... >a) of course we all know about the sampling theorem and sync >interpolation. truly! > >b) though i enjoy reading ASM synth code, i don't see anything here >that is interesting. ...
I'm sorry to say, but while of course I don't feel all too much of it, and of course that isn't a reason to use my free speech necessarily for placing a correction, but that little snippet is quite insulting, given the story thus far. So outside of rethoric, that is a technical/scientific insult of the first order that you're trying to force my direction. I don't really take the insult, and am glad there's serious discussion, and people feeling inspired to share maxima code, etc. and apparently not overwhelmed or something, so they post about what interests them, so on the average, I am glad about the results. I don't feel like scientifically defending the quotes I few simple quotes I posted. As a serious remark about the content of many of the musical and signal processing subjects: it's a great idea to use well known *analog* synthesizer designs as the basis for (partial) digital simulation, which I though already before people like Dave Smith were writing award winning software to that effect, and which interested me long before the advent of a number of software companies that occupy themselves with the subject. As the suggestion is from some of my quotes, it would be good to have a potent, 64 bit circuit simulator which allows audio output, and explicit (parts with curves for parameter changes) or implicit (driven sources in the network, OTAs in replacement circuits, etc) time dependencies, possibilities for storing/continuing network states, and a choice of accuracy feedbacks that I've been hinting at, and which clearly isn't understood by most, which doesn't make me continue. Also, I've suggested signal improvements, but they won't work without some fundamental changes to the most used algorithms, which I would prefer to be applied to some musical software, preferably Open Source. Those things are very audible, and it surprises me that people who may feel the need for improvements are so numb. Must be some limited musicians trying to rule the show, which in broader circles, which also can benefit from DSP for musical purposes is getting in demand. Just saying. Sounds like a simple statement of truth to me, and I think I'm qualified to judge that, so if you feel a bit humble, don't confuse that with feeling insulted. I do feel slandered, regulaly, and that *is8 a real issue for me, and the law. T.V. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
