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-#N canvas 407 54 626 729 12;
-#X floatatom 145 654 5 0 0 0 - - -;
-#X obj 44 565 bp~;
-#X obj 44 536 bp~;
-#X obj 55 467 mtof;
-#X floatatom 55 490 7 0 0 0 - - -;
-#X floatatom 98 520 3 0 999 0 - #0-q -;
-#X floatatom 55 447 7 0 150 0 - #0-pitch -;
-#X obj 145 586 env~ 4096;
-#X obj 45 370 *~ 0;
-#X obj 44 395 +~ 1;
-#X obj 145 608 + 0.5;
-#X obj 145 631 int;
-#X text 12 41 In this example we use two cascaded bandpass filters
-to troll for partials in Jonathan Harvey's famous bell sample.;
-#X text 16 233 You can hear partials around 48 \, 51.3 \, 55 (faint!)
-\, 57 (fainter!) \, 60 \, two beating partials around 65 \, 67 \, 69
-\, 70.9 \, 71.75 \, 72.6 \, 74 \, 74.65 \, 75.6 \, 77 \, 81.2 \, 84.6
-\, 86.5 \, and probably many more. There's also one down at 36 \, but
-it's easier to see it on the meter than hear it.;
-#X text 124 447 <-- center pitch;
-#X text 120 463 (shift-drag to fine tune);
-#X text 131 491 <-- center frequency;
-#X text 138 520 <-- Q (filter selectivity);
-#X obj 44 614 output~;
-#X text 341 680 updated for Pd version 0.39;
-#X text 14 82 Note that filters can give unexpected level changes.
-The bp~ object is designed to have roughly unit gain at the pass band
-\, so the higher you set "Q" the more amplitude is lost. You can correct
-for this by pushing the output amplitude \, but be sure to remember
-to reset the output amplitude before you reduce Q again. I set the
-Q to 100 and the output amplitude to 110 or 120 (with the room gain
-way down.) Then holding the shift key \, slowly drag the center pitch
-upward listening for modes.;
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-#X msg 59 102 \; readfile symbol \$1-array \; \$1-totsamps 143718 \;
-\$1-pitch 69 \; \$1-q 0;
-#X msg 53 361 read -resize ../sound/bell.aiff \$1;
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-#X obj 45 346 phasor~;
-#X obj 44 419 tabread4~ \$0-array;
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-#X text 109 12 MEASURING SPECTRA USING BANDPASS FILTERS;
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