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diff --git a/desiredata/doc/3.audio.examples/D11.sampler.poly.pd b/desiredata/doc/3.audio.examples/D11.sampler.poly.pd
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@@ -1,175 +0,0 @@
-#N canvas 91 72 1119 674 12;
-#N canvas 0 0 600 392 samples 0;
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-#X text 282 385 ------ 4 seconds ------;
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-#X restore 262 226 graph;
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-#N canvas 52 219 967 340 recorder 0;
-#X obj 220 21 inlet;
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-#X obj 174 202 hip~ 5;
-#X obj 243 232 line~;
-#X obj 174 231 *~;
-#X msg 243 204 1;
-#X obj 302 169 del 3990;
-#X msg 279 204 0 10;
-#X obj 174 282 tabwrite~ sample1;
-#X msg 26 117 set \$1 \, bang;
-#X msg 348 140 stop;
-#X msg 302 140 bang;
-#X obj 220 50 route record stop reload browse;
-#X obj 411 158 loadbang;
-#X obj 514 113 openpanel;
-#X msg 514 85 bang;
-#X text 556 84 <-- browse for samples;
-#X text 482 209 v-- re-read original samples;
-#X obj 411 295 soundfiler;
-#X msg 411 237 read ../sound/bell.aiff sample1 \, read ../sound/voice2.wav
-sample2;
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-#X obj 26 88 makefilename sample%d;
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-#X restore 931 284 pd recorder;
-#X msg 931 146 record 1;
-#X msg 931 202 stop;
-#X msg 931 174 record 2;
-#X text 19 49 ARGUMENTS FOR NOTES:;
-#X text 19 71 pitch in halftones;
-#X text 19 95 amplitude (dB);
-#X text 19 143 sample number;
-#X text 19 119 duration (msec);
-#X text 19 167 start location (msec);
-#X text 19 191 rise time (msec);
-#X text 19 215 decay time (msec);
-#X msg 931 229 reload;
-#X msg 931 257 browse;
-#X text 47 10 POLYPHONIC SAMPLER;
-#X obj 547 329 sampvoice;
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-#X obj 544 230 stripnote;
-#X obj 617 272 pack 0 0 0 0 0 0 0 0;
-#X obj 617 300 route 1 2 3 4 5 6 7 8;
-#X text 929 124 record \, etc.;
-#X text 335 203 allocate sampler voice;
-#X text 361 228 drop note off again;
-#X obj 704 516 qlist;
-#X obj 870 520 r comment;
-#X text 732 445 sailors to untie him...;
-#X text 735 395 Lashed to the mast of his boat \, Ulysses;
-#X text 735 420 hears beautiful singing. He begs his;
-#X text 7 263 Here we take the previous patch and make it polyphonic
-\, with 8 voices. The single voice which we had before has been made
-into an abstraction \, "sampvoice.pd" \, which we instantiate in 8
-copies. Earlier we used sends and receives to pass messages to "cutoff"
-\, etc \, but here if we did that the copies of sampvoice would be
-sending messages to each other \, so we combine the control and the
-audio computation in the sampvoice abstraction without using send and
-receive. Click on one to see how.;
-#X text 8 413 The "poly" object essentially repeats pitch and velocity
-pairs to its output \, but also sending a voice number from its left
-outlet. To use it \, we unpack the 7 parameters \, calculate the voice
-number \, repack the message as 8 parameters with voice number first
-\, and use "route" to send it to one of the 8 voices.;
-#X text 8 515 There's some bother because poly expects to track note
-on and note off messages separately as they would come from a MIDI
-keyboard. So we assign each note a unique fake "pitch" \, use makenote
-to generate the note-off messages \, and run poly on the resulting
-stream. We then discard both pitch and velocity (using the velocity
-only to strip note-offs) and rebuild the original message adding the
-voice number we just scored.;
-#X text 854 639 updated for Pd version 0.33;
-#X msg 704 486 read qlist-sampler.txt \, rewind \, tempo 1 \, bang
-;
-#X obj 548 551 output~;
-#X text 249 108 increment mod 1e+06 to make tag;
-#X text 276 127 (acts like a MIDI pitch to;
-#X text 277 146 identify the note to "poly");
-#X text 258 175 supply delayed note-off message;
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-#X obj 547 439 sampvoice;
-#X obj 547 412 sampvoice;
-#X obj 547 384 sampvoice;
-#X obj 547 356 sampvoice;
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