windowliker

6 ms·

31.
by windowliker 4mo ago
It would be wonderful if this ran on older versions of macOS, but according to the README they only support 26.
32.
by windowliker 4mo ago
How long until we find out the politicians have written in an exemption for themselves and the security apparatus? I hope my pessimism is unwarranted in this case, but it certainly isn't unfounded.
33.
by windowliker 4mo ago
Can your external place objects and route cables around on the patch? That's the main thrust of my original comment, which is that JS scripting can help avoid having to patch lots of objects together in the GUI. Live scripting music is
34.
by windowliker 4mo ago
Well, it's obviously not intended for realtime 'live coding', but as an answer to the problem of dealing with the GUI and manually cabling a patch up it suffices, though it does help to be fairly conversant with the basics of
35.
by windowliker 4mo ago
>Ableton and Max are totally separate codebases, and "Max for Live" is just a ~VST interface between them. This is not strictly true, and Max for Live (M4L) is much more than a pseudo-VST. In the context of Live, the Max runtim
36.
by windowliker 4mo ago
The visual patching part of Max makes sense when you know the history of the program. It was built for musicians working at the forefront of interfacing MIDI with the power of the more compact mainframe computers of the day (PDP-11 IIRC). T
37.
by windowliker 4mo ago
Max itself can be manipulated through JavaScript. You can dynamically create and connect objects in it, set scheduler tasks, etc. Max goes a lot deeper than wiring some GUI boxes together. Have a dig around here: https://docs.cyc
38.
by windowliker 5mo ago
This blog post is highlighting their specific contribution to the UK government's open consultation[1], not a general call for sanity. There's a link to their open letter at the end of the piece. No doubt they will write other aut
39.
by windowliker 5mo ago
FWIW I absolutely love how 'no-frills' PG is compared to so much of the bloated, over-engineered, script-riddled web these days. Please don't ever change that!
40.
by windowliker 5mo ago
This might be the only calculator ever where it would be a shame to type in 5318008.
41.
by windowliker 5mo ago
I didn't specify that the training had to be a classical, conservatory, background. It was only mentioned with regard to the background many of the original computer musicians came from, and which is understandable considering the era
42.
by windowliker 5mo ago
The main unconsidered criticism that used to come from old-school musos was that 'you press a button and the synthesizer/drum machine/whatever does it all for you'... Only now is that perhaps coming to be true. There&#x2
43.
by windowliker 5mo ago
>No alarms and no surprises
44.
by windowliker 5mo ago
This as well. Most 'classical' algorithmic music had an element of expressiveness allowed to the composer in the moment.
45.
by windowliker 5mo ago
Firstly, they all came to the use of those techniques after having been through years of work the 'hard way', often being able to play to a conservatoire standard, and had a very extensive grounding in the tradition that came with
46.
by windowliker 5mo ago
I will caveat my first comment by also noting that I am well versed in computer music history, and read many many papers in CMJ[1] and elsewhere about generative and automatic composition tools such as Emily Howell[2]. I do NOT have a probl
47.
by windowliker 5mo ago
For me, the point of making music is making it myself. If want to have something done for me I could just play someone else's record and pretend like I made it.
48.
by windowliker 5mo ago
Anyone with experience of standing in front of a bass bin at a drum n bass rave will instantly understand why this could work.
49.
by windowliker 6mo ago
Next up: smackhead whales, dolphins on crack, and manatees hitting the bong.
50.
by windowliker 6mo ago
>[...] and led me to Perec's Life: A User's Manua For people who may be unfamiliar with this (excellent) connection: https://en.wikipedia.org/wiki/Oulipo
51.
by windowliker 6mo ago
>There's a curve, not unlike the Laffer Curve, that applies to everything you are selling It's often called the Goldilocks price: not too much, not too little, but just right.
52.
by windowliker 6mo ago
Right. It's purely a protection against MitM snooping. The app has to have the messages in plaintext to display to you via whatever mechanism the OS uses. Seems obvious, but also not, at the same time. I've found other ways Signal
53.
by windowliker 6mo ago
Are you Adam Back?
54.
by windowliker 6mo ago
>Among people who try to guess Satoshi's identity, there is also a surprising bias toward fame or at least well-known people. It's very common for this to happen when media are trying to unmask an anonymous figure. There are pa
55.
by windowliker 6mo ago
Satoshi Nakamoto?
56.
by windowliker 6mo ago
>This dude can seem to tell the difference between Newsgroups and Mailing Lists. Also described Newsgroups as being displayed in a particular font. What a weird mistake. It's almost like he doesn't care about the details. It&#x
57.
by windowliker 6mo ago
Assuming Satoshi was Adam Back, then why would he take 10+ years* to release the white paper, which borrows much of the work he had already done on the problem of digital currencies? Someone with the perfect background, who was so active in
58.
by windowliker 6mo ago
What's also worth noting is that they were not alone in the room, talking privately. Everything being said could presumably be heard by Back's business associates as well. Some of the questions could well be enough to cause embarr
59.
by windowliker 6mo ago
Is this another example of their old modus operandi: https://en.wikipedia.org/wiki/Embrace,_extend,_and_extinguis... ?
60.
by windowliker 6mo ago
>Starting our next chapter, drop.com will become a hub for our collaborations with truly exciting titles—from The Lord of the Rings™ [...], and more—across the full CORSAIR family of brands. Gandalf wept...

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