2009/12/5 dan trueman <span dir="ltr">&lt;<a href="mailto:dtrueman@princeton.edu">dtrueman@princeton.edu</a>&gt;</span><br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
i&#39;d be happy to write some on LiSa, but i&#39;d also love some help, especially from you; i clearly only use and understand a fraction of what LiSa is useful for!<font color="#888888"></font></blockquote><div><br>:-)<br>
<br>I do still have a skeleton for a LiSa-based convolution reverb lying around somewhere. I seem to remember it&#39;s something like 25 lines (I scary stuff). I&#39;d like to also do a flanger and iir lowpass filter (I&#39;m fairly certain both can be done)...<br>
<br>There are two downsides to that though; I think that when taken to the extreme people will wonder what the rest of ChucK is good for and I also think that the manual should be accessible, not a leading cause for insanity in computer musicians.<br>
<br>Mostly kidding. Ok, I do think that such examples could be useful in that creative LiSa-usage does potentially cover a lot of important aspects of more serious DSP without breaking the cpu-bank like a .last() to a sporked shred to a Step would. I also think that so far the docs and examples haven&#39;t yet covered how we can do that sort of thing in ways that would cause some serious issues for SC or Max. We&#39;re paying for not block-precessing (with purring cpu-fans) so we should probably show what that&#39;s actually good for.<br>
<br><br>Yours,<br>Kas.<br></div></div>