Pulse under latent semantic envelopes

This is a song. The title is stylised in all lowercases:

pulse under latent semantic envelopes

External repo

http://novoyuuparosk.org:1551/mikkeli/ncmr-songs.git

Lyrics

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 translation (not great)

第一部。

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。

第二部。

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。

第三部。

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

Notes about the song

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.