Re: [LAU] creating open source sample libs. (Was: Re: Experiment One - For Sonatina Symphonic Orchestra. Music and a short review of the sample library)

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To: Robin Paulson <robin.paulson@...>
Cc: linux-audio-user <Linux-audio-user@...>
Date: Tuesday, August 14, 2012 - 11:46 am

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On Tue, Aug 14, 2012 at 12:37 AM, Robin Paulson wrote:

>

by contrast:

1784, "one who has a taste for (something)," from Fr.
amateur"lover of,"
from L. amatorem (nom. amator) "lover," agent noun from amatus,
pp. of amare "to love" (see
Amy).
Meaning "dabbler" (as opposed to professional)
is from 1786. As an adjective, by 1838.

money is not the only

this has nothing to do with organization. to be skilled enough at
performing a stringed instrument that its worth sampling the notes you play
requires hours and hours and hours of practice, along with a huge amount of
feedback from other musicians. its not impossible to be this good without
doing it for at least part of your income, but its rare.

its important to distinguish between those parts of a "problem" that are
essentially coordination problems, and those that are issues with skill
level (including ineffable stuff that we can hand-wavingly call
"intuition"). further, it is worth remembering that even the coordination
problems have a subset of "motivation issues" - writing a full reference
manual for ardour isn't exactly a deeply hard problem, and its FLOSS
tutorial manual process showed how a coordination problem could be solved.
but the motivation issue isn't.

similarly for sample libraries. ignoring the skill and coordination issues,
there have to be enough people motivated to do the amount of work involved,
and this is tough all by itself. the beauty of something like wikipedia is
that you only have to find someone motivated enough to do a very small
thing (write a first version of a page, or edit a detail) and you've
already got something that is better than you had before. sample libraries
don't really become useful until they are done - getting a really good
sample of A3 legato doesn't do much until you've got them all (and as
noted, its generally accepted that you want the same instrument and hands
for all of them).

--p

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On Tue, Aug 14, 2012 at 12:37 AM, Robin =
Paulson <robin.paulson@gmail.com> wrote:

there are so many examples from history of people being told "that
won't work, don't do it", that i'm amazed people still say=
this any
more.

in other news, apparently people can't create decent
software/encyclopedias/maps/music unless they are professional, work
in close knit teams overseen by professional managers who give out
work to them as they see fit

> But what can and and should be improved is the sfz file, which of cour=
se can be edited through git.

error)
ber but probably reads this list as well)

great, useful suggestions

> Creation of new instrument is a huge effort and even then it has been =
all done already. Until you are a really good recording enginner, specializ=
ed in sample recording, and have pro level musicians, and most important: a=
vision how you want to create this virtual instrument the project is alrea=
dy doomed to the lower level of quality, only sticking out because it has a=
n open source lisence.

see above regarding "professionals", and remember that the =
original
meaning of the word amateur was "one who loves what they do", fro=
m the
french word for love, amour [1].by contrast: =
=A0=A0=A0=A0=A0=A0=A0 1784, "one who has a taste for (something),&quot=
; from Fr. amateur "lover of," =A0=A0=A0=A0=A0=A0=A0 from L. amatorem (nom=
. amator) "lover," agent noun from=
amatus,
=A0 =A0 =A0 =A0 pp. of amare "to love&q=
uot; (see Amy). Meaning "dabbler=
" (as opposed to professional)
=A0 =A0 =A0 =A0 is from 1786. As an adjective, by 1838. money is not the only
motivator/measure of quality, and suggesting it is propagates an
ideology. centralised planning, or a "vision" is not the only way=
to
organisethis has nothing to do with organization.=
to be skilled enough at performing a stringed instrument that its worth sa=
mpling the notes you play requires hours and hours and hours of practice, a=
long with a huge amount of feedback from other musicians. its not impossibl=
e to be this good without doing it for at least part of your income, but it=
s rare.
its important to distinguish between those parts of a "problem&quo=
t; that are essentially coordination problems, and those that are issues wi=
th skill level (including ineffable stuff that we can hand-wavingly call &q=
uot;intuition"). further, it is worth remembering that even the coordi=
nation problems have a subset of "motivation issues" - writing a =
full reference manual for ardour isn't exactly a deeply hard problem, a=
nd its FLOSS tutorial manual process showed how a coordination problem coul=
d be solved. but the motivation issue isn't.
similarly for sample libraries. ignoring the skill and coordination iss=
ues, there have to be enough people motivated to do the amount of work invo=
lved, and this is tough all by itself. the beauty of something like wikiped=
ia is that you only have to find someone motivated enough to do a very smal=
l thing (write a first version of a page, or edit a detail) and you've =
already got something that is better than you had before. sample libraries =
don't really become useful until they are done - getting a really good =
sample of A3 legato doesn't do much until you've got them all (and =
as noted, its generally accepted that you want the same instrument and hand=
s for all of them).
--p

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Messages in current thread:
Re: [LAU] creating open source sample libs, Nils, (Tue Aug 14, 3:29 pm)
Re: [LAU] creating open source sample libs. (Was: Re: Experi..., Paul Davis, (Tue Aug 14, 11:46 am)
Re: [LAU] creating open source sample libs. (Was: Re: Experi..., rosea.grammostola, (Thu Aug 16, 1:45 pm)
Re: [LAU] creating open source sample libs. (Was: Re: Experi..., Alexandre Prokoudine, (Mon Aug 13, 5:15 pm)