Thank You for your Impassioned Response!

High time, I think, that I dropped an update on here.

The reception for my first two books this year has been overwhelming—I’m feeling a lot of gratitude. It’s also helpful for morale, to see so many people grabbing them off the digital shelf. Writing a proper book is not a small task; and for those of us with a real goal, not just writing-for-the-sake-of-writing, it’s not something that should be taken lightly, either.

My next two books are, almost invariably, going to be on LV2—the open and modular sound processing API that has asserted itself as a likely future for VSTs—and OSL, or Open Shading Language, the customizable shader system built into Blender. They’re distinctly separate subjects from my last two books, on Blender plug-ins (unrelated, or at least not immediately related, to shader programming) and GIMP plug-ins.

LV2 is a step away from the last two, which arguably revolved around creating plug-ins for 3D and 2D art. This is audio. Audio is a sophisticated subject; while it’s easy enough to play back a sine wave, once you’re working with envelopes and the frequency domain you need to start considering things like Fourier transforms and complex analysis. That’s definitely not the kind of thing you can rush through explaining.

As flagrantly-industry-insider as all of that sounds, I promise these things are actually kind of fun. The point of the book is convey them in a tangible way, one that’s easy to understand. It’s new terrain, but you can do so many cool things with it!

It’s arguable that these topics will be beneficial to graphics programming, too; JPEGs actually compress the entire image as a Fourier transform. God knows there are all sorts of cool plug-ins I could make using it. However, it requires a steady pace to explain, when I first learned about Fourier transforms it was rushed at me. It took about a month before I had my Eureka moment and understood them; and looking back it’s so painfully simple. I’m not going to make the same mistake explaining it to you all; you’re going to get them introduced in the most colorful way I can manage.

Additionally, unlike with Blender and GIMP, I need to go over latency compensation. There’s almost no such thing as a latency-free effect; the closest I can get to one is maybe a simple amplifier. Processing digital signal data takes time, and whether you’re dealing with real-time audio (you totally can) or a post op, that latency needs to be taken into account. Heck, if we’re building something like a delay, latency is the intended effect.

This means that LV2s have to worry about statefulness—internally remembering what it was that they were doing—and make requests to supporting host programs to call them again, so they can finish. They need to be able to reset that state, too.

Unlike Blender plug-ins, which can get away with using Python; and GIMP plug-ins, which produce a static result, LV2s can rely on the fact that they are running in parallel with a great many others of their ilk. Efficiency is more important than ever before. Additionally, while I can clearly see that their older version (LADSPA) took direct influence from the structure of GIMP plug-ins, the new version improves on that by providing TTL (pronounced turtle) metadata, so the plug-ins don’t have to be run in order to understand what they do.

There is far less documentation available for LV2 than Blender or GIMP; but I’m experienced using them and I have a plan. To check myself, I’m even building a Hurdy-Gurdy contemporarily, just to help me visualize the audio mathematics. By the end of the book, I should have covered a wide swath of common guitar effects, and toward the end of it I may even do something original, like imprint a JPEG as a spectrogram and play the image as a sound. (You know, the usual weirdness.)

The unfortunate part of my reality is, after finishing the GIMP book I suffered from about two weeks of cognitive fatigue! I suppose it’s understandable, the new one hasn’t been much different. I’ve already edited over about half of my wording on this book so far, finding a structural or ethical problem with its presentation, and have gone well over 60,000 words in total, not counting code. This is usually how it goes, though; and two edited books written in four months is pretty extreme already. Thank God I used to be a science journalist or I would never be able to pull this off.

I know that I still need to get paperback copies of The Warrior Poet’s Guide available—that is on its way, I’m simply deferring that edit until after the fourth book. Amazon is currently offering a deal that will allow me to sell the paperback copies to people who already own the eBook for a couple of bucks each, which sounds quite reasonable. (Everyone enjoys the feel of a good paperback, for all the benefits of an eBook.) I admit I wasn’t entirely stoked about the idea at first—paper isn’t cheap and these books are built on evolving subjects—but apparently they can be printed by order. I’m still sorting it out, but they are coming, likely before 2021.

I’m debating also covering VST with it, since the two are technically inter-operable (with a little wrangling) and most DAWs can support both through the use of one. I’m not a huge fan of the details of VST’s implementation, but I do love its concept. We’ll see if that’s a good idea, or if it calls for a book of its own.

So, the site has been quiet because I’ve been working on the next book, on audio. This is likely to happen again when I get to OSL (a sort of modernized incarnation of RenderMan), but let no one say that The Warrior-Poet’s Guide is slowing down or dead! It’s all I can think about right now.

Depending on how negotiations go, I may also end up selling some T-shirt designs on Amazon. There’s also been some renewed interest in my old Patreon account, which isn’t technically attached to anything anymore, and I’m thinking about rebuilding it around the media-hacking plug-in culture. With 2019-nCoV spreading in the US, I’ll be stuck inside for a while anyway. (There have been three confirmed cases in my town as of yesterday, with who-knows-how-many unidentified cases still in the air.) So, expect me to keep busy in the studio!

Happy Media-Hacking,
—Mick

Published by Michael Macha

I'm a game developer for both mobile and PC. My education is in physics, journalism, and neuroscience. Founder and CEO of Frontier Medicine Entertainment, located in the beautiful city of Santa Fe, New Mexico.

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