clean up "fancy" characters throughout data files

1 files changed, 38 insertions, 38 deletions

diff --git a/album/homestuck-vol-5.yaml b/album/homestuck-vol-5.yaml
index 6fc98ea..90c691d 100644
--- a/album/homestuck-vol-5.yaml
+++ b/album/homestuck-vol-5.yaml
@@ -441,22 +441,22 @@ Commentary: |-
     <i>Solatrus:</i>
     <i>(original commentary)</i>
     My Skaia remix was actually done before I joined the music team.  I had first made a remix of Doctor (which you can hear <a href="https://homestuckgaiden.bandcamp.com/track/doctor-deep-breeze-mix">here</a>), which apparently really caught the attention of the team, in part thanks to Blueberry.
-    Anyway, just as I do now, I streamed music pretty regularly back then, and I’d often times do some improvisational piano over the rest of the mix I made for Incipisphere. Of course, one of those improv sessions (though not a live one) is what made it into the final mix.
+    Anyway, just as I do now, I streamed music pretty regularly back then, and I'd often times do some improvisational piano over the rest of the mix I made for Incipisphere. Of course, one of those improv sessions (though not a live one) is what made it into the final mix.
     Ultimately, Radiation told me it would probably be a good idea to not release Incipisphere Mix anywhere, and then eventually I got a private message from Andrew saying he wanted a .wav of it.
     And the rest, I guess, is history?
     Oh, and one more thing: AndrewNeo, the guy who runs skaia.net, named both my Doctor remix and my Skaia remix.
     <i>(commentary redux)</i>
-    Let’s have a bit of history before we jump into things with this song.
+    Let's have a bit of history before we jump into things with this song.
     <b>A Bit of History</b>
-    I’ve been writing music among the longest out of all of the team members (9 and a half years now), but definitely not the longest. However, I definitely have to say I’ve improved more over the past two years than the seven years before that just from working with so many talented people.
-    But the difference in improvement between then and now is a story for another day. Let’s zip right just before I joined the team. While Skaia (Incipisphere Mix) is my first official Homestuck song, Doctor (Deep Breeze Mix) is my first Homestuck-related song, which you can download <a href="https://homestuckgaiden.bandcamp.com/track/doctor-deep-breeze-mix">here</a>.
-    The reason I’m mentioning my Doctor remix is because it very much helped put Incipisphere Mix on Volume 5. From what I was told, it turned a few heads on the team. Kind of hilarious to go back and look at the thread, because multiple of my chums posted just after I did and I wasn’t even aware of who they were at the time. Then again, I was still VERY new to the community at the time. My very first post on the MSPA Forums was of a WIP of my Doctor remix.
+    I've been writing music among the longest out of all of the team members (9 and a half years now), but definitely not the longest. However, I definitely have to say I've improved more over the past two years than the seven years before that just from working with so many talented people.
+    But the difference in improvement between then and now is a story for another day. Let's zip right just before I joined the team. While Skaia (Incipisphere Mix) is my first official Homestuck song, Doctor (Deep Breeze Mix) is my first Homestuck-related song, which you can download <a href="https://homestuckgaiden.bandcamp.com/track/doctor-deep-breeze-mix">here</a>.
+    The reason I'm mentioning my Doctor remix is because it very much helped put Incipisphere Mix on Volume 5. From what I was told, it turned a few heads on the team. Kind of hilarious to go back and look at the thread, because multiple of my chums posted just after I did and I wasn't even aware of who they were at the time. Then again, I was still VERY new to the community at the time. My very first post on the MSPA Forums was of a WIP of my Doctor remix.
     Blueberry eventually put me in contact with Radiation, and I was told not to release my Skaia remix anywhere. That made me very curious! And then not too long after that (a few days, I think), I received a message from Andrew Hussie himself on the forums saying he wanted the lossless master of Incipisphere.
-    “Oh snap! I’m a guest artist on Volume 5!” … And the following day I see a new subforum sitting there and I found out I was invited to join the team. Exciting times, indeed.
+    "Oh snap! I'm a guest artist on Volume 5!" ... And the following day I see a new subforum sitting there and I found out I was invited to join the team. Exciting times, indeed.
     <b>The Song Itself</b>
-    Now, I’m sure people are wondering why I went with doing a remix of Skies of Skaia. Well, simply put, I really liked the chord progression, and I really enjoyed one of the remixes that was formerly in the discography. Because of both, I decided I wanted to do something with a bit of a heavier sound to it, but keeping consistent with the light and vibrant tone qualities.
-    The bassline and drums definitely helped give the song a much heavier feel than the original, showing an earlier example of what I feel has become my typical contrast in music. I very much enjoy contrasts in all art forms. Unexpected contrasts that are executed well just really made me happy. I can’t say I’m particularly happy with the bassline now, but back then that was pretty appropriate for my skill level, plus having an arpeggiating sound that I really used to do too much.
-    Of course, the comments I see the most on this song are on the improvised piano part. Before I was on the team I started doing a regular broadcast on the skaia.net internet radio, and I’d improvise over this song pretty often back then. I eventually figured out a few parts that I wanted to keep consistent, and I did a bunch of takes to finally get to what you hear in the final song. Of course, MIDI never seems to record very accurately, and I’m not actually the greatest at piano (!!!), so I had to do some fine-tuning on the note timings to make them actually sound precise. But those really fast runs were definitely real, and, no, don’t ask me to play it again. I won’t be able to. It was a really good day for me.
+    Now, I'm sure people are wondering why I went with doing a remix of Skies of Skaia. Well, simply put, I really liked the chord progression, and I really enjoyed one of the remixes that was formerly in the discography. Because of both, I decided I wanted to do something with a bit of a heavier sound to it, but keeping consistent with the light and vibrant tone qualities.
+    The bassline and drums definitely helped give the song a much heavier feel than the original, showing an earlier example of what I feel has become my typical contrast in music. I very much enjoy contrasts in all art forms. Unexpected contrasts that are executed well just really made me happy. I can't say I'm particularly happy with the bassline now, but back then that was pretty appropriate for my skill level, plus having an arpeggiating sound that I really used to do too much.
+    Of course, the comments I see the most on this song are on the improvised piano part. Before I was on the team I started doing a regular broadcast on the skaia.net internet radio, and I'd improvise over this song pretty often back then. I eventually figured out a few parts that I wanted to keep consistent, and I did a bunch of takes to finally get to what you hear in the final song. Of course, MIDI never seems to record very accurately, and I'm not actually the greatest at piano (!!!), so I had to do some fine-tuning on the note timings to make them actually sound precise. But those really fast runs were definitely real, and, no, don't ask me to play it again. I won't be able to. It was a really good day for me.
 ---
 Track: Sarabande
 Directory: sarabande-vol5
@@ -485,10 +485,10 @@ Sheet Music Files:
   - 'Sarabande - MarimbaMaestoso (bass).pdf'
 Commentary: |-
     <i>Erik Scheele:</i>
-    I’ll never really know what happened to produce this. Not really, never. I wish I could remember if there was some thought process behind it, some sort of inspiration, but I really can’t remember any. Most likely, that was for the better.
-    What I mean is, I used to do a lot of improvisation after theater classes, instead of practicing, while my mother would clean up the various classrooms that were used. There was never really any inspiration for things that I can remember, and they were just a lot of off-the-cuff experiments of a sort, I guess. Some probably turned out great, and there were probably more than a couple days where nothing happened. I can remember trying to emulate different video game soundtracks or bits from them, but that was never really a norm. The only thing I’d ever think regularly was how no one would ever actually hear the improvisation I was playing, and I was okay with that. This was before college, anyway.
-    My point is, improvisation rarely had a point, so it’s really impossible to nail down if there was any reason for playing Sarabande that night. The way it went about, I just played the piece, exactly how it was recorded, aside from one little mistake. Then I stopped, went “Okay yeah, that was good”, packed up, and left. A while later, I needed to play things for the composer concert, so I performed it from memory, and that’s where the recording came from.
-    It’s kind of gained a status among the fandom for being music for when John reads Jade’s letter, which I think is a rather good place for it to go. Although, I think I actually called it “Rooftop Waltz” at one point, for Rose/Dave shipping stuff, buuuuut I’m rather glad that the “purpose” and title is changed now. “Rooftop Waltz”, that’s such an awful cheesy love title, plus, the piece really is a sarabande. I mean literally, it fits the genre fairly well, plus my composition prof called it “a perfect sarabande”, so there we go.
+    I'll never really know what happened to produce this. Not really, never. I wish I could remember if there was some thought process behind it, some sort of inspiration, but I really can't remember any. Most likely, that was for the better.
+    What I mean is, I used to do a lot of improvisation after theater classes, instead of practicing, while my mother would clean up the various classrooms that were used. There was never really any inspiration for things that I can remember, and they were just a lot of off-the-cuff experiments of a sort, I guess. Some probably turned out great, and there were probably more than a couple days where nothing happened. I can remember trying to emulate different video game soundtracks or bits from them, but that was never really a norm. The only thing I'd ever think regularly was how no one would ever actually hear the improvisation I was playing, and I was okay with that. This was before college, anyway.
+    My point is, improvisation rarely had a point, so it's really impossible to nail down if there was any reason for playing Sarabande that night. The way it went about, I just played the piece, exactly how it was recorded, aside from one little mistake. Then I stopped, went "Okay yeah, that was good", packed up, and left. A while later, I needed to play things for the composer concert, so I performed it from memory, and that's where the recording came from.
+    It's kind of gained a status among the fandom for being music for when John reads Jade's letter, which I think is a rather good place for it to go. Although, I think I actually called it "Rooftop Waltz" at one point, for Rose/Dave shipping stuff, buuuuut I'm rather glad that the "purpose" and title is changed now. "Rooftop Waltz", that's such an awful cheesy love title, plus, the piece really is a sarabande. I mean literally, it fits the genre fairly well, plus my composition prof called it "a perfect sarabande", so there we go.
 ---
 Track: Clockwork Sorrow
 Artists:
@@ -524,9 +524,9 @@ Commentary: |-
     <i>Alex Rosetti:</i>
     This is exactly what it sounds like. I went for a whimsical, dreamy feel with this one, expressed through the 3/4 meter, waltz patterns, Lydian mode, and ringing, bell-like timbres. There's not a lot going on in this one, though I think it's charming in a childlike way. It was the first piece I made upon my return to the music team (I was in it since the beginning, but never made anything worthwhile and left for a few months since I was starting my first year of college)
     <i>(extra comments in reply to a Tumblr question)</i>
-    For some reason waltzes, Lydian mode, harps, and bell-like timbres seemed like the most appropriate ways to evoke dreams for me. I was inspired to make it ever since seeing Jade’s dream self, and how appropriate that it was included in Dave’s dream in Derse!
-    For those not around since the beginning of that page or who don’t know the history, it was originally full of Bill Bolin tunes (a former music team member who left on very bad terms) and we had to replace them with existing material. One of the things Andrew put in there was Phantasmagoric Waltz, and now that page has the additional comedy of Dave and Rose jamming out to...a sweet, slow-paced romantic dance? I can dig it.
-    For the record, that’s not a cell phone vibration, whatever you are hearing is there just by chance.
+    For some reason waltzes, Lydian mode, harps, and bell-like timbres seemed like the most appropriate ways to evoke dreams for me. I was inspired to make it ever since seeing Jade's dream self, and how appropriate that it was included in Dave's dream in Derse!
+    For those not around since the beginning of that page or who don't know the history, it was originally full of Bill Bolin tunes (a former music team member who left on very bad terms) and we had to replace them with existing material. One of the things Andrew put in there was Phantasmagoric Waltz, and now that page has the additional comedy of Dave and Rose jamming out to...a sweet, slow-paced romantic dance? I can dig it.
+    For the record, that's not a cell phone vibration, whatever you are hearing is there just by chance.
 ---
 Track: Sunslammer
 Artists:
@@ -607,7 +607,7 @@ MIDI Project Files:
   - 'Chorale for War - Unknown.mid'
 Commentary: |-
     <i>Steve Everson:</i>
-    This one predates my time on the music team! It started life as a midi called Battle Chorale (obviously, a pun on "battle royale"). It was pretty popular, if I recall correctly, though there wasn’t a lot of fan music around in those days to compare to. Some time after joining the team, one of the other musicians created their own hard rock Chorale remix by that same name! So I updated my old one under a new name, and Albatross and Rad created their Hardchorale remix too. Battle Chorale never made it to publication but these two survived.
+    This one predates my time on the music team! It started life as a midi called Battle Chorale (obviously, a pun on "battle royale"). It was pretty popular, if I recall correctly, though there wasn't a lot of fan music around in those days to compare to. Some time after joining the team, one of the other musicians created their own hard rock Chorale remix by that same name! So I updated my old one under a new name, and Albatross and Rad created their Hardchorale remix too. Battle Chorale never made it to publication but these two survived.
 ---
 Track: Electromechanism
 Artists:
@@ -857,22 +857,22 @@ MIDI Project Files:
   - 'Ruins (With Strings) - Kieros (piano).mid'
 Commentary: |-
     <i>Erik Scheele:</i>
-    This one is really hardly me, honest, it’s all Bowman. Ruins was this piano recording I’d put up back when I still hardly knew how to record anything, and then Bowman just went and added magic to it. And the piano track, that’s just another one of those “improvisations out of nowhere”, no real purpose or theory-thinking beforehand to delegate anything to it. Especially the descending-thirds, no way I could have just thought about that and been like “Yes that is a good thing to be doing”, it was just spur of the moment thinking.
+    This one is really hardly me, honest, it's all Bowman. Ruins was this piano recording I'd put up back when I still hardly knew how to record anything, and then Bowman just went and added magic to it. And the piano track, that's just another one of those "improvisations out of nowhere", no real purpose or theory-thinking beforehand to delegate anything to it. Especially the descending-thirds, no way I could have just thought about that and been like "Yes that is a good thing to be doing", it was just spur of the moment thinking.
 
     (Ruins was one of the first things I contributed to the music forum after getting on the team, a small improvisation based around descending seconds which was made back when I still had no idea how to record things properly. Since Earth was kind of a gigantic wasteland planet at that point (and it still is, today), I conceptually tied my recording in with that, and called it Ruins.
 
-    Of course, I really doubt that Ruins would have gotten anywhere if it wasn’t for Bowman, who pretty much surprised me sometime before Volume 5 with an updated version of my recording, which made the piano sound better and added a lot of other instruments to it, really adding a lot of depth and atmosphere to an otherwise-shoddy recording. And then, when Volume 5 came around, it was released as “Ruins (With Strings)”, which is what you just heard in the update!
+    Of course, I really doubt that Ruins would have gotten anywhere if it wasn't for Bowman, who pretty much surprised me sometime before Volume 5 with an updated version of my recording, which made the piano sound better and added a lot of other instruments to it, really adding a lot of depth and atmosphere to an otherwise-shoddy recording. And then, when Volume 5 came around, it was released as "Ruins (With Strings)", which is what you just heard in the update!
 
-    I know I’ve got a better recording of Ruins kicking around here somewhere, I’ll have to see if something can be done with it.)
+    I know I've got a better recording of Ruins kicking around here somewhere, I'll have to see if something can be done with it.)
 
     <i>Michael Guy Bowman:</i>
-    Really it’s the “(With Strings)” part that is my doing. When Jit was first inducted to the team, he did not have access at the time to a proper recording environment or midi controller that he could apply a high-quality piano sound to, so he had recorded his piano demo for “Ruins” on what I’m guessing is an on-board laptop microphone. I thought the composition was really great but knew that it would sound too unpolished to make the cut onto a Homestuck album, so I resolved to write a string accompaniment around his composition.
+    Really it's the "(With Strings)" part that is my doing. When Jit was first inducted to the team, he did not have access at the time to a proper recording environment or midi controller that he could apply a high-quality piano sound to, so he had recorded his piano demo for "Ruins" on what I'm guessing is an on-board laptop microphone. I thought the composition was really great but knew that it would sound too unpolished to make the cut onto a Homestuck album, so I resolved to write a string accompaniment around his composition.
 
-    By applying an incredibly enormous amount of reverb to the piano part, I hid the low fidelity of the original recording and made it sound as though it was hauntingly played to the listener from the other end of a cave. Given my lack of any truly convincing string samples, I chose instead to use deliberately mechanical strings, gently de-tuning them to sound a bit reminiscent of early string synthesizers, somewhat inspired by “Crystal Japan”, a creepy instrumental by David Bowie.
+    By applying an incredibly enormous amount of reverb to the piano part, I hid the low fidelity of the original recording and made it sound as though it was hauntingly played to the listener from the other end of a cave. Given my lack of any truly convincing string samples, I chose instead to use deliberately mechanical strings, gently de-tuning them to sound a bit reminiscent of early string synthesizers, somewhat inspired by "Crystal Japan", a creepy instrumental by David Bowie.
 
-    Some of the other elements of the ambiance (the wind, the really high notes that echo for a long time) I drew from the soundtrack to World of Goo, specifically the track “Jelly” which I noticed bore a strong resemblance tonally to Jit’s composition. To seal the melancholy, I doubled the piano melody on guitar using a very cool, muted sound with a lot of echoes and pitch bends. I signed the tune by adding a cadence from “Sburban Jungle” at the very end.
+    Some of the other elements of the ambiance (the wind, the really high notes that echo for a long time) I drew from the soundtrack to World of Goo, specifically the track "Jelly" which I noticed bore a strong resemblance tonally to Jit's composition. To seal the melancholy, I doubled the piano melody on guitar using a very cool, muted sound with a lot of echoes and pitch bends. I signed the tune by adding a cadence from "Sburban Jungle" at the very end.
 
-    Really, the track should probably be listed simply as “Ruins” if not for the fact that there is not official piano rendition of the piece. I think it would be really cool to hear such a version of the tune if Jit ever found himself recording material in a studio again (as he did for [[artist:james-dever|James’s]] piano suite [[album:sburb|Sburb]]).
+    Really, the track should probably be listed simply as "Ruins" if not for the fact that there is not official piano rendition of the piece. I think it would be really cool to hear such a version of the tune if Jit ever found himself recording material in a studio again (as he did for [[artist:james-dever|James's]] piano suite [[album:sburb|Sburb]]).
 ---
 Track: Ectobiology
 Artists:
@@ -929,7 +929,7 @@ Art Tags:
 - Tumor
 Commentary: |-
     <i>Steve Everson:</i>
-    My other favourite from Volume 5. It started life as a theme for the Aimless Renegade, inspired by a “Desperado” theme which I believe was written by Bolin back when he was still part of the team. I wasn’t really running on any particular goal of contributing so much as liking the style and wanting to make something similar. Imagine the piece as it is now played by some sort of mariachi band and you might have the right idea of what it originally sounded like. Naturally, it didn’t quite fit. I liked the melody but it just wasn’t working for the whole desert hero thing. So I flipped through my library of voices (small though it was back then) and came across the more electronic one that plays the melody now. I re-tooled the accompaniment to fit, and it became a piece that I always considered a theme for Derse. Hence its title.
+    My other favourite from Volume 5. It started life as a theme for the Aimless Renegade, inspired by a "Desperado" theme which I believe was written by Bolin back when he was still part of the team. I wasn't really running on any particular goal of contributing so much as liking the style and wanting to make something similar. Imagine the piece as it is now played by some sort of mariachi band and you might have the right idea of what it originally sounded like. Naturally, it didn't quite fit. I liked the melody but it just wasn't working for the whole desert hero thing. So I flipped through my library of voices (small though it was back then) and came across the more electronic one that plays the melody now. I re-tooled the accompaniment to fit, and it became a piece that I always considered a theme for Derse. Hence its title.
 ---
 Track: Crystamanthequins
 Artists:
@@ -960,10 +960,10 @@ MIDI Project Files:
   - 'Crystamanthequins - adamus (piano).mid'
 Commentary: |-
     <i>Erik Scheele:</i>
-    Probably the thing I’m best-known for off of Volume 5, which is slightly ironic given how rushed it was. No kidding, I finished it up the night that Hussie was rounding up tracks to go through, and threw it in as a last-minute thing, “hey I just finished this can it go in??” deal. I mean, I’d had inspiration for it earlier, but never got around to making it until it was almost too late!
-    Yeah, this one definitely had inspiration. To answer a quick question you might have though, no, I didn’t know about the trolls beforehand, or what Hussie was going to do with the music. I didn’t even find out until Albatross Soup told me about it, a few weeks before it happened. Moreso, the inspiration came from a sudden image I had one night during the summer, in which Jade’s planet, at that time unknown, was highly unstable, and Noir had purposefully upset the balance in order to try and destroy her planet. So the entire first bit is her trying to save her inhabitants, while Crystalanthemums plays. The reason for having that motif, well, I’d had this very strong feeling that it should be Jade’s planet theme. So, it got used.
-    (The mental images of one of the kid’s planets getting broken/torn apart like I’d imagined still give me the shivers. I still love Hussie so much for creating a villain that actually did something upon gaining obscene amounts of power; rather than just retreating and launching some master plan, he actually went around and started doing shit with his powers. Not something you even really see in Hollywood villains nowadays, far as I know. The protagonists and antagonists are always very separated, no interaction between one or the other, nothing like what Noir does. At least, that was my experience at the time.)
-    As for the second bit, well, I’d wanted to make an “industrial, heavy action, stuff going to shit” remix of Perrybob’s Mannequin for quite some time, and it seemed to fit to transition over to that. In my head, the action was going to shift from Jade’s planet to LOHAC, where unspecific action was going to take place. I really don’t think I gave the Mannequin section enough time to develop, or really do much, but time constraints dictated I give the music over to the volume 5 collaborative -right then and there-, so it had to be cut off. Mannequin’s really great, though, you should give it <a href="https://www.youtube.com/watch?v=gAyPFa3nEK4&feature=youtu.be">a listen</a>.
+    Probably the thing I'm best-known for off of Volume 5, which is slightly ironic given how rushed it was. No kidding, I finished it up the night that Hussie was rounding up tracks to go through, and threw it in as a last-minute thing, "hey I just finished this can it go in??" deal. I mean, I'd had inspiration for it earlier, but never got around to making it until it was almost too late!
+    Yeah, this one definitely had inspiration. To answer a quick question you might have though, no, I didn't know about the trolls beforehand, or what Hussie was going to do with the music. I didn't even find out until Albatross Soup told me about it, a few weeks before it happened. Moreso, the inspiration came from a sudden image I had one night during the summer, in which Jade's planet, at that time unknown, was highly unstable, and Noir had purposefully upset the balance in order to try and destroy her planet. So the entire first bit is her trying to save her inhabitants, while Crystalanthemums plays. The reason for having that motif, well, I'd had this very strong feeling that it should be Jade's planet theme. So, it got used.
+    (The mental images of one of the kid's planets getting broken/torn apart like I'd imagined still give me the shivers. I still love Hussie so much for creating a villain that actually did something upon gaining obscene amounts of power; rather than just retreating and launching some master plan, he actually went around and started doing shit with his powers. Not something you even really see in Hollywood villains nowadays, far as I know. The protagonists and antagonists are always very separated, no interaction between one or the other, nothing like what Noir does. At least, that was my experience at the time.)
+    As for the second bit, well, I'd wanted to make an "industrial, heavy action, stuff going to shit" remix of Perrybob's Mannequin for quite some time, and it seemed to fit to transition over to that. In my head, the action was going to shift from Jade's planet to LOHAC, where unspecific action was going to take place. I really don't think I gave the Mannequin section enough time to develop, or really do much, but time constraints dictated I give the music over to the volume 5 collaborative -right then and there-, so it had to be cut off. Mannequin's really great, though, you should give it <a href="https://www.youtube.com/watch?v=gAyPFa3nEK4&feature=youtu.be">a listen</a>.
     Also, as a sidenote, my like for Beck is rather shown in this piece, as is evidenced by my direct attempt to semi-recreate main beat in Replica to transition between the two sections. #MUSICSECRETSSSSSSSS
 ---
 Track: Endless Climbing
@@ -1138,8 +1138,8 @@ Art Tags:
 - Jade
 Commentary: |-
     <i>Steve Everson:</i>
-    Man, this track goes way back. I’m talking years. One of my really early midi compositions. It sounded like the coolest shit when I was 14. It’s practically unchanged besides being synthesised with non-midi voices. Same instruments and all.
-    It’s got a bit more of an... ironic appeal to it now. Still sounds pretty cool though
+    Man, this track goes way back. I'm talking years. One of my really early midi compositions. It sounded like the coolest shit when I was 14. It's practically unchanged besides being synthesised with non-midi voices. Same instruments and all.
+    It's got a bit more of an... ironic appeal to it now. Still sounds pretty cool though
 ---
 Track: Darkened
 Artists:
@@ -1206,9 +1206,9 @@ MIDI Project Files:
   - 'Light - Dohmb.mid'
 Commentary: |-
     <i>Erik Scheele:</i>
-    This one, man. Not really as well-known as the other three, I don’t think, but I’m still happy with various aspects of it. Not really any specific inspiration, I just started out with the thought of wanting to make a contrasting piece to Black. Especially with the opening piano line, but overall, something more pure and light. Of course, by the time I got around to finishing it, Radiation had already stolen the title “White”, so I called mine “Light” instead.
-    About the middle section, I think that needs a bit of talk about it. I’d just been talking with a friend about Homestuck, telling him about the numerical motif 413, and telling him various examples, and he went and said “Yeah, that could be a chord progression too”, and I was like “whooooooooooooooooah”. So I used it as a chord progression. For the first while, though, I had this dual guitar line instead of Showtime, and it was sorta eeeeenh and I didn’t know where to go from there. It sat for a while, then suddenly one day in church I was like “oh holy shit showtime would work so well in there”. It was like suddenly remembering you left a cake in the oven on 500 degrees for the last two nights, that sort of realization. So it went in, and it worked much better than the stupid two-guitar thing.
-    413 as a motif, I’ve used it in various ways. Not saying anything, though, not even sure about spoiling its use in Light. If you ever analyze various bits of music, though, you might notice it popping up, or other little fun bits. That’s all I’ve got to say about that.
+    This one, man. Not really as well-known as the other three, I don't think, but I'm still happy with various aspects of it. Not really any specific inspiration, I just started out with the thought of wanting to make a contrasting piece to Black. Especially with the opening piano line, but overall, something more pure and light. Of course, by the time I got around to finishing it, Radiation had already stolen the title "White", so I called mine "Light" instead.
+    About the middle section, I think that needs a bit of talk about it. I'd just been talking with a friend about Homestuck, telling him about the numerical motif 413, and telling him various examples, and he went and said "Yeah, that could be a chord progression too", and I was like "whooooooooooooooooah". So I used it as a chord progression. For the first while, though, I had this dual guitar line instead of Showtime, and it was sorta eeeeenh and I didn't know where to go from there. It sat for a while, then suddenly one day in church I was like "oh holy shit showtime would work so well in there". It was like suddenly remembering you left a cake in the oven on 500 degrees for the last two nights, that sort of realization. So it went in, and it worked much better than the stupid two-guitar thing.
+    413 as a motif, I've used it in various ways. Not saying anything, though, not even sure about spoiling its use in Light. If you ever analyze various bits of music, though, you might notice it popping up, or other little fun bits. That's all I've got to say about that.
 ---
 Track: Softly
 Artists:
@@ -1286,7 +1286,7 @@ MIDI Project Files:
   - 'Ecstasy - IronInvoker47 (piano).mid'
 Commentary: |-
     <i>Steve Everson:</i>
-    Probably remains my favourite of my pieces, while also being one of the ones with the least real thought put into it. The whole thing was written more or less on the fly. The chord pattern is one that I’d liked for several months, possibly even a year or two, without ever having come up with something good enough to write to it. Then, one evening while I was in the shower (all of my best ideas come from the shower) my mind pulled together a half-remembered bassline from an obscure-ish Sonic the Hedgehog game and a brief snippet from an old quiz show called Catchphrase, and strung them into the main harmonies of the piece. From there I just lay an improvised piano melody on top.
+    Probably remains my favourite of my pieces, while also being one of the ones with the least real thought put into it. The whole thing was written more or less on the fly. The chord pattern is one that I'd liked for several months, possibly even a year or two, without ever having come up with something good enough to write to it. Then, one evening while I was in the shower (all of my best ideas come from the shower) my mind pulled together a half-remembered bassline from an obscure-ish Sonic the Hedgehog game and a brief snippet from an old quiz show called Catchphrase, and strung them into the main harmonies of the piece. From there I just lay an improvised piano melody on top.
     When I presented it to the music team it was pretty well-received, and with some of their guidance the whole piece ended up pretty polished.
 ---
 Track: Snow Pollen
@@ -1368,7 +1368,7 @@ Referenced Tracks:
 Cover Art File Extension: jpg
 Commentary: |-
     <i>Steve Everson:</i>
-    I’m sure you all know the story behind the Doctor remixes. During the Intermission Andrew wanted a remix of that to use for LOWAS and everyone jumped at the chance. This was my contribution. It’s a pretty straight transcription to different instruments. Nowadays I find that a little disappointing. I started writing a new version not long ago; maybe one day I’ll finish it and post it here.
+    I'm sure you all know the story behind the Doctor remixes. During the Intermission Andrew wanted a remix of that to use for LOWAS and everyone jumped at the chance. This was my contribution. It's a pretty straight transcription to different instruments. Nowadays I find that a little disappointing. I started writing a new version not long ago; maybe one day I'll finish it and post it here.
 ---
 Track: Enlightenment
 Artists:
@@ -1509,9 +1509,9 @@ MIDI Project Files:
   - 'Descend - Max Wright (piano).mid'
 Commentary: |-
     <i>Toby Fox:</i>
-    No one asked, I just wanted to make… THE ULTIMATE SONG… COMBINING EVERYTHING… (obviously I could do better now but it was a pretty cool thing)
+    No one asked, I just wanted to make... THE ULTIMATE SONG... COMBINING EVERYTHING... (obviously I could do better now but it was a pretty cool thing)
 
-    Fun fact: It was originally called “[[track:ascend|Ascend]].”
+    Fun fact: It was originally called "[[track:ascend|Ascend]]."
 ---
 Track: Homestuck
 Artists: