Dear,
On Wed, 19 Jan 2000, Michael Gogins wrote:
> I'm becoming concerned... I really want QOrchestra, and I'm afraid you may
> get bogged down!
This is always the risk. However, I managed to finish rather big projects
the last 2 years, so I'm hoping I won't crash. But the risk is always
there ofcourse.
> What I suggest is a sort of compromise based on the work Russell Pinkston
> did with PatchWork. He didn't have a standard metalanguage for synth
> opcodes, but he DID have a standard for representing any particular synth
> opcode in a template specifying its ins, outs, and types. Therefore, you
> could add SAOL opcodes to PatchWork and use it to graphically wire together
> SAOL orchestras.
Yes, but Patchwork really is at a low level. It's actually the same as
programming in CSound, but you link together the functions instead of
typing the program text. Okay, it is better than typing the program, but
musicians will never use patchwork to design their virtual orchestra, and
the main motivation for QOrchestra is that it should be used by musicians
aswell as experts. After all, UML is more than just linking together Java
statements, right?
> It wouldn't allow you to define patches in a universal format and translate
> them equally well to Csound, SAOL, Reaktor, or whatever. I agree with Eric -
> I think this is too much. But it WOULD allow QOrchestra to be used to
> graphically wire together patches in other synthesis languages.
Even if the project 'fails' in university definitions (I run out of time),
what matters most is the design and its philosophy. Implementation is only
a matter of time, and I will finish the software, don't worry.
> Best of luck, whatever!
Thanks for your comments,
Bert.
____________________________________________________
Bert Schiettecatte (1e lic. Inf)
Vrije Universiteit Brussel
E-Mail: bschiett@vub.ac.be
WWW: http://wendy.vub.ac.be/~bschiett/
-- To be a popular composer, what is it you must do?
Perhaps to learn enough tricks that cause people to
have pleasant sensations without too much stress.
What are the tricks for making that catches on in
a listener's mind, and keeps repeating long after
the performance? -- M. Minsky
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