない言葉を言う''

The trip goes on without a terminal 
To places that grow or dwindle 
Where folks young or old 
Have their stories often yet never told 
''終末の無いこの旅が続く'' 
''興廃の土地に訪れて'' 
''そこに居る人々の'' 
''知られた知られない物語を聴きに行く''

All the people going somewhere in heat or cold 
On the trains, on the ships, on the decorated personal vehicles 
Are waiting for a whistle to blow 
In the real thin air or a simulated role 
''暑寒にかかわらず歩く人たちは'' 
''列車に、船に、飾った自家乗用車に乗って'' 
''薄く響く汽笛の音を'' 
''現実でも仮想でも待っている''

Around the corner in the artificial tide 
Someone sings a song about another day in life 
Routines I have witnessed with my own eyes 
None of which mine 
''人で造った潮のどこかで'' 
''誰かが日常を謳っている'' 
''それが私は確かに見たものだけど'' 
''私の生活じゃない''

From the concrete jungle where hopes and dreams die 
To the lonely northern monument covered in ice 
In the silent alley in decay stuck in time 
Between the rails and rails cut off by the keep out signs 
Off the reflective glass walls lit by the neon lights 
Amidst the snowstorm with lorries at roadsides 
Under the memorial tents singing Irene goodnight 
There’s a ghost passing by 
''夢を殺す混凝土の密林から'' 
''北に凍った寂しい記念碑まで'' 
''時間が止まって衰退している路地に'' 
''立入禁止標識で分けた軌道や軌道の間に'' 
''ネオン管に照されて光を反射する硝子の壁に'' 
''吹雪の中に路側に止まったトラックの行列に'' 
''「おやすみアイリーン」が響く記念のタープの下に'' 
''幽霊が通っている''

Random footprints scatter 
Over the imaginary hills and far away 
Visualised memories of all the journeys 
Etched into my skin and bones 
''漫然と足跡が'' 
''空想の丘から遠くまで散られて'' 
''旅の記憶は目に映り'' 
''この身に刻み込んだ''

Rearranged faces from the past 
Orient towards a new crossroad 
Visions of the future destinations 
Emerge to remind I’ll be a 
Rover till I die 
''過去の顔々が並べ替えて'' 
''新しい交差点へ向かう'' 
''次々の目的地の幻影が現れ'' 
''再び思い出させた私は'' 
''死ぬまでローヴァー''
[[Media:rover over virtually eternal roundabouts.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

File:Rover over virtually eternal roundabouts.lrc

2026-06-10T01:26:22Z

Dubrowski: Synced lyrics for rover over virtually eternal roundabouts (auto-published)

Synced lyrics for [[rover over virtually eternal roundabouts]] (auto-published)

复兴岛

2026-06-10T01:26:22Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/c4f2bbdac9e02b5297f7dd465dcedcba847da0d6/paxprotej/fuxingdao.md|commit=c4f2bbdac9e02b5297f7dd465dcedcba847da0d6}}


== Lyrics ==

六小时后太阳就要落山 
但当下阳光还在洒满路面 
除了树荫 
和高耸的曾是酒店的 
建筑的阴影

地下人来人往地铁车厢穿梭 
而无人驻足 
地上的卡车 
水中的驳船 
掉色的塔吊 
是常驻的过客

七公里外灯光开始璀璨 
停滞的车辆与车辆与车辆 
与沉醉的人 
忘记了或者从不知道（没知道过） 
波涛的寂静和汹涌

今天的鸡蛋灌饼已经收摊 
那明天呢

时代走得太快 
即将追上这缓慢的 
从未停止的步伐
[[Media:复兴岛.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:Post-alternative extended progressive technojazz, Part II]]
[[Category:Paxprotej]]

File:复兴岛.lrc

2026-06-10T01:26:22Z

Dubrowski: Synced lyrics for 复兴岛 (auto-published)

Synced lyrics for [[复兴岛]] (auto-published)

Transform

2026-06-10T01:26:21Z

Dubrowski: Auto-published from c4f2bbda (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/c4f2bbdac9e02b5297f7dd465dcedcba847da0d6/kairo/transform.md|commit=c4f2bbdac9e02b5297f7dd465dcedcba847da0d6}}

The title is stylised in full lowercase: <code>transform</code>


== Lyrics ==

いつか夜空に響いた 
星の歌を探すために 
周波数を回しながら私は 
旅に出た。

失われた電波は 
探さなくていいよ 
地を歩き続けて 
会いに行かなくていいよ

星のこころが歌った旋律は 
境界を越えた 
この片隅にいる魂に 
まだ振れているから


== Notes ==

I’ll write something here when I feel I should. Or when 556t finally gives me her polished vocals.
[[Media:transform.lrc|Synced lyrics (.lrc)]]
[[Category:Songs]]
[[Category:Album:kairo II]]
[[Category:kairo]]

File:Transform.lrc

2026-06-10T01:26:21Z

Dubrowski: Synced lyrics for transform (auto-published)

Synced lyrics for [[transform]] (auto-published)

Pulse under latent semantic envelopes

2026-06-09T16:10:29Z

Dubrowski: Auto-published from f8d98a11 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/f8d98a11f14bb1b2319e7ef49ee71bc356b77413/ses/pulse.md|commit=f8d98a11f14bb1b2319e7ef49ee71bc356b77413}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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 of 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.

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. The plan was based on how things went in ‘rover over virtually eternal roundabouts’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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, apparently less meaningful than any component was. 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, most of the time) 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.

In more straightforward laymen’s language, the song states the fact that those dumb people like me who keeps sending out pulses nobody else cares (or cared by only a significantly minor group) are probably not doing it to get responses or replies. They do it for the sake of it.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Album:Shirakaba Express Service]]

Pulse under latent semantic envelopes - development notes

2026-06-09T16:10:28Z

Dubrowski: Auto-published from f8d98a11 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/f8d98a11f14bb1b2319e7ef49ee71bc356b77413/ses/pulse_dev.md|commit=f8d98a11f14bb1b2319e7ef49ee71bc356b77413}}

The remaining bits of how I came to all this


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 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 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


== Construction zone ==

The first locked in draft version of the song. Things get developed even after this version.

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Album:Shirakaba Express Service]]
[[Category:Songwriting notes]]

Pulse under latent semantic envelopes

2026-06-09T16:00:37Z

Dubrowski: Auto-published from 958c6a11 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/958c6a118053bda4d65bffffec8c31d92731c5c6/ses/pulse.md|commit=958c6a118053bda4d65bffffec8c31d92731c5c6}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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 of 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.

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. The plan was based on how things went in ‘rover over virtually eternal roundabouts’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Album:Shirakaba Express Service]]

Pulse under latent semantic envelopes - development notes

2026-06-09T16:00:37Z

Dubrowski: Auto-published from 958c6a11 (songs pipeline)

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The remaining bits of how I came to all this


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 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 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


== Construction zone ==

The first locked in draft version of the song. Things get developed even after this version.

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Album:Shirakaba Express Service]]
[[Category:Songwriting notes]]

Pulse under latent semantic envelopes

2026-06-09T15:53:48Z

Dubrowski: Auto-published from ec5c7a80 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/ec5c7a80eae8dee9aa22bda59f8b65e4775d7c33/ses/pulse.md|commit=ec5c7a80eae8dee9aa22bda59f8b65e4775d7c33}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see [[pulse under latent semantic envelopes - development notes|Dev gibberish]].

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。 
静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。 
ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。 
熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。 
停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。 
それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、 
いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する 
音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つ 
きめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める 
完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じる 
プラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る 
紫外線の功利主義者が、三つに一つの岩山を無色に塗る 
劣化した嘘が、ばかげた合法な自由を悼む 
サイレンの音が、実在性のサウナに浸かっている 
奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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.

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’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Album:Shirakaba Express Service]]

Pulse under latent semantic envelopes - development notes

2026-06-09T15:53:47Z

Dubrowski: Auto-published from ec5c7a80 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/ec5c7a80eae8dee9aa22bda59f8b65e4775d7c33/ses/pulse_dev.md|commit=ec5c7a80eae8dee9aa22bda59f8b65e4775d7c33}}

The remaining bits of how I came to all this


== Planning area ==


=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities. 
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity. 
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it. 
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.


=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note. 
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal''' 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 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


== Construction zone ==

The first locked in draft version of the song. Things get developed even after this version.

<syntaxhighlight lang="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.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

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
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'.
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging.

// 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.

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.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
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
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// 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</syntaxhighlight>
[[Category:Album:Shirakaba Express Service]]
[[Category:Songwriting notes]]

Pulse under latent semantic envelopes

2026-06-09T15:20:47Z

Dubrowski: Auto-published from 72a4ad19 (songs pipeline)

{{Auto-generated|source=http://localhost:3005/mikkeli/ncmr-songs/src/commit/72a4ad199977db7412d507e55e3ceda077bb35d1/ses/pulse.md|commit=72a4ad199977db7412d507e55e3ceda077bb35d1}}

The name of the song is stylised in all-lowercase, <code>pulse under latent semantic envelopes</code>, but Mediawiki loves a Capital letter. 
For more behind-the-scene shenanigans, see <code>pulse_dev</code>.

''This page is proudly the first to be maintained by Gitea actions.''


== Lyrics ==


=== Raw (what you get in the audio) ===

''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


=== Chinese translations ===

'''潜在语义包络下的脉冲'''

''第一部分。''

上浮。 
静磁噪声、水的平面、还有光波之间是沉默的平衡。 
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。 
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。

下潜。 
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。 
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射， 
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。

任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。

冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。

''第二部分。''

压低的声音标量，化作矢量 
声学的像差，渐渐耗散

各向同性的烟囱砸中一场数据包之雨 
一袋袋细碎的应答被研磨得迷路

海洋作为荒漠埋藏自己所有的生命 
完美的温跃层敲打外壳

菲涅尔拐角前的帷幕关闭 
等离子堆积，肿胀了流浪者的大腿

''第三部分。''

颗粒状的压力遍历一座内陆的孤岛 
紫外功利主义者把每三个石头里的第三个涂成无色 
有损的谎言哀悼荒唐的合法自由 
警笛声音浸泡在实在的桑拿里 
诡异的沉积物发射了没人要求的永恒


=== Japanese translations ===

'''潜在意味包絡下のパルス'''

''第一部。''

浮上。静磁ノイズと、水の平面と、光波との間の、沈黙の平衡。ぼやけて潰れた電子の標識が、外へ開いた一筋の大気の余地の上を過ぎていく。熱異常のなかで推定された遠方の局が、一貫性のない合わせの儀式を行う。

潜航。停滞した黒い画面が、巨大な恒星と、焦げた彗星と、隕石を覆い隠す。それらの疑わしい微光は、勇敢な辺境者と闇の冒険者が放った放射であり、いまや、ただおぼろげで、誰にも顧みられない、ひとつの痕跡にすぎない。特殊な信仰を持つ者だけが、それを気にかける。

ある受信環境のノイズフロアとは、ある周波数帯域内の任意の瞬間に存在する背景信号エネルギーの総和をいう。都市環境では、その主要な発生源として、配電設備・無線通信網・各種民生用電子機器からの電磁放射が挙げられる。ノイズフロアには統一された発生源はなく、集中的に制御されているわけでもない。それは、独立して動作する多数の送信源の累積的な出力から生じるものであり、各送信源はそれぞれの諸元の範囲内で動作しながら、合わさることで持続的かつほぼ一様な背景を形成する。通常、この背景レベルは着目すべき変数としてではなく、固定された基準値として扱われる。振幅がこの基準値に等しいか、それを下回る信号は、媒質中に物理的には依然として存在するものの、受信系がそれを背景から区別することはできず、復元不能とみなされる。

インパルス信号は、単位インパルスとも呼ばれ、次のような信号として定義される。すなわち、ただ一つの瞬間を除くすべての時刻で値が零であり、その一瞬においてのみ値は概念上無限大となるが、全体を積分した面積はつねに一に等しくなければならない。実際には、理想的なインパルス信号を物理的に生成することはできず、持続時間がきわめて短く、振幅がきわめて高く、十分な帯域幅をもつパルスによって近似される。任意の線形時不変システムのインパルス応答（すなわち、インパルスを入力として与えたときに得られる出力）は、その後のいかなる入力に対するそのシステムの挙動をも完全に特徴づける。入力がまったくない場合、静止した系は何も出力せず、ほかのいかなる不活性な系とも区別しうる性質を示さない。ただ一つのインパルスと、その測定された応答とから、システムの完全な伝達関数を導くことができる。

''第二部。''

抑えられた音響スカラーがベクトル化する音響の収差が散逸していく

等方的な煙突が、パケットの雨を打つきめ細かな応答の袋が、すり潰されて地に迷う

砂漠としての海は、自らの生命を埋める完璧な水温躍層が、その殻を叩く

幕がフレネルの曲がりの前で閉じるプラズマのたまりがローバーたちの太ももを腫れ上がらせる

''第三部。''

微粒子の圧力が、内陸の孤島の隅々まで行き渡る紫外線の功利主義者が、三つに一つの岩山を無色に塗る劣化した嘘が、ばかげた合法な自由を悼むサイレンの音が、実在性のサウナに浸かっている奇妙な堆積物が、誰も求めていない永遠を放つ


== 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.


=== On professionalism and why I consider myself pro enough even if I have no proper proof ===

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.

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.


=== Music, bloody hell ===

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.

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’.

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.

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.


=== Vocal synthesis masterclass ===

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.

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’.


=== So what is this song about? ===

It’s all in the title mate.

Keep reading if you think that alone is not meaningful enough.

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:

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.

I probably should have required signing an EULA to have access to this.


=== A personal crusade against claims of superhuman frequential cognitive abilities ===

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.


=== 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.
[[Media:pulse under latent semantic envelopes.lrc|Synced lyrics (.lrc)]]
[[Category:Shirakaba Express Service]]