On Tue, May 19, 2009 at 11:10:00AM -1000, Joel Roth wrote: > I understand that the formal way of going about that to > avoid copyright issues is the 'clean room' approach in which > one person (or group) reads the code and communicates to the > other who writes the equivalent functioning new code. Studying the way some software emulates a system does not necessarily provide correct information on what is being emulated, unless it is a complete and accurate physical model, which is unlikely. You may be able to find out some interesting parameter values but there it ends. For example the way Aeolus generates an organ pipe sound (additive synthesis and some postprocessing) has no relation at all to what happens in a real organ pipe (which is a complex non-linear and sometimes partially chaotic combination of an oscillatir and filter that are tightly coupled and influence each other). As an author of such software you make choices on how to do certain things, for all sort of reasons ranging from conceptual to very pragmatic. The latter may obfuscate things considerably, and provide the author's signature in a sense. If someone would write an organ synth by re-implementing the processing in Aeolus in entirely new code I would probably have no problem in detecting that quite soon, given the new code. Ciao, -- FA Io lo dico sempre: l'Italia è troppo stretta e lunga. _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/mailman/listinfo/linux-audio-user
