Some sounds are ceramic and some are metallic and there's just going to be a
spectrum between the two with nothing to encapsulate unless if we can find a
point of interest that determines, yes! this is a ceramic or metallic or
both or plain-old-something-else sound.

if we do put sound into some kind of hierarchy tree the infrastructure or
ANY structure is going to be spectral.

we might have to use tags or a hierarchy of tags because sound can be
omni-simultaneous while
remaining just one sound no matter how many sounds gave birth to it.

I wish I knew more about and could apply Ken Wilbers integral theory and how
we can use it to
find these points of interests, classes, tags etc.

But Ken Wilber isn't an audio programmer, he's a philosopher but I love his
work.

Infact there might be more than one hierarchy or one hyper-hierarchy.

Programming is poetry sometimes. Philosophy is for the freedom-seekers.

How can we incorporate philosophy into getting the sounds we want more often
with less hassle?
this question can generate many answers without any sincere conflict.

Wouldn't it be nice if Csound or any audio programming wasn't such a box of
chocolates?
You can't rush art but you can still entice a better way for the next guy so
he or she doesn't have
to go through as much trail and error as you did.

My vision is that we will be able to SELECT the sound that we had in mind as
exactly is possible.
My vision is breaking a whole sounds into part sounds and controlling,
sorting, grouping etc.

I kinda had a dream about this.



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I find this proposal/question quite interesting...

The point is, however, what exactly does ceramic or metallic mean?

Are these qualities facts? Like say, saw wave 440 hz...which is a super simple example..

What I mean is, could a ceramic or metallic sound be identified soley by an analysis of the waveform?

If so, this would be a viable project..