I appreciate the opportunity to engage your arguments.

It is true that there is no naive perception - I am completely with you on
that. Let's say that listening to various pieces of music is like listening
to campaign promises and arguments in an election year. I want to get rid of
false promises and lies and bullshit that has nothing to do with the music.
Therefore, I want to pare back the extra-musical information.

Analogy: performance auditions. I understand that initial rounds of
auditions for orchestral seats in the USA involve the players sitting behind
a screen or curtain: truly, blind auditions. Another analogy: peer review in
academic journals and conferences (such as the ICMC, for that matter). When
candidate A takes the stand, the context is that he is supposed to play
Mozart or Mahler well, and I have plenty of context for that. I don't want
to be distracted by the wart on his nose or the color of his skin - or
whether he is really a robot from Yamaha, for that matter. All I care about
is how well he plays.

I'm quite aware of the German idealism behind the idea of absolute music and
have read some of the relevant sources (includijng Dahlhaus). I share some
of these views. I think for example that music can be "sublime" in the old
sense and lead to a shared intuition of the Absolute. This is exactly what I
love about music.

I also think, as a corollary of this, that there is such a thing as "good"
music that becomes gradually apparent with historical perspective and
judgement from generations of critics, hopefully from different cultures and
presuppositions.

-----Original Message-----
From: Tobias Kunze 
To: Michael Gogins 
Cc: Csound (E-mail) 
Date: Thursday, April 29, 1999 9:37 PM
Subject: Re: Recommended Xenakis?


>Uh.  I'm not sure you really mean what you say, but in case you
>do, please allow me to clarify a few points here.
>
>While aesthetics overall is a muddy field, it has been clear now
>for centuries that there is no such thing as naive perception.
>Unless you invest concepts in the first place, you don't perceive
>at all.  Your idea of such a "pure" perception only works in an
>ontologically naive world without various candidate frameworks.
>At times, the natural sciences still try to convey such an ontology
>of "absolute" natural laws.  However, a glimpse at the history of
>science shows that this framework has always been elusive at best.
>Surely, the domain of the arts would be even less disposed to
>support that notion!
>
>The case in point is that, simply, "x" is very different from "`x'".
>In musical terms, very different things "happen" depending on
>whether you consider intension or not, even for basic "sounds",
>say, a gun shot,  To be belunt, quite different would "happen"
>depending on whether you hear this shot in a shooting range, a
>movie, or your garden variety high school shooting, even if they
>were identical "on tape".
>
>Finally, as a correction: the idea of absolute music last century
>does exactly *not* refer to the naive interpretation you suggest.
>Quite contrarily, "absolute music" follows german idealistic
>philosophy.  Roughly, Schelling, Hegel, and Schopenhauer had promoted
>music--qua its abstractness and immaterial nature--as the highest
>art form and positioned it right underneath the "absolute" form of
>Geist, philosophy itself.  The idea idea of "absolute music" is
>thus an expression of the desire of composers and theories in that
>time to live up to these standards.  For the complete rundown on
>that topic, see Carl Dahlhaus' "The Idea of Absolute Music".
>
>
>-Tobias











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From: Grant Covell 
To: "Csound (E-mail)" 
Subject: RE: Recommended Xenakis?
Date: Fri, 30 Apr 1999 10:03:07 -0400
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To reconnect with Xenakis, I believe (and I think Michael touched on this)
that of the music being created today, Xenakis comes close to presenting
music with a minimum of musical context and perspective. Of course Xenakis
is aware of "The Canon", and of course some of his audience is aware of The
Canon as well, but Xenakis' techniques, material, form, structure, source
material, etc. (grab the terms we use to describe The Canon) often have no
precedent, and cannot be perceived in the context of intentions or
perception.

Does this come close to an absolute type of music? For me, this is one of
the aspects of Xenakis' music that makes it so fascinating. For all the
non-naive perception I have because of my vast baggage in music, and my
awareness of the issues of perception, each time I hear a Xenakis I have not
heard before, I have the pleasure of hearing something (or the perception
that I am hearing something) that approximates absolute music (or an
absolute construction of sound and time).

I think this is what draws so many of us to the music of Xenakis, why some
are ambivalent about learning more about his work, and (perhaps as a stretch
or a corollary) why he has so few imitators.

Grant.
> -----Original Message-----
> From: Michael Gogins [mailto:gogins@nyc.pipeline.com]
> Sent: Friday, April 30, 1999 8:23 AM
> To: Tobias Kunze
> Cc: Csound (E-mail)
> Subject: Re: Recommended Xenakis?
> 
> 
> I appreciate the opportunity to engage your arguments.
> 
> It is true that there is no naive perception - I am 
> completely with you on
> that. Let's say that listening to various pieces of music is 
> like listening
> to campaign promises and arguments in an election year. I 
> want to get rid of
> false promises and lies and bullshit that has nothing to do 
> with the music.
> Therefore, I want to pare back the extra-musical information.
> 
> Analogy: performance auditions. I understand that initial rounds of
> auditions for orchestral seats in the USA involve the players 
> sitting behind
> a screen or curtain: truly, blind auditions. Another analogy: 
> peer review in
> academic journals and conferences (such as the ICMC, for that 
> matter). When
> candidate A takes the stand, the context is that he is 
> supposed to play
> Mozart or Mahler well, and I have plenty of context for that. 
> I don't want
> to be distracted by the wart on his nose or the color of his skin - or
> whether he is really a robot from Yamaha, for that matter. 
> All I care about
> is how well he plays.
> 
> I'm quite aware of the German idealism behind the idea of 
> absolute music and
> have read some of the relevant sources (includijng Dahlhaus). 
> I share some
> of these views. I think for example that music can be 
> "sublime" in the old
> sense and lead to a shared intuition of the Absolute. This is 
> exactly what I
> love about music.
> 
> I also think, as a corollary of this, that there is such a 
> thing as "good"
> music that becomes gradually apparent with historical perspective and
> judgement from generations of critics, hopefully from 
> different cultures and
> presuppositions.
> 
> -----Original Message-----
> From: Tobias Kunze 
> To: Michael Gogins 
> Cc: Csound (E-mail) 
> Date: Thursday, April 29, 1999 9:37 PM
> Subject: Re: Recommended Xenakis?
> 
> 
> >Uh.  I'm not sure you really mean what you say, but in case you
> >do, please allow me to clarify a few points here.
> >
> >While aesthetics overall is a muddy field, it has been clear now
> >for centuries that there is no such thing as naive perception.
> >Unless you invest concepts in the first place, you don't perceive
> >at all.  Your idea of such a "pure" perception only works in an
> >ontologically naive world without various candidate frameworks.
> >At times, the natural sciences still try to convey such an ontology
> >of "absolute" natural laws.  However, a glimpse at the history of
> >science shows that this framework has always been elusive at best.
> >Surely, the domain of the arts would be even less disposed to
> >support that notion!
> >
> >The case in point is that, simply, "x" is very different from "`x'".
> >In musical terms, very different things "happen" depending on
> >whether you consider intension or not, even for basic "sounds",
> >say, a gun shot,  To be belunt, quite different would "happen"
> >depending on whether you hear this shot in a shooting range, a
> >movie, or your garden variety high school shooting, even if they
> >were identical "on tape".
> >
> >Finally, as a correction: the idea of absolute music last century
> >does exactly *not* refer to the naive interpretation you suggest.
> >Quite contrarily, "absolute music" follows german idealistic
> >philosophy.  Roughly, Schelling, Hegel, and Schopenhauer had promoted
> >music--qua its abstractness and immaterial nature--as the highest
> >art form and positioned it right underneath the "absolute" form of
> >Geist, philosophy itself.  The idea idea of "absolute music" is
> >thus an expression of the desire of composers and theories in that
> >time to live up to these standards.  For the complete rundown on
> >that topic, see Carl Dahlhaus' "The Idea of Absolute Music".
> >
> >
> >-Tobias
> 










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Date: Fri, 30 Apr 1999 10:48:19 EDT
Subject: hTools final
To: csound@maths.ex.ac.uk
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Hi,

I fixed the bug with hTools, you can extract them in the same folder as 
hYdraJ when you like.

See

http://members.aol.com/additiv

for hYdra and more...

CU,

Malte Steiner

---------------------------
Electronic Industrial Music
www.block4.com ____________










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Date: Fri, 30 Apr 1999 18:07:57 +0200
From: Gabriel Maldonado 
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The following stuff is already implemented in DirectCsound:


SCORE LOOPS 

{ - start of a loop 

} - end of a loop 

Syntax: 

{  num NN 

   ...... body........ 

} 

Score loops are a very powerful tool. Derived by repeats (r opcode),
they allow to
define any parameter, and the score events inside the loop are not
separated by a
section termination in each iteration. So it is possible to implement
overlapping loops.
Loops can be nested. The syntax is similar to that of the repeats: the
macro $NN is
incremented in each iteration (notice that, differently from repeats, it
starts with a zero
value); num argument must be set to the number of iterations. 

NB: exponential ramp symbol has been changed to '(' or ')' in order to
allow curly-brace
characters to be used for loops. 

EXAMPLE: 

{ 10 nn
        i1      [$nn/2]  .5  [$Line(10, $nn , 10000, 4000)] 
[$Line(10,$nn,440,110)]
        { 5 bb
                i1 [$nn/2+$bb/10] .1 [(1+$nn/4)*$Line(10 , $bb, 2000,
500)] [$Line(10,  $bb, 400, 600)]
        }
}



-- 
Gabriel Maldonado

http://www.agora.stm.it/G.Maldonado/home2.htm



Anders Andersson wrote:
> 
> Hello dear audience! (And ffitch especially..)
> 
> Would it be hard to code a repeat opcode that's not bounded to repeat
> sections, like:
> 
> r4
> i31417 0 1 ; Find the hidden message! (I'm shure f1f0@m9ndfukc can =;p)
> i. +
> i.
> i.
> r0
> 
> It would be *VERY* appreciated, and useful!
> 
> As I've mentioned once before on this list, I don't like working with
> external tools, but prefer to code the score by hand, but as it lacks this
> feature it could be quite tedious sometimes!
> If this one thing get's implemented, it would almost be a joy to work with
> the score! =)
> 
> Things got MUCH better with the macro, [x+y] and include statements, It's
> just this simple thing left! (And a couple of others, like not having to
> set brackets around calculations and stuff..)
> 
> (The thing is that if one want's to have a specific thing repeated now, you
> can't have for example a global reverb running across the sections, not in
> a way I know of..)
> 
> I just came up with a crazy idea here..
> How about totally rewriting the score parsing, and....
> .. nah ..  :)
> 
> // Anders (Nature rewlz! Remember that Maver|k! =D)










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Date: Fri, 30 Apr 1999 11:04:36 -0400
To: csound@maths.ex.ac.uk
From: chris mercer 
Subject: IRCAM Audio Sculpt
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Does anyone know if csound's adsyn can deal with or can be modified to deal
with data files exported from IRCAM's Audio Sculpt?  It seems that Audio
Sculpt has some rather interesting options for analysis data manipulation,
but not always a corresponding means of synthesizing said data.  Any ideas
would be appreciated...











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From: Richard Karpen 
To: chris mercer 
cc: csound@maths.ex.ac.uk
Subject: Re: IRCAM Audio Sculpt
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Take a look at pvoc extensions in csound for doing similar operations
(pvinterp, pvcross, pvadd, and the spectral extraction and gating
functions that I've added to pvoc and pvadd)

Richard Karpen


On Fri, 30 Apr 1999, chris mercer wrote:

> Does anyone know if csound's adsyn can deal with or can be modified to deal
> with data files exported from IRCAM's Audio Sculpt?  It seems that Audio
> Sculpt has some rather interesting options for analysis data manipulation,
> but not always a corresponding means of synthesizing said data.  Any ideas
> would be appreciated...
> 
> 











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I'm not a mac user (nor can I affford IRCAM FORUM), but I would anyway
like to know if the format of these IRCAM data files is documented? The
Csound adsyn file format is somewhat loosely defined (and limited
unnecessarily to 32.267 seconds), and not at the binary level, so files
are not portable between architectures. Perhaps it would make sense for
Csound to support the IRCAM format as well, if possible?


Richard Dobson
chris mercer wrote:
> 
> Does anyone know if csound's adsyn can deal with or can be modified to deal
> with data files exported from IRCAM's Audio Sculpt?  It seems that Audio
> Sculpt has some rather interesting options for analysis data manipulation,
> but not always a corresponding means of synthesizing said data.  Any ideas
> would be appreciated...

-- 
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm










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in DOS one could just redirect the output from STDOUT to a filename
no?










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I have the MSVC++ 6.0 starter kit. So far, not about Csoud. The next part=
 part
is about Csound.

My question is where is nafxcwd.lib? I don't have this library.
the winsound.mak complains about this file, yet I can't find.
My question is, in order to compile this program, WinCsound, where can I =
get
this file? Or do I have to make it from the getcwd.c/wgetcwd.c file?
Any one who wants to help me can. I am not going to byte.
Robert

To seek is to find. =

To Find is to Seek.
So what? Gimme a Windows based computer, and I'll try Linux instead.


____________________________________________________________________
Get free e-mail and a permanent address at http://www.netaddress.com/?N=3D=
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From: Richard Dobson 
Organization: Composers Desktop Project
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It may be that the starter kit is too 'cut down' to build Winsound.
Nafxcwd.lib is one of the MSVC core libraries for MFC (Microsoft
Foundation Classes) - it is automatically linked by Developer Studio as
necessary. There should be no need to ever specify it explicitly in a
project (it would happen if for some reason you needed to rebuild MFC,
and wanted to exclude the existing libraries); and has nothing to do
with getcwd.c, which is the source file for part of the 'runtime
library'.

It may be possible, instead, to build the command-line version of Csound
(consound), which does not use any MFC. If you are considering Linux,
then presumably you would not mind using consound! 

However, it has to be said that Csound is a very large (and complex!)
program, even in the 'pure' console version, and the starter kit is
probably, by definition, not intended to support projects of that size.


Richard Dobson

Sherlock wrote:
> 
> I have the MSVC++ 6.0 starter kit. So far, not about Csoud. The next part part
> is about Csound.
> 
> My question is where is nafxcwd.lib? I don't have this library.
> the winsound.mak complains about this file, yet I can't find.
> My question is, in order to compile this program, WinCsound, where can I get
> this file? Or do I have to make it from the getcwd.c/wgetcwd.c file?
> Any one who wants to help me can. I am not going to byte.
> Robert
> 
> To seek is to find.
> To Find is to Seek.
> So what? Gimme a Windows based computer, and I'll try Linux instead.
> 
> ____________________________________________________________________
> Get free e-mail and a permanent address at http://www.netaddress.com/?N=1

-- 
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm










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From: Michael Gogins 
To: music-dsp , csound@maths.ex.ac.uk
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Subject: Re: Initial response to Java Sound API (originally sent to javasound-interest@sun.com)
Date: Fri, 30 Apr 1999 21:08:44 -0400
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I've download the Java Sound API 0.86.

I'm a computer musician, I've had pieces played at the ICMC and in New York
loft concerts, I've had an article published in CMJ and presented twice at
the ICMC. My most most recent was a paper on Silence, my system, written in
Java, for doing algorithmic composition and synthesis. You can find out
about this stuff at http://www.pipeline.com/~gogins if you want. Silence
currently uses Csound (via a Java interface I wrote) as its software
synthesizer.

My needs, or desires, or whatever, are drastic. I want low-level,
high-quality, low-latency input and output for MIDI and for audio, with the
ability to overdub and multi-track. Low-level means reading and writing
individual event fields or sample frames. High-quality means up to 24 bit,
96 KHz audio in multiple channels (for now, CD quality is good enough).
Low-latency means 10 millisecond round trips or better.

I can't tell you how much time I've spent writing the same code over and
over on different platforms: MIDI file management, audio file management,
MIDI input and output, blah blah blah...

My inititial impression of the API is that Sun is not quite sure who the
market might be for it. Certainly, the initial reference implementation does
not fit my bill. There is no MIDI input at all. There is only one MIDI
synthesizer (Headspace). I haven't done enough testing to see whether it's
realistic to record CD quality audio or to overdub it. But I will test that.

Is this a toy, or is it for the Web, or is it for consumer computer audio,
or for games, or for music development, or what?

On the other hand, there is no other API that PROMISES so much. I've already
(in a couple hours) gotten as far as querying devices for capabilities and
programmatically outputting realtime MIDI to the synth. If the API was
filled out as I desire, I would need no other. The separation of layers
looks right to me. The names are clear and the API appears neither too
complex nor too simple. This infrastructure stuff is always the most
difficult part of computer music. I could add a Java synthesizer to Silence
to supplement or even replace Csound. I could write new music apps quickly,
concentrating on the music part.

I'd appreciate some feedback on the intended market and future support. Is
there going to be pro quality audio? Is there going to be performance
quality latency? What is the intended market?  If there are no firm plans to
support pro quality then I will spend my time elsewhere. Otherwise, I'm
quite excited and would proceed to integrate Java Sound into Silence.

I will continue to provide feedback to you as I proceed to test areas
important to me. Next is to see whether I can write WAV soundfiles (I
already have my own class for that, I want to see how yours compares).

But one thing's already clear to me: you need MIDI input with reasonably low
latency.













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From: Michael Gogins 
To: music-dsp , csound@maths.ex.ac.uk
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I've download the Java Sound API 0.86.

I'm a computer musician, I've had pieces played at the ICMC and in New York
loft concerts, I've had an article published in CMJ and presented twice at
the ICMC. My most most recent was a paper on Silence, my system, written in
Java, for doing algorithmic composition and synthesis. You can find out
about this stuff at http://www.pipeline.com/~gogins if you want. Silence
currently uses Csound (via a Java interface I wrote) as its software
synthesizer.

My needs, or desires, or whatever, are drastic. I want low-level,
high-quality, low-latency input and output for MIDI and for audio, with the
ability to overdub and multi-track. Low-level means reading and writing
individual event fields or sample frames. High-quality means up to 24 bit,
96 KHz audio in multiple channels (for now, CD quality is good enough).
Low-latency means 10 millisecond round trips or better.

I can't tell you how much time I've spent writing the same code over and
over on different platforms: MIDI file management, audio file management,
MIDI input and output, blah blah blah...

My inititial impression of the API is that Sun is not quite sure who the
market might be for it. Certainly, the initial reference implementation does
not fit my bill. There is no MIDI input at all. There is only one MIDI
synthesizer (Headspace). I haven't done enough testing to see whether it's
realistic to record CD quality audio or to overdub it. But I will test that.

Is this a toy, or is it for the Web, or is it for consumer computer audio,
or for games, or for music development, or what?

On the other hand, there is no other API that PROMISES so much. I've already
(in a couple hours) gotten as far as querying devices for capabilities and
programmatically outputting realtime MIDI to the synth. If the API was
filled out as I desire, I would need no other. The separation of layers
looks right to me. The names are clear and the API appears neither too
complex nor too simple. This infrastructure stuff is always the most
difficult part of computer music. I could add a Java synthesizer to Silence
to supplement or even replace Csound. I could write new music apps quickly,
concentrating on the music part.

I'd appreciate some feedback on the intended market and future support. Is
there going to be pro quality audio? Is there going to be performance
quality latency? What is the intended market?  If there are no firm plans to
support pro quality then I will spend my time elsewhere. Otherwise, I'm
quite excited and would proceed to integrate Java Sound into Silence.

I will continue to provide feedback to you as I proceed to test areas
important to me. Next is to see whether I can write WAV soundfiles (I
already have my own class for that, I want to see how yours compares).

But one thing's already clear to me: you need MIDI input with reasonably low
latency.




dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html











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From: Michael Gogins 
To: music-dsp , csound@maths.ex.ac.uk
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Subject: HotSpot Java Compiler
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HotSpot has arrived and I have downloaded it from
http://www.javasoft.com/products/hotspot/index.html.

I have performed some very preliminary but nevertheless significant tests,
profiling two of my all-Java applications on my Pentium II 128 MB 450 MHz
PC.

ImageToSound (translates 1024 x 768 color bitmap to CD quality WAV soundfile
using additive synthesis implemented by a bank of 768 interpolating
wavetable oscillators. Very compute intensive with floating-point
multiplication, nested loops, soundfile I/O. Translate the same GIF image to
10 second soundfile.

jdk1.2 "HotSpot" java compiler:     281.50 seconds.    HotSpot/Classic:
1.742063246
jdk1.2 "Classic" java compiler:     161.59 seconds.

Silence music graph generation (generate a minimalist score from a large
MIDI sequence with extensive score warping, filtering, pitch-class
transformations, and rescaling to produce 22,128 notes). Very compute
intensive with matrix multiplication, logic, nested loops, interface
casting, XML writing and file I/O, etc., etc.

jdk1.2 "HotSpot" java compiler:        35.92 seconds
HotSpot/Classic:    0.599465955
jdk1.2 "Classic" java compiler:        59.92 seconds

Note that the simpler application was SLOWER with HotSpot than without.
Presumably, the regular JIT did as much or more effective optimization than
HotSpot in the single large method that does the synthesis (I did remember
to run the method several times, to allow HotSpot to optimize it, before
timing it).

Note, too, that the more complex application WAS SIGNIFICANTLY FASTER with
HotSpot than without.

Since I and others have found JIT Java compilers 3 times slower than
compiled and optimized C++, it would seem that with HotSpot and the right
kind of application, the gap has narrowed to 1.5 times slower than compiled
and optimized C++.

HotSpot also seems to manage memory much better than the older compiler,
with much less disk thrashing. HotSpot did not crash due to memory leakage
as the older compiler tended to do after several runs.


In my opinion, this is a significant improvement that warrants a much closer
and more detailed evaluation, even a preliminary commitment, on a case by
case basis, to use HotSpot for music and DSP.











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From: Michael Gogins 
To: music-dsp , csound@maths.ex.ac.uk
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Subject: HotSpot Java Compiler
Date: Fri, 30 Apr 1999 21:29:03 -0400
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Reply-To: music-dsp@shoko.calarts.edu

HotSpot has arrived and I have downloaded it from
http://www.javasoft.com/products/hotspot/index.html.

I have performed some very preliminary but nevertheless significant tests,
profiling two of my all-Java applications on my Pentium II 128 MB 450 MHz
PC.

ImageToSound (translates 1024 x 768 color bitmap to CD quality WAV soundfile
using additive synthesis implemented by a bank of 768 interpolating
wavetable oscillators. Very compute intensive with floating-point
multiplication, nested loops, soundfile I/O. Translate the same GIF image to
10 second soundfile.

jdk1.2 "HotSpot" java compiler:     281.50 seconds.    HotSpot/Classic:
1.742063246
jdk1.2 "Classic" java compiler:     161.59 seconds.

Silence music graph generation (generate a minimalist score from a large
MIDI sequence with extensive score warping, filtering, pitch-class
transformations, and rescaling to produce 22,128 notes). Very compute
intensive with matrix multiplication, logic, nested loops, interface
casting, XML writing and file I/O, etc., etc.

jdk1.2 "HotSpot" java compiler:        35.92 seconds
HotSpot/Classic:    0.599465955
jdk1.2 "Classic" java compiler:        59.92 seconds

Note that the simpler application was SLOWER with HotSpot than without.
Presumably, the regular JIT did as much or more effective optimization than
HotSpot in the single large method that does the synthesis (I did remember
to run the method several times, to allow HotSpot to optimize it, before
timing it).

Note, too, that the more complex application WAS SIGNIFICANTLY FASTER with
HotSpot than without.

Since I and others have found JIT Java compilers 3 times slower than
compiled and optimized C++, it would seem that with HotSpot and the right
kind of application, the gap has narrowed to 1.5 times slower than compiled
and optimized C++.

HotSpot also seems to manage memory much better than the older compiler,
with much less disk thrashing. HotSpot did not crash due to memory leakage
as the older compiler tended to do after several runs.


In my opinion, this is a significant improvement that warrants a much closer
and more detailed evaluation, even a preliminary commitment, on a case by
case basis, to use HotSpot for music and DSP.


dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html











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From: Dan Timis 
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On 4/30/99 6:29 PM Michael Gogins (gogins@nyc.pipeline.com) wrote:

>HotSpot has arrived and I have downloaded it from
>http://www.javasoft.com/products/hotspot/index.html.
>
>I have performed some very preliminary but nevertheless significant tests,
>profiling two of my all-Java applications on my Pentium II 128 MB 450 MHz
>PC.
>
etc. etc.

Very encouraging.  Has anyone done any similar tests on a Mac (how much 
slower is Java compared to C/C++)?

Dan

dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html