posted 20 July 2006 04:41            

But its odd how Curtis doesn't seem to acknowledge Kyma as music language or music workstation ... He references a couple of articles written by Carla Scarletti , so he must have known about it - well , i think its wrong of him to have missed out an expert system that has been such a cutting edge tool ( and continues to be ) since the 80s.

posted 20 July 2006 12:40            

He works in academia, and for obvious reasons computer music departments like inexpensive or free systems (Max/MSP being an exception, though I supose they give good academic discounts).

Some people also have a philosophical / political preference for freeware and open systems (though of course you can always get a Kyma SDK if you are so inclined) as well. I think PD may have been partially developed as an alternative to Max/MSP for this reason (maybe also wanting to start again from the ground up?).

Finally, artist/hackers also are usually broke, so tend to go for what's free. That said, there's a lot to be said for paying for a solution like Kyma (or Max)- real support and dedicated developers being one of them.

Kyma seems to be popular with people who are working in postproduction or music production and just want to get the work done - and I personally feel like I can get things programmed much faster than I could with Max or SuperCollider (though I don't know if I would feel that way if I knew those systems better...)

Phil

posted 20 July 2006 15:39            

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Originally posted by Fake Person:
Still that doesn't explain the omission from Table 17.3 on pg 807-808, all of which were DSP hardware-based languages, many of them commercially-developed (not open source) and extremely expensive.

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You've got a point there. It is an encyclopedic book, and should cover it at the very least in passing...

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On a more positive note, have you read Joel Chadabe's "Electric Sound: the Past and Promise of Electronic Music"?[/B]

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