some new, some changed.

svn path=/trunk/abstractions/rradical/; revision=2088

11 files changed, 182 insertions, 94 deletions

diff --git a/control/rrad.scale-help.pd b/control/rrad.scale-help.pd
new file mode 100644
index 0000000..dce442e
--- /dev/null
+++ b/control/rrad.scale-help.pd
@@ -0,0 +1,22 @@
+#N canvas 480 396 450 300 10;
+#X floatatom 173 101 5 0 0 0 - - -;
+#X floatatom 173 187 5 0 0 0 - - -;
+#X obj 173 141 rrad.scale 0 127 1 10;
+#X msg 313 99 -1;
+#X msg 225 99 bang;
+#X text 36 19 rrad.scale;
+#X text 50 47 Scales input range to output range linearily;
+#X text 40 183 ARGS;
+#X text 50 207 1: input_low_border;
+#X text 50 229 2: input_high_border;
+#X text 50 255 3: output_low_border;
+#X text 50 277 4: output_high_border;
+#X obj 228 186 print scaled;
+#X text 344 100 change ranges;
+#X msg 281 97 12;
+#X connect 0 0 2 0;
+#X connect 2 0 1 0;
+#X connect 2 0 12 0;
+#X connect 3 0 2 4;
+#X connect 4 0 2 0;
+#X connect 14 0 2 3;
diff --git a/control/rrad.scale.pd b/control/rrad.scale.pd
new file mode 100644
index 0000000..81fb438
--- /dev/null
+++ b/control/rrad.scale.pd
@@ -0,0 +1,83 @@
+#N canvas 542 303 677 498 10;
+#X obj 352 92 f \$1;
+#X obj 464 94 f \$4;
+#X obj 426 94 f \$3;
+#X obj 386 92 f \$2;
+#X obj 300 142 s \$0-il;
+#X obj 354 140 s \$0-ih;
+#X obj 476 134 s \$0-oh;
+#X obj 412 138 s \$0-ol;
+#X obj 375 185 -;
+#X obj 384 161 t b f;
+#X obj 461 248 s \$0-ir;
+#X obj 461 199 -;
+#X obj 462 169 t b f;
+#X obj 521 248 s \$0-or;
+#X obj 61 206 spigot;
+#X obj 372 214 select 0;
+#X obj 98 174 r \$0-ir;
+#X obj 423 285 t b f;
+#X obj 423 324 /;
+#X obj 423 365 s \$0-k;
+#X obj 61 55 inlet;
+#X obj 77 354 r \$0-ol;
+#X obj 61 382 +;
+#X obj 77 306 r \$0-k;
+#X obj 61 331 *;
+#X obj 61 273 -;
+#X obj 77 240 r \$0-il;
+#X obj 61 423 outlet;
+#X msg 275 403 WARNING: Input range of 0 detected. Object might block!
+;
+#X obj 318 45 inlet;
+#X obj 422 45 inlet;
+#X obj 472 45 inlet;
+#X obj 522 43 inlet;
+#X obj 371 28 t b b;
+#X obj 368 5 loadbang;
+#X text 118 28 ARGS;
+#X text 128 52 1: input_low_border;
+#X text 128 74 2: input_high_border;
+#X text 128 100 3: output_low_border;
+#X text 128 122 4: output_high_border;
+#X obj 268 437 print \$0-scaler;
+#X connect 0 0 4 0;
+#X connect 0 0 8 0;
+#X connect 1 0 6 0;
+#X connect 1 0 12 0;
+#X connect 2 0 7 0;
+#X connect 2 0 11 0;
+#X connect 3 0 5 0;
+#X connect 3 0 9 0;
+#X connect 8 0 15 0;
+#X connect 9 0 8 0;
+#X connect 9 1 8 1;
+#X connect 11 0 13 0;
+#X connect 11 0 18 0;
+#X connect 12 0 11 0;
+#X connect 12 1 11 1;
+#X connect 14 0 25 0;
+#X connect 15 0 28 0;
+#X connect 15 1 10 0;
+#X connect 15 1 17 0;
+#X connect 16 0 14 1;
+#X connect 17 0 18 0;
+#X connect 17 1 18 1;
+#X connect 18 0 19 0;
+#X connect 20 0 14 0;
+#X connect 21 0 22 1;
+#X connect 22 0 27 0;
+#X connect 23 0 24 1;
+#X connect 24 0 22 0;
+#X connect 25 0 24 0;
+#X connect 26 0 25 1;
+#X connect 28 0 40 0;
+#X connect 29 0 0 0;
+#X connect 30 0 3 0;
+#X connect 31 0 2 0;
+#X connect 32 0 1 0;
+#X connect 33 0 0 0;
+#X connect 33 0 2 0;
+#X connect 33 1 1 0;
+#X connect 33 1 3 0;
+#X connect 34 0 33 0;
diff --git a/doc/rradicalpd.html b/doc/rradicalpd.html
index ade3e7e..162ffc0 100644
--- a/doc/rradicalpd.html
+++ b/doc/rradicalpd.html
@@ -28,7 +28,7 @@ stands for "Reusable and Rapid Audio Development" or "Reusable an
 Application Development", if it includes non-audio patches, with Pd. In
 the design of this system, a way to save state flexibly in Pd
 (persistence) had to be developed. For communication among each other
-the RRADical patches integrates the Open Sound Control protocol.</p>
+the RRADical patches integrate the Open Sound Control protocol.</p>
 </div>
 <div class="section" id="what-it-takes-to-be-a-rradical">
 <h1><a name="what-it-takes-to-be-a-rradical">What it takes to be a RRADical</a></h1>
@@ -56,7 +56,7 @@ the filter can also be done in advance inside of a so called abstraction,
 that is, in a saved Pd patch file. Thanks to the Graph-On-Parent feature of
 Pd the cutoff slider even can be made visible when using that abstraction in
 another patch. The new filter abstraction now carries its own GUI and is
-immediatly ready to be used.</p>
+immediately ready to be used.</p>
 <p>Of course the GUI-filter is a rather simple example (although already quite
 useful). But building a graphical note sequencer with 32 sliders and 32
 number boxes or even more is something, one would rather have to do only
@@ -90,11 +90,9 @@ functionality. For this reason, if messages received by an object
 change its action, since the changes aren't reflected in the object's
 appearance, they are not saved as part of the file which specifies the
 patch and will be forgotten when the patch is reloaded.</blockquote>
-<p>(I'll show an example of a float object changing &quot;state&quot; by a message in
-its right inlet here.)</p>
 <p>Still, in a musician's practice some kind of persistence turns out to be an
-important feature, that many Pd beginners do miss. And as soon as patched
-start to use lots of graphical control objects, users will - and should -
+important feature, that many Pd beginners do miss. And as soon as a patch
+starts to use lots of graphical control objects, users will - and should -
 play around with different settings until they find some combination they
 like. But unless a way to save this combination for later use is found, all
 this is temporary and gone, as soon as the patch is closed.</p>
@@ -198,8 +196,6 @@ Nolan where - quoting IMDB:</p>
 <blockquote>
 A man, suffering from short-term memory loss, uses notes and tattoos to
 hunt down his wife's killer.</blockquote>
-<p>Here's a scene from &quot;Memento&quot;:</p>
-<p><img alt="memento.png" src="memento.png" /></p>
 <p>The movie's main character Leonard has a similar problem as Pd: he cannot
 remember things. To deal with his persistence problem, his inability to save
 data to his internal harddisk (brain) he resorts to taking a lot of photos.
@@ -253,7 +249,7 @@ called &quot;RRADICAL&quot;. The same <tt class="literal"><span class="pre">pool
 <tt class="literal"><span class="pre">originator</span></tt> object. This abstraction handles all access to this pool. A
 user should not read or write the contents of <tt class="literal"><span class="pre">pool</span> <span class="pre">RRADICAL</span></tt> directly.
 The <tt class="literal"><span class="pre">originator</span></tt> patch also handles the border crossing through OSC
-messages by it's rightmost inlet. The patch accepts two mandatory
+messages by its rightmost inlet. The patch accepts two mandatory
 arguments: The first on is the name under which this patch is to be stored
 inside the <tt class="literal"><span class="pre">pool</span></tt> data. Each <tt class="literal"><span class="pre">originator</span> <span class="pre">SomeName</span> <span class="pre">secondarg</span></tt>  stores
 it's data in a virtual subdirectory inside the RRADICAL-pool called like
@@ -350,7 +346,7 @@ for more than one piece by just exchanging the Caretaker-file used.</dd>
 </dl>
 <p>I already developed a growing number of patches that follow the RRADical
 paradigm, among these are a complex pattern sequencer, some synths and
-effects and more. All those are available in the Pure data CVS, which
+effects and more. All those are available in the Pure Data CVS, which
 currently lives at <a class="reference" href="http://pure-data.sourceforge.net">pure-data.sourceforge.net</a> in the directory
 &quot;abstractions/rradical&quot;.
 The RRADical collection comes with a template file, called
@@ -369,7 +365,7 @@ all because it always seemed to be too complicated to bother with it. This
 limited my patches to being used in improvisational pieces without the
 possibility to prepare parts of a musical story in advance and to &quot;design&quot;
 those pieces. It was like being forced to write a book without having access
-to a sheet of paper (or a harddisk nowadays). This has change: having
+to a sheet of paper (or a harddisk nowadays). This has changed: having
 &quot;paper&quot; in great supply now has made it possible to &quot;write&quot; pieces of art,
 to &quot;remember&quot; what was good and what rather should not be repeated, to
 really &quot;work&quot; on a certain project over a longer time.</p>
@@ -378,7 +374,7 @@ which is important as usage of Pd in workshops and at universities is
 growing -- also thanks to its availability as Free Software. RRADical
 patches directly can be used by novices as they are created just like any
 other patch, but they already provide sound creation and GUI elements that
-the students can use immediatly to create more satisfactory sounds that the
+the students can use immediately to create more satisfactory sounds that the
 sine waves used as standard examples in basic Pd tutorials. With a grown
 proficiency the students later can dive into the internals of a RRADical
 patch to see what's inside and how it was done.  This allows a new top-down
diff --git a/doc/rradicalpd.pdf b/doc/rradicalpd.pdf
index c80d144..052fdf0 100644
--- a/doc/rradicalpd.pdf
+++ b/doc/rradicalpd.pdf
diff --git a/doc/rradicalpd.rst b/doc/rradicalpd.rst
index 7240498..e1a3b9c 100644
--- a/doc/rradicalpd.rst
+++ b/doc/rradicalpd.rst
@@ -12,7 +12,7 @@ RRADical Pd
     Application Development", if it includes non-audio patches, with Pd. In
     the design of this system, a way to save state flexibly in Pd
     (persistence) had to be developed. For communication among each other
-    the RRADical patches integrates the Open Sound Control protocol.
+    the RRADical patches integrate the Open Sound Control protocol.
     
 
 What it takes to be a RRADical
@@ -44,7 +44,7 @@ the filter can also be done in advance inside of a so called abstraction,
 that is, in a saved Pd patch file. Thanks to the Graph-On-Parent feature of
 Pd the cutoff slider even can be made visible when using that abstraction in
 another patch. The new filter abstraction now carries its own GUI and is
-immediatly ready to be used. 
+immediately ready to be used. 
 
 Of course the GUI-filter is a rather simple example (although already quite
 useful). But building a graphical note sequencer with 32 sliders and 32
@@ -85,12 +85,9 @@ Pd author Miller S. Puckette writes about this in the Pd manual in section
     appearance, they are not saved as part of the file which specifies the
     patch and will be forgotten when the patch is reloaded.
 
-(I'll show an example of a float object changing "state" by a message in
-its right inlet here.)
-
 Still, in a musician's practice some kind of persistence turns out to be an
-important feature, that many Pd beginners do miss. And as soon as patched
-start to use lots of graphical control objects, users will - and should -
+important feature, that many Pd beginners do miss. And as soon as a patch
+starts to use lots of graphical control objects, users will - and should -
 play around with different settings until they find some combination they
 like. But unless a way to save this combination for later use is found, all
 this is temporary and gone, as soon as the patch is closed.
@@ -211,9 +208,6 @@ Nolan where - quoting IMDB:
     A man, suffering from short-term memory loss, uses notes and tattoos to
     hunt down his wife's killer.
 
-Here's a scene from "Memento": 
-
-.. image:: memento.png
 
 The movie's main character Leonard has a similar problem as Pd: he cannot
 remember things. To deal with his persistence problem, his inability to save
@@ -272,7 +266,7 @@ called "RRADICAL". The same ``pool RRADICAL`` also is used inside the
 ``originator`` object. This abstraction handles all access to this pool. A
 user should not read or write the contents of ``pool RRADICAL`` directly.
 The ``originator`` patch also handles the border crossing through OSC
-messages by it's rightmost inlet. The patch accepts two mandatory
+messages by its rightmost inlet. The patch accepts two mandatory
 arguments: The first on is the name under which this patch is to be stored
 inside the ``pool`` data. Each ``originator SomeName secondarg``  stores
 it's data in a virtual subdirectory inside the RRADICAL-pool called like
@@ -381,7 +375,7 @@ characteristics:
 
 I already developed a growing number of patches that follow the RRADical
 paradigm, among these are a complex pattern sequencer, some synths and
-effects and more. All those are available in the Pure data CVS, which
+effects and more. All those are available in the Pure Data CVS, which
 currently lives at pure-data.sourceforge.net_ in the directory
 "abstractions/rradical".
 The RRADical collection comes with a template file, called
@@ -403,7 +397,7 @@ all because it always seemed to be too complicated to bother with it. This
 limited my patches to being used in improvisational pieces without the
 possibility to prepare parts of a musical story in advance and to "design"
 those pieces. It was like being forced to write a book without having access
-to a sheet of paper (or a harddisk nowadays). This has change: having
+to a sheet of paper (or a harddisk nowadays). This has changed: having
 "paper" in great supply now has made it possible to "write" pieces of art,
 to "remember" what was good and what rather should not be repeated, to
 really "work" on a certain project over a longer time.
@@ -413,7 +407,7 @@ which is important as usage of Pd in workshops and at universities is
 growing -- also thanks to its availability as Free Software. RRADical
 patches directly can be used by novices as they are created just like any
 other patch, but they already provide sound creation and GUI elements that
-the students can use immediatly to create more satisfactory sounds that the
+the students can use immediately to create more satisfactory sounds that the
 sine waves used as standard examples in basic Pd tutorials. With a grown
 proficiency the students later can dive into the internals of a RRADical
 patch to see what's inside and how it was done.  This allows a new top-down
diff --git a/doc/rradicalpd.tex b/doc/rradicalpd.tex
index 9997ecc..47e91bf 100644
--- a/doc/rradicalpd.tex
+++ b/doc/rradicalpd.tex
@@ -67,7 +67,7 @@ stands for ``Reusable and Rapid Audio Development'' or ``Reusable and Rapid
 Application Development'', if it includes non-audio patches, with Pd. In
 the design of this system, a way to save state flexibly in Pd
 (persistence) had to be developed. For communication among each other
-the RRADical patches integrates the Open Sound Control protocol.
+the RRADical patches integrate the Open Sound Control protocol.
 
 
 
@@ -103,7 +103,7 @@ the filter can also be done in advance inside of a so called abstraction,
 that is, in a saved Pd patch file. Thanks to the Graph-On-Parent feature of
 Pd the cutoff slider even can be made visible when using that abstraction in
 another patch. The new filter abstraction now carries its own GUI and is
-immediatly ready to be used.
+immediately ready to be used.
 
 Of course the GUI-filter is a rather simple example (although already quite
 useful). But building a graphical note sequencer with 32 sliders and 32
@@ -165,12 +165,9 @@ appearance, they are not saved as part of the file which specifies the
 patch and will be forgotten when the patch is reloaded.
 \end{quote}
 
-(I'll show an example of a float object changing ``state'' by a message in
-its right inlet here.)
-
 Still, in a musician's practice some kind of persistence turns out to be an
-important feature, that many Pd beginners do miss. And as soon as patched
-start to use lots of graphical control objects, users will - and should -
+important feature, that many Pd beginners do miss. And as soon as a patch
+starts to use lots of graphical control objects, users will - and should -
 play around with different settings until they find some combination they
 like. But unless a way to save this combination for later use is found, all
 this is temporary and gone, as soon as the patch is closed.
@@ -311,10 +308,6 @@ A man, suffering from short-term memory loss, uses notes and tattoos to
 hunt down his wife's killer.
 \end{quote}
 
-Here's a scene from ``Memento'':
-
-\includegraphics{memento.png}
-
 The movie's main character Leonard has a similar problem as Pd: he cannot
 remember things. To deal with his persistence problem, his inability to save
 data to his internal harddisk (brain) he resorts to taking a lot of photos.
@@ -377,7 +370,7 @@ called ``RRADICAL''. The same \texttt{pool RRADICAL} also is used inside the
 \texttt{originator} object. This abstraction handles all access to this pool. A
 user should not read or write the contents of \texttt{pool RRADICAL} directly.
 The \texttt{originator} patch also handles the border crossing through OSC
-messages by it's rightmost inlet. The patch accepts two mandatory
+messages by its rightmost inlet. The patch accepts two mandatory
 arguments: The first on is the name under which this patch is to be stored
 inside the \texttt{pool} data. Each \texttt{originator SomeName secondarg}  stores
 it's data in a virtual subdirectory inside the RRADICAL-pool called like
@@ -510,7 +503,7 @@ for more than one piece by just exchanging the Caretaker-file used.
 
 I already developed a growing number of patches that follow the RRADical
 paradigm, among these are a complex pattern sequencer, some synths and
-effects and more. All those are available in the Pure data CVS, which
+effects and more. All those are available in the Pure Data CVS, which
 currently lives at \href{http://pure-data.sourceforge.net}{pure-data.sourceforge.net} in the directory
 ``abstractions/rradical''.
 The RRADical collection comes with a template file, called
@@ -534,7 +527,7 @@ all because it always seemed to be too complicated to bother with it. This
 limited my patches to being used in improvisational pieces without the
 possibility to prepare parts of a musical story in advance and to ``design''
 those pieces. It was like being forced to write a book without having access
-to a sheet of paper (or a harddisk nowadays). This has change: having
+to a sheet of paper (or a harddisk nowadays). This has changed: having
 ``paper'' in great supply now has made it possible to ``write'' pieces of art,
 to ``remember'' what was good and what rather should not be repeated, to
 really ``work'' on a certain project over a longer time.
@@ -544,7 +537,7 @@ which is important as usage of Pd in workshops and at universities is
 growing -- also thanks to its availability as Free Software. RRADical
 patches directly can be used by novices as they are created just like any
 other patch, but they already provide sound creation and GUI elements that
-the students can use immediatly to create more satisfactory sounds that the
+the students can use immediately to create more satisfactory sounds that the
 sine waves used as standard examples in basic Pd tutorials. With a grown
 proficiency the students later can dive into the internals of a RRADical
 patch to see what's inside and how it was done.  This allows a new top-down
diff --git a/effects/rrad.adsr.pd b/effects/rrad.adsr.pd
index ff9230f..df8d979 100644
--- a/effects/rrad.adsr.pd
+++ b/effects/rrad.adsr.pd
@@ -167,11 +167,11 @@ Inlets are supplied to update them on the fly.;
 #X connect 39 0 40 0;
 #X restore 174 292 pd adsr -----------;
 #X obj 100 181 s \$0-level;
-#X obj 253 62 scale 0 127 0 200;
-#X obj 308 164 scale 0 127 0 1;
-#X obj 289 119 scale 0 127 0 200;
-#X obj 172 168 scale 0 127 0 1;
-#X obj 366 202 scale 0 127 0 1000;
+#X obj 253 62 rrad.scale 0 127 0 200;
+#X obj 308 164 rrad.scale 0 127 0 1;
+#X obj 289 119 rrad.scale 0 127 0 200;
+#X obj 172 168 rrad.scale 0 127 0 1;
+#X obj 366 202 rrad.scale 0 127 0 1000;
 #X obj 74 149 select 0;
 #X obj 174 346 outlet;
 #X connect 0 0 11 0;
diff --git a/effects/rrad.adsr~.pd b/effects/rrad.adsr~.pd
index ffed044..8befe83 100644
--- a/effects/rrad.adsr~.pd
+++ b/effects/rrad.adsr~.pd
@@ -169,11 +169,11 @@ Inlets are supplied to update them on the fly.;
 #X connect 40 0 10 0;
 #X restore 174 292 pd adsr -----------;
 #X obj 100 181 s \$0-level;
-#X obj 253 62 scale 0 127 0 200;
-#X obj 308 164 scale 0 127 0 1;
-#X obj 289 119 scale 0 127 0 200;
-#X obj 172 168 scale 0 127 0 1;
-#X obj 366 202 scale 0 127 0 1000;
+#X obj 253 62 rrad.scale 0 127 0 200;
+#X obj 308 164 rrad.scale 0 127 0 1;
+#X obj 289 119 rrad.scale 0 127 0 200;
+#X obj 172 168 rrad.scale 0 127 0 1;
+#X obj 366 202 rrad.scale 0 127 0 1000;
 #X obj 74 149 select 0;
 #X connect 0 0 12 0;
 #X connect 1 0 9 0;
diff --git a/instruments/analogue.pd b/instruments/analogue.pd
index 0a8ca00..42c6ada 100644
--- a/instruments/analogue.pd
+++ b/instruments/analogue.pd
@@ -12,8 +12,8 @@
 #X msg 572 170 control #4 \$1;
 #X obj 286 135 clip 0.0441 22005;
 #X obj 460 135 clip 0 1;
-#X obj 458 111 scale 0 127 0 1;
-#X obj 567 114 scale 0 127 0 1;
+#X obj 458 111 rrad.scale 0 127 0 1;
+#X obj 567 114 rrad.scale 0 127 0 1;
 #X obj 569 138 clip 0 1;
 #X obj 325 271 outlet~;
 #X obj 164 36 inlet waveform;
diff --git a/instruments/analosc.pd b/instruments/analosc.pd
index c8b7900..8a00023 100644
--- a/instruments/analosc.pd
+++ b/instruments/analosc.pd
@@ -2,12 +2,6 @@
 #X obj 2 14 cnv 15 382 130 empty empty empty 20 12 0 14 -195568 -66577
 0;
 #N canvas 37 548 782 304 interna 0;
-#X obj 55 37 r \$0-wave-out;
-#X obj 57 108 s \$0-wave-in;
-#X obj 172 42 r \$0-warm-out;
-#X obj 177 109 s \$0-warm-in;
-#X obj 310 61 r \$0-inst-out;
-#X obj 310 109 s \$0-inst-in;
 #X obj 528 241 originator \$1 \$0;
 #X obj 425 143 inlet;
 #X msg 487 189 substate \$1;
@@ -34,37 +28,43 @@
 #X obj 433 113 s \$0-lfo;
 #X msg 293 217 lfo \$1;
 #X obj 433 86 commun /lfo \$0;
-#X connect 0 0 11 0;
-#X connect 0 0 22 0;
-#X connect 2 0 21 0;
-#X connect 2 0 24 0;
-#X connect 4 0 13 0;
-#X connect 4 0 25 0;
-#X connect 7 0 9 0;
-#X connect 8 0 6 0;
-#X connect 8 0 12 0;
+#X obj 172 42 r \$0-warm;
+#X obj 55 35 r \$0-wave;
+#X obj 57 108 s \$0-wave;
+#X obj 177 109 s \$0-warm;
+#X obj 310 61 r \$0-inst;
+#X obj 310 109 s \$0-inst;
+#X connect 1 0 3 0;
+#X connect 2 0 0 0;
+#X connect 2 0 6 0;
+#X connect 3 0 4 0;
+#X connect 3 1 2 0;
+#X connect 4 0 0 0;
+#X connect 4 0 6 0;
+#X connect 5 0 17 0;
+#X connect 7 0 31 0;
 #X connect 9 0 10 0;
-#X connect 9 1 8 0;
-#X connect 10 0 6 0;
-#X connect 10 0 12 0;
-#X connect 11 0 23 0;
-#X connect 13 0 5 0;
-#X connect 15 0 16 0;
-#X connect 16 0 14 0;
-#X connect 17 0 19 0;
+#X connect 10 0 8 0;
+#X connect 11 0 13 0;
+#X connect 12 0 11 0;
+#X connect 15 0 29 0;
+#X connect 16 0 28 0;
+#X connect 17 0 20 0;
 #X connect 18 0 17 0;
-#X connect 21 0 3 0;
-#X connect 22 0 1 0;
-#X connect 23 0 26 0;
-#X connect 24 0 23 0;
-#X connect 24 1 23 1;
+#X connect 18 1 17 1;
+#X connect 19 0 17 0;
+#X connect 19 1 17 2;
+#X connect 20 0 21 0;
+#X connect 22 0 24 0;
+#X connect 22 0 25 0;
+#X connect 24 0 21 0;
 #X connect 25 0 23 0;
-#X connect 25 1 23 2;
-#X connect 26 0 27 0;
-#X connect 28 0 30 0;
-#X connect 28 0 31 0;
-#X connect 30 0 27 0;
-#X connect 31 0 29 0;
+#X connect 26 0 15 0;
+#X connect 26 0 18 0;
+#X connect 27 0 5 0;
+#X connect 27 0 16 0;
+#X connect 30 0 7 0;
+#X connect 30 0 19 0;
 #X restore 191 2 pd interna;
 #X obj 10 33 cnv 15 105 100 empty empty empty 20 12 0 14 -233017 -66577
 0;
@@ -85,12 +85,12 @@
 #X obj 222 40 mgadsr \$1-adsr;
 #X obj 307 2 inlet OSC;
 #X obj 329 127 outlet;
-#X obj 146 42 hsl 48 15 0 127 0 0 \$0-warm-in \$0-warm-out warm -2
--6 1 8 -261689 -258699 -1 800 1;
-#X obj 147 80 hsl 48 15 0 127 0 0 \$0-inst-in \$0-inst-out inst -2
--6 1 8 -261689 -62784 -1 700 1;
-#X obj 147 116 hsl 48 15 0 127 0 0 \$0-lfo-in \$0-lfo-out lfo -2 -6
-1 8 -261689 -35591 -1 800 1;
+#X obj 146 42 hsl 48 15 0 127 0 0 \$0-warm \$0-warm warm -2 -6 1 8
+-261689 -258699 -1 0 1;
+#X obj 147 80 hsl 48 15 0 127 0 0 \$0-inst \$0-inst inst -2 -6 1 8
+-261689 -62784 -1 700 1;
+#X obj 147 116 hsl 48 15 0 127 0 0 \$0-lfo \$0-lfo lfo -2 -6 1 8 -261689
+-35591 -1 4600 1;
 #X connect 1 0 12 0;
 #X connect 1 1 10 0;
 #X connect 8 0 9 0;
diff --git a/instruments/user.pd b/instruments/user.pd
index 673ad9a..b93cd67 100644
--- a/instruments/user.pd
+++ b/instruments/user.pd
@@ -56,7 +56,7 @@
 #X floatatom 777 489 5 0 0 0 - - -;
 #X obj 808 460 ctlin;
 #X obj 641 442 ctlin;
-#X obj 639 466 scale 0 128 1 5;
+#X obj 639 466 rrad.scale 0 128 1 5;
 #X obj 851 534 route 15 14;
 #X obj 424 548 netcontrol /erster inst;
 #X obj 881 620 loadbang;