Poem for G. - check in 1

This interaction between Somax2 and my wavetable synth I mentioned last time deserves some space. After an intense day of work yesterday, including recording myself numerous times, I realized the work needs more integration of musical material, voice, and flute. That seems like it should have been obvious, but I thought everything would stem from my own playing, speaking and choices; and the form I had chosen would allow everything to make sense. Not.

It turns out that from the listener's perspective, using my particular "pickle" of Somax2, that is not the case because the melodic material is fixed. I could change this, as mentioned, but I really like this choice of material, which is my piccolo playing with voice, put through phase vocoding. But if I stay with it, since it is more or less fixed as a sound world and has limited melodic material (although it can occur in many transpositions and in different combinations), if I want a proper composition, it has to be the basis. This is probably a good and unifying thing.

Therefore today's experiment will to be to foreground the sounds of Somax2, and since they have vocal elements, to integrate them with the spoken voice first. Then it can have a brief solo with the wavetable (letting that shine), then I can introduce the flute sounds with some vocal characteristics as a "dream" of the poem. (The text of the poem ends with "the sleep of the desperate, who travel backwards, into darkness", so that is apropos.)

As a side note, I panicked yesterday because I was almost certain that the latent space coordinates (in this case, chosen with an x / y controller) for nn~ and my RAVE model did not produce the same results as they had been the past few days. I wonder if this is a thing? It was spooky, but in the end, I can convince myself it was my imagination.