Hi Carmelo,
I understand your point about versatility. However, the way you describe
your feature reminds me of CSound, where you write equations and other
computer-science-looking things, write a textual score, then run the
"compiler" to produce a sound or some music. People just don't do this
anymore, it's crude (to use your words), unintuitive and requires
knowledge way beyond that required for musicians.
I'm not saying composers are poorly educated or anything. Hell, I've
worked at Ircam for a year and a half, so I know the kind of bizarre
stuff composers can think of! But I also know that *most* musicians,
especially those that would use a sequencer, are just intrested in
recording-arranging-producing-shipping. The really weird stuff happens
in OpenMusic and in (j)Max or PD, but not in Cubase and SoundForge.
One thing you could do is to ask around on some musicians-only
newsgroups : "Guys, how would you like to have an equation editor for
MIDI control automation?" See what responses you get. Who would on this
list? (Not me).
The risk if there is no demand for your feature is that :
1. People will feel that "Rosegarden does automation, sure, but, man, I
get a headache each time I want to fade out my piano!"
2. You won't get enough feedback about your feature, so you'll never be
able to debug it completely, even if you use it yourself day and night,
and so Rosegarden will look bad from a buggy feature
About the two models : I was just fumbling to say that sometimes you
need continuous control (pitch-bend, expression, modulation), and
sometimes you need discreet control (sustain, velocity - if that can be
seen as a control) like it is now. And discreet events (the real ones)
*need* to be translatable in time!
Cheers,
Carl
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