> It may feel good to you pointing out mistakes others made, but especially in this case it doesn’t matter.
It does matter, it is important. Making such a mistake calls into question if they don't have other, more serious, mistakes in their actual articles.
> Next time you make a mistake, I hope people around you will treat you the same way you treat other people, let’s find out if you like that.
I don't make extraordinary claims so I am not bound to provide any extraordinary evidence. They do make an extraordinary claim.
I feel that engaging here is probably a mistake, but screw it.
> I don't make extraordinary claims
That seems like a pretty extraordinary claim to me. That you've made. Twice.
That being said I think something needs to be highlighted. For some reason, it sees itself as "low barrier to entry" relative to traditional ways of making music (ie partiture or an actual music instrument). How is possessing a phone, ability to read English and knowing how to program lower barrier to entry than picking an instrument like a piano and playing some music?
Clearly, Strudel assumes some knowledge of basic music theory (melody, rhythm and harmony) so having that, what is it exactly that makes Strudel lower barrier to entry.
Is Strudel assuming that learning to program is inherently easier than learning to play any instrument?
It would be nice if whatever assumptions it has could be made explicit as it's not the first time that I see [insert here software tool to make music] claim that it's a lower barrier to entry to make music without saying why.
Obviously, this being HN people will likely prefer software and algorithmic approaches to making music in your room as opposed to the traditional and more social way of learning with a teacher and a cohort of students.
Compare that to piano: sure, you can walk up to a piano and plunk out a melody easy enough - but once you start venturing towards harmony and song the skill required ramps up exponentially. Suddenly you need to have both hands doing independent things, know where to place your fingers so that you can comfortably play the notes for the current beat and future beats (there's a ton of technique here and it's not the most intuitive thing ever - entire books are written to drill it), the list goes on.