Good questions. My background is in computer music, and I do use a lot of jargon. A good chunk of them probably come from Csound (and, by extension, the MUSIC N family of languages). Sporth also expects a certain familiarity with modular synthesis, and digital audio systems in general.

> what kind of objects are available (generators and filters, I guess, anything more?)

In Sporth, "objects" are referred to as things called unit generators, or "ugens" for short. These things can take in signals as input, and write signals as output. Signals are all audio rate. Even a constant value is an audio-rate signal.

As you mentioned, effects and signal generators are two kinds of unit generators. Another important one are control-signal generator, which include things like low-frequency oscillators (LFOs), or envelopes. These things generally produce signals designed control parameters of other things.

There are also things called ftables (short for function tables I think? another term borrowed from Csound). These things are more or less floating point arrays. Usually they are used for sequences, storing wavetables for table-lookup oscillators, or loading audio samples. An ftable is an ftable, so if you wanted to take a loaded snare sample and use it inside of a sequencer ugen, there's nothing stopping you from that.

> what generators are available, and what is their effect

Hard to answer that one concisely. There are approximately 220 unit generators in Sporth right now. Some of them do simple things like addition and multiplication. Others do more complicated things. Some make sound, some process sound, some do a combination of both. The art of composing with Sporth is building an intuition for how these modules will sound together. Admittedly, there is no documentation for all of this in Sporth. There's no time for that. BUT! If you study highly modular computer music systems like Csound or Supercollider, you'll learn concepts that can be applicable to Sporth.

> what are triggers. This sentence doesn't explain much "A single trigger is exactly one sample that is a non-zero value (typically, this value is just a '1')"

Ah yes, this is modular synthesizer terminology. If you don't have experience using modular synthesizers, I can see why this is confusing.

Triggers can be thought of as a sort of message, encoded in an audio signal. When a trigger signal occurs, it means "do something". What that something is, depends entirely on the ugen reading the signal. When a trigger signal gets fed into an envelope generator, it tells the envelope to re-trigger the envelope. When a trigger signal gets fed into a sequencer, it means go to the next note in the sequence. Stuff like that.

> I just do not understand half of the words in the above sentences.

That was me and the music-dsp mailing list for many years. I've now got around 70-80 percent comprehension there, but yeah jargon. The thing is, once you start memorizing jargon words, you forget what is jargon and what isn't.

I can totally see where you are coming from. It would be great to see Sporth tutorials written for different audiences than mine own. But I need help for that. It's just not a responsibility I am ready to take on. If you do not have the prerequisite background in computer music, there is just so much you need to unpack, and it will never be enough. I'm only one person, and I need what little time I have to try to compose my own music with the tools I write for myself. Selfish by definition, but true.