With all of my tracks completed, only one step remained before I could submit my work to RPM Headquarters: turning my collection of tracks in to an album and burning it to CD. A good album can be more than the sum of its tracks, so it was important for me to do what I could within the time limit to bring the tracks together as a cohesive whole and then present that within a proper CD case.
I started thinking about track ordering about half-way through the challenge, though I didn’t put much time in to it until I finished all of the tracks. Some of them fell in to place: I knew I wanted to finish with escape velocity and magnificent desolation, and periapsis seemed like a good opener, while I placed free return at track 3 (the “lead single” slot), and I saved track 6 for the upbeat direct ascent, to start the second half of the album with a bang.
For the other tracks, I used a bit of trial and error, slotting them in where I thought they’d fit. The end result is that the first half is generally a bit more relaxed and downbeat, while the second half is a bit more lively and upbeat.
Burning the CD
Despite the time constraints, I did spend some time on the final CD contents. I had planned to just burn each track to CD, using Brasero, but when I played the tracks back-to-back, they didn’t flow together well: the volume levels jumped around from track to track, and the pauses between tracks were too short. I figured the best way to tackle this was to import my finished tracks in to a new Ardour session and make use of Ardour’s CD mastering features.
Within Ardour, it was easy to adjust the timing and volume levels between tracks to make them all flow together; I then just had to add CD track markers at the start of each track. I used my ears to adjust those relative volumes, and I had no time (and no real desire, either) to use compression to bring up the baseline loudness, so some of the tracks look much quieter than others if you look at the CD’s waveform; the chiptune tracks, for instance, seemed much louder than their waveforms suggested, so I turned those down quite a bit.
Adjusting the tracks' volumes to match by ear meant that some of the tracks looked much quieter than others on a waveform display
Another advantage to mastering a CD in Ardour is the ease with which you can run tracks together without a pause in between. I couldn’t resist the urge to try this, so I brought the start of eclipse up to just before the end of free return. It’s great to hear that seamless transition between the two tracks while listening to the CD (or to the FLACs, in a player like Aqualung).
The CD master project in Ardour 3, complete with track markers
Turning the Ardour session in to a CD was a matter of exporting it in just the right format — 44.1Khz, 16-bit, WAV, with TOC/CUE files enabled — and then feeding the WAV and TOC file to cdrdao, a specialised “disk-at-once” CD burning tool. The TOC and CUE files are both simple text files that describe the layout of a CD; TOC is specific to cdrdao, while CUE is more generic. Burning the CD with cdrdao took just one command:
cdrdao write Session.wav.toc
The final step was to upload the CD to Bandcamp. I wanted Bandcamp downloads to sound the same as the CD, so I used bchunk to split CD image in to separate tracks. based on the CUE file. The “-w” option instructs bchunk to write the tracks in WAV format:
bchunk -w Session.wav Session.wav.cue track
It was important to me to have an attractive CD cover design, and that design started with the cover art itself. The “far side of the mün” concept came the downtime I’d spent playing Kerbal Space Program and listening to MOON8, a brilliant NES reinterpretation of Pink Floyd’s Dark Side of the Moon. A KSP screenshot seemed fitting as a cover, so I fired it up, flew in to Münar orbit, disabled the HUD, and started grabbing shots until I got one I was happy with.
The completed CD jewel case templates: front (with liner notes) and back
To turn that in to a CD jewel case cover, I used Inkscape, along with some excellent SVG templates. Inkscape’s a vector drawing package, so it’s well suited to this sort of design and layout work, and having a template made it easy to size everything correctly. I exported the completed templates to PDF files, and then had them printed on gloss paper and cut to size at an office supply shop.
Unfortunately, there wasn’t much I could do for the CD itself — that was just a standard blank CD-R, with “far side of the mün” scrawled on it in black Sharpie!