Woot!? The project website link in the repository leads to Blamstrain's bandcamp - that's Juho Hietala, a Finnish musician whose album "Disfold" is among top ambient / dub techno albums of all times for me, in line with Fluxion - Vibrant Forms I/II, G.R.I.T. - Expanse and Yagya - Will I Dream During The Process?
Now, he also turns out to be a programmer, which I didn't know, and that he ported a clone of my fondly beloved FT2 to a VST plugin is just such a double hit!
Juho, if you happen to read this - thank you so much, man!!
Yes, this and "belt-and-suspenders" are the ones that I notice the most. I also have non-native English speaking coworkers who have started using these terms/phrases recently, which makes me think that they're outsourcing all their writing.
It’s a common metaphor for merging a branch to the trunk. Probably because multiple in-flight development branches create a sort of air traffic control problem.
and fusion (e.g. f g h x has no intermediates e.g. mutates in place) is new
as is compute on compressed vectors (very helpful performance unlock) https://lv1.sh/blog/compute-on-compressed/
[1] seems to have the actual details on compressed vectors. looks like for each page you're storing min&max, and the values come as offsets from the min (smaller->less bits per value), did I get that right?
simple example at https://lv1.sh/blog/compute-on-compressed/
But in general compression is reducing the bit width of the input through an encoder (FOR or Frame of Reference is an old and good example). So we store the base in an offset location then the large payload is a much smaller size. E.g. i64 can goto i16. Then simd gets more #'s per cycle on the smaller, and the base is added to the scratch in stack (for sum). avg is similar (since it is just sum / count)
The language and its ideas come from Ken Iverson's famous paper "Notation as a Tool of Thought". This is a common understanding for people in the APL, K/J/Q etc array language communities, who are likely this website and product's intended audience.
In electronic music we've been pressing the same DAT to vinyl and CD since the 90s. Subsequently replaced by .wav. Tracks come out of the DAW pretty loud these days, it's characteristic of the genre.
Do you think the removal of technical limitations re: the number of tracks & voices has introduced "loudness" as well in terms of more distinct sounds competing for the same sonic space?
It's crazy watching some of the producer YT videos now and they open up these projects with 105 tracks, multi-layered/multi-voice drums, etc.
They did that back in the reel to reel tape days too...it was just destructive. Songs could have tons of layers, but they had to bounce tracks down to stay within track limits for the final mix.
Queen's music is a massive pile of overdubs, especially for vocals and guitar. The Beatles also, and they were heavily into looping (physically cutting audio tape and gluing it in a loop, then re-recording it). Vocal and guitar double-tracking has also been the norm since the 50s, at least.
80s pop was also generally full of synthesizer stacks, where MIDI from one keyboard was simultaneously triggering several synths to create layers.
Iain M Banks’ The Algebraist does a great job of covering that territory. If an organism had a lifespan of millions of years, they might perceive time and communication differently to say a house fly or us.
