I Really Didn’t Mean To Be The Saviour Of The World

Chapter 110: Chapter 98: Starting a Business_l

Translator: 549690339

Harrison Clark stayed at Beiduo Music Academy for a few more days, mainly to help Carrie Thomas produce songs.

He didn’t participate much in the recording of “A Dull Life,” which was about to be completed, and instead focused most of his energy on the production of the accompaniment for “The Fire.”

Copying was copying, but out of a sense of responsibility, he had to ensure that this song was consistent with the future version, without any discrepancies.

In the original timeline, it didn’t take Carrie Thomas long to complete the composition of “The Fire” after creating the lyrics, but there was no hero saving the day involved in this process.

The most significant and impactful event for Carrie Thomas during this time should have been Susan Lambert’s car accident death.

She believed that she should bear the main responsibility for Susan Lambert suddenly fainting while driving.

At that time, she must have been overwhelmed by guilt, and at the same time, realized the emotions of Susan Lambert sacrificing herself in pursuit of her dream. Eventually, under the influence of these emotions, her inspiration burst forth, and she completed the arrangement of “The Fire.”

Harrison Clark was uncertain whether Carrie Thomas’ inspiration and creative level could satisfy “The Fire’s” realm after losing this life experience.

In case she decides that a certain melody is not appropriate and changes it, and the change is not as good, Harrison Clark would be shooting himself in the foot.

He didn’t want to ruin this highly important military song, so it was better to watch it personally and then explain the creative motivation of these melodies to Carrie Thomas one note at a time, as if dissecting “The Fire’s” mysteries like a chef dissecting an ox.

He himself surely didn’t have that level of skill, but countless music critics in history had spent nearly a thousand years pondering this song.

Just analyzing “The Fire’s” rhythm, notes, and lyrics had produced a branch discipline within the college of music appreciation called “Fire Studies.”

Harrison Clark had read those scholars’ works when he was free.

Harrison Clark: “There is a repeated chord here. But it only seems repetitive. Compared to the previous section, the rhythm of the repeated chords speeds up by 17%, with a consistent baseline for each note and a shorter time. The purpose is to create an even stronger sense of urgency, further elevating the listener’s emotional resonance.”

Carrie Thomas asked, “Why 17% instead of 15% or 20°/o?”

Harrison Clark: “You taste it, you taste it carefully. We’ll listen to the three versions of 15,17, and 20, and you decide which version has the strongest flavor.”

“17%!”

“That’s right.”

Harrison Clark: “This 4411 is a classic blues chord progression. We embed it as background sound to add depth.”

Carrie Thomas: “Can blues be used as background sound?”

“Yes, it can. In the human brain, there is an area called hMT+ responsible for tracking moving visual objects. Its neural responses show the action and frequency of auditory signals. Blind people have a more developed hMT+ area and have a stronger acoustic response to moving objects.”

“What does that have to do with this chord progression?”

“Research data shows that a certain type of enzyme in the hMT+ area that determines neuronal responses will vibrate violently and become much more active when hit by specific frequency sound waves. The 4411 background sound we embed here will resonate with the brighter accompaniment and your singing, just reaching that frequency.”

Carrie Thomas was amazed, “Is there such acoustic research? I’ve never heard of it! And how do you know that I can meet the conditions you mentioned when I sing?”

Harrison Clark: Emmmmm…

“Anyway, if I say it’s like that, it’s definitely like that. Don’t challenge me.”

This was the research result of a genius scientist at the Yellowstone Research Institute more than 900 years later, which was written in his music review.

Harrison Clark couldn’t tell ghosts!

Next time it should be more esoteric and less theoretical.

Harrison Clark reminded himself in secret.

Four days later, with his personal involvement, he finally thoroughly explained the score he wrote to Carrie Thomas.

The way Carrie Thomas looked at him changed again.

She had once thought that Harrison Clark, a non-academic-born music producer, was creating by chance, purely relying on talent to crush others.

It was only after listening to his analysis that Carrie Thomas realized that an artistic understanding beyond her reach was hidden in Harrison Clark’s brain.

He even combined science and art!

What a level of accomplishment!

After she personally tried to sing with the electronic arrangement and confirmed that every detail was perfect, she couldn’t believe it, but it was true.

How could there be someone in this world who understood music and human neural responses so deeply!

“Why don’t you go into research and write papers?”

Harrison Clark shook his head, “Actually, many things I said are just my guesses and cannot be proved. Just like when Planck proposed the theory of quantum physics, even now it still cannot be completely verified.”

Carrie Thomas expressed confusion, not understanding.

That evening, both returned to Oxfordshire.

At 9 o’clock the next morning, two singles were released on No. 1 Fly.

“Deep into the Night” and “A Dull Life,” both written and composed by Harrison Clark, were sung by well-known rock singer Jenny Hart and rising star Carrie Thomas, respectively.

Harrison Clark was speechless when he saw this situation after waking up.

Why? Wasn’t this just shooting himself in the foot?

He immediately contacted No. 1 Fly music director Howard Bruno and learned that this was a temporary planning case decided by No. 1 Fly.

The two songs seemed to compete with each other, but Harrison Clark was the creator of both, so they could form an interaction.

No. 1 Fly tied Carrie Thomas, Jenny Hart, and Harrison Clark together, creating a single IP.The result of this internal competition was to attract all of the listeners drawn to Carrie Thomas by “Boring,” the original fans of the veteran rock singer Jenny Hart, and half-industry insiders curious about how Harrison Clark’s new work would turn out, all of them gathered together.

Eventually, the promotional plan created a sensation during the off-season as if top superstars were releasing songs in droves.

That night, the statistical data was released.

“A Dull Life” boasted an astonishing record of 300,000 paid downloads on its day of release, almost double the popularity of “Boring” when it first came out.

Harrison Clark still held a 30/70 split with this song, meaning that he had earned over 40,000 on the first day of its release.

“Deep in the Night” also had an impressive number of 260,000 paid downloads.

History was rewritten.

Previously, the highest record in Chinese music was held by a superstar who had released a single after five years of preparation, with 170,000 paid downloads in one day.

The market’s enthusiasm was pushed to new heights through the internal competition with Harrison Clark’s works.

This was a win-win situation resulting from positive competition, both in growing the cake and ultimately benefiting both sides.

Of course, the real winner was Harrison Clark.

In just one day, the name of the music producer Harrison Clark leaped out of the small circle of the professional field and entered the public eye.

The miracle of him composing six songs overnight also appeared in the promotional materials, leaving people in awe and whetting everyone’s appetite. It also laid the groundwork for Leah Clark and Ward Owen, who were working on their new albums, making it a multiple benefit.

Luckily, Q.Music did not get Harrison Clark’s portrait authorization, so the promotional material only featured his name and a random black silhouette.

QMusic officially claimed that it aimed to maintain a sense of mystery, but in fact, it saved Harrison Clark from becoming a “celebrity” by half.

If people discovered that the genius music maestro Harrison Clark was the culprit responsible for the chain-reaction car accident on the Beiduo Airport Expressway, it would be a huge deal.

It doesn’t matter what his motives were, whether he saved or harmed people, whether he reached a fair compensation and understanding with everyone involved, or whether the final outcome was actually legal and compliant.

The news would certainly portray him as a powerful figure in the music industry, causing major accidents and using his influence to settle things, and his budding celebrity career would be cut off half-way through.

In short, the situation was still under Harrison Clark’s control, and more and more people were eager to contact him to buy songs from him.

Harrison Clark didn’t dare turn on his phone since he was swamped with calls.

His Twitter inbox was even more disastrous, with thousands of business collaboration emails coming in daily.

He couldn’t keep up with it and lacked the ability to discern which emails were genuinely seeking collaboration and which were purely jokes.

It was time to start the company plan.

That day, under Ward Owen’s anticipation, Harrison Clark appeared at the recently integrated headquarters of Ward Owen’s company.

After taking over Eric Mitchell’s company, Ward Owen, who had won the game of life, effortlessly became one of the flag bearers of the entertainment industry in England and even the eastern part of the country.

Although he wasn’t mentally prepared for it and still only thought about singing, the elite troops he borrowed from the Whale Group gave him confidence.

“Master, what do you think of my company? Is the atmosphere alright? I believe in your abilities, so let me take a gamble. I’ll give you 30% of the shares at a valuation of 200 million. Once we have dividends, or if we go public and increase in value, you can cash out and pay me back. As long as we have your songs, we can definitely make money,” Ward Owen whispered as he showed Harrison Clark around the company.

Harrison Clark smiled, “You’re right to believe in my abilities, and your judgment is accurate. But I can’t accept your offer.”

“Why not?”

“No reason. Let this company develop on its own, and then come to me.”

“Uh, alright.”

The two chatted briefly, and Harrison Clark finally understood why Ward Owen always ended up as a spendthrift in multiple timelines.

He wasn’t exactly stupid and was quite bold.

But his problem lay in that boldness; because he saw the potential in Harrison Clark, he offered 30% of the shares in one go, showing a gamble spirit that was astonishing.

When his father was still in control, that boldness might have been an advantage, as there was always someone watching his back.

But when his father fell ill and no one could control him, letting him take the helm of a huge ship would easily steer him into a whirlpool.

Harrison Clark’s firm refusal of Ward Owen’s proposal wasn’t because he was foolish enough to reject free money.

His energy was limited, and he couldn’t afford to bind himself with a company with immense resources and become a shareholder for short-term gains.

“Let’s not talk about this anymore. I’ll help you record songs. Leah Clark’s new album is coming out next week, so you should release these three singles in sync. We’ll do another joint promotion! By then, ‘Deep in the Night’ and ‘A Dull Life’ should still be at the top of the charts, and combined with your and Leah Clark’s new songs, I want all eight top spots on the music charts to be mine! I want to dominate the charts!”

Harrison Clark declared with a grandiose air.

Ward Owen wondered, “Carrie Thomas is also working on ‘The Fire’ at my subsidiary, so if we release it together, shouldn’t that be the top nine?”

Harrison Clark nodded, “Right!”

“Why not write one more song and make it a round ten?”

A woman’s voice sounded behind the two.

It was Avril Green.

“Alright, I’ll write one more song.”

“A Dull Life” once belonged to Avril Green, but Harrison Clark had taken it away from her.

B..

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