from additional song notes originally offered 2018 June 11 at:
joindiaspora.com/posts/11959702

"when looking at sound as just a (digital) frequency particle space…
a point model of view i’ve found convenient for 'sample' based (dsp) synthesis sound design approaches…
particularly when able to maintain some sort of interesting “formant” model(s) on “grains” (individual particles in frequency space)…
there can be interesting approach directions to consider
like how closely to this or that model of perceived “normal” space should things be?
how far away from that perceived “normal” can things go before perceptions of “normal” are crossed?
what’s behind the perception(s) defining perceived crossing(s)? what is 'normal'?
perception of human voice, a vocal, i’ve long found an interesting area of exploration in such considerations
when approaching model(s) usage, how the model(s) may be not only used, but used efficiently both mentally & physically (on control surfaces like keyboards or whatever)… the appearance of the most complex is often through the most simplistic of actual occurrences.
from not just a sound design, but sound design performance perspective, ideally one wants things easy & intuitive otherwise it’s no fun to play basically. So ideally, it’s through all these simple acts one is controlling and doing things rather than through complexity for the sake of appearing complex while having a hard time actually getting anywhere.
so if anything, it’s time spent learning mechanics of the models to know how simple whatever appearance of complexity actually is.
the complexity ultimately is not there in a way really… yet effects obviously still are complex to some degree other wise why bother with them at all?"
-A. Nesby