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#N canvas 579 109 517 612 10;
#N canvas 590 312 458 308 burrow-block 0;
#X obj 160 154 burrow~;
#X obj 160 39 inlet~;
#X obj 174 72 inlet~;
#X obj 189 99 inlet;
#X obj 204 120 inlet;
#X obj 160 209 outlet~;
#X obj 270 186 block~ 256;
#X obj 303 124 inlet;
#X connect 0 0 5 0;
#X connect 1 0 0 0;
#X connect 2 0 0 1;
#X connect 3 0 0 2;
#X connect 4 0 0 3;
#X connect 7 0 0 0;
#X restore 93 227 pd burrow-block;
#X obj 93 42 noise~;
#X obj 118 82 noise~;
#X obj 118 129 bp~ 500 50;
#X text 90 25 sound to filter;
#X text 115 66 sound to provide filter shape;
#X obj 93 269 *~ 1;
#X obj 93 304 dac~;
#X msg 352 411 \; pd dsp \$1;
#X obj 352 394 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1
1;
#X floatatom 116 251 5 0 0 0 - burrow-gain -;
#X obj 151 313 hsl 128 15 0 0.2 0 0 burrow-gain empty output_gain -2
-6 0 8 -182539 -1 -1 3175 1;
#X floatatom 143 150 5 0 0 0 - burrow-threshold -;
#X floatatom 168 170 5 0 0 0 - burrow-multiplier -;
#N canvas 0 22 505 427 messages 0;
#X obj 162 351 outlet;
#X msg 162 253 invert \$1;
#X obj 162 227 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1
1;
#X text 59 49 When invert is turned on \, the spectrum of the filter
sound becomes the shape of the filter. Although this might seem more
intuitive \, and thus a better candidate for default behavior \, recall
that the external is called "burrow~" which is what it does.;
#N canvas 380 158 454 304 system 0;
#X obj 201 186 outlet;
#X msg 93 128 overlap \$1;
#X msg 84 96 2;
#X msg 118 96 4;
#X obj 298 44 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0 1
;
#X msg 298 70 mute \$1;
#X msg 302 132 fftinfo;
#X msg 145 47 2;
#X msg 179 47 4;
#X msg 154 79 winfac \$1;
#X msg 109 46 1;
#X text 25 235 Try different combos of window factor and overlap. Lower
overlap requires less CPU.;
#X connect 1 0 0 0;
#X connect 2 0 1 0;
#X connect 3 0 1 0;
#X connect 4 0 5 0;
#X connect 5 0 0 0;
#X connect 6 0 0 0;
#X connect 7 0 9 0;
#X connect 8 0 9 0;
#X connect 9 0 0 0;
#X connect 10 0 9 0;
#X restore 182 305 pd system;
#X connect 1 0 0 0;
#X connect 2 0 1 0;
#X connect 4 0 0 0;
#X restore 193 197 pd messages;
#X obj 153 348 hsl 128 15 0.0001 0.01 0 0 burrow-threshold empty threshold
-2 -6 0 8 -182539 -1 -1 3720 1;
#X obj 154 381 hsl 128 15 0.001 1 0 0 burrow-multiplier empty multiplier
-2 -6 0 8 -182539 -1 -1 114 1;
#X floatatom 150 103 5 0 0 0 - bp-center-freq -;
#X obj 154 412 hsl 128 15 100 1500 0 0 bp-center-freq empty center-freq
-2 -6 0 8 -182539 -1 -1 8164 1;
#X floatatom 205 103 5 0 0 0 - bp-resonance -;
#X obj 153 442 hsl 128 15 10 100 0 0 bp-resonance empty resonance -2
-6 0 8 -182539 -1 -1 12700 1;
#X text 12 476 The sound in the leftmost inlet gets filtered by the
spectrum of the sound in the next inlet \, except that by default this
spectrum is cut out from (or burrows into) the source sound. We use
noise sources here to highlight the effect but it is recommended to
use much more interesting sounds as one or both of the inputs. In this
example \, with bandpassed noise as the filter sound \, the result
is to create a notch in the source noise \, similar but inverse to
the shape of the bandpass peak band.;
#N canvas 0 22 462 312 init 0;
#X obj 92 140 unpack f f f f f;
#X obj 92 95 loadbang;
#X obj 92 195 outlet;
#X obj 110 234 outlet;
#X obj 131 276 outlet;
#X obj 165 256 outlet;
#X obj 213 246 outlet;
#X obj 197 71 inlet;
#X msg 92 117 0.05 0.003 0.01 100 1000;
#X connect 0 0 2 0;
#X connect 0 1 3 0;
#X connect 0 2 4 0;
#X connect 0 3 5 0;
#X connect 0 4 6 0;
#X connect 1 0 8 0;
#X connect 7 0 8 0;
#X connect 8 0 0 0;
#X restore 94 381 pd init;
#X obj 94 364 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
-1;
#X connect 0 0 6 0;
#X connect 1 0 0 0;
#X connect 2 0 3 0;
#X connect 3 0 0 1;
#X connect 6 0 7 0;
#X connect 6 0 7 1;
#X connect 9 0 8 0;
#X connect 10 0 6 1;
#X connect 12 0 0 2;
#X connect 13 0 0 3;
#X connect 14 0 0 4;
#X connect 17 0 3 1;
#X connect 19 0 3 2;
#X connect 22 0 11 0;
#X connect 22 1 15 0;
#X connect 22 2 16 0;
#X connect 22 3 20 0;
#X connect 22 4 18 0;
#X connect 23 0 22 0;
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