Re: De-zippering and the fundamental issue of target users

A general question: Have you (generic you, not you, Joe) actually
encountered a problem with dezippering?  WebKit and Blink have been doing
this for years now, so has dezippering been a problem?

It doesn't count if you just cooked up an example specifically to show how
dezippering got in the way. :-)

On Sun, Nov 10, 2013 at 8:23 AM, Joseph Berkovitz <>wrote:

> +1, and just one more angle on this — by way of an analogy.
> How would web developers feel if visual animation was applied by default
> for all changes in HTML geometry, and they had to set some special property
> in order to “really mean it” when they moved or resized an HTML element?
> Yes, animated motion usually looks better than a jump for many simple
> cases. But this doesn't make it a good idea to bake animation into the CSS
> API. And in fact, sure enough (even before CSS3 made it easier) users were
> perfectly happy with using JS middleware, i.e. jQuery, to get animated
> motion.
> Dezippering is no different. It’s a type of animation, but in the audible
> realm. Sometimes you want it, sometimes not. When you do want it, there are
> a lot of fussy, context-dependent conditions governing where and how it is
> used. We should not be guessing at these very un-obvious conditions (e.g.
> prescribing that gain should have it but playbackRate shouldn’t, etc.).
> So I continue to agree with the De-dezipperers. Let’s make this something
> that’s easy to do… if you want it. It doesn’t belong in the spec.
> .            .       .    .  . ...Joe
> *Joe Berkovitz*
> President
> *Noteflight LLC*
> Boston, Mass.
> phone: +1 978 314 6271
> "Your music, everywhere"
> On Nov 9, 2013, at 3:34 AM, s p <> wrote:
> 100% agree with K. Gadd
> > Sure, if you're wanting to develop an 8-bit-style game, you'll probably
> use a library; If you're just loading music tracks and sound effects, I
> don't see that much benefit to imposing someone else's structure.
> Wrong. Why don't you just try an audio middleware, and see what sound
> designers are actually doing in real-file? They almost never "just load a
> sound effect". One of the most basic example is a motor noise in a car
> game. How do you think this is implemented? You have a several sounds to
> which you apply filters/pitching/... and all those parameters are modulated
> according to the speed of the car in the game. And that's just a simple
> example of automation.
> For the complicated example : now it is more and more common to do
> generative music in games, simply because it is the most natural thing to
> do. "Just loading a sound track" is inherently linear, cause the soundtrack
> has a beginning and an end, while many games are really not linear, and
> generative music feels much more natural.

Received on Thursday, 14 November 2013 19:22:36 UTC