Quick note before longer replies later -- I note you are starting
your analysis with the assumption that MIDI should not be allowed in
the graph without sufficient justification. If you had the
assumption that MIDI functionality in general is expected from GMPI,
then the analysis would instead begin with saying MIDI should not be
excluded from the graph without sufficient justification. So, what
is the first principle for starting where you start?
-- Chris G.
There are a lot of other threads, so I want to bring this one out seperately.
I really want to understand the case for MiG. Really. I'd LOVE to be convinced. So MiG'ers, convince me. I'm going to present the case as I see it, and then my feelings on it. I want you to correct me, fill in the parts that I missied, or show me where I am wrong.
I really truly am not trying to subvert your position, I want to be convinced. Let's leave aside all arguments about parameter management or all the arguments for NMiG, for now. Let's approach this as justification for adding something.
Right now, I understand there to be three mainreasons for MiG:
1) Studio routing 2) MIDI processors 3) MIDI only synths (such as ports from a HW platform)
Is that right? I feel like I am missing some..
Now for my qualms:
1) This is vaguely defined. I want real hard examples of things that people expect to be able to do, and especially things that can not reasonably be done without MiG.
2) These should be more generically "music processors". By doing it this way you get the benefit of working on all GMPI plugins, not just MIDI.
3) I feel that this is a case of laziness. I think it is possible to get these MIDI-only codebases shimmed into a GMPI plugin fairly easily with some simpleish metadata. Given that they will have to have other GMPI-specific code to be be a GMPI plugin, why leave off parameters? We can even provide examples of how to do this. I've asked for counter examples that just are not possible.
So, have I shortchanged MiG?
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