merged in version_0_37_1test6

svn path=/trunk/; revision=1305

10 files changed, 153 insertions, 1148 deletions

diff --git a/pd/doc/3.audio.examples/D11.sampler.poly.pd b/pd/doc/3.audio.examples/D11.sampler.poly.pd
index 60aa7377..a0863964 100644
--- a/pd/doc/3.audio.examples/D11.sampler.poly.pd
+++ b/pd/doc/3.audio.examples/D11.sampler.poly.pd
@@ -1,4 +1,4 @@
-#N canvas 66 253 1119 674 12;
+#N canvas 91 72 1119 674 12;
 #N canvas 0 0 600 392 samples 0;
 #N canvas 0 0 450 300 graph1 0;
 #X array sample1 176403 float 0;
@@ -20,7 +20,6 @@
 #X obj 302 169 del 3990;
 #X msg 279 204 0 10;
 #X obj 174 282 tabwrite~ sample1;
-#X obj 26 88 makefilename sample%1;
 #X msg 26 117 set \$1 \, bang;
 #X msg 348 140 stop;
 #X msg 302 140 bang;
@@ -35,7 +34,8 @@
 sample2;
 #X msg 514 140 read \$1 sample1;
 #X obj 514 167 soundfiler;
-#X connect 0 0 13 0;
+#X obj 26 88 makefilename sample%d;
+#X connect 0 0 12 0;
 #X connect 1 0 2 0;
 #X connect 2 0 4 0;
 #X connect 3 0 4 1;
@@ -43,22 +43,22 @@ sample2;
 #X connect 5 0 3 0;
 #X connect 6 0 7 0;
 #X connect 7 0 3 0;
-#X connect 9 0 10 0;
-#X connect 10 0 8 0;
+#X connect 9 0 8 0;
+#X connect 10 0 6 0;
 #X connect 11 0 6 0;
-#X connect 12 0 6 0;
-#X connect 13 0 9 0;
-#X connect 13 0 12 0;
-#X connect 13 0 5 0;
-#X connect 13 1 7 0;
-#X connect 13 1 11 0;
-#X connect 13 2 20 0;
-#X connect 13 3 16 0;
+#X connect 12 0 11 0;
+#X connect 12 0 5 0;
+#X connect 12 0 22 0;
+#X connect 12 1 7 0;
+#X connect 12 1 10 0;
+#X connect 12 2 19 0;
+#X connect 12 3 15 0;
+#X connect 13 0 19 0;
 #X connect 14 0 20 0;
-#X connect 15 0 21 0;
-#X connect 16 0 15 0;
-#X connect 20 0 19 0;
-#X connect 21 0 22 0;
+#X connect 15 0 14 0;
+#X connect 19 0 18 0;
+#X connect 20 0 21 0;
+#X connect 22 0 9 0;
 #X restore 931 284 pd recorder;
 #X msg 931 146 record 1;
 #X msg 931 202 stop;
@@ -74,13 +74,6 @@ sample2;
 #X msg 931 229 reload;
 #X msg 931 257 browse;
 #X text 47 10 POLYPHONIC SAMPLER;
-#X obj 547 522 sampvoice;
-#X obj 547 494 sampvoice;
-#X obj 547 467 sampvoice;
-#X obj 547 439 sampvoice;
-#X obj 547 412 sampvoice;
-#X obj 547 384 sampvoice;
-#X obj 547 356 sampvoice;
 #X obj 547 329 sampvoice;
 #X obj 631 17 r note;
 #X obj 631 44 unpack 0 0 0 0 0 0 0;
@@ -129,47 +122,54 @@ voice number we just scored.;
 #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;
+#X obj 547 522 sampvoice;
+#X obj 547 494 sampvoice;
+#X obj 547 467 sampvoice;
+#X obj 547 439 sampvoice;
+#X obj 547 412 sampvoice;
+#X obj 547 384 sampvoice;
+#X obj 547 356 sampvoice;
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diff --git a/pd/doc/3.audio.examples/D12.sampler.bis.pd b/pd/doc/3.audio.examples/D12.sampler.bis.pd
index cad81484..f0fa13fd 100644
--- a/pd/doc/3.audio.examples/D12.sampler.bis.pd
+++ b/pd/doc/3.audio.examples/D12.sampler.bis.pd
@@ -19,7 +19,6 @@
 #X obj 302 299 del 3990;
 #X msg 279 334 0 10;
 #X obj 174 412 tabwrite~ sample1;
-#X obj 26 218 makefilename sample%1;
 #X msg 26 247 set \$1 \, bang;
 #X msg 348 270 stop;
 #X msg 302 270 bang;
@@ -40,6 +39,7 @@ sample2;
 #X msg 220 124 reload;
 #X msg 220 152 browse;
 #X text 218 19 record \, etc.;
+#X obj 26 218 makefilename sample%d;
 #X connect 0 0 1 0;
 #X connect 1 0 3 0;
 #X connect 2 0 3 1;
@@ -47,27 +47,27 @@ sample2;
 #X connect 4 0 2 0;
 #X connect 5 0 6 0;
 #X connect 6 0 2 0;
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+#X connect 25 0 11 0;
+#X connect 27 0 8 0;
 #X restore 785 586 pd recorder;
 #X text 782 458 sample number;
 #X obj 619 96 unpack 0 0 0 0 0 0 0;
diff --git a/pd/doc/3.audio.examples/E03.octave.divider.pd b/pd/doc/3.audio.examples/E03.octave.divider.pd
index a0f77844..251e4561 100644
--- a/pd/doc/3.audio.examples/E03.octave.divider.pd
+++ b/pd/doc/3.audio.examples/E03.octave.divider.pd
@@ -1,9 +1,9 @@
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+#N canvas 159 17 793 665 12;
 #X obj 477 135 loadbang;
-#X obj 32 286 hip~ 5;
+#X obj 31 289 hip~ 5;
 #X obj 477 53 adc~ 1;
 #X obj 477 190 soundfiler;
-#X obj 32 313 output~;
+#X obj 32 322 output~;
 #X text 544 646 updated for Pd version 0.37;
 #X obj 478 100 tabwrite~ E03-table;
 #X msg 477 162 read ../sound/voice.wav E03-table;
@@ -60,7 +60,7 @@ with an adc~ if you want to go live.;
 #X connect 3 0 4 0;
 #X connect 4 0 2 0;
 #X connect 5 0 6 0;
-#X restore 31 30 pd looper;
+#X restore 118 18 pd looper;
 #X text 561 141 re-read original sample;
 #X obj 489 77 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
 -1;
@@ -111,6 +111,8 @@ we'd rather stick with the most recent good one). This is converted
 from MIDI to Hertz \, and multiplied by 1/2 to control the modulation
 oscillator. (You can also try large-ish integers which leave the pitch
 intact but introduce funny formants.);
+#X msg 406 237 read ../../saucisse.wav E03-table;
+#X obj 25 16 adc~ 1;
 #X connect 0 0 7 0;
 #X connect 1 0 4 0;
 #X connect 1 0 4 1;
@@ -135,3 +137,5 @@ intact but introduce funny formants.);
 #X connect 24 0 6 0;
 #X connect 25 0 19 0;
 #X connect 25 0 12 0;
+#X connect 34 0 3 0;
+#X connect 35 0 25 0;
diff --git a/pd/doc/3.audio.examples/G01.delays.pd b/pd/doc/3.audio.examples/G01.delays.pd
deleted file mode 100644
index 5c4f20de..00000000
--- a/pd/doc/3.audio.examples/G01.delays.pd
+++ /dev/null
@@ -1,225 +0,0 @@
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-#X restore 33 534 pd output;
-#X msg 91 506 MUTE;
-#X text 130 505 <-- output amplitude;
-#X obj 33 482 hip~ 5;
-#X text 92 12 DELAYS;
-#X obj 33 341 -~;
-#X obj 30 241 tabread4~ mtof;
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-#X obj 44 374 delwrite~ delay1 2000;
-#X floatatom 49 401 0 0 0;
-#X obj 49 426 delread~ delay1 1000;
-#X obj 27 41 loadbang;
-#X text 210 37 You can delay a signal using the delwrite~ and delread~
-objects. In this example \, the pitch of the oscillator is varying
-slightly so that the delayed signal is different from the straight
-signal.;
-#X text 212 99 delread always delays the signal an integer number of
-samples and does no interpolation.;
-#X text 211 137 The delwrite~ object creates the delay line \; you
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-#X text 209 184 Delread~'s arguments are the name of a delwrite (of
-which there should be exactly one) and a delay time in milliseconds
-between 0 and the length of the delay line. Each delwrite~ may have
-as many delread~s as you wish \, which function as multiple delay taps.
-;
-#X obj 30 215 +~ 60;
-#X text 112 215 <-- pitch;
-#X text 83 401 <-- delay time;
-#X text 60 341 asymmetric triangle wave;
-#X text 236 372 write to delay line;
-#X text 232 425 read from delay line;
-#X text 59 454 add the original and the delayed signal;
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-#X obj 35 291 tabwrite dbtorms;
-#X text 18 49 bang to recalculate dbtorms table;
-#X text 356 50 bang to recalculate the mtof table;
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diff --git a/pd/doc/3.audio.examples/G04.delay.pitchshift.pd b/pd/doc/3.audio.examples/G04.delay.pitchshift.pd
deleted file mode 100644
index feb56e2f..00000000
--- a/pd/doc/3.audio.examples/G04.delay.pitchshift.pd
+++ /dev/null
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-#X text 54 252 tape head;
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-#X connect 16 0 17 0;
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-#X restore 264 11 pd test-input;
-#X text 439 161 This is a classic rotating-tape-head style pitch shifter
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-\, each of which is loudest at the middle of its trajectory \, and
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-another scratch. Most of the brain work is in computing how fast the
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-#X text 439 280 The "window size" is the total trajectory of the read
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-#X text 437 370 The "window size" is the total trajectory of the read
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-#X text 436 462 The cos~ objects compute the fadein and fadeout of
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-#X text 757 557 updated for Pd version 0.33;
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diff --git a/pd/doc/3.audio.examples/G05.delay.reverb.pd b/pd/doc/3.audio.examples/G05.delay.reverb.pd
deleted file mode 100644
index 0f5827f9..00000000
--- a/pd/doc/3.audio.examples/G05.delay.reverb.pd
+++ /dev/null
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-#X text 18 49 bang to recalculate dbtorms table;
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-#X text 328 322 updated for Pd version 0.26;
-#X text 62 8 REVERBERATOR;
-#X floatatom 75 100 0 0 0 0 - - -;
-#X text 126 105 <-- pitch;
-#X floatatom 137 219 0 0 0 0 - - -;
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-#X text 148 106 show level;
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-#X text 184 217 <-- output amplitude;
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-#X text 143 163 <-- feedback (100 maximum);
-#X text 32 41 Here is a simple recirculating reverberator. "Feedback"
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-#X text 37 285 You can spend a lifetime tweaking reverberators... we'll
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diff --git a/pd/doc/3.audio.examples/J07.execution.order.pd b/pd/doc/3.audio.examples/J07.execution.order.pd
deleted file mode 100644
index 2bea8e92..00000000
--- a/pd/doc/3.audio.examples/J07.execution.order.pd
+++ /dev/null
@@ -1,127 +0,0 @@
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-#X text 184 558 <-- output amplitude;
-#X text 86 9 ORDER OF EXECUTION OF DELWRITE~ AND DELREAD~/VD~;
-#X text 43 35 If you're writing to and reading from a delay line \,
-you have to get the write sorted before the read or else you'll never
-get less than a block's delay. This patch compares a "wrong" flanger
-with a "right" one:;
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-#X obj 70 533 +~;
-#X text 194 505 <-- 0 to hear left-hand side \, 1 to hear right hand
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-#X text 46 105 All it took was to put the delread~ and vd~ objects
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-"reader" to be sorted after the "writer". DSP sorting in Pd follows
-the hierarchy of windows.;
-#X obj 447 318 / 44.1;
-#X obj 82 329 delwrite~ delay1 1000;
-#X text 450 596 updated for Pd version 0.34;
-#X text 43 173 To hear the difference scroll the delay time between
-0 and 100 samples. The patch at left doesn't let you get below 64 samples.
-;
-#X text 43 228 You can use the same strategy to avoid picking up 64-sample
-delays in send~/receive~ and throw~/catch~ pairs.;
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-#X connect 17 0 19 1;
-#X connect 18 0 19 0;
-#X connect 19 0 14 0;
-#X connect 20 0 4 0;
-#X connect 23 0 11 0;
diff --git a/pd/doc/3.audio.examples/J08.control.blocksize.pd b/pd/doc/3.audio.examples/J08.control.blocksize.pd
deleted file mode 100644
index 05bad0d2..00000000
--- a/pd/doc/3.audio.examples/J08.control.blocksize.pd
+++ /dev/null
@@ -1,111 +0,0 @@
-#N canvas 100 17 662 466 12;
-#X floatatom 130 389 0 0 0;
-#N canvas 159 26 495 266 output 0;
-#X obj 338 160 t b;
-#X obj 338 110 f;
-#X obj 338 60 inlet;
-#X text 344 29 mute;
-#X obj 338 185 f;
-#X msg 425 178 0;
-#X msg 338 85 bang;
-#X obj 338 135 moses 1;
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-#X obj 397 85 r master-lvl;
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-#X obj 18 152 inlet~;
-#X obj 199 41 inlet;
-#X text 199 18 level;
-#X obj 197 104 s master-lvl;
-#X msg 96 65 set \$1;
-#X obj 96 89 outlet;
-#X msg 214 64 \; pd dsp 1;
-#X obj 83 194 line~;
-#X obj 22 212 *~;
-#X obj 22 241 dac~;
-#X obj 83 171 pack 0 50;
-#X text 16 129 audio;
-#X text 93 110 show level;
-#X obj 18 179 hip~ 5;
-#X connect 0 0 4 0;
-#X connect 1 0 7 0;
-#X connect 2 0 6 0;
-#X connect 4 0 12 0;
-#X connect 5 0 12 0;
-#X connect 6 0 1 0;
-#X connect 7 0 0 0;
-#X connect 7 1 5 0;
-#X connect 8 1 4 1;
-#X connect 9 0 23 0;
-#X connect 10 0 1 1;
-#X connect 10 0 8 0;
-#X connect 11 0 9 0;
-#X connect 11 0 17 0;
-#X connect 13 0 26 0;
-#X connect 14 0 16 0;
-#X connect 14 0 19 0;
-#X connect 17 0 18 0;
-#X connect 20 0 21 1;
-#X connect 21 0 22 0;
-#X connect 21 0 22 1;
-#X connect 23 0 20 0;
-#X connect 26 0 21 0;
-#X restore 92 415 pd output;
-#X msg 167 389 MUTE;
-#X text 206 388 <-- output amplitude;
-#X obj 51 203 noise~;
-#N canvas 0 0 760 350 delay-writer 0;
-#X obj 75 100 inlet~;
-#X obj 79 250 outlet~;
-#X obj 90 194 delwrite~ delay3 1000;
-#X obj 379 97 block~ 1;
-#X obj 145 131 delread~ delay3;
-#X obj 144 159 *~ 0.99;
-#X obj 79 164 +~;
-#X obj 146 100 inlet;
-#X text 84 22 Because of the feedback \, the delwrite~ has to go after
-the delread~. So we set the blocksize to 1 to minimize the resulting
-delay.;
-#X connect 0 0 6 0;
-#X connect 4 0 5 0;
-#X connect 5 0 6 1;
-#X connect 6 0 2 0;
-#X connect 6 0 1 0;
-#X connect 7 0 4 0;
-#X restore 91 328 pd delay-writer;
-#X text 401 435 updated for Pd version 0.34;
-#X obj 77 285 *~;
-#X obj 273 275 expr 1000/$f1;
-#X obj 273 249 mtof;
-#X msg 176 220 1;
-#X msg 176 282 0;
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-#X obj 273 195 random 60;
-#X obj 177 135 loadbang;
-#X obj 216 217 del 2;
-#X obj 273 221 + 30;
-#X obj 51 228 lop~ 1000;
-#X text 86 9 CONTROLLING DELAY WITH BLOCK~;
-#X text 75 52 In situations where a delay read feeds pack to a delay
-write \, you can shorten the minimum delay by changing the block size.
-Do this in a subpatch...;
-#X text 238 328 <-- here is the delay loop;
-#X connect 0 0 1 1;
-#X connect 1 0 0 0;
-#X connect 2 0 1 2;
-#X connect 4 0 17 0;
-#X connect 5 0 1 0;
-#X connect 7 0 5 0;
-#X connect 8 0 5 1;
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-#X connect 12 0 10 0;
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-#X connect 12 0 15 0;
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-#X connect 16 0 9 0;
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diff --git a/pd/doc/3.audio.examples/reverb-echo.pd b/pd/doc/3.audio.examples/reverb-echo.pd
index e627e9fc..81c96131 100644
--- a/pd/doc/3.audio.examples/reverb-echo.pd
+++ b/pd/doc/3.audio.examples/reverb-echo.pd
@@ -1,14 +1,20 @@
-#N canvas 0 0 600 492 12;
+#N canvas 118 224 600 492 12;
 #X obj 66 95 inlet~;
 #X obj 130 96 inlet~;
-#X obj 69 216 outlet~;
+#X obj 68 216 outlet~;
 #X obj 141 215 outlet~;
 #X obj 67 143 +~;
 #X obj 140 141 -~;
 #X obj 141 165 delwrite~ \$1 \$2;
 #X obj 140 191 delread~ \$1 \$2;
-#X text 68 24 This appears as an abstraction in patch G05.reverb.pd
+#X text 48 14 This appears as an abstraction in patch G08.reverb.pd
 ;
+#X text 27 267 This network makes two copies of the (stereo) input
+\, one in phase \, the other out of phase and delayed. The total frequency
+response is flat. The total signal power out is exactly twice that
+of the input \, no matter what freqiencies the input contains. This
+is used to increase echo density \, by stacking several of these units
+with different delay times. Each stage doubles the echo density.;
 #X connect 0 0 4 0;
 #X connect 0 0 5 0;
 #X connect 1 0 4 1;
diff --git a/pd/doc/3.audio.examples/sampvoice.pd b/pd/doc/3.audio.examples/sampvoice.pd
index ee9c19b4..b277d345 100644
--- a/pd/doc/3.audio.examples/sampvoice.pd
+++ b/pd/doc/3.audio.examples/sampvoice.pd
@@ -5,13 +5,12 @@
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 #X obj 104 442 tabread4~ sample1;
 #X obj 360 419 dbtorms;
-#X obj 360 396 unpack;
+#X obj 381 395 unpack;
 #X obj 360 442 sqrt;
 #X obj 360 465 sqrt;
-#X obj 360 488 line~;
 #X obj 338 559 *~;
-#X obj 360 511 *~;
-#X obj 360 534 *~;
+#X obj 406 513 *~;
+#X obj 406 536 *~;
 #X msg 201 42 bang;
 #X obj 201 72 delay 5;
 #X obj 289 95 unpack 0 0 0 0 0 0 0;
@@ -51,64 +50,65 @@
 #X text 505 233 decay time (msec);
 #X obj 45 396 vline~;
 #X obj 301 396 vline~;
-#X connect 0 0 10 0;
+#X obj 406 490 vline~;
+#X connect 0 0 9 0;
 #X connect 2 0 3 0;
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 #X connect 5 0 7 0;
 #X connect 6 0 5 0;
-#X connect 6 1 9 1;
+#X connect 6 1 50 1;
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+#X connect 8 0 50 0;
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+#X connect 12 0 13 0;
+#X connect 12 0 30 0;
+#X connect 13 0 27 0;
+#X connect 14 0 20 1;
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+#X connect 24 0 26 3;
+#X connect 25 0 15 0;
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+#X connect 50 0 10 1;