High CPU-load processes

[Richard Dobson]

Hello all,


Apologies for any cross-posting.

I am interested to hear of any currently available audio processes
(effects, instruments, etc) that are known to be very expensive in CPU
terms (e.g. close to or even exceeding 100% load on a modern consumer
machine, or where the possible number of simultaneous instances is
severely limited); where hardware acceleration using parallel processing
(SIMD, general multi-core) might be applicable. I am looking to draw up
a list of examples of such processes as background information and
context for a research project. Tools used for "high-end" mastering at
high sample rates (192KHz etc) are especially of interest. Similarly,
tools employing FFTs or comparable block-based processing.

I am aware of such things within the domain of 'academic" software (and
have even defined such a process myself that needs at least 50Gflops of
power to run in real-time at a low sample rate), but am much less aware
of what there may be in terms of commercial products that people use and
wish could run a lot faster!



Richard Dobson

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[Sébastien Métrot]

You should have a look at convolution based reverbs.

Sebastien


On 9 juin 08, at 12:16, Richard Dobson wrote:

> Hello all,
>
>
> Apologies for any cross-posting.
>
> I am interested to hear of any currently available audio processes  
> (effects, instruments, etc) that are known to be very expensive in  
> CPU terms (e.g. close to or even exceeding 100% load on a modern  
> consumer machine, or where the possible number of simultaneous  
> instances is severely limited); where hardware acceleration using  
> parallel processing (SIMD, general multi-core) might be applicable.  
> I am looking to draw up a list of examples of such processes as  
> background information and context for a research project. Tools  
> used for "high-end" mastering at high sample rates (192KHz etc) are  
> especially of interest. Similarly, tools employing FFTs or  
> comparable block-based processing.
>
> I am aware of such things within the domain of 'academic" software  
> (and have even defined such a process myself that needs at least  
> 50Gflops of power to run in real-time at a low sample rate), but am  
> much less aware of what there may be in terms of commercial products  
> that people use and wish could run a lot faster!
>
>
>
> Richard Dobson
>
> --
> dupswapdrop -- the music-dsp mailing list and website: subscription  
> info, FAQ, source code archive, list archive, book reviews, dsp  
> links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp

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[Vesa Norilo]

Hi Richard,

There's a phase correction tool in Adobe Audition that delays one
channel of a stereo track to maximize the correlation between channels.
It can run in realtime, but is constrained to a resolution of 1ms.
Extending this to subsample accuracy would potentially be a very
interesting application and certainly heavy on the CPU.

Convolution applications are pretty obvious. In addition to sampled
acoustics, a very high fidelity Hilbert transform may be interesting.

In the realm of sound synthesis, the application of finite element
modeling to soundboards and acoustics is something I believe we will be
seeing shortly as CPU power increases.

Ray-traced acoustics are also interesting. I've seen a GPU-offloaded
raytraced reverb with moving sound sources. Albeit not a commercial
product. Adding refraction, diffraction etc. to such an algorithm would
give a overlap with FEM.

Vesa

> Hello all,
>
>
> Apologies for any cross-posting.
>
> I am interested to hear of any currently available audio processes
> (effects, instruments, etc) that are known to be very expensive in CPU
> terms (e.g. close to or even exceeding 100% load on a modern consumer
> machine, or where the possible number of simultaneous instances is
> severely limited); where hardware acceleration using parallel
> processing (SIMD, general multi-core) might be applicable. I am
> looking to draw up a list of examples of such processes as background
> information and context for a research project. Tools used for
> "high-end" mastering at high sample rates (192KHz etc) are especially
> of interest. Similarly, tools employing FFTs or comparable block-based
> processing.
>
> I am aware of such things within the domain of 'academic" software
> (and have even defined such a process myself that needs at least
> 50Gflops of power to run in real-time at a low sample rate), but am
> much less aware of what there may be in terms of commercial products
> that people use and wish could run a lot faster!
>
>
>
> Richard Dobson
>
> --
> dupswapdrop -- the music-dsp mailing list and website: subscription
> info, FAQ, source code archive, list archive, book reviews, dsp links
> http://music.columbia.edu/cmc/music-dsp 
> http://music.columbia.edu/mailman/listinfo/music-dsp

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[Michael Gogins]

Yes, I think that more realistic physical models are an obvious candidate for computer power.

Tao (physical modeling synthesis via linked springs and masses) isn't commercial, but if could run in real time you could make a pretty cool commercial synthesizer with it.

http://web.ukonline.co.uk/taosynth/

Regards,
Mike

-----Original Message-----

>From: Vesa Norilo <vesa.norilo@...>
>Sent: Jun 9, 2008 9:55 AM
>To: A discussion list for music-related DSP <music-dsp@...>
>Subject: Re: [music-dsp] High CPU-load processes
>
>Hi Richard,
>
>There's a phase correction tool in Adobe Audition that delays one
>channel of a stereo track to maximize the correlation between channels.
>It can run in realtime, but is constrained to a resolution of 1ms.
>Extending this to subsample accuracy would potentially be a very
>interesting application and certainly heavy on the CPU.
>
>Convolution applications are pretty obvious. In addition to sampled
>acoustics, a very high fidelity Hilbert transform may be interesting.
>
>In the realm of sound synthesis, the application of finite element
>modeling to soundboards and acoustics is something I believe we will be
>seeing shortly as CPU power increases.
>
>Ray-traced acoustics are also interesting. I've seen a GPU-offloaded
>raytraced reverb with moving sound sources. Albeit not a commercial
>product. Adding refraction, diffraction etc. to such an algorithm would
>give a overlap with FEM.
>
>Vesa
>> Hello all,
>>
>>
>> Apologies for any cross-posting.
>>
>> I am interested to hear of any currently available audio processes
>> (effects, instruments, etc) that are known to be very expensive in CPU
>> terms (e.g. close to or even exceeding 100% load on a modern consumer
>> machine, or where the possible number of simultaneous instances is
>> severely limited); where hardware acceleration using parallel
>> processing (SIMD, general multi-core) might be applicable. I am
>> looking to draw up a list of examples of such processes as background
>> information and context for a research project. Tools used for
>> "high-end" mastering at high sample rates (192KHz etc) are especially
>> of interest. Similarly, tools employing FFTs or comparable block-based
>> processing.
>>
>> I am aware of such things within the domain of 'academic" software
>> (and have even defined such a process myself that needs at least
>> 50Gflops of power to run in real-time at a low sample rate), but am
>> much less aware of what there may be in terms of commercial products
>> that people use and wish could run a lot faster!
>>
>>
>>
>> Richard Dobson
>>
>> --
>> dupswapdrop -- the music-dsp mailing list and website: subscription
>> info, FAQ, source code archive, list archive, book reviews, dsp links
>> http://music.columbia.edu/cmc/music-dsp 
>> http://music.columbia.edu/mailman/listinfo/music-dsp
>
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[Bogac Topaktas]

Non-linear system simulation with Wiener-Volterra approaches.
One commercial example is Nebula:

http://www.acusticaudio.net/

which can be considered as relatively expensive in CPU terms.

In general, any non-linear system simulation can be considered as expensive in CPU terms,
at least for today's CPUs (especially when the required degree of simulation accuracy is set
too high). Some of the reasons behind this fact are outlined in the following article:

"Why So Much DSP?"
By Dave Berners
http://www.uaudio.com/webzine/2008/april/index2.html

Bogac.

-----Original message-----
From: Richard Dobson richarddobson@...
Date: Mon, 09 Jun 2008 02:18:10 -0700
To: A discussion list for music-related DSP music-dsp@...
Subject: [music-dsp] High CPU-load processes

> Hello all,
>
>
> Apologies for any cross-posting.
>
> I am interested to hear of any currently available audio processes
> (effects, instruments, etc) that are known to be very expensive in CPU
> terms (e.g. close to or even exceeding 100% load on a modern consumer
> machine, or where the possible number of simultaneous instances is
> severely limited); where hardware acceleration using parallel processing
> (SIMD, general multi-core) might be applicable. I am looking to draw up
> a list of examples of such processes as background information and
> context for a research project. Tools used for "high-end" mastering at
> high sample rates (192KHz etc) are especially of interest. Similarly,
> tools employing FFTs or comparable block-based processing.
>
> I am aware of such things within the domain of 'academic" software (and
> have even defined such a process myself that needs at least 50Gflops of
> power to run in real-time at a low sample rate), but am much less aware
> of what there may be in terms of commercial products that people use and
> wish could run a lot faster!
>
>
>
> Richard Dobson
>
> --
> dupswapdrop -- the music-dsp mailing list and website:
> subscription info, FAQ, source code archive, list archive, book reviews, dsp links
> http://music.columbia.edu/cmc/music-dsp 
> http://music.columbia.edu/mailman/listinfo/music-dsp

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[Andy Farnell]

On Mon, 09 Jun 2008 16:55:19 +0300
Vesa Norilo <vesa.norilo@...> wrote:

> Ray-traced acoustics are also interesting. I've seen a GPU-offloaded
> raytraced reverb with moving sound sources. Albeit not a commercial
> product. Adding refraction, diffraction etc. to such an algorithm would
> give a overlap with FEM.

Very large environmental modelling is a fascinating and useful area where
we are always running out of processing power. It has applications in games/VR
but also in noise abatement, transport planning etc. Efficient models for
absorption, diffraction, refraction (occlusion), scattering, diffusion,
ground effects etc... see Angelo Farinas work for more ideas.

Most times for games and music production we just fake it with comb filters
and so forth, but efficient new approximations are always welcome.

I guess the trick, if there is one, is to find a balance between heuristics
and FEM (which will always be almost impossible in real time - at least for
outdoor scales).

--
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[James Chandler Jr]

"Insanely High Quality" time/pitch stretchers can generally run real-time on
modern CPU's, at least if you only need to play a stereo mix.

But consider if you have a multi-track program with numerous
canned-resynthesized audio tracks, derived from high-quality expert instrumental
recordings. Each audio track could be in a different original key and tempo, and
you want to force all the tracks into the same key and tempo (obviously).

I think that really-high-quality time/pitch stretching is still too expensive to
do independent time/pitch on many tracks simultaneously, realtime. But perhaps
nowadays computers have become fast enough and I didn't discover it yet.

jcjr

----- Original Message -----
From: "Michael Gogins" <gogins@...>
To: "A discussion list for music-related DSP" <music-dsp@...>
Sent: Monday, June 09, 2008 10:27 AM
Subject: Re: [music-dsp] High CPU-load processes

> Yes, I think that more realistic physical models are an obvious candidate for
> computer power.
>
> Tao (physical modeling synthesis via linked springs and masses) isn't
> commercial, but if could run in real time you could make a pretty cool
> commercial synthesizer with it.
>
> http://web.ukonline.co.uk/taosynth/
>
> Regards,
> Mike
>
> -----Original Message-----
>>From: Vesa Norilo <vesa.norilo@...>
>>Sent: Jun 9, 2008 9:55 AM
>>To: A discussion list for music-related DSP <music-dsp@...>
>>Subject: Re: [music-dsp] High CPU-load processes
>>
>>Hi Richard,
>>
>>There's a phase correction tool in Adobe Audition that delays one
>>channel of a stereo track to maximize the correlation between channels.
>>It can run in realtime, but is constrained to a resolution of 1ms.
>>Extending this to subsample accuracy would potentially be a very
>>interesting application and certainly heavy on the CPU.
>>
>>Convolution applications are pretty obvious. In addition to sampled
>>acoustics, a very high fidelity Hilbert transform may be interesting.
>>
>>In the realm of sound synthesis, the application of finite element
>>modeling to soundboards and acoustics is something I believe we will be
>>seeing shortly as CPU power increases.
>>
>>Ray-traced acoustics are also interesting. I've seen a GPU-offloaded
>>raytraced reverb with moving sound sources. Albeit not a commercial
>>product. Adding refraction, diffraction etc. to such an algorithm would
>>give a overlap with FEM.
>>
>>Vesa
>>> Hello all,
>>>
>>>
>>> Apologies for any cross-posting.
>>>
>>> I am interested to hear of any currently available audio processes
>>> (effects, instruments, etc) that are known to be very expensive in CPU
>>> terms (e.g. close to or even exceeding 100% load on a modern consumer
>>> machine, or where the possible number of simultaneous instances is
>>> severely limited); where hardware acceleration using parallel
>>> processing (SIMD, general multi-core) might be applicable. I am
>>> looking to draw up a list of examples of such processes as background
>>> information and context for a research project. Tools used for
>>> "high-end" mastering at high sample rates (192KHz etc) are especially
>>> of interest. Similarly, tools employing FFTs or comparable block-based
>>> processing.
>>>
>>> I am aware of such things within the domain of 'academic" software
>>> (and have even defined such a process myself that needs at least
>>> 50Gflops of power to run in real-time at a low sample rate), but am
>>> much less aware of what there may be in terms of commercial products
>>> that people use and wish could run a lot faster!
>>>
>>>
>>>
>>> Richard Dobson
>>>
>>> --
>>> dupswapdrop -- the music-dsp mailing list and website: subscription
>>> info, FAQ, source code archive, list archive, book reviews, dsp links
>>> http://music.columbia.edu/cmc/music-dsp
>>> http://music.columbia.edu/mailman/listinfo/music-dsp
>>
>>--
>>dupswapdrop -- the music-dsp mailing list and website:
>>subscription info, FAQ, source code archive, list archive, book reviews, dsp
>>links
>>http://music.columbia.edu/cmc/music-dsp
>>http://music.columbia.edu/mailman/listinfo/music-dsp
>
>
>
> --
> dupswapdrop -- the music-dsp mailing list and website:
> subscription info, FAQ, source code archive, list archive, book reviews, dsp
> links
> http://music.columbia.edu/cmc/music-dsp
> http://music.columbia.edu/mailman/listinfo/music-dsp
>

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[加藤]

Hi !

Now I am also interested in what you are interested.

I can quote several techniques for music dsp.

1. Dynamic Convolution
Normally , convolution is static .
That's not varied by the time-passing or rise and fall of amplitude, or
other conditions.
Dynamic convolution is dynamic.
One of easy implementation is , summation of convovers which inputs
diffrently processed audio source.
(for example, an input singnal is passing into diffrent limitters , then
each outputs are connected into diffrent convolver,
and added up.)
more tough one, is all taps of impulse response are moving independently.
rule of  transformation is arbitrarily.
I think  blind-deconvolution or active-noise-canceler may one of the dynamic
convolition.
(their rule is gradient mothed, in a lot of cases.)

2. Granular synthesis
This is likely the classical synthesis method.
But diffrent aspects will be appeared in our ears according to the speeding
up of DSP.
At high sampling rate,
Discontinuous noise , that often happens in the process of granular
synthesis,
is heaerd more  CRISPY to me and to me.
because alias is gone into the high frequency.
And also phase information of discontinuous point is more meanful.

Of cause, granularity is the important character of synthesis,
single grain, several grains, 10 of grains, 100 of grains.
each granularities provide different feelings to us.

3, Evolutionary Conputation
many synthesizers generate different sounds at the same time.
But just one or a few of  sounds are able to reach our ears.
Another sounds are NOT unnecessary,
because they provide the variety to survive in the crucial enviroment.
The enviroment is usually expressed as the evaluation function,
which returns a number for each synthesizers as his score.
Only topmost synthesizers can survive,  another dead.
Deceased synthesizers are born again with similar setting of the surviver.

Constraint for parameters of synthesizer, and howto calculate evaluation
function,
are arbitrarily.
It depends on your (or another person's) idea.


Tatsuya Kato

>I am interested to hear of any currently available audio processes
> (effects, instruments, etc) that are known to be very expensive in CPU
> terms (e.g. close to or even exceeding 100% load on a modern consumer
> machine, or where the possible number of simultaneous instances is
> severely limited); where hardware acceleration using parallel processing
> (SIMD, general multi-core) might be applicable. I am looking to draw up
> a list of examples of such processes as background information and
> context for a research project. Tools used for "high-end" mastering at
> high sample rates (192KHz etc) are especially of interest. Similarly,
> tools employing FFTs or comparable block-based processing.
>
> I am aware of such things within the domain of 'academic" software (and
> have even defined such a process myself that needs at least 50Gflops of
> power to run in real-time at a low sample rate), but am much less aware
> of what there may be in terms of commercial products that people use and
> wish could run a lot faster!
>

--
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subscription info, FAQ, source code archive, list archive, book reviews, dsp links
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[Michael Gogins]

I agree that evolutionary computation is an important field where parallel processing and computer power make sense.

With enough computer power, the synthesizer could evolve instances in the background, and fade them into a mix as they finished mutating and crossing. Then, the user could indicate with the mouse which direction of mutation or which instance was the most satisfactory. If this could be done in real time it might be revolutionary.

Regards,
Mike

-----Original Message-----

>From: kato tatsuya <fwks5029@...>
>Sent: Jun 9, 2008 12:43 PM
>To: music-dsp@...
>Subject: Re: [music-dsp] High CPU-load processes
>
>Hi !
>
>Now I am also interested in what you are interested.
>
>I can quote several techniques for music dsp.
>
>1. Dynamic Convolution
>Normally , convolution is static .
>That's not varied by the time-passing or rise and fall of amplitude, or
>other conditions.
>Dynamic convolution is dynamic.
>One of easy implementation is , summation of convovers which inputs
>diffrently processed audio source.
>(for example, an input singnal is passing into diffrent limitters , then
>each outputs are connected into diffrent convolver,
>and added up.)
>more tough one, is all taps of impulse response are moving independently.
>rule of  transformation is arbitrarily.
>I think  blind-deconvolution or active-noise-canceler may one of the dynamic
>convolition.
>(their rule is gradient mothed, in a lot of cases.)
>
>2. Granular synthesis
>This is likely the classical synthesis method.
>But diffrent aspects will be appeared in our ears according to the speeding
>up of DSP.
>At high sampling rate,
>Discontinuous noise , that often happens in the process of granular
>synthesis,
>is heaerd more  CRISPY to me and to me.
>because alias is gone into the high frequency.
>And also phase information of discontinuous point is more meanful.
>
>Of cause, granularity is the important character of synthesis,
>single grain, several grains, 10 of grains, 100 of grains.
>each granularities provide different feelings to us.
>
>3, Evolutionary Conputation
>many synthesizers generate different sounds at the same time.
>But just one or a few of  sounds are able to reach our ears.
>Another sounds are NOT unnecessary,
>because they provide the variety to survive in the crucial enviroment.
>The enviroment is usually expressed as the evaluation function,
>which returns a number for each synthesizers as his score.
>Only topmost synthesizers can survive,  another dead.
>Deceased synthesizers are born again with similar setting of the surviver.
>
>Constraint for parameters of synthesizer, and howto calculate evaluation
>function,
>are arbitrarily.
>It depends on your (or another person's) idea.
>
>
>Tatsuya Kato
>
>
>
>
>>I am interested to hear of any currently available audio processes
>> (effects, instruments, etc) that are known to be very expensive in CPU
>> terms (e.g. close to or even exceeding 100% load on a modern consumer
>> machine, or where the possible number of simultaneous instances is
>> severely limited); where hardware acceleration using parallel processing
>> (SIMD, general multi-core) might be applicable. I am looking to draw up
>> a list of examples of such processes as background information and
>> context for a research project. Tools used for "high-end" mastering at
>> high sample rates (192KHz etc) are especially of interest. Similarly,
>> tools employing FFTs or comparable block-based processing.
>>
>> I am aware of such things within the domain of 'academic" software (and
>> have even defined such a process myself that needs at least 50Gflops of
>> power to run in real-time at a low sample rate), but am much less aware
>> of what there may be in terms of commercial products that people use and
>> wish could run a lot faster!
>>
>--
>dupswapdrop -- the music-dsp mailing list and website:
>subscription info, FAQ, source code archive, list archive, book reviews, dsp links
>http://music.columbia.edu/cmc/music-dsp 
>http://music.columbia.edu/mailman/listinfo/music-dsp

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[Sampo Syreeni]

On 2008-06-09, Andy Farnell wrote:

> I guess the trick, if there is one, is to find a balance between
> heuristics and FEM (which will always be almost impossible in real
> time - at least for outdoor scales).

One insight I once got from theoretical rendering work and algebraic
multiresolution solvers is that there are systematic ways of breaking
down complex PDE's such that you can control the total computational
load. In the acoustic case, I'd expect those to take the form of
combined FEM, BEM, statistical-modal treatment, ray acoustics and all of
the stuff that lives in between, like analytic diffraction models. That
ought to keep your code at 100% load for the time to come -- each time
you kill one of the specialized models, you'll end up feeding it to FEM.
Which is a computational quagmire, of course. ;)
--
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[Sampo Syreeni]

On 2008-06-09, James Chandler Jr wrote:

> But consider if you have a multi-track program with numerous
> canned-resynthesized audio tracks, derived from high-quality expert
> instrumental recordings. [...]

Multichannel analysis, especially for interchannel correlations (often
done with high end multichannel codecs), can also sink just about
limitless amounts of cycles.
--
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[Bob Grove]

Question:  Let's say one is implementing for concurrent, multi-processor
boards, or even something like SSE3/SSE4 (SIMD), the issue with
cross-correlation on multiple streams has data dependencies that in my head
are going to automatically require semaphores, i.e. pipe stalls and
potential issues with data copy, moves.

So, are there any papers out there and/or algorithmic modifications, anybody
really look at optimizations for Quad/parallel processing boards w.r.t.
multi-channel, Pro audio applications from things like x channel soft
mixers, equalization, spatialization, 7.1 audio streams, etc.?

I never even thought about this until this post popped up.  Good post!

-----Original Message-----
From: Sampo Syreeni [mailto:decoy@...]
Sent: Monday, June 09, 2008 10:47 AM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] High CPU-load processes

On 2008-06-09, James Chandler Jr wrote:

> But consider if you have a multi-track program with numerous
> canned-resynthesized audio tracks, derived from high-quality expert
> instrumental recordings. [...]

Multichannel analysis, especially for interchannel correlations (often
done with high end multichannel codecs), can also sink just about
limitless amounts of cycles.
--
Sampo Syreeni, aka decoy - mailto:decoy@..., tel:[phone]
student/math+cs/helsinki university, http://www.iki.fi/~decoy/front
openpgp: 050985C2/025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2
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[Richard Dobson]

Thanks everyone for the replies so far (more please!). I am glad it has
stimulated some interest. While all the answers so far are very
interesting and helpful, I am hoping to find some working examples I can
put numbers to - benchmark, etc. The reference to Nebula (acustica
audio) is very much on target for me, as it is a product that I can
download and try out on different systems in just that way. Especially
notable is that in the "pro" version it offers acceleration using
Nvidia's CUDA system - this seems to me to be  the picture of one very
likely future. I am not a mathematician so "Volterra Kernels" is little
more than a name to me (though I am clear that it relates pretty closely
to "dynamic convolution"), but I do get the impression it is a very good
fit to dense multi-core processing, and possibly of its kind a canonical
benchmark process for evaluating high-performance parallel and
multi-core systems.

We (at Bath Uni) have already made some speculative references to Finite
Element physical models in some of our work published so far; but until
we can get them running on some high-performance parallel hardware it
all remains something more speculative than concrete. So any info on
current systems employing FEM is especially welcome.

Richard Dobson





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[Richard Dobson]

Vesa Norilo wrote:
..
> Ray-traced acoustics are also interesting. I've seen a GPU-offloaded
> raytraced reverb with moving sound sources. Albeit not a commercial
> product.

Do you have any more info about this - name, link, etc?

Richard Dobson

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[brien colwell-4]

Accurately modelling acoustics could be interesting ... I think you
could parallelize that with some magic.



Richard Dobson wrote:

> Thanks everyone for the replies so far (more please!). I am glad it
> has stimulated some interest. While all the answers so far are very
> interesting and helpful, I am hoping to find some working examples I
> can put numbers to - benchmark, etc. The reference to Nebula (acustica
> audio) is very much on target for me, as it is a product that I can
> download and try out on different systems in just that way. Especially
> notable is that in the "pro" version it offers acceleration using
> Nvidia's CUDA system - this seems to me to be  the picture of one very
> likely future. I am not a mathematician so "Volterra Kernels" is
> little more than a name to me (though I am clear that it relates
> pretty closely to "dynamic convolution"), but I do get the impression
> it is a very good fit to dense multi-core processing, and possibly of
> its kind a canonical benchmark process for evaluating high-performance
> parallel and multi-core systems.
>
> We (at Bath Uni) have already made some speculative references to
> Finite Element physical models in some of our work published so far;
> but until we can get them running on some high-performance parallel
> hardware it all remains something more speculative than concrete. So
> any info on current systems employing FEM is especially welcome.
>
> Richard Dobson
>
>
>
>
>
> --
> dupswapdrop -- the music-dsp mailing list and website: subscription
> info, FAQ, source code archive, list archive, book reviews, dsp links
> http://music.columbia.edu/cmc/music-dsp 
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