This commit was generated by cvs2svn to compensate for changes in r610,

which included commits to RCS files with non-trunk default branches.

svn path=/trunk/; revision=611

90 files changed, 10981 insertions, 65 deletions

diff --git a/pd/doc/3.audio.examples/00.INTRO.txt b/pd/doc/3.audio.examples/00.INTRO.txt
index af9e3c96..8792dc1e 100644
--- a/pd/doc/3.audio.examples/00.INTRO.txt
+++ b/pd/doc/3.audio.examples/00.INTRO.txt
@@ -10,14 +10,14 @@ Here is an approximate table of contents...
     frequency and pitch
     FM
 
-2. wavetable synthesis
+2. wavetable synthesis and sampling
 
 3. synthetic waveforms, classic and modern
     pulses
     rectangles and sawtooth waves
     additive synthesis
 
-4. sampling
+4. more sampling
 
 5. envelopes
     two flavors of ADSR envelope
diff --git a/pd/doc/3.audio.examples/A01.sinewave.pd b/pd/doc/3.audio.examples/A01.sinewave.pd
new file mode 100644
index 00000000..42b8aed0
--- /dev/null
+++ b/pd/doc/3.audio.examples/A01.sinewave.pd
@@ -0,0 +1,32 @@
+#N canvas 6 2 588 513 12;
+#X obj 108 109 osc~ 440;
+#X obj 108 168 dac~;
+#X text 187 111 <-- 440 Hz. sine wave at full blast;
+#X obj 108 138 *~ 0.05;
+#X text 202 3 MAKING A SINE WAVE;
+#X text 32 195 Audio computation can be turned on and off by sending
+messages to the global "pd" object as follows:;
+#X msg 98 239 \; pd dsp 1;
+#X msg 202 239 \; pd dsp 0;
+#X text 113 276 ON;
+#X text 222 276 OFF;
+#X text 29 297 You should see the Pd window change to reflect whether
+audio is on or off. You can also turn audio on and off using the "audio"
+menu \, but the buttons are provided as a shortcut.;
+#X text 30 368 When DSP is on \, you should hear a tone whose pitch
+is A 440 and whose amplitude is 0.05. If instead you are greeted with
+silence \, you might want to read the HTML documentation on setting
+up audio.;
+#X text 28 434 In general when you start a work session with Pd \,
+you will want to choose "test audio and MIDI" from the help window
+\, which opens a more comprehensive test patch than this one.;
+#X text 296 247 <-- click these;
+#X text 187 139 <-- reduce amplitude to 0.05;
+#X text 160 168 <----- send to the audio output device;
+#X text 32 23 Audio computation in Pd is done using "tilde objects"
+such as the three below. They use continuous audio streams to intercommunicate
+\, as well as communicating with other ("control") Pd objects using
+messages.;
+#X text 342 490 updated for Pd version 0.36;
+#X connect 0 0 3 0;
+#X connect 3 0 1 0;
diff --git a/pd/doc/3.audio.examples/A02.amplitude.pd b/pd/doc/3.audio.examples/A02.amplitude.pd
new file mode 100644
index 00000000..d24be18d
--- /dev/null
+++ b/pd/doc/3.audio.examples/A02.amplitude.pd
@@ -0,0 +1,37 @@
+#N canvas 73 190 702 512 12;
+#X obj 64 65 osc~ 440;
+#X obj 64 283 dac~;
+#X text 145 66 <-- 440 Hz. sine wave at full blast;
+#X msg 431 7 \; pd dsp 1;
+#X msg 514 7 \; pd dsp 0;
+#X text 456 45 ON;
+#X text 534 43 OFF;
+#X text 164 18 CONTROLLING AMPLITUDE;
+#X text 35 327 Amplitudes of audio signals can have any reasonable
+range \, but when you output a signal via the dac~ object \, the samples
+should range between -1 and +1. Values out of that range will be "clipped."
+;
+#X obj 64 202 *~ 0;
+#X floatatom 107 165 0 0 0 0 - - -;
+#X obj 95 132 dbtorms;
+#X floatatom 95 100 0 0 80 0 - - -;
+#X text 141 100 <-- set amplitude here in dB;
+#X text 211 133 <-- this converts dB to linear units;
+#X text 210 164 <-- this shows the linear gain;
+#X text 116 204 <-- multiply the sine wave by the gain \, reducing
+its amplitude. You can also use the "*~" object to multiply two signals.
+The "0" argument here instructs it that we'll just send it messages
+to set the multiplier.;
+#X text 35 396 Here we calculate a gain for the multiplier (*~) using
+a "dbtorms" object (acronym for "dB to RMS"). 100 dB is normalized
+to one \, and zero dB artificially outputs a true 0;
+#X text 34 452 Pd assumes you have a two channel audio system unless
+you tell it otherwise.;
+#X text 440 486 updated for Pd version 0.33;
+#X text 114 282 <-- and out. We're sending to both channels now.;
+#X connect 0 0 9 0;
+#X connect 9 0 1 0;
+#X connect 9 0 1 1;
+#X connect 11 0 9 1;
+#X connect 11 0 10 0;
+#X connect 12 0 11 0;
diff --git a/pd/doc/3.audio.examples/A03.line.pd b/pd/doc/3.audio.examples/A03.line.pd
new file mode 100644
index 00000000..392df533
--- /dev/null
+++ b/pd/doc/3.audio.examples/A03.line.pd
@@ -0,0 +1,55 @@
+#N canvas 369 106 647 598 12;
+#X obj 56 79 osc~ 440;
+#X obj 56 309 dac~;
+#X msg 446 79 \; pd dsp 1;
+#X msg 538 79 \; pd dsp 0;
+#X text 467 112 ON;
+#X text 555 112 OFF;
+#X obj 56 269 *~;
+#X obj 72 243 line~;
+#X text 129 243 <--- ramp generator;
+#X text 132 78 <-- sine wave;
+#X msg 72 103 0.1 2000;
+#X msg 72 177 0 2000;
+#X msg 72 125 0.1 50;
+#X msg 72 199 0 50;
+#X msg 72 147 0.1;
+#X msg 72 221 0;
+#X text 274 124 ON;
+#X text 154 105 <-- slow;
+#X text 144 126 <-- fast;
+#X text 111 146 <-- instantly;
+#X text 271 197 OFF;
+#X text 136 178 <-- slow;
+#X text 129 199 <-- fast;
+#X text 109 219 <-- instantly;
+#X text 112 161 ----------------------;
+#X text 97 308 <-- out;
+#X text 103 7 CONTROLLING AMPLITUDE USING LINE~;
+#X text 38 342 Line~'s left inlet is a target value \; it reaches that
+target in the time specified (in milliseconds) to its right inlet.
+;
+#X text 34 495 The line~ object (and its control brother \, line) treat
+their right inlet specially. The inlets don't retain values the way
+other inlets do but revert to zero whenever a target is received.;
+#X text 14 27 In this patch \, the multiplier is configured to multiply
+two signals. The amplitude is now a signal computed by the line~ object.
+;
+#X text 37 395 (In this example \, message boxes with two numbers each
+are connected to line~'s left inlet. Except in some special cases \,
+Pd objects with more than one inlet will automatically distribute lists
+of numbers across their inlets. In this case \, "0 50" becomes \, "50
+at right and 0 at left.");
+#X text 386 557 updated for Pd version 0.36;
+#X text 93 268 <-- multiply the sine wave by the ramp. There's no longer
+a "0" argument-- this tells Pd to expect a signal here.;
+#X connect 0 0 6 0;
+#X connect 6 0 1 0;
+#X connect 6 0 1 1;
+#X connect 7 0 6 1;
+#X connect 10 0 7 0;
+#X connect 11 0 7 0;
+#X connect 12 0 7 0;
+#X connect 13 0 7 0;
+#X connect 14 0 7 0;
+#X connect 15 0 7 0;
diff --git a/pd/doc/3.audio.examples/A04.line2.pd b/pd/doc/3.audio.examples/A04.line2.pd
new file mode 100644
index 00000000..c6dd1679
--- /dev/null
+++ b/pd/doc/3.audio.examples/A04.line2.pd
@@ -0,0 +1,59 @@
+#N canvas 30 68 949 754 12;
+#X obj 67 77 osc~ 440;
+#X obj 67 329 dac~;
+#X obj 67 242 *~;
+#X obj 86 180 line~;
+#X text 116 330 <-- out;
+#X text 124 9 LINES GRAPHED;
+#X text 24 33 Here again is a line~ controlling the amplitude of an
+osc~ \, but with the outputs graphed:;
+#X obj 149 89 r graphit;
+#X obj 151 179 r graphit;
+#X obj 151 246 r graphit;
+#X obj 86 149 r to-line;
+#X graph graph1 0 -1.02 44100 1.02 631 480 831 350;
+#X array product 44100 float 0;
+#X pop;
+#X graph graph1 0 -1.02 44100 1.02 631 150 831 20;
+#X array osc-output 44100 float 0;
+#X pop;
+#X graph graph1 0 -1.02 44100 1.02 631 315 831 185;
+#X array line-output 44100 float 0;
+#X pop;
+#X obj 149 119 tabwrite~ osc-output;
+#X obj 67 299 *~ 0.1;
+#X msg 38 401 \; pd dsp 1 \; to-line 0 \, 1 500 \; graphit bang;
+#X msg 210 401 \; pd dsp 1 \; to-line 1 \, 0 500 \; graphit bang;
+#X obj 151 209 tabwrite~ line-output;
+#X obj 151 276 tabwrite~ product;
+#X text 70 379 ramp up;
+#X text 235 378 ramp down;
+#X text 406 376 to 1/2;
+#X msg 375 400 \; pd dsp 1 \; to-line 0.5 1000 \; graphit bang;
+#X text 634 491 ------ 1 second ------;
+#X text 38 485 Click the message boxes above to try it. Note that in
+the first two boxes \, the line~ objects get two messages. The first
+one \, with no time value \, causes the line~ to jump immediately to
+the value. The third box takes line~'s previous value as a point of
+departure. What you see will depend on which box you last clicked and
+how long you waited between the two.;
+#X text 662 727 updated for Pd version 0.33;
+#X text 41 600 On most machines \, you will hear an interruption in
+the sound one second after you click on the first or third box. This
+is because the graphical updates are likely to eat more CPU time than
+your audio buffer has pre-buffered for. You can avoid this if you keep
+your graphs in sub-windows and open them only when you need them. In
+some future version of Pd this behavior will be improved. Until then
+\, you'll have to avoid having arrays getting re-drawn during music
+performances.;
+#X connect 0 0 2 0;
+#X connect 0 0 14 0;
+#X connect 2 0 15 0;
+#X connect 2 0 19 0;
+#X connect 3 0 2 1;
+#X connect 3 0 18 0;
+#X connect 7 0 14 0;
+#X connect 8 0 18 0;
+#X connect 9 0 19 0;
+#X connect 10 0 3 0;
+#X connect 15 0 1 0;
diff --git a/pd/doc/3.audio.examples/A05.output.subpatch.pd b/pd/doc/3.audio.examples/A05.output.subpatch.pd
new file mode 100644
index 00000000..d24fdba2
--- /dev/null
+++ b/pd/doc/3.audio.examples/A05.output.subpatch.pd
@@ -0,0 +1,30 @@
+#N canvas 300 159 635 486 12;
+#X text 261 20 CONTROLLING OUTPUT AMPLITUDE;
+#X obj 32 27 osc~ 440;
+#X obj 54 55 osc~ 550;
+#X obj 54 116 osc~ 660;
+#X obj 32 88 +~;
+#X obj 32 142 +~;
+#X text 108 177 <-- this is a subwindow--right click on it;
+#X text 149 197 and select "open" to see inside.;
+#X text 30 401 The output control automatically starts DSP whenever
+you touch the level control. Hitting "mute" toggles between the current
+level and zero.;
+#X obj 32 173 output~;
+#X text 383 463 updated for Pd version 0.36;
+#X text 143 115 <-- Here we make an A major triad as a test signal.
+;
+#X text 31 250 In this and subsequent patches \, we'll use a subwindow
+\, "output" \, to control overall amplitude. The amplitudes are in
+decibels \, with 100 being full blast. In this example \, you can't
+actually push the output amplitude past 90 or so without clipping.
+You'll know you're clipping if \, instead of an A major chord \, you
+hear a single \, distorted tone two octaves down. The clipping happens
+at Pd's last stage of audio output. Audio signals internal to Pd have
+essentially no level limit.;
+#X connect 1 0 4 0;
+#X connect 2 0 4 1;
+#X connect 3 0 5 1;
+#X connect 4 0 5 0;
+#X connect 5 0 9 0;
+#X connect 5 0 9 1;
diff --git a/pd/doc/3.audio.examples/A06.frequency.pd b/pd/doc/3.audio.examples/A06.frequency.pd
new file mode 100644
index 00000000..50cff7c0
--- /dev/null
+++ b/pd/doc/3.audio.examples/A06.frequency.pd
@@ -0,0 +1,60 @@
+#N canvas 8 17 693 642 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array osc-output 4410 float 0;
+#X coords 0 1.02 4410 -1.02 200 130 1;
+#X restore 473 167 graph;
+#X obj 98 261 tabwrite~ osc-output;
+#X msg 98 232 bang;
+#X floatatom 280 66 0 0 0 0 - - -;
+#X text 147 231 <-- click to graph;
+#X obj 15 206 r frequency;
+#X msg 280 37 set \$1;
+#X floatatom 6 66 0 0 0 0 - - -;
+#X obj 6 8 r frequency;
+#X msg 6 37 set \$1;
+#X obj 19 90 s frequency;
+#X obj 280 8 r pitch;
+#X obj 289 90 s pitch;
+#X obj 280 116 mtof;
+#X obj 280 145 s frequency;
+#X obj 6 145 s pitch;
+#X obj 6 116 ftom;
+#X text 105 66 <-- set frequency;
+#X text 372 65 <-- set MIDI pitch;
+#X text 15 429 Frequency and pitch are converted using the "ftom" and
+"mtof" objects. Frequency refers to the number of cycles per second.
+Pitch is "60" for Middle C \, 61 for C sharp \, 72 for the next C up
+\, and so on.;
+#X text 476 308 ---- 0.1 seconds ----;
+#X text 447 6 FREQUENCY AND PITCH;
+#X text 16 363 The osc~ object \, if you give it an argument \, expects
+floating-point messages to set its frequency. Without arguments \,
+its frequency is controlled by connecting an audio signal to its input.
+;
+#X text 14 496 Mtof and ftom work fine for microtones (non-integral
+"MIDI pitch" ) and don't have MIDI's range restriction-- for example
+\, MIDI -36 is about 1 Hz.;
+#X text 15 553 Note also the "set" messages going to the number boxes
+so that they can each update the other without bringing on an infinite
+loop. (get help on number boxes for details.);
+#X text 87 291 <-- output level;
+#X text 51 116 <-- convert frequency;
+#X text 106 134 to "MIDI" pitch;
+#X text 327 117 <-- convert "MIDI" pitch to frequency;
+#X obj 15 273 output~;
+#X text 437 619 updated for Pd version 0.36;
+#X obj 15 232 osc~;
+#X connect 2 0 1 0;
+#X connect 3 0 12 0;
+#X connect 3 0 13 0;
+#X connect 5 0 31 0;
+#X connect 6 0 3 0;
+#X connect 7 0 10 0;
+#X connect 7 0 16 0;
+#X connect 8 0 9 0;
+#X connect 9 0 7 0;
+#X connect 11 0 6 0;
+#X connect 13 0 14 0;
+#X connect 16 0 15 0;
+#X connect 31 0 1 0;
+#X connect 31 0 29 0;
diff --git a/pd/doc/3.audio.examples/A07.frequency.mod.pd b/pd/doc/3.audio.examples/A07.frequency.mod.pd
new file mode 100644
index 00000000..a7bab032
--- /dev/null
+++ b/pd/doc/3.audio.examples/A07.frequency.mod.pd
@@ -0,0 +1,105 @@
+#N canvas 52 144 760 640 12;
+#X obj 256 180 *~;
+#X floatatom 256 95 0 0 0;
+#X floatatom 166 130 0 0 0;
+#X obj 166 200 +~;
+#X graph graph1 0 -1.02 440 1.02 527 170 727 40;
+#X array fm-output 441 float 0;
+#X pop;
+#X floatatom 204 300 0 0 100;
+#N canvas 159 26 516 274 output 1;
+#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 396 182 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 391 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 391 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 182 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 104 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
+#X obj 20 232 dac~;
+#X obj 83 173 pack 0 50;
+#X text 20 159 audio;
+#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 21 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 restore 166 328 pd output;
+#X msg 242 301 MUTE;
+#X text 283 301 <-- output amplitude;
+#X msg 242 248 bang;
+#X text 284 248 <-- click to graph;
+#X obj 242 272 tabwrite~ fm-output;
+#X floatatom 278 150 0 0 0;
+#X text 163 87 carrier;
+#X text 162 105 frequency;
+#X text 241 71 frequency;
+#X text 242 54 modulation;
+#X text 33 8 FREQUENCY MODULATION ("FM") USING TWO OSCILLATORS;
+#X obj 166 252 osc~;
+#X text 50 234 "carrier";
+#X text 32 252 oscillator -->;
+#X text 40 161 add modulator;
+#X text 39 179 to carrier;
+#X text 37 198 frequency -->;
+#X text 317 162 index;
+#X text 319 143 modulation;
+#X text 477 601 updated for Pd version 0.34;
+#X obj 256 120 osc~;
+#X text 52 363 This shows the classical FM synthesis technique developed
+by John Chowning. It's nothing but an oscillator with vibrato controlled
+by another "modulation" oscillator. First \, to understand the patch
+\, set carrier frequency to 400 or so \, modulation frequency between
+5 and 10 \, and try modulation index values between 0 and 400 \, say.
+You'll hear a sine wave with vibrato.;
+#X text 531 172 --- 0.01 seconds ----;
+#X text 51 478 To get the FM sound \, set all three of carrier frequency
+\, modulation frequency \, and modulation index in the hundreds. Note
+that you get a timbral change as you sweep modulation index \, because
+this changes the amplitudes of the components of the output sound but
+not their frequencies.;
+#X text 48 564 The component frequencies are equal to the carrier frequency
+\, plus or minus multiples of the modulator frequency.;
+#X connect 0 0 3 1;
+#X connect 1 0 27 0;
+#X connect 2 0 3 0;
+#X connect 3 0 18 0;
+#X connect 5 0 6 1;
+#X connect 6 0 5 0;
+#X connect 7 0 6 2;
+#X connect 9 0 11 0;
+#X connect 12 0 0 1;
+#X connect 18 0 11 0;
+#X connect 18 0 6 0;
+#X connect 27 0 0 0;
diff --git a/pd/doc/3.audio.examples/A08.phase.mod.pd b/pd/doc/3.audio.examples/A08.phase.mod.pd
new file mode 100644
index 00000000..716ba6ab
--- /dev/null
+++ b/pd/doc/3.audio.examples/A08.phase.mod.pd
@@ -0,0 +1,246 @@
+#N canvas 36 68 722 738 12;
+#X obj 216 145 *~;
+#X floatatom 216 88 0 0 0;
+#X obj 297 125 line~;
+#X floatatom 128 108 0 0 0;
+#X obj 128 222 cos~;
+#X obj 128 178 +~;
+#X floatatom 166 299 0 0 100;
+#N canvas 159 26 495 270 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 182 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 159 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 128 326 pd output;
+#X msg 204 299 MUTE;
+#X obj 216 113 osc~ 0;
+#X obj 297 99 pack 0 50;
+#X floatatom 297 46 0 0 0;
+#X obj 297 73 / 100;
+#X text 271 8 modulation index;
+#X text 271 23 in hundredths;
+#X text 125 65 carrier;
+#X text 124 83 frequency;
+#X text 201 64 frequency;
+#X text 202 47 modulation;
+#X text 33 119 carrier;
+#X text 33 134 phase -->;
+#X text 6 162 phase;
+#X text 5 177 modulation-->;
+#X text 12 204 output;
+#X text 11 221 waveform -->;
+#X text 527 6 PHASE MODULATION;
+#X text 417 703 updated for Pd version 0.34;
+#X text 13 377 Most implementations of "FM" actually use phase \, not
+frequency \, modulation \, because it extends in a more natural way
+to "multi-operator FM" with three or more oscillators.;
+#X text 15 437 To do phase modulation \, we split the "carrier oscillator"
+into its phase calculation (phasor~) and its waveform lookup (cos~).
+These together would be equivalent to an osc~ object \, but the "+~"
+between them adds the modulating oscillator's output to the phase.
+;
+#X text 18 587 The units of the "modulation" index change--it is now
+dimensionless and relative to the modulation frequency \, and "good"
+values tend to be between 0 and 1 In this patch it's in hundredths.
+;
+#X text 19 658 We also have to use a line~ to smooth changes in the
+modulation index \, which wasn't necessary in the previous patch.;
+#X obj 128 135 phasor~;
+#X obj 117 557 cos~;
+#X obj 117 529 phasor~;
+#X text 60 539 this:;
+#X text 219 532 is the same;
+#X text 220 551 as this:;
+#X obj 335 544 osc~;
+#X graph graph2 0 -1 440 1 509 330 709 190;
+#X array phase-out 441 float 1;
+#A 0 0.43245 0.433463 0.434452 0.435418 0.43636 0.43728 0.438178 0.439056
+0.439912 0.440749 0.441567 0.442366 0.443148 0.443912 0.444659 0.445391
+0.446107 0.446809 0.447497 0.448172 0.448834 0.449484 0.450122 0.450751
+0.451369 0.451978 0.452579 0.453172 0.453758 0.454338 0.454911 0.45548
+0.456045 0.456606 0.457164 0.457719 0.458274 0.458827 0.45938 0.459934
+0.460489 0.461046 0.461605 0.462168 0.462735 0.463306 0.463883 0.464466
+0.465056 0.465654 0.466259 0.466873 0.467497 0.468131 0.468776 0.469433
+0.470102 0.470783 0.471479 0.472188 0.472913 0.473653 0.474409 0.475182
+0.475973 0.476782 0.477611 0.478459 0.479327 0.480216 0.481127 0.48206
+0.483015 0.483994 0.484997 0.486024 0.487077 0.488156 0.48926 0.490392
+0.491552 0.49274 0.493957 0.495203 0.496479 0.497785 0.499123 0.500493
+0.501896 0.503332 0.504801 0.506304 0.507842 0.509415 0.511023 0.512667
+0.514348 0.516066 0.517821 0.519615 0.521447 0.523318 0.525228 0.527179
+0.52917 0.531202 0.533275 0.53539 0.537547 0.539747 0.541992 0.54428
+0.546613 0.548989 0.551411 0.553877 0.556389 0.558947 0.561551 0.564202
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+#X pop;
+#X obj 251 241 tabwrite~ phase-out;
+#X obj 251 268 tabwrite~ cos-out;
+#X msg 251 216 bang;
+#X text 298 215 <-- graph them;
+#X text 386 99 <-- change smoothly to avoid clicks;
+#X connect 0 0 5 1;
+#X connect 1 0 9 0;
+#X connect 2 0 0 1;
+#X connect 3 0 31 0;
+#X connect 4 0 7 0;
+#X connect 4 0 40 0;
+#X connect 5 0 4 0;
+#X connect 5 0 39 0;
+#X connect 6 0 7 1;
+#X connect 7 0 6 0;
+#X connect 8 0 7 2;
+#X connect 9 0 0 0;
+#X connect 10 0 2 0;
+#X connect 11 0 12 0;
+#X connect 12 0 10 0;
+#X connect 31 0 5 0;
+#X connect 33 0 32 0;
+#X connect 41 0 39 0;
+#X connect 41 0 40 0;
diff --git a/pd/doc/3.audio.examples/A09.review.pd b/pd/doc/3.audio.examples/A09.review.pd
new file mode 100644
index 00000000..9b190a19
--- /dev/null
+++ b/pd/doc/3.audio.examples/A09.review.pd
@@ -0,0 +1,41 @@
+#N canvas 36 68 701 588 12;
+#X text 444 542 updated for Pd version 0.34;
+#X text 39 14 PART 1 REVIEW;
+#X obj 66 131 tabwrite~;
+#X obj 66 105 line~;
+#X obj 54 298 +;
+#X obj 66 79 +~;
+#X obj 66 209 cos~;
+#X obj 66 157 osc~;
+#X obj 66 183 phasor~;
+#X obj 54 324 pack;
+#X obj 52 511 r;
+#X obj 53 487 s;
+#X obj 54 408 inlet;
+#X obj 53 462 f;
+#X obj 53 436 t;
+#X obj 54 378 dbtorms;
+#X obj 97 351 mtof;
+#X obj 54 350 ftom;
+#X obj 105 408 outlet;
+#X obj 66 235 dac~;
+#X text 26 52 So far we've seen these audio ("tilde") objects:;
+#X text 123 104 -- ramp generator;
+#X text 157 131 -- sampler (which we've only used for graphing so far)
+;
+#X text 111 157 -- a cosine wave oscillator;
+#X text 139 183 -- phase generator for making your own oscillator;
+#X text 112 209 -- cosine waveshape lookup;
+#X text 112 236 -- audio output ("digital/analog converter" -- a misnomer)
+;
+#X text 31 266 ... and these "control" objects:;
+#X text 145 349 -- frequency to pitch conversion;
+#X text 126 378 -- decibel to amplitude conversion;
+#X text 167 409 -- input and output to a subpatch;
+#X text 90 437 ("trigger") -- message ordering and conversion;
+#X text 93 462 ("float") -- store a (floating point) number;
+#X text 90 488 ("send") -- wireless message sending;
+#X text 91 513 ("receive") ... and receiving;
+#X text 106 78 (etc.) -- arithmetic on audio signals;
+#X text 92 296 (etc.) -- arithmetic;
+#X text 99 323 -- combine two or more values in a single message;
diff --git a/pd/doc/3.audio.examples/B01.wavetables.pd b/pd/doc/3.audio.examples/B01.wavetables.pd
new file mode 100644
index 00000000..66549d3e
--- /dev/null
+++ b/pd/doc/3.audio.examples/B01.wavetables.pd
@@ -0,0 +1,50 @@
+#N canvas 19 22 722 608 12;
+#X floatatom 164 43 0 0 0 0 - - -;
+#N canvas 0 0 450 300 graph1 0;
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+#X coords 0 1.02 258 -1.02 258 130 1;
+#X restore 445 47 graph;
+#X text 30 123 oscillator -->;
+#X text 456 587 updated for Pd version 0.34;
+#X text 33 8 WAVETABLE OSCILLATORS;
+#X text 36 106 wavetable;
+#X obj 164 70 mtof;
+#X floatatom 164 97 0 0 0 0 - - -;
+#X obj 164 123 tabosc4~ table10;
+#X text 94 42 pitch->;
+#X text 35 309 Note that I selected "save contents" in the properties
+dialog for table10 (right click on the table to see.) If this isn't
+set \, the waveform won't be remembered as part of the patch but will
+be reinitialized to zero when the patch is reopened.;
+#X msg 35 549 \; table10 cosinesum 256 0.2 -0.2 0.2 -0.2 0.2 -0.2 0.2
+;
+#X msg 578 240 \; table10 const 0;
+#X text 597 217 CLEAR TABLE;
+#X text 35 395 For efficiency's sake tabosc4~ requires that the table
+have a power of two plus three points (64+3=67 \, 128+3=131 \, 256+3=259
+\, etc.) If you want wraparound to work smoothly \, you should make
+the last three points copies of the first three. This is done because
+tabread4~ does 4-point interpolation.;
+#X text 38 494 If you want a specific sinusoidal composition \, you
+can send table10 a message \, as below (see 11.arrays in the control
+examples):;
+#X text 36 240 Here \, in place of the "osc~" cosine wave oscillator
+\, we introduce the tabosc4~ oscillator which produces an arbitrary
+waveform. You can draw in the waveform with the mouse.;
+#X obj 164 151 output~;
+#X connect 0 0 6 0;
+#X connect 6 0 7 0;
+#X connect 7 0 8 0;
+#X connect 8 0 17 0;
+#X connect 8 0 17 1;
diff --git a/pd/doc/3.audio.examples/B02.two-wavetables.pd b/pd/doc/3.audio.examples/B02.two-wavetables.pd
new file mode 100644
index 00000000..c4cc6d60
--- /dev/null
+++ b/pd/doc/3.audio.examples/B02.two-wavetables.pd
@@ -0,0 +1,147 @@
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+#X pop;
+#X floatatom 202 171 0 0 100;
+#N canvas 159 26 532 285 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 426 180 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 155 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 105 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
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+#X obj 83 173 pack 0 50;
+#X text 20 132 audio;
+#X text 96 114 show level;
+#X obj 426 155 t b;
+#X obj 20 181 hip~ 1;
+#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 26 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 27 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 5 0;
+#X connect 27 0 21 0;
+#X restore 164 199 pd output;
+#X msg 240 172 MUTE;
+#X text 30 123 oscillator -->;
+#X text 485 445 updated for Pd version 0.34;
+#X text 33 8 WAVETABLE OSCILLATORS;
+#X text 36 106 wavetable;
+#X text 88 54 pitch->;
+#X graph graph2 0 0 258 1000 475 155 734 15;
+#X array pitch11 259 float 1;
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+#X pop;
+#X obj 164 87 tabosc4~ pitch11;
+#X obj 164 123 tabosc4~ waveform11;
+#X obj 164 55 sig~ 0.5;
+#X text 13 319 Here's a tabosc4~ controlling the frequency of another
+one. If you get properties on the two arrays \, you'll see that the
+top graph has a vertical scale from 0 to 1000 \; we're looping through
+that at a frequency of 0.5 Hz. and the output is used as the frequency
+input of the second tabosc4~. I've detected Klingons \, Captain Kirk...
+;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 10 0 11 0;
+#X connect 11 0 2 0;
+#X connect 12 0 10 0;
diff --git a/pd/doc/3.audio.examples/B03.tabread4.pd b/pd/doc/3.audio.examples/B03.tabread4.pd
new file mode 100644
index 00000000..15fa6652
--- /dev/null
+++ b/pd/doc/3.audio.examples/B03.tabread4.pd
@@ -0,0 +1,130 @@
+#N canvas 55 137 820 651 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array waveform12 131 float 1;
+#A 0 -0.172615 -0.172615 -0.172615 -0.172615 -0.172615 -0.141231 -0.109846
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+#X coords 0 1.02 130 -1.02 258 130 1;
+#X restore 462 30 graph;
+#X floatatom 194 299 0 0 100 0 - - -;
+#N canvas 159 26 532 285 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 426 180 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 155 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 105 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
+#X obj 20 232 dac~;
+#X obj 83 173 pack 0 50;
+#X text 20 132 audio;
+#X text 96 114 show level;
+#X obj 426 155 t b;
+#X obj 20 181 hip~ 1;
+#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 26 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 27 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 5 0;
+#X connect 27 0 21 0;
+#X restore 156 327 pd output;
+#X msg 232 300 MUTE;
+#X text 33 8 WAVETABLE OSCILLATORS;
+#X obj 156 95 phasor~;
+#X obj 156 184 tabread4~ waveform12;
+#X obj 156 157 +~ 1;
+#X floatatom 156 66 4 0 0 0 - - -;
+#X floatatom 250 59 4 0 1000 0 - - -;
+#X obj 250 80 pack 0 50;
+#X obj 250 104 line~;
+#X obj 156 131 *~;
+#X text 21 81 phase;
+#X text 20 96 generation -->;
+#X text 25 117 range;
+#X text 24 132 adjustment -->;
+#X text 250 38 squeeze;
+#X text 133 40 frequency;
+#N canvas 0 0 450 300 graph3 0;
+#X array wave-out12 441 float 0;
+#X coords 0 1 440 -1 300 140 1;
+#X restore 481 190 graph;
+#X obj 177 247 tabwrite~ wave-out12;
+#X msg 177 216 bang;
+#X text 223 217 <--click to graph;
+#X text 25 360 The tabread4~ module is available for situations requiring
+more control than tabosc4~ offers. The relationship between the two
+is the same as between cos~ and osc~ \, although the units are different
+between cos~ and tabread4~. Cos~ assumes input is normalized from 0
+to 1 (and will wrap around as needed.) Tabread4~ takes values from
+1 to n-2 where n is the number of points in the table-- for a 259-point
+table such as we have here \, it's 1 to 129 (so the "good" segment
+is 128 samples long.);
+#X text 30 508 You would use tabread4~ (as opposed to tabosc4~) if
+you need direct control of the phase \, for instance if you to advance
+nonlinearly through the table. In the case shown here \, the "squeeze"
+factor makes the phase grow to a value at least \, and possibly much
+graeater than \, 129 (to which tabread4~ then limits it). So the resulting
+waveform is compressed in time.;
+#X obj 250 128 +~ 128;
+#X text 554 624 updated for Pd version 0.37;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 5 0 12 0;
+#X connect 6 0 2 0;
+#X connect 6 0 20 0;
+#X connect 7 0 6 0;
+#X connect 8 0 5 0;
+#X connect 9 0 10 0;
+#X connect 10 0 11 0;
+#X connect 11 0 25 0;
+#X connect 12 0 7 0;
+#X connect 21 0 20 0;
+#X connect 25 0 12 1;
diff --git a/pd/doc/3.audio.examples/B04.tabread4.interpolation.pd b/pd/doc/3.audio.examples/B04.tabread4.interpolation.pd
new file mode 100644
index 00000000..18aef089
--- /dev/null
+++ b/pd/doc/3.audio.examples/B04.tabread4.interpolation.pd
@@ -0,0 +1,44 @@
+#N canvas 137 102 781 520 12;
+#X graph graph1 0 -1.02 10 1.02 468 159 648 29;
+#X array waveform13 11 float 1;
+#A 0 1 1 1 1 1 1 1 -1 -1 -1 -1;
+#X pop;
+#X text 533 502 updated for Pd version 0.34;
+#X obj 156 157 +~ 1;
+#X text 21 81 phase;
+#X text 20 96 generation -->;
+#X text 25 117 range;
+#X text 24 132 adjustment -->;
+#X graph graph3 0 -1.02 440 1.02 469 362 769 222;
+#X array wave-out13 441 float 0;
+#X pop;
+#X msg 177 216 bang;
+#X text 223 217 <--click to graph;
+#N canvas 11 418 523 216 other-stuff 0;
+#X obj 41 49 loadbang;
+#X msg 39 81 \; waveform13 0 1 1 1 1 1 1 1 -1 -1 -1 -1 \; waveform13
+xlabel -1.2 0 1 2 3 4 5 6 7 8 9 10 \; pd dsp 1;
+#X connect 0 0 1 0;
+#X restore 626 426 pd other-stuff;
+#X obj 156 247 tabwrite~ wave-out13;
+#X obj 156 184 tabread4~ waveform13;
+#X obj 156 131 *~ 8;
+#X obj 156 95 phasor~ 220;
+#X text 36 22 4-POINT INTERPOLATION IN DETAIL;
+#X obj 216 316 sig~ 220;
+#X obj 216 346 tabosc4~ waveform13;
+#X text 35 293 (this would be;
+#X text 36 313 equivalent to the;
+#X text 110 333 above) -->;
+#X text 18 409 This patch demonstrates 4-point interpolation in tabread4~.
+The 11-point table \, waveform13 \, contains a transition from from
+1 to -1 \, which is "smoothed" as seen in wave-out13. There's no such
+transition at the wraparoind point--the interpolation always happens
+between 4 consccutive samples of the table \, disregarding wraparound.
+;
+#X connect 2 0 12 0;
+#X connect 8 0 11 0;
+#X connect 12 0 11 0;
+#X connect 13 0 2 0;
+#X connect 14 0 13 0;
+#X connect 16 0 17 0;
diff --git a/pd/doc/3.audio.examples/B05.tabread.FM.pd b/pd/doc/3.audio.examples/B05.tabread.FM.pd
new file mode 100644
index 00000000..ac2d9507
--- /dev/null
+++ b/pd/doc/3.audio.examples/B05.tabread.FM.pd
@@ -0,0 +1,107 @@
+#N canvas 55 137 777 467 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array pitchmod14 131 float 1;
+#A 0 0.847385 0.847385 0.847385 0.847385 0.847385 0.847385 0.847385
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+#X floatatom 191 277 0 0 100 0 - - -;
+#N canvas 159 26 532 285 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 426 180 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 155 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 105 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
+#X obj 20 232 dac~;
+#X obj 83 173 pack 0 50;
+#X text 20 132 audio;
+#X text 96 114 show level;
+#X obj 426 155 t b;
+#X obj 20 181 hip~ 1;
+#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 26 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 27 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 5 0;
+#X connect 27 0 21 0;
+#X restore 153 305 pd output;
+#X msg 229 278 MUTE;
+#X text 521 439 updated for Pd version 0.34;
+#X floatatom 153 95 4 0 0 0 - - -;
+#X text 153 69 frequency;
+#X text 33 8 MORE ON FREQUENCY MODULATION;
+#X floatatom 195 206 4 0 0 0 - - -;
+#X text 155 50 modulation;
+#X obj 152 157 *~;
+#X text 255 150 modulation;
+#X text 253 169 depth;
+#X floatatom 201 157 4 0 0 0 - - -;
+#X obj 152 205 +~;
+#X text 250 212 frequency;
+#X obj 152 237 osc~;
+#X obj 153 122 tabosc4~ pitchmod14;
+#X text 254 194 carrier;
+#X text 47 356 This patch is like the original FM patch except in having
+a settable wavetable for the modulation oscillator. Try changing the
+waveform as well as the three familiar parameters.;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 5 0 17 0;
+#X connect 8 0 14 1;
+#X connect 10 0 14 0;
+#X connect 13 0 10 1;
+#X connect 14 0 16 0;
+#X connect 16 0 2 0;
+#X connect 17 0 10 0;
diff --git a/pd/doc/3.audio.examples/B06.table.switching.pd b/pd/doc/3.audio.examples/B06.table.switching.pd
new file mode 100644
index 00000000..558f91c4
--- /dev/null
+++ b/pd/doc/3.audio.examples/B06.table.switching.pd
@@ -0,0 +1,127 @@
+#N canvas 55 137 835 504 12;
+#X graph graph1 0 -1.02 130 1.02 565 153 823 23;
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+#X pop;
+#X floatatom 194 299 0 0 100;
+#N canvas 159 26 532 285 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 426 180 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 155 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 105 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
+#X obj 20 232 dac~;
+#X obj 83 173 pack 0 50;
+#X text 20 132 audio;
+#X text 96 114 show level;
+#X obj 426 155 t b;
+#X obj 20 181 hip~ 1;
+#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 26 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 27 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 5 0;
+#X connect 27 0 21 0;
+#X restore 156 327 pd output;
+#X msg 232 300 MUTE;
+#X text 581 481 updated for Pd version 0.34;
+#X text 33 8 SWITCHING BETWEEN TABLES;
+#X graph graph1 0 -1.02 130 1.02 565 308 823 178;
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+-0.596308 -0.596308 -0.580615 -0.580615 -0.580615 -0.580615 -0.580615
+-0.580615 -0.580615 -0.580615 -0.564923 -0.549231 -0.549231 -0.533538
+-0.517846 -0.517846 -0.517846 -0.517846 -0.517846 -0.517846 -0.517846
+-0.517846 -0.533538 -0.549231 -0.580615 -0.580615 0.847385 0.847385
+0.847385 0.847385 0.847385 0.847385 0.847385 0.847385 0.847385 0.863077
+0.847385 0.847385 0.847385 0.847385 0.847385 0.847385 -0.800308 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.768923 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.768923 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615 -0.784615
+-0.784615 -0.784615 -0.784615 -0.800308 -0.800308 -0.800308 -0.800308
+-0.800308 -0.800308 -0.800308;
+#X pop;
+#X obj 156 274 tabosc4~ waveshape15a;
+#X obj 156 186 sig~ 110;
+#X msg 181 215 set waveshape15a;
+#X msg 182 244 set waveshape15b;
+#X text 20 51 During a performance you're unlikely to want to draw
+or recalculate wavetables on the fly \, because you don't want to give
+Pd computationally intensive atomic tasks that could make Pd miss a
+DAC deadline. Instead \, use "set" mesages to switch tabosc~ or tabread4~
+between pre-prepared tables. Indeed \, you will eventually want to
+save screen space by throwing all your wavetables in a subpatch somewhere.
+;
+#X obj 161 401 table waveshape15c 131;
+#X text 41 362 There's also a "text object" hook so that you can have
+arrays with parametrizable names and sizes:;
+#X text 31 431 You would use this if you want to include one or more
+arrays in an abstraction. In this invocation you can't save the state
+of the array--instead \, juts read it in from a file or calculate it
+at startup.;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 7 0 2 0;
+#X connect 8 0 7 0;
+#X connect 9 0 7 0;
+#X connect 10 0 7 0;
diff --git a/pd/doc/3.audio.examples/B07.sampler.pd b/pd/doc/3.audio.examples/B07.sampler.pd
new file mode 100644
index 00000000..632c1d03
--- /dev/null
+++ b/pd/doc/3.audio.examples/B07.sampler.pd
@@ -0,0 +1,52 @@
+#N canvas 11 3 915 618 12;
+#X obj 37 217 hip~ 5;
+#X text 96 219 high pass filter to cut DC;
+#N canvas 0 0 450 300 graph1 0;
+#X array sample-table 44104 float 0;
+#X coords 0 1.02 44103 -1.02 200 130 1;
+#X restore 585 20 graph;
+#X obj 37 185 tabread4~ sample-table;
+#X obj 37 150 line~;
+#X obj 37 101 * 441;
+#X floatatom 37 47 0 0 100 0 - - -;
+#X obj 37 125 pack 0 100;
+#X text 102 13 SCRATCH MACHINE;
+#X text 72 48 <-- read point in 100ths of a second;
+#X text 94 101 convert to SAMPLES (441 samples in 0.01 sec);
+#X obj 405 235 loadbang;
+#X text 246 174 read from the table;
+#X text 237 192 (the input is the index in samples);
+#X text 16 482 For more on reading and writing soundfiles to tables
+\, setting their lengths \, etc \, see "arrays" in the "control examples"
+series.;
+#X text 14 355 This patch introduces the "tabread4~" object \, which
+reads audio samples out of a floating-point array \, often called a
+"sample table." The input is the index of the sample to read \, counting
+from zero. The output is calculated using 4-point cubic interpolation
+\, which is adequate for most purposes. Because of the interpolation
+scheme \, tabread4~'s input cannot be less than one or greater than
+the table length minus two.;
+#X text 17 539 Fanatics take note: if you want really high-fidelity
+sampling \, use a high-quality resampling program to up-sample your
+soundfile to 88200 to drastically reduce interpolation error.;
+#X text 591 173 (one second plus three extra;
+#X text 593 192 for 4-point interpolation);
+#X text 385 304 message to read a soundfile into the table (automatically
+sent when you load this patch by the "loadbang" object.);
+#X text 84 150 convert smoothly to audio signal;
+#X text 84 62 (range is 0-100.) YOU ONLY HEAR OUTPUT;
+#X text 85 78 WHEN THIS IS 0-100 AND ACTIVELY CHANGING.;
+#X text 596 589 updated for Pd version 0.33;
+#X text 584 151 --- 44103 samples ---;
+#X msg 405 259 read ../sound/voice.wav sample-table;
+#X obj 405 284 soundfiler;
+#X obj 36 249 output~;
+#X connect 0 0 27 0;
+#X connect 0 0 27 1;
+#X connect 3 0 0 0;
+#X connect 4 0 3 0;
+#X connect 5 0 7 0;
+#X connect 6 0 5 0;
+#X connect 7 0 4 0;
+#X connect 11 0 25 0;
+#X connect 25 0 26 0;
diff --git a/pd/doc/3.audio.examples/B08.sampler.loop.pd b/pd/doc/3.audio.examples/B08.sampler.loop.pd
new file mode 100644
index 00000000..db2362e8
--- /dev/null
+++ b/pd/doc/3.audio.examples/B08.sampler.loop.pd
@@ -0,0 +1,64 @@
+#N canvas 143 17 992 621 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array tabread4-out 44100 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 632 200 graph;
+#N canvas 0 0 450 300 graph1 0;
+#X array table17 44103 float 0;
+#X coords 0 1.02 44103 -1.02 200 130 1;
+#X restore 631 14 graph;
+#X obj 568 496 loadbang;
+#X obj 65 277 tabwrite~ tabread4-out;
+#X obj 34 308 hip~ 5;
+#X floatatom 34 54 0 0 0 0 - - -;
+#X text 241 215 read from the table;
+#X text 49 11 LOOPING SAMPLER;
+#X text 83 54 <-- frequency (Hz.);
+#X floatatom 65 107 0 0 0 0 - - -;
+#X obj 65 133 * 441;
+#X obj 34 160 *~ 0;
+#X obj 34 187 +~ 1;
+#X text 110 248 <-- click to display output;
+#X obj 34 80 phasor~ 0;
+#X msg 65 245 bang;
+#X text 110 108 <-- chunk size (100ths of a second);
+#X obj 561 395 adc~ 1;
+#X msg 575 422 bang;
+#X text 615 423 <-- click here to record your own sample;
+#X text 678 501 v-- re-read the original sample;
+#X text 14 540 In this patch you will frequently hear discontinuities
+at the looping point. If you're working in a studio \, you can sometimes
+find "good" loop points for samples. Another approach \, better for
+live situations \, is shown in the next patch.;
+#X text 80 159 <-- readjust phase for range 0 - (chunk size);
+#X text 79 187 <-- add one to avoid beginning of table;
+#X obj 568 549 soundfiler;
+#X text 629 153 ---- 44103 samples ----;
+#X text 643 336 ---- 1 second ------;
+#X obj 34 335 output~;
+#X text 742 591 updated for Pd version 0.37;
+#X obj 34 216 tabread4~ table17;
+#X obj 562 455 tabwrite~ table17;
+#X msg 568 524 read ../sound/voice.wav table17;
+#X text 16 409 This is a looping sampler in which you specify the number
+of loops per second (the frequency) and the size of the chunk to loop.
+If the frequency is less than about 20 \, you will hear repetition
+and the chunk size will sound like transposition. For frequencies above
+50 or so \, you hear a tone whose timbre is controlled by the chunk
+size (best kept below 10 or so.) Remember you can use the "shift" key
+on number boxes to make fine adjustments.;
+#X connect 2 0 31 0;
+#X connect 4 0 27 0;
+#X connect 4 0 27 1;
+#X connect 5 0 14 0;
+#X connect 9 0 10 0;
+#X connect 10 0 11 1;
+#X connect 11 0 12 0;
+#X connect 12 0 29 0;
+#X connect 14 0 11 0;
+#X connect 15 0 3 0;
+#X connect 17 0 30 0;
+#X connect 18 0 30 0;
+#X connect 29 0 4 0;
+#X connect 29 0 3 0;
+#X connect 31 0 24 0;
diff --git a/pd/doc/3.audio.examples/B09.sampler.loop.smooth.pd b/pd/doc/3.audio.examples/B09.sampler.loop.smooth.pd
new file mode 100644
index 00000000..818d9206
--- /dev/null
+++ b/pd/doc/3.audio.examples/B09.sampler.loop.smooth.pd
@@ -0,0 +1,72 @@
+#N canvas 75 15 973 599 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array cos-output 44100 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 724 191 graph;
+#N canvas 0 0 450 300 graph1 0;
+#X array table18 44103 float 0;
+#X coords 0 1.02 44103 -1.02 200 130 1;
+#X restore 721 16 graph;
+#X obj 584 491 loadbang;
+#X obj 45 249 hip~ 5;
+#X floatatom 46 50 0 0 0 0 - - -;
+#X text 85 49 <-- frequency (Hz.);
+#X floatatom 132 87 0 0 0 0 - - -;
+#X obj 132 114 * 441;
+#X obj 110 163 +~ 1;
+#X text 171 86 <-- chunk size (100ths of a second);
+#X obj 584 404 adc~ 1;
+#X msg 599 429 bang;
+#X text 40 9 ENVELOPING YOUR LOOPING SAMPLER;
+#X obj 45 139 -~ 0.5;
+#X obj 45 189 cos~;
+#X obj 45 222 *~;
+#X obj 584 545 soundfiler;
+#X text 736 148 -- 44103 samples ---;
+#X text 727 322 ----- 1 second ------;
+#X obj 46 77 phasor~;
+#X obj 45 164 *~ 0.5;
+#X obj 44 281 output~;
+#X obj 110 138 *~;
+#X text 28 362 Here we apply an amplitude envelope to protect against
+discontinuities at the loop point. The envelope is just a cosine wave
+from -90 degrees to +90 degrees \, (-pi/2 to pi/2 radians) \, i.e.
+\, the part that is zero or positive in sign. The "cos~" object's input
+is in cycles (units of 2pi radians) so -1/4 to +1/4 addresses the desired
+part of the waveform.;
+#X obj 167 247 tabwrite~ cos-output;
+#X obj 167 223 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
+-1;
+#X text 188 220 <-- click to graph envelope;
+#X text 28 476 To see the envelope \, put the phasor on 2 Hz or so
+\, click the "graph" button \, and look at "cos-output." This is multiplied
+by the tabread4~ output so that it doesn't click when the phase wraps
+around.;
+#X text 26 545 It is possible to get much more control over the shape
+of the envelope \, but this will be taken up later.;
+#X obj 110 189 tabread4~ table18;
+#X obj 584 456 tabwrite~ table18;
+#X msg 584 520 read ../sound/voice.wav table18;
+#X text 641 430 <-- click here to record to table;
+#X text 675 499 v-- re-read the original sound;
+#X text 708 565 updated for Pd version 0.37;
+#X connect 2 0 31 0;
+#X connect 3 0 21 0;
+#X connect 3 0 21 1;
+#X connect 4 0 19 0;
+#X connect 6 0 7 0;
+#X connect 7 0 22 1;
+#X connect 8 0 29 0;
+#X connect 10 0 30 0;
+#X connect 11 0 30 0;
+#X connect 13 0 20 0;
+#X connect 14 0 15 0;
+#X connect 14 0 24 0;
+#X connect 15 0 3 0;
+#X connect 19 0 13 0;
+#X connect 19 0 22 0;
+#X connect 20 0 14 0;
+#X connect 22 0 8 0;
+#X connect 25 0 24 0;
+#X connect 29 0 15 1;
+#X connect 31 0 16 0;
diff --git a/pd/doc/3.audio.examples/B10.sampler.scratch.pd b/pd/doc/3.audio.examples/B10.sampler.scratch.pd
new file mode 100644
index 00000000..38c67b76
--- /dev/null
+++ b/pd/doc/3.audio.examples/B10.sampler.scratch.pd
@@ -0,0 +1,83 @@
+#N canvas 53 232 936 654 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array table19 44103 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 680 8 graph;
+#X obj 40 382 hip~ 5;
+#X floatatom 99 51 0 0 0 0 - - -;
+#X text 146 50 <-- frequency (Hz.);
+#X floatatom 129 106 0 0 0 0 - - -;
+#X obj 129 135 * 441;
+#X obj 100 158 *~ 0;
+#X obj 100 181 +~ 1;
+#X msg 194 281 bang;
+#X text 164 106 <-- chunk size (100ths of a second);
+#X obj 591 369 adc~ 1;
+#X obj 591 395 hip~ 5;
+#X msg 609 423 bang;
+#N canvas 0 0 450 300 graph2 0;
+#X array graph19 44100 float 0;
+#X coords 0 44100 44100 0 200 130 1;
+#X restore 681 196 graph;
+#X obj 40 356 *~;
+#X obj 123 276 line~;
+#X obj 123 228 * 441;
+#X floatatom 123 205 0 0 0 0 - - -;
+#X obj 123 252 pack 0 100;
+#X obj 101 310 +~;
+#X text 34 474 In this patch we can loop in any "window" of the input
+sample. The "read point" (0-100) gives the starting point of the window
+and "chunk" is its size (both in 100ths of a second.) Try \, for example
+\, frequency 4 \, sharpness 10 \, chunk size 25 \, and vary the read
+point from -25 to 100 \, listening to the result.;
+#X text 242 281 <-- graph table index;
+#X text 684 337 ----- 1 second ------;
+#X obj 595 490 loadbang;
+#X text 631 514 v-- re-read the original sample;
+#X obj 605 559 soundfiler;
+#X text 678 147 ---- 44103 samples ---;
+#X obj 591 455 tabwrite~ table19;
+#X msg 605 535 read ../sound/voice.wav table19;
+#X text 688 628 updated for Pd version 0.37;
+#X msg 595 585 \; graph19 ylabel 48000 0 44100;
+#X obj 39 103 -~ 0.5;
+#X obj 99 76 phasor~;
+#X obj 39 127 *~ 0.5;
+#X obj 39 150 cos~;
+#X text 157 206 <-- read point (100ths of a second);
+#X obj 41 406 output~;
+#X text 651 422 <-- record;
+#X text 36 13 ENVELOPING THE LOOPING SAMPLER;
+#X text 37 574 You should hear some doppler shift as you change the
+read point. To see why \, click on "graph table index" and quickly
+start changing the read point--- you should see entertaining pictures
+in "table-index". The next patch shows how to prevent this if you wish
+to.;
+#X obj 100 336 tabread4~ table19;
+#X obj 194 307 tabwrite~ graph19;
+#X connect 1 0 36 0;
+#X connect 2 0 32 0;
+#X connect 4 0 5 0;
+#X connect 5 0 6 1;
+#X connect 6 0 7 0;
+#X connect 7 0 19 0;
+#X connect 8 0 41 0;
+#X connect 10 0 11 0;
+#X connect 11 0 27 0;
+#X connect 12 0 27 0;
+#X connect 14 0 1 0;
+#X connect 15 0 19 1;
+#X connect 16 0 18 0;
+#X connect 17 0 16 0;
+#X connect 18 0 15 0;
+#X connect 19 0 40 0;
+#X connect 19 0 41 0;
+#X connect 23 0 30 0;
+#X connect 23 0 28 0;
+#X connect 28 0 25 0;
+#X connect 31 0 33 0;
+#X connect 32 0 6 0;
+#X connect 32 0 31 0;
+#X connect 33 0 34 0;
+#X connect 34 0 14 0;
+#X connect 40 0 14 1;
diff --git a/pd/doc/3.audio.examples/B11.sampler.nodoppler.pd b/pd/doc/3.audio.examples/B11.sampler.nodoppler.pd
new file mode 100644
index 00000000..1ec362ac
--- /dev/null
+++ b/pd/doc/3.audio.examples/B11.sampler.nodoppler.pd
@@ -0,0 +1,85 @@
+#N canvas 177 116 924 622 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array table20 44103 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 631 10 graph;
+#X obj 582 447 loadbang;
+#X obj 13 425 hip~ 5;
+#X floatatom 87 49 0 0 0 0 - - -;
+#X text 126 48 <-- frequency (Hz.);
+#X floatatom 150 108 0 0 0 0 - - -;
+#X obj 150 133 * 441;
+#X obj 50 220 +~ 1;
+#X obj 87 73 phasor~ 0;
+#X msg 175 273 bang;
+#X text 189 107 <-- chunk size (100ths of a second);
+#X obj 576 343 adc~ 1;
+#X obj 576 367 hip~ 5;
+#X msg 591 390 bang;
+#X text 630 464 v-- re-read the original sample;
+#N canvas 0 0 450 300 graph2 0;
+#X array graph20 44100 float 0;
+#X coords 0 44100 44100 0 200 130 1;
+#X restore 633 179 graph;
+#X obj 13 401 *~;
+#X obj 72 308 line~;
+#X obj 149 242 * 441;
+#X floatatom 149 218 0 0 0 0 - - -;
+#X obj 72 284 pack 0 100;
+#X text 184 217 <-- read point in 100ths of a second;
+#X obj 51 356 +~;
+#X text 218 272 <-- graph table index;
+#X obj 72 332 samphold~;
+#X obj 74 170 samphold~;
+#X obj 51 196 *~;
+#X text 643 315 ----- 1 second ------;
+#X text 631 144 ---- 44103 samples ---;
+#X obj 591 508 soundfiler;
+#X text 21 8 SLIDING STABLE LOOPS WITHOUT DOPPLER SHIFT;
+#X msg 582 534 \; graph20 ylabel 48000 0 44100;
+#X text 631 390 <-- record;
+#X obj 13 451 output~;
+#X obj 12 103 -~ 0.5;
+#X obj 12 127 *~ 0.5;
+#X obj 12 150 cos~;
+#X obj 175 353 tabwrite~ graph20;
+#X obj 51 381 tabread4~ table20;
+#X obj 576 417 tabwrite~ table20;
+#X msg 591 484 read ../sound/voice.wav table20;
+#X text 11 518 This example differs from the previous one in having
+samphold~ objects which allow the chunk size and especially the read
+point to change only at points where the phase wraps around. This removes
+signal discontinuities (when the chunk size changes) and doppler shift
+when the read point is changing.;
+#X text 652 592 updated for Pd version 0.37;
+#X connect 1 0 31 0;
+#X connect 1 0 40 0;
+#X connect 2 0 33 0;
+#X connect 2 0 33 1;
+#X connect 3 0 8 0;
+#X connect 5 0 6 0;
+#X connect 6 0 25 0;
+#X connect 7 0 22 0;
+#X connect 8 0 24 1;
+#X connect 8 0 25 1;
+#X connect 8 0 26 0;
+#X connect 8 0 34 0;
+#X connect 9 0 37 0;
+#X connect 11 0 12 0;
+#X connect 12 0 39 0;
+#X connect 13 0 39 0;
+#X connect 16 0 2 0;
+#X connect 17 0 24 0;
+#X connect 18 0 20 0;
+#X connect 19 0 18 0;
+#X connect 20 0 17 0;
+#X connect 22 0 37 0;
+#X connect 22 0 38 0;
+#X connect 24 0 22 1;
+#X connect 25 0 26 1;
+#X connect 26 0 7 0;
+#X connect 34 0 35 0;
+#X connect 35 0 36 0;
+#X connect 36 0 16 0;
+#X connect 38 0 16 1;
+#X connect 40 0 29 0;
diff --git a/pd/doc/3.audio.examples/B12.sampler.transpose.pd b/pd/doc/3.audio.examples/B12.sampler.transpose.pd
new file mode 100644
index 00000000..fc7a7d14
--- /dev/null
+++ b/pd/doc/3.audio.examples/B12.sampler.transpose.pd
@@ -0,0 +1,109 @@
+#N canvas 107 88 930 596 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array table21 44103 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 645 291 graph;
+#X obj 467 506 loadbang;
+#X obj 19 508 hip~ 5;
+#X floatatom 10 254 0 0 0 0 - - -;
+#X obj 10 279 * 441;
+#X obj 10 401 +~ 1;
+#X text 47 253 <-- chunk size (100ths of a second);
+#X obj 471 402 adc~ 1;
+#X obj 471 427 hip~ 5;
+#X msg 486 449 bang;
+#X obj 44 482 *~;
+#X obj 106 404 line~;
+#X obj 106 354 * 441;
+#X floatatom 106 329 0 0 0 0 - - -;
+#X obj 106 379 pack 0 100;
+#X text 152 331 <-- read point in 100ths of a second;
+#X obj 44 433 +~;
+#X obj 106 429 samphold~;
+#X obj 10 329 samphold~;
+#X obj 10 304 sig~;
+#X obj 10 376 *~;
+#X text 18 5 CALCULATING LOOP FREQUENCY AS FUNCTION OF TRANSPOSITION
+;
+#X obj 124 485 r~ phase;
+#X obj 10 204 s~ phase;
+#X obj 68 304 r~ phase;
+#X obj 26 351 r~ phase;
+#X obj 164 405 r~ phase;
+#X obj 151 299 s chunk-size;
+#X floatatom 10 50 0 0 0 0 - - -;
+#X text 48 51 <-- transposition (10ths of a halftone);
+#X obj 151 274 * 0.01;
+#X text 264 287 chunk size;
+#X text 264 309 in seconds;
+#X obj 21 105 r chunk-size;
+#X obj 21 130 t b f;
+#X obj 10 154 /;
+#X text 80 131 divide speed change by chunk;
+#X text 78 152 size to get loop frequency;
+#X text 382 75 The transposition is frequency in Hz. divided by chunk
+size in seconds. This patch calculates the loop frequency as a function
+of desired transposition;
+#X text 384 126 Notice now that we get Doppler effects when the chunk
+size changes. You can suppress that if you don't want it \, by converting
+the chunk size to an audio signal \, sampling and holding it. But then
+there would be more work to deal with very low frequencies never triggering
+the sample and hold...;
+#X obj 467 560 soundfiler;
+#X obj 10 27 loadbang;
+#X obj 124 509 -~ 0.5;
+#X obj 124 533 *~ 0.5;
+#X obj 124 556 cos~;
+#X obj 19 533 output~;
+#X obj 44 458 tabread4~ table21;
+#X text 527 449 <-- record;
+#X text 560 513 v-- re-read original table;
+#X text 682 572 updated for Pd version 0.37;
+#X text 647 425 --- 44103 samples ---;
+#X obj 10 75 expr pow(2 \, $f1/120);
+#X text 199 75 speed change;
+#X text 387 208 You might also want to have a way to retrigger the
+loop to sync it with some other process. By the time we had all this
+built the patch would be fairly involved. For now \, we'll move on
+to the next topic...;
+#X obj 10 178 phasor~;
+#X obj 471 476 tabwrite~ table21;
+#X msg 467 533 read ../sound/voice.wav table21;
+#X connect 1 0 56 0;
+#X connect 2 0 45 0;
+#X connect 2 0 45 1;
+#X connect 3 0 4 0;
+#X connect 3 0 30 0;
+#X connect 4 0 19 0;
+#X connect 5 0 16 0;
+#X connect 7 0 8 0;
+#X connect 8 0 55 0;
+#X connect 9 0 55 0;
+#X connect 10 0 2 0;
+#X connect 11 0 17 0;
+#X connect 12 0 14 0;
+#X connect 13 0 12 0;
+#X connect 14 0 11 0;
+#X connect 16 0 46 0;
+#X connect 17 0 16 1;
+#X connect 18 0 20 0;
+#X connect 19 0 18 0;
+#X connect 20 0 5 0;
+#X connect 22 0 42 0;
+#X connect 24 0 18 1;
+#X connect 25 0 20 1;
+#X connect 26 0 17 1;
+#X connect 28 0 51 0;
+#X connect 30 0 27 0;
+#X connect 33 0 34 0;
+#X connect 34 0 35 0;
+#X connect 34 1 35 1;
+#X connect 35 0 54 0;
+#X connect 41 0 28 0;
+#X connect 42 0 43 0;
+#X connect 43 0 44 0;
+#X connect 44 0 10 1;
+#X connect 46 0 10 0;
+#X connect 51 0 35 0;
+#X connect 54 0 23 0;
+#X connect 56 0 40 0;
diff --git a/pd/doc/3.audio.examples/B13.sampler.overlap.pd b/pd/doc/3.audio.examples/B13.sampler.overlap.pd
new file mode 100644
index 00000000..35acc48b
--- /dev/null
+++ b/pd/doc/3.audio.examples/B13.sampler.overlap.pd
@@ -0,0 +1,158 @@
+#N canvas 28 47 748 713 12;
+#X obj 19 511 hip~ 5;
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+#X obj 20 380 +~ 1;
+#X text 69 35 <-- chunk size (100ths of a second);
+#X obj 20 458 *~;
+#X obj 26 211 line~;
+#X obj 26 161 * 441;
+#X floatatom 26 136 0 0 100 0 - - -;
+#X obj 26 186 pack 0 100;
+#X text 60 137 <-- read point in 100ths of a second;
+#X obj 20 409 +~;
+#X obj 76 408 samphold~;
+#X obj 20 308 samphold~;
+#X obj 20 355 *~;
+#X obj 185 369 r~ phase;
+#X obj 418 210 s~ phase;
+#X obj 108 308 r~ phase;
+#X obj 42 332 r~ phase;
+#X obj 96 383 r~ phase;
+#X obj 77 82 s chunk-size;
+#X floatatom 418 56 0 0 0 0 - - -;
+#X obj 77 57 * 0.01;
+#X text 189 58 chunk size;
+#X text 189 80 in seconds;
+#X obj 429 111 r chunk-size;
+#X obj 429 136 t b f;
+#X obj 418 160 /;
+#X obj 418 33 loadbang;
+#X obj 185 393 -~ 0.5;
+#X obj 185 417 *~ 0.5;
+#X obj 185 440 cos~;
+#X obj 19 536 output~;
+#X text 486 684 updated for Pd version 0.37;
+#X obj 418 81 expr pow(2 \, $f1/120);
+#X text 607 81 speed change;
+#X obj 418 184 phasor~;
+#X text 18 5 TWO OVERLAPPING SAMPLE READ ELEMENTS;
+#N canvas 30 567 660 275 table 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array table22 44103 float 0;
+#X coords 0 1.02 44100 -1.02 200 130 1;
+#X restore 442 61 graph;
+#X text 444 195 --- 44103 samples ---;
+#X obj 41 148 loadbang;
+#X obj 45 44 adc~ 1;
+#X obj 45 69 hip~ 5;
+#X msg 60 91 bang;
+#X obj 41 202 soundfiler;
+#X text 101 91 <-- record;
+#X text 134 155 v-- re-read original table;
+#X obj 45 118 tabwrite~ table22;
+#X msg 41 175 read ../sound/voice.wav table22;
+#X connect 2 0 10 0;
+#X connect 3 0 4 0;
+#X connect 4 0 9 0;
+#X connect 5 0 9 0;
+#X connect 10 0 6 0;
+#X restore 567 327 pd table;
+#X obj 25 110 s chunk-size-samples;
+#X text 211 112 ... and in samples;
+#X obj 26 234 s~ read-pt;
+#X obj 77 360 r~ read-pt;
+#X obj 505 203 +~ 0.5;
+#X obj 506 229 wrap~;
+#X obj 506 254 s~ phase2;
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+#X obj 363 320 r~ phase2;
+#X obj 296 343 r~ phase2;
+#X obj 439 380 r~ phase2;
+#X obj 339 394 r~ phase2;
+#X obj 19 487 +~;
+#X text 453 56 <-- transposition \, halftones/10;
+#X text 456 159 loop frequency;
+#X text 566 190 second phase signal;
+#X text 566 210 out of phase from;
+#X text 565 231 first one;
+#X text 70 265 copy 1;
+#X text 327 274 copy 2;
+#X text 118 503 Here is the previous patch modified to use two copies
+of the sample reader \, 180 degrees out of phase. The second sawtooth
+signal is derived from the first one by adding a constant (0.5) and
+wrapping the result to fit again between zero and one. The result is
+the "phase2" signal.;
+#X text 119 584 The computation of "chunk-size-samples" (as a message)
+and "read-pt" (an audio signal) is the same for both copies and is
+separated out at top left. At top right is the same loop frequency
+calculation as before.;
+#X text 120 654 Finally \, the two copies' outputs are added and the
+result sent to the audio output.;
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diff --git a/pd/doc/3.audio.examples/B14.sampler.rockafella.pd b/pd/doc/3.audio.examples/B14.sampler.rockafella.pd
new file mode 100644
index 00000000..20416b6b
--- /dev/null
+++ b/pd/doc/3.audio.examples/B14.sampler.rockafella.pd
@@ -0,0 +1,166 @@
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+#X obj 41 202 soundfiler;
+#X text 101 91 <-- record;
+#X text 134 155 v-- re-read original table;
+#X obj 45 118 tabwrite~ table23;
+#X msg 41 175 read ../sound/voice.wav table23;
+#X connect 2 0 10 0;
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+#X connect 4 0 9 0;
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+#X connect 10 0 6 0;
+#X restore 558 460 pd table;
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+#X obj 293 364 r~ phase2;
+#X obj 423 394 r~ phase2;
+#X text 37 123 <-- precession \, percent;
+#X obj 8 3 loadbang;
+#X text 158 3 TIME COMPRESSION/EXPANSION BY LOOPED SAMPLING;
+#X text 111 529 Here \, rather than ask you to push the read pointer
+back and forth in the sample \, we use a phasor~. This makes it possible
+to avoid the samphold~ on the read pointer (r~ read-pt) \, since \,
+knowing the precession \, we can correct for it in computing the frequency
+of the original phasor~ at right.;
+#X text 111 626 We've changed the control for "chunk size" to milliseconds
+for added convenience \, and delayed multiplying sample location by
+the sample rate (44100) until the last moment \, so that calculations
+using "read-pt" and "chunk size" can be in the same units (seconds.)
+;
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+#X obj 139 237 t b f;
+#X obj 139 146 loadbang;
+#X text 182 188 <-- loop length;
+#X text 223 203 (msec);
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diff --git a/pd/doc/3.audio.examples/C01.nyquist.pd b/pd/doc/3.audio.examples/C01.nyquist.pd
new file mode 100644
index 00000000..256da0e3
--- /dev/null
+++ b/pd/doc/3.audio.examples/C01.nyquist.pd
@@ -0,0 +1,102 @@
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+#X text 24 556 Synthesis techniques vary in their tendency to make
+foldover. For higher pitched sounds you'll want to try out relatively
+folvover-resistant ones.;
+#X obj 33 342 output~;
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+-1;
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+#X connect 0 0 5 0;
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+#X text 56 2 THE NYQUIST THEOREM AND FOLDOVER;
+#X text 30 33 WARNING: PLAY THIS QUIETLY TO AVOID UNPLEASANTNESS AND
+POSSIBLE EAR DAMAGE.;
+#X text 29 77 Foldover occurs when you synthesize frequencies greater
+than the Nyquist frequency (half the sample rate). In this example
+\, the fundamental only reaches 1423 \, but the tables contain high
+partials. As the partials sweep upward you hear them reflect off the
+Nyquist frequency. Also \, partials can come into contact with each
+other causing beating. The value of 1423 was chosen to make the beating
+effect especially strong if you're running at a sample rate of 44100
+(the usual one.);
+#X text 330 616 updated for Pd version 0.37;
+#X text 219 245 waveforms:;
+#X connect 1 0 15 0;
+#X connect 2 0 1 0;
+#X connect 3 0 1 0;
+#X connect 6 0 7 0;
+#X connect 8 0 7 1;
+#X connect 9 0 7 2;
+#X connect 10 0 7 3;
+#X connect 15 0 5 0;
+#X connect 15 0 5 1;
diff --git a/pd/doc/3.audio.examples/C02.sawtooth-foldover.pd b/pd/doc/3.audio.examples/C02.sawtooth-foldover.pd
new file mode 100644
index 00000000..f52fc548
--- /dev/null
+++ b/pd/doc/3.audio.examples/C02.sawtooth-foldover.pd
@@ -0,0 +1,39 @@
+#N canvas 180 71 562 473 12;
+#X obj 155 348 output~;
+#X text 310 443 updated for Pd version 0.37;
+#X text 56 2 FOLDOVER IN SAWTOOTH WAVES;
+#X obj 154 320 clip~ 0 1;
+#X obj 155 153 mtof;
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+#X obj 25 74 loadbang;
+#X msg 25 99 61;
+#X obj 25 124 outlet;
+#X text 7 6 This sets the pitch initially to 61 when the patch is first
+opened.;
+#X connect 0 0 1 0;
+#X connect 1 0 2 0;
+#X restore 155 105 pd;
+#X text 190 130 <--pitch;
+#X obj 164 206 output~;
+#X text 237 205 <--sawtooth amplitude;
+#X text 233 373 <--pulse train amplitude;
+#X text 28 406 We'll explain more about making pulses later on... this
+example is mostly intended as ear training.;
+#X text 19 23 In more ordinary kinds of waveforms \, foldover comes
+across as a "cheap synth" sound. You can hear the foldover clearly
+in the pulse train here \, and less clearly (but still audibly) in
+the straight sawtooth \, especially at high pitches.;
+#X connect 3 0 0 0;
+#X connect 3 0 0 1;
+#X connect 4 0 8 0;
+#X connect 5 0 4 0;
+#X connect 6 0 7 0;
+#X connect 7 0 3 0;
+#X connect 8 0 6 0;
+#X connect 8 0 11 0;
+#X connect 8 0 11 1;
+#X connect 9 0 5 0;
diff --git a/pd/doc/3.audio.examples/C03.zipper.noise.pd b/pd/doc/3.audio.examples/C03.zipper.noise.pd
new file mode 100644
index 00000000..a49f51ad
--- /dev/null
+++ b/pd/doc/3.audio.examples/C03.zipper.noise.pd
@@ -0,0 +1,55 @@
+#N canvas 298 115 555 414 12;
+#X obj 42 349 output~;
+#X text 302 376 updated for Pd version 0.37;
+#X text 56 2 ZIPPER NOISE;
+#X obj 43 321 *~;
+#X obj 125 350 output~;
+#X obj 126 322 *~;
+#X obj 65 262 line;
+#X obj 149 262 line~;
+#N canvas 0 0 450 300 metro 0;
+#X obj 88 39 loadbang;
+#X msg 87 65 1;
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+;
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+#X msg 65 219 1 300;
+#X msg 132 221 0 300;
+#X obj 72 290 osc~ 880;
+#X text 30 28 Here is a related issue: if we use a (control) line object
+to change an amplitude \, it sends ramping control messages \, once
+every 20 msec by default. At left we use this to control the amplitude
+of a sinusoid. In effect we're multiplying the sinusoid by a staircase
+signal (50 increments per second.) Using the signal version \, line~
+\, fixes the problem. Line~ outputs a ramp that is incremented every
+sample.;
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diff --git a/pd/doc/3.audio.examples/C04.control.to.signal.pd b/pd/doc/3.audio.examples/C04.control.to.signal.pd
new file mode 100644
index 00000000..eed326dd
--- /dev/null
+++ b/pd/doc/3.audio.examples/C04.control.to.signal.pd
@@ -0,0 +1,48 @@
+#N canvas 215 77 561 455 12;
+#X text 14 7 CONVERTING CONTROL TO SIGNALS;
+#X obj 29 350 output~;
+#X obj 107 352 output~;
+#N canvas 0 0 450 300 metro 0;
+#X obj 88 39 loadbang;
+#X msg 87 65 1;
+#X obj 87 131 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0 1
+;
+#X obj 87 153 sel 0 1;
+#X obj 87 190 outlet;
+#X obj 151 192 outlet;
+#X obj 87 96 metro 2;
+#X connect 0 0 1 0;
+#X connect 1 0 6 0;
+#X connect 2 0 3 0;
+#X connect 3 0 4 0;
+#X connect 3 1 5 0;
+#X connect 6 0 2 0;
+#X restore 30 242 pd metro;
+#X msg 30 268 1 2;
+#X msg 97 270 0 2;
+#X obj 30 305 line~;
+#X obj 108 306 vline~;
+#X text 13 107 Here we try out line~ and vline~ as triangle wave generators.
+The subpatch is still sending alternating bangs as in the last patch
+\, but now at an audible frequency \, every 2 msec.;
+#X text 17 172 The effect of line~ rounding breakpoints to the nearest
+block (on the order of a millisecond) is that each 4-millisecond-long
+cycle has a different shape. Using vline~ resolves the problem.;
+#X text 385 437 Updated for Pd 0.37;
+#X text 16 411 Sometimes you will want to use vline~ in place of sig~
+for the same reason.;
+#X text 15 27 For controlling amplitudes \, line~ \, with its block-aligned
+breakpoints \, is accurate enough for most purposes. But certain usages
+\, such as this patch \, demand more accuracy. The vline~ object \,
+somewhat more expensive than line~ \, can handle breakpoints to sub-sample
+accuracy.;
+#X connect 3 0 4 0;
+#X connect 3 1 5 0;
+#X connect 4 0 6 0;
+#X connect 4 0 7 0;
+#X connect 5 0 6 0;
+#X connect 5 0 7 0;
+#X connect 6 0 1 0;
+#X connect 6 0 1 1;
+#X connect 7 0 2 0;
+#X connect 7 0 2 1;
diff --git a/pd/doc/3.audio.examples/C05.sampler.oneshot.pd b/pd/doc/3.audio.examples/C05.sampler.oneshot.pd
new file mode 100644
index 00000000..f75d5517
--- /dev/null
+++ b/pd/doc/3.audio.examples/C05.sampler.oneshot.pd
@@ -0,0 +1,84 @@
+#N canvas 34 0 985 746 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array tab28 176403 float 0;
+#X coords 0 1.02 176403 -1.02 200 130 1;
+#X restore 740 126 graph;
+#X obj 577 486 loadbang;
+#X obj 31 340 hip~ 5;
+#X obj 587 345 adc~ 1;
+#X obj 587 375 hip~ 5;
+#X msg 558 306 bang;
+#X text 681 492 v-- re-read the original sample;
+#X text 20 6 ONE-SHOT SAMPLER USING LINE~ AS PHASE;
+#X obj 31 306 *~;
+#X obj 71 279 r cutoff;
+#X obj 31 194 r phase;
+#X msg 24 37 bang;
+#X obj 124 92 delay 5;
+#X text 77 37 <-- play the sample;
+#X msg 24 128 \; cutoff 0 5;
+#X text 34 85 cut the;
+#X text 34 104 sound off;
+#X text 204 77 Wait for the;
+#X text 202 97 cutoff to finish;
+#X text 349 121 set the upper line~ to start;
+#X text 349 140 at the first sample and go;
+#X text 348 161 forever (until the next trigger);
+#X text 18 486 To start a note \, first we have to mute the output
+in case ther's already something playing---otherwise we'll get a click.
+The "cutoff" line~ then takes 5 msec to get to zero. After that amount
+of delay \, we reset the phase to sample number 1 and set it in motion.
+We want the line~ output to increase by 1 each sample of output \,
+so we ask for it to do 4.41e+08 samples in 1e+07 milliseconds.;
+#X text 18 602 The cutoff mechanism is still safe if we happen to ask
+for two notes in under 5 msec. The second request would reset the delay
+\, so that there's no way the delay can possibly fire without the cutoff
+line~ at zero.;
+#X text 596 305 <-- record;
+#X obj 622 405 line~;
+#X obj 587 410 *~;
+#X text 738 267 ------ 4 seconds ------;
+#X obj 655 342 del 3990;
+#X msg 655 370 0 10;
+#X text 706 371 <--stop recording;
+#X text 19 672 We avoid clicking at the end of the table by getting
+the table's own contents to go smoothly to zero. To do this we added
+a level control to the recording patch that cuts off just before the
+recording reaches the end of the table.;
+#X text 576 599 this is.;
+#X text 578 575 My apologies to Jonathan Harvey whose bell;
+#X obj 577 545 soundfiler;
+#X text 19 443 Here's how to make a sampler with a line~ object \,
+instead of a phasor~ \, to generate the read location signal.;
+#X obj 71 306 vline~;
+#X obj 30 369 output~;
+#X obj 31 224 vline~;
+#X obj 558 439 tabwrite~ tab28;
+#X msg 577 516 read ../sound/bell.aiff tab28;
+#X obj 31 254 tabread4~ tab28;
+#X msg 124 127 \; phase 1 \, 4.41e+08 1e+07 \; cutoff 1;
+#X msg 497 386 0 \, 1 5;
+#X text 719 717 updated for Pd version 0.37;
+#X connect 1 0 40 0;
+#X connect 2 0 37 0;
+#X connect 2 0 37 1;
+#X connect 3 0 4 0;
+#X connect 4 0 26 0;
+#X connect 5 0 28 0;
+#X connect 5 0 43 0;
+#X connect 5 0 39 0;
+#X connect 8 0 2 0;
+#X connect 9 0 36 0;
+#X connect 10 0 38 0;
+#X connect 11 0 14 0;
+#X connect 11 0 12 0;
+#X connect 12 0 42 0;
+#X connect 25 0 26 1;
+#X connect 26 0 39 0;
+#X connect 28 0 29 0;
+#X connect 29 0 25 0;
+#X connect 36 0 8 1;
+#X connect 38 0 41 0;
+#X connect 40 0 34 0;
+#X connect 41 0 8 0;
+#X connect 43 0 25 0;
diff --git a/pd/doc/3.audio.examples/C06.signal.to.control.pd b/pd/doc/3.audio.examples/C06.signal.to.control.pd
new file mode 100644
index 00000000..1c3e4bf0
--- /dev/null
+++ b/pd/doc/3.audio.examples/C06.signal.to.control.pd
@@ -0,0 +1,25 @@
+#N canvas 215 77 561 455 12;
+#N canvas 0 0 269 179 metro 0;
+#X obj 88 39 loadbang;
+#X msg 87 65 1;
+#X obj 87 128 outlet;
+#X obj 87 96 metro 100;
+#X msg 178 70 \; pd dsp 1;
+#X connect 0 0 1 0;
+#X connect 0 0 4 0;
+#X connect 1 0 3 0;
+#X connect 3 0 2 0;
+#X restore 41 247 pd metro;
+#X text 374 425 Updated for Pd 0.37;
+#X obj 41 316 snapshot~;
+#X obj 66 286 phasor~ 1;
+#X floatatom 41 347 5 0 0 0 - - -;
+#X text 14 7 CONVERTING SIGNALS TO CONTROLS;
+#X text 15 35 The snapshot~ object allows you to convert from signals
+back to control streams (float messages) -- an opposite of signal~.
+The value output is always the end of the most recently computed audio
+block \, so that even if you bang it metronomically (as here) it need
+not give you samples that are exactly evenly spaced.;
+#X connect 0 0 2 0;
+#X connect 2 0 4 0;
+#X connect 3 0 2 0;
diff --git a/pd/doc/3.audio.examples/C07.envelope.follower.pd b/pd/doc/3.audio.examples/C07.envelope.follower.pd
new file mode 100644
index 00000000..51f8f56b
--- /dev/null
+++ b/pd/doc/3.audio.examples/C07.envelope.follower.pd
@@ -0,0 +1,113 @@
+#N canvas 66 7 617 909 12;
+#X text 164 5 ENVELOPE FOLLOWERS;
+#X text 10 25 The env~ object reports ths RMS signal level over the
+last 256 samples (by default) or any other power of 2 that's at least
+twice the block size. The analysis is done in an overlapped fashion
+so that results appear every N/2 points if N is the analysis window
+size. So the larger the window \, the stabler the result and the less
+frequently it appears. Computation time doesn't depend heavily on N.
+;
+#X text 11 135 Envelope followers are frequently used to detect attacks
+and periods of silence. (There are fancier attack detectors out there
+\, though.) Here is a simple threshold-based attack and rest detector.
+;
+#X obj 102 297 dbtorms;
+#X obj 23 293 osc~ 440;
+#X obj 23 339 env~;
+#X floatatom 78 329 0 0 0 0 - - -;
+#X floatatom 102 274 0 0 0 0 - - -;
+#X msg 451 320 \; pd dsp 1;
+#X obj 119 380 t b f;
+#X floatatom 119 403 0 0 0 0 - - -;
+#X obj 126 458 pack;
+#X obj 126 481 route 0 1;
+#X obj 126 504 > 55;
+#X obj 176 504 < 45;
+#X obj 126 527 sel 1;
+#X obj 176 527 sel 1;
+#X msg 90 538 1;
+#X msg 90 516 0;
+#X obj 126 564 print attack;
+#X obj 119 435 != 0;
+#X obj 24 612 t b f;
+#X floatatom 15 638 0 0 0 0 - - -;
+#X obj 27 688 pack;
+#X obj 27 711 route 0 1;
+#X obj 27 749 sel 1;
+#X msg 6 856 1;
+#X msg 7 879 0;
+#X obj 20 666 != 0;
+#X obj 58 639 < 45;
+#X obj 31 783 timer;
+#X obj 113 712 sel 0;
+#X obj 95 832 sel 0;
+#X obj 45 832 sel 1;
+#X obj 45 873 print rest;
+#X obj 31 806 > 1000;
+#X text 162 403 state -- 1 if waiting for low threshold \,;
+#X text 199 418 0 if we've attained it and now want the;
+#X text 202 434 high one.;
+#X text 209 480 route the RMS value according to state;
+#X text 239 506 if off \, 55 dB means attack. If on \, 45;
+#X text 240 527 dB or less means state changes to off.;
+#X text 132 359 ATTACK DETECTION;
+#X text 40 594 REST DETECTION;
+#X text 100 637 Here we always will test RMS against a low value;
+#X text 125 654 but as before we route the result according to;
+#X text 147 671 our state \, 1 if "resting" \, 0 if not.;
+#X text 163 709 regardless of state \, when RMS isn't low;
+#X text 185 724 reset the timer;
+#X text 202 846 RMS isn't low enough.;
+#X text 120 744 If we're not in rest \, and the RMS is low \,;
+#X text 143 761 check elapsed time sinse RMS last wasn't low.;
+#X text 122 802 If more than 1 second \, report a rest.;
+#X text 170 828 If we're at rest \, pop out of it when;
+#X text 11 201 Both detectors are state machines with two states \,
+on and off. If on \, a test is run to determine whether to turn off
+\, and vice versa. The tests are run at each output of the rms~ object.
+;
+#X text 355 884 updated for Pd version 0.37;
+#X text 109 320 note 3.01 dB difference between;
+#X text 113 336 peak and RMS amplitudes.;
+#X obj 451 297 loadbang;
+#X obj 23 316 *~;
+#X connect 3 0 59 1;
+#X connect 4 0 59 0;
+#X connect 5 0 6 0;
+#X connect 5 0 9 0;
+#X connect 5 0 21 0;
+#X connect 7 0 3 0;
+#X connect 9 0 10 0;
+#X connect 9 1 11 1;
+#X connect 10 0 20 0;
+#X connect 11 0 12 0;
+#X connect 12 0 13 0;
+#X connect 12 1 14 0;
+#X connect 13 0 15 0;
+#X connect 14 0 16 0;
+#X connect 15 0 17 0;
+#X connect 15 0 19 0;
+#X connect 16 0 18 0;
+#X connect 17 0 10 0;
+#X connect 18 0 10 0;
+#X connect 20 0 11 0;
+#X connect 21 0 22 0;
+#X connect 21 1 29 0;
+#X connect 22 0 28 0;
+#X connect 23 0 24 0;
+#X connect 24 0 25 0;
+#X connect 24 1 32 0;
+#X connect 25 0 30 1;
+#X connect 26 0 22 0;
+#X connect 27 0 22 0;
+#X connect 28 0 23 0;
+#X connect 29 0 23 1;
+#X connect 29 0 31 0;
+#X connect 30 0 35 0;
+#X connect 31 0 30 0;
+#X connect 32 0 27 0;
+#X connect 33 0 26 0;
+#X connect 33 0 34 0;
+#X connect 35 0 33 0;
+#X connect 58 0 8 0;
+#X connect 59 0 5 0;
diff --git a/pd/doc/3.audio.examples/C08.analog.sequencer.pd b/pd/doc/3.audio.examples/C08.analog.sequencer.pd
new file mode 100644
index 00000000..9ee9e6de
--- /dev/null
+++ b/pd/doc/3.audio.examples/C08.analog.sequencer.pd
@@ -0,0 +1,156 @@
+#N canvas 46 22 825 554 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array 29-sequence 9 float 1;
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+#X coords 0 500 8 0 200 100 1;
+#X restore 621 42 graph;
+#X obj 27 426 *~;
+#X obj 27 454 hip~ 5;
+#N canvas 0 0 450 300 graph1 0;
+#X array 29-envelope 103 float 1;
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+#X restore 622 146 graph;
+#N canvas 0 0 450 300 graph1 0;
+#X array 29-sample 259 float 1;
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+#X restore 619 281 graph;
+#X text 566 533 updated for Pd version 0.37;
+#X obj 26 218 tabread~ 29-sequence;
+#X obj 106 241 wrap~;
+#X obj 106 265 *~ 100;
+#X obj 106 289 +~ 1;
+#X obj 26 242 phasor~;
+#X obj 26 266 -~ 0.5;
+#X obj 27 377 cos~;
+#X obj 84 336 *~;
+#X obj 28 488 output~;
+#X obj 84 408 tabread4~ 29-sample;
+#X obj 106 313 tabread4~ 29-envelope;
+#X obj 84 360 *~ 128;
+#X obj 84 384 +~ 129;
+#X obj 27 401 +~ 1;
+#X obj 26 194 *~ 9;
+#N canvas 328 85 609 424 make-tables 0;
+#X msg 109 52 bang;
+#X obj 109 77 t b b;
+#X obj 152 134 f;
+#X obj 190 134 + 1;
+#X msg 174 106 0;
+#X obj 109 103 until;
+#X obj 152 162 t f f;
+#X obj 27 190 moses 10;
+#X obj 18 272 tabwrite 29-envelope;
+#X obj 75 159 sel 102;
+#X obj 23 218 expr ($f1-1)/10;
+#X obj 35 243 expr (101-$f1)/90;
+#X msg 120 380 \; 29-sample cosinesum 256 0 0 0 0 0 0 1;
+#X msg 120 338 \; 29-sequence 0 55 550 385 495 165 385 495 275 615
+;
+#X text 30 8 bang to recalculate the envelope table (I did this but
+then went in and changed it with the mouse afterward.);
+#X text 84 299 The sequence is just a list of specified frequencies
+\; the wavetable is a cosine.;
+#X connect 0 0 1 0;
+#X connect 1 0 5 0;
+#X connect 1 1 4 0;
+#X connect 2 0 3 0;
+#X connect 2 0 6 0;
+#X connect 2 0 9 0;
+#X connect 3 0 2 1;
+#X connect 4 0 2 1;
+#X connect 5 0 2 0;
+#X connect 6 0 7 0;
+#X connect 6 1 8 1;
+#X connect 7 0 10 0;
+#X connect 7 1 11 0;
+#X connect 9 0 5 1;
+#X connect 10 0 8 0;
+#X connect 11 0 8 0;
+#X restore 689 401 pd make-tables;
+#X text 46 1 ANALOG-SYNTH-STYLE SEQUENCER;
+#X obj 26 170 phasor~ 0.6;
+#X text 27 27 Some control operations can be carried out entirely by
+tilde objects passing audio signals around. Here is an imitation of
+an analog sequencer and envelope generator. A phasor~ loops through
+the "sequence" table at 0.6 Hz \, generating 9 frequencies. Simultaneously
+\, by multiplying by 9 and wrapping \, we create a sawtooth at 9*0.6=5.4
+Hz \, which reads a second table for an envelope shape. This becomes
+the grain size for a samplerbased on the 18.sampler.looped example
+earlier.;
+#X text 97 194 main loop: sawtooth of amplitude 9;
+#X text 218 219 read frequency sequence;
+#X text 162 241 9x original frequency sawtooth;
+#X text 173 266 adjust for reading;
+#X text 346 266 envelope sample;
+#X text 123 336 multiply envelope by audio-frequency sawtooth;
+#X text 147 361 adjust amplitude and center for wavetable;
+#X text 62 428 multiply by raised-cosine smoothing function;
+#X text 478 401 how to make the tables:;
+#X connect 1 0 2 0;
+#X connect 2 0 14 0;
+#X connect 2 0 14 1;
+#X connect 6 0 10 0;
+#X connect 7 0 8 0;
+#X connect 8 0 9 0;
+#X connect 9 0 16 0;
+#X connect 10 0 11 0;
+#X connect 11 0 13 0;
+#X connect 11 0 12 0;
+#X connect 12 0 19 0;
+#X connect 13 0 17 0;
+#X connect 15 0 1 1;
+#X connect 16 0 13 1;
+#X connect 17 0 18 0;
+#X connect 18 0 15 0;
+#X connect 19 0 1 0;
+#X connect 20 0 6 0;
+#X connect 20 0 7 0;
+#X connect 23 0 20 0;
diff --git a/pd/doc/3.audio.examples/C09.sample.hold.pd b/pd/doc/3.audio.examples/C09.sample.hold.pd
new file mode 100644
index 00000000..dc41aacd
--- /dev/null
+++ b/pd/doc/3.audio.examples/C09.sample.hold.pd
@@ -0,0 +1,104 @@
+#N canvas 120 85 930 452 12;
+#N canvas 0 0 450 300 graph1 0;
+#X array samphold 44100 float 0;
+#X coords 0 1 44100 0 300 200 1;
+#X restore 606 36 graph;
+#N canvas 0 0 439 429 tables 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array dbtorms 123 float 1;
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+0.316228 0.354813 0.398107 0.446684 0.501187 0.562341 0.630957 0.707946
+0.794328 0.891251 1 1.12202 1.25893 1.41254 1.58489 1.77828 1.99526
+2.23872 2.51189 2.81838 3.16228 3.54813 3.98107 4.46684 5.01187 5.62341
+6.30957 7.07946 7.94328 8.91251 10 11.2202 12.5893;
+#X coords 0 10 123 0 200 100 1;
+#X restore 78 55 graph;
+#X text 280 148 0;
+#X text 282 48 10;
+#X text 97 158 ------ 123 samples ------;
+#N canvas 0 0 450 300 graph2 0;
+#X array mtof 130 float 1;
+#A 0 8.1758 8.66196 9.17702 9.72272 10.3009 10.9134 11.5623 12.2499
+12.9783 13.75 14.5676 15.4339 16.3516 17.3239 18.354 19.4454 20.6017
+21.8268 23.1247 24.4997 25.9565 27.5 29.1352 30.8677 32.7032 34.6478
+36.7081 38.8909 41.2034 43.6535 46.2493 48.9994 51.9131 55 58.2705
+61.7354 65.4064 69.2957 73.4162 77.7817 82.4069 87.3071 92.4986 97.9989
+103.826 110 116.541 123.471 130.813 138.591 146.832 155.563 164.814
+174.614 184.997 195.998 207.652 220 233.082 246.942 261.626 277.183
+293.665 311.127 329.628 349.228 369.994 391.995 415.305 440 466.164
+493.883 523.251 554.365 587.33 622.254 659.255 698.456 739.989 783.991
+830.609 880 932.328 987.767 1046.5 1108.73 1174.66 1244.51 1318.51
+1396.91 1479.98 1567.98 1661.22 1760 1864.66 1975.53 2093 2217.46 2349.32
+2489.02 2637.02 2793.83 2959.96 3135.96 3322.44 3520 3729.31 3951.07
+4186.01 4434.92 4698.64 4978.03 5274.04 5587.65 5919.91 6271.93 6644.88
+7040 7458.62 7902.13 8372.02 8869.84 9397.27 9956.06 10548.1 11175.3
+11839.8 12543.9 13289.8 14080;
+#X coords 0 12000 130 0 200 100 1;
+#X restore 85 232 graph;
+#X text 95 340 ------ 130 samples ------;
+#X text 294 325 0;
+#X text 296 225 12000;
+#X restore 648 280 pd tables;
+#X text 67 8 SAMPLE AND HOLD;
+#X obj 141 266 phasor~ 5;
+#X obj 44 241 phasor~ 7;
+#X obj 44 266 samphold~;
+#X floatatom 44 216 0 0 0 0 - - -;
+#X floatatom 141 211 0 0 0 0 - - -;
+#X obj 216 319 tabwrite~ samphold;
+#X msg 216 294 bang;
+#X obj 44 341 tabread4~ mtof;
+#X obj 44 291 *~ 48;
+#X obj 44 316 +~ 36;
+#X obj 44 366 osc~;
+#X msg 216 236 0;
+#X text 259 293 <--graph output;
+#X obj 44 191 unpack;
+#X text 254 233 <-- reset phase;
+#X msg 311 131 32 96.33;
+#X msg 124 131 5 7;
+#X msg 44 131 1 5;
+#X msg 78 131 2 11;
+#X msg 161 131 3.7 8.8;
+#X msg 235 131 3.4 8.9;
+#X text 16 31 Another analog favorite \, the sample and hold unit freezes
+an audio signal on command. In the Pd version \, the second input of
+samphold~ triggers it \, and the first input becomes the output's new
+value whenever the trigger decreases from one sample to the next. This
+is ideal for updating values when a phasor wraps around.;
+#X text 679 428 updated for Pd version 0.37;
+#X obj 44 392 output~;
+#X connect 3 0 5 1;
+#X connect 4 0 5 0;
+#X connect 5 0 11 0;
+#X connect 5 0 8 0;
+#X connect 6 0 4 0;
+#X connect 7 0 3 0;
+#X connect 9 0 8 0;
+#X connect 10 0 13 0;
+#X connect 11 0 12 0;
+#X connect 12 0 10 0;
+#X connect 13 0 26 0;
+#X connect 13 0 26 1;
+#X connect 14 0 3 1;
+#X connect 14 0 4 1;
+#X connect 16 0 6 0;
+#X connect 16 1 7 0;
+#X connect 18 0 16 0;
+#X connect 19 0 16 0;
+#X connect 20 0 16 0;
+#X connect 21 0 16 0;
+#X connect 22 0 16 0;
+#X connect 23 0 16 0;
diff --git a/pd/doc/3.audio.examples/C10.monophonic.synth.pd b/pd/doc/3.audio.examples/C10.monophonic.synth.pd
new file mode 100644
index 00000000..66b14564
--- /dev/null
+++ b/pd/doc/3.audio.examples/C10.monophonic.synth.pd
@@ -0,0 +1,107 @@
+#N canvas 57 27 578 769 12;
+#X obj 13 514 mtof;
+#X obj 13 463 stripnote;
+#X obj 164 519 select;
+#X obj 155 413 float;
+#X obj 164 381 t b f;
+#X obj 164 487 float;
+#X text 217 367 f - store pitch below;
+#X text 209 415 velocity stored here;
+#X text 128 459 off;
+#X text 216 486 recall pitch;
+#X text 132 2 MONOPHONIC MIDI SYNTH;
+#X obj 13 340 unpack;
+#X obj 13 273 notein;
+#X obj 13 300 pack;
+#X obj 94 570 line~;
+#X msg 94 544 \$1 100;
+#X msg 164 545 0 1000;
+#X text 15 75 First \, at top \, incoming MIDI notes are parsed and
+used to set pitch and trigger an ADSR envelope. Second \, the envelope
+generator itself has been extended to offer controls over the time
+and target values via number boxes.;
+#X text 17 21 This patch shows how to make a monophonic synthesizer
+that could be controlled from a MIDI or voltage-control keyboard--in
+this example we assume MIDI.;
+#X msg 152 290 55 64;
+#X msg 152 316 55 0;
+#X msg 95 291 48 64;
+#X msg 95 317 48 0;
+#X text 14 142 The note-off testing is complicated by the fact that
+we have to test both that the velocity is zero \, and further that
+the note-off pitch matches the pitch that is now playing (the most
+recent note-on pitch.);
+#X text 218 387 b - bang to recall velocity;
+#X obj 155 442 sel 0;
+#X text 177 463 on;
+#X obj 16 712 output~;
+#X obj 15 688 hip~ 5;
+#X obj 14 642 *~;
+#X obj 13 541 phasor~;
+#X obj 13 565 -~ 0.5;
+#X obj 14 593 cos~;
+#X obj 102 617 *~;
+#X obj 14 617 +~ 1;
+#X text 332 741 updated for Pd version 0.37;
+#X obj 102 665 cos~;
+#X msg 95 268 48 128;
+#X text 18 491 pitch;
+#X text 19 443 messages;
+#X text 210 441 test for note on or off;
+#X text 227 520 test against latest;
+#X text 270 535 note-on pitch;
+#X text 18 407 filter;
+#X text 19 425 note-on;
+#X obj 15 664 *~;
+#X obj 94 517 / 127;
+#X text 14 208 The synthesis technique is the same as in the previous
+patch \, done in a simpler (but less general) way with a cos~ object
+replacing the wavetable lookup.;
+#X text 148 571 envelope generator now controls amplitude;
+#X text 317 589 as well as grain size;
+#X obj 102 641 *~ 2;
+#X obj 123 594 +~ 0.5;
+#X text 148 687 The +~ 0.5 and *~ 2 are fudge factors.;
+#X text 148 648 This replaces the tabread4~;
+#X text 146 668 in the previous patch.;
+#X text 211 290 These buttons simulate MIDI input.;
+#X connect 0 0 30 0;
+#X connect 1 0 2 1;
+#X connect 1 0 0 0;
+#X connect 2 0 16 0;
+#X connect 3 0 25 0;
+#X connect 4 0 3 0;
+#X connect 4 1 5 1;
+#X connect 5 0 2 0;
+#X connect 11 0 1 0;
+#X connect 11 0 4 0;
+#X connect 11 1 1 1;
+#X connect 11 1 3 1;
+#X connect 12 0 13 0;
+#X connect 12 1 13 1;
+#X connect 13 0 11 0;
+#X connect 14 0 45 1;
+#X connect 14 0 51 0;
+#X connect 15 0 14 0;
+#X connect 16 0 14 0;
+#X connect 19 0 11 0;
+#X connect 20 0 11 0;
+#X connect 21 0 11 0;
+#X connect 22 0 11 0;
+#X connect 25 0 5 0;
+#X connect 25 1 46 0;
+#X connect 28 0 27 0;
+#X connect 28 0 27 1;
+#X connect 29 0 45 0;
+#X connect 30 0 31 0;
+#X connect 31 0 33 0;
+#X connect 31 0 32 0;
+#X connect 32 0 34 0;
+#X connect 33 0 50 0;
+#X connect 34 0 29 0;
+#X connect 36 0 29 1;
+#X connect 37 0 11 0;
+#X connect 45 0 28 0;
+#X connect 46 0 15 0;
+#X connect 50 0 36 0;
+#X connect 51 0 33 1;
diff --git a/pd/doc/3.audio.examples/D01.envelope.gen.pd b/pd/doc/3.audio.examples/D01.envelope.gen.pd
new file mode 100644
index 00000000..61e7a6d7
--- /dev/null
+++ b/pd/doc/3.audio.examples/D01.envelope.gen.pd
@@ -0,0 +1,90 @@
+#N canvas 173 105 609 433 12;
+#X floatatom 96 358 0 0 100;
+#N canvas 448 68 641 420 output 0;
+#X obj 430 203 t b;
+#X obj 430 143 f;
+#X obj 430 83 inlet;
+#X obj 430 233 f;
+#X msg 541 225 0;
+#X msg 430 113 bang;
+#X obj 430 173 moses 1;
+#X obj 496 151 moses 1;
+#X obj 107 174 dbtorms;
+#X obj 496 121 r master-lvl;
+#X obj 107 56 r master-lvl;
+#X obj 430 263 s master-lvl;
+#X obj 36 202 inlet~;
+#X obj 251 229 inlet;
+#X obj 269 257 s master-lvl;
+#X msg 119 85 set \$1;
+#X obj 119 115 outlet;
+#X msg 251 283 \; pd dsp 1;
+#X obj 107 236 line~;
+#X obj 36 258 *~;
+#X obj 36 290 dac~;
+#X obj 107 204 pack 0 50;
+#X text 23 179 audio in;
+#X text 2 313 out both channels;
+#X obj 36 231 hip~ 1;
+#X obj 541 194 t b;
+#X connect 0 0 3 0;
+#X connect 1 0 6 0;
+#X connect 2 0 5 0;
+#X connect 3 0 11 0;
+#X connect 4 0 11 0;
+#X connect 5 0 1 0;
+#X connect 6 0 0 0;
+#X connect 6 1 25 0;
+#X connect 7 1 3 1;
+#X connect 8 0 21 0;
+#X connect 9 0 1 1;
+#X connect 9 0 7 0;
+#X connect 10 0 8 0;
+#X connect 10 0 15 0;
+#X connect 12 0 24 0;
+#X connect 13 0 14 0;
+#X connect 13 0 17 0;
+#X connect 15 0 16 0;
+#X connect 18 0 19 1;
+#X connect 19 0 20 0;
+#X connect 19 0 20 1;
+#X connect 21 0 18 0;
+#X connect 24 0 19 0;
+#X connect 25 0 4 0;
+#X restore 58 391 pd output;
+#X msg 134 359 MUTE;
+#X msg 247 180 bang;
+#X msg 328 180 bang;
+#X text 244 152 attack;
+#X text 325 150 release;
+#X obj 247 281 line~;
+#X msg 328 254 0 500;
+#X text 134 10 ENVELOPE GENERATORS;
+#X obj 58 246 phasor~ 50;
+#X obj 58 301 *~;
+#X obj 58 328 wrap~;
+#X msg 247 248 1 2500;
+#X obj 58 275 -~ 0.5;
+#X msg 179 247 10 200;
+#X obj 247 221 del 200;
+#X text 349 405 updated for Pd version 0.34;
+#X text 39 35 This patch uses an envelope generator to control a sound.
+When you hit "attack" two things happen. First \, the line~ object
+rises to 10 in 200 milliseconds. Then after a "delay" of the same 200
+msec \, the second message sends the line~ back down to 1 over another
+2500 msec. The "release" just ramps us down to zero at the end.;
+#X connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 3 0 15 0;
+#X connect 3 0 16 0;
+#X connect 4 0 8 0;
+#X connect 7 0 11 1;
+#X connect 8 0 7 0;
+#X connect 10 0 14 0;
+#X connect 11 0 12 0;
+#X connect 12 0 1 0;
+#X connect 13 0 7 0;
+#X connect 14 0 11 0;
+#X connect 15 0 7 0;
+#X connect 16 0 13 0;
diff --git a/pd/doc/3.audio.examples/D02.adsr.pd b/pd/doc/3.audio.examples/D02.adsr.pd
new file mode 100644
index 00000000..06fa21b7
--- /dev/null
+++ b/pd/doc/3.audio.examples/D02.adsr.pd
@@ -0,0 +1,34 @@
+#N canvas 141 83 672 516 12;
+#X text 412 489 updated for Pd version 0.26;
+#X graph graph1 0 -1.02 44100 1.02 395 235 595 105;
+#X array adsr-output 44100 float 0;
+#X pop;
+#X text 394 244 ------ 1 second ------;
+#X obj 32 74 r trigger;
+#X obj 32 148 tabwrite~ adsr-output;
+#X obj 54 123 r graphit;
+#X msg 31 176 bang;
+#X text 75 177 <-- attack and delayed release;
+#X obj 42 200 del 500;
+#X text 146 283 <-- attack only;
+#X msg 31 264 \; pd dsp 1 \; trigger 1 \; graphit bang;
+#X text 147 360 <-- release only;
+#X msg 30 334 \; pd dsp 1 \; trigger 0 \; graphit bang;
+#X msg 42 225 \; trigger 0;
+#X text 598 221 -1;
+#X text 600 96 1;
+#X text 35 24 This patch introduces a simple "adsr" abstraction we'll
+use frequently. You can click on the "adsr" object to see what's inside.
+;
+#X text 30 402 The active ingredient of the ADSR envelope generator
+is a single line~ which gets passed messages to make the attack and
+release behavior. You can retrigger the ADSR envelope generator all
+you wish without having to wait for attacks or releases to finish;
+#X text 104 5 ENVELOPE GENERATOR ABSTRACTION;
+#X obj 32 100 adsr 1 100 200 50 300;
+#X connect 3 0 19 0;
+#X connect 5 0 4 0;
+#X connect 6 0 10 0;
+#X connect 6 0 8 0;
+#X connect 8 0 13 0;
+#X connect 19 0 4 0;
diff --git a/pd/doc/3.audio.examples/D03.envelope.dB.pd b/pd/doc/3.audio.examples/D03.envelope.dB.pd
new file mode 100644
index 00000000..8ec1d1ae
--- /dev/null
+++ b/pd/doc/3.audio.examples/D03.envelope.dB.pd
@@ -0,0 +1,158 @@
+#N canvas 112 44 674 673 12;
+#X obj 32 80 r trigger;
+#X text 85 8 USING ADSR'S OUTPUT AS dB;
+#X text 34 28 For natural sounding amplitude control \, you will want
+to use the ADSR's output as log amplitude. In practice this is best
+done using a lookup table:;
+#X obj 32 131 tabread4~ dbtorms;
+#N canvas 0 0 450 300 graph1 0;
+#X array dbtorms 123 float 1;
+#A 0 0 0 1.25893e-05 1.41254e-05 1.58489e-05 1.77828e-05 1.99526e-05
+2.23872e-05 2.51189e-05 2.81838e-05 3.16228e-05 3.54813e-05 3.98107e-05
+4.46684e-05 5.01187e-05 5.62341e-05 6.30957e-05 7.07946e-05 7.94328e-05
+8.91251e-05 1e-04 0.000112202 0.000125893 0.000141254 0.000158489 0.000177828
+0.000199526 0.000223872 0.000251189 0.000281838 0.000316228 0.000354813
+0.000398107 0.000446684 0.000501187 0.000562341 0.000630957 0.000707946
+0.000794328 0.000891251 0.001 0.00112202 0.00125893 0.00141254 0.00158489
+0.00177828 0.00199526 0.00223872 0.00251189 0.00281838 0.00316228 0.00354813
+0.00398107 0.00446684 0.00501187 0.00562341 0.00630957 0.00707946 0.00794328
+0.00891251 0.01 0.0112202 0.0125893 0.0141254 0.0158489 0.0177828 0.0199526
+0.0223872 0.0251189 0.0281838 0.0316228 0.0354813 0.0398107 0.0446684
+0.0501187 0.0562341 0.0630957 0.0707946 0.0794328 0.0891251 0.1 0.112202
+0.125893 0.141254 0.158489 0.177828 0.199526 0.223872 0.251189 0.281838
+0.316228 0.354813 0.398107 0.446684 0.501187 0.562341 0.630957 0.707946
+0.794328 0.891251 1 1.12202 1.25893 1.41254 1.58489 1.77828 1.99526
+2.23872 2.51189 2.81838 3.16228 3.54813 3.98107 4.46684 5.01187 5.62341
+6.30957 7.07946 7.94328 8.91251 10 11.2202 12.5893;
+#X coords 0 10 123 0 200 100 1;
+#X restore 387 83 graph;
+#N canvas 461 495 663 358 make-table 0;
+#X obj 97 195 moses 2;
+#X msg 81 44 bang;
+#X obj 81 73 t b b;
+#X obj 152 134 f;
+#X obj 190 134 + 1;
+#X msg 174 106 0;
+#X obj 81 102 until;
+#X obj 73 162 sel 122;
+#X msg 97 226 0;
+#X obj 141 227 dbtorms;
+#X obj 152 162 t f f;
+#X obj 97 259 tabwrite dbtorms;
+#X floatatom 435 103 0 0 0;
+#X floatatom 435 186 0 0 0;
+#X obj 435 157 tabread4 dbtorms;
+#X floatatom 331 183 0 0 0;
+#X obj 331 154 dbtorms;
+#X text 35 12 bang to recalculate the table;
+#X text 268 62 check accuracy of reading table against;
+#X text 268 81 the "real" dbtorms object.;
+#X connect 0 0 8 0;
+#X connect 0 1 9 0;
+#X connect 1 0 2 0;
+#X connect 2 0 6 0;
+#X connect 2 1 5 0;
+#X connect 3 0 4 0;
+#X connect 3 0 7 0;
+#X connect 3 0 10 0;
+#X connect 4 0 3 1;
+#X connect 5 0 3 1;
+#X connect 6 0 3 0;
+#X connect 7 0 6 1;
+#X connect 8 0 11 0;
+#X connect 9 0 11 0;
+#X connect 10 0 0 0;
+#X connect 10 1 11 1;
+#X connect 12 0 14 0;
+#X connect 12 0 16 0;
+#X connect 14 0 13 0;
+#X connect 16 0 15 0;
+#X restore 288 328 pd make-table;
+#X text 258 299 here's the patch I used to make the table:;
+#X obj 48 156 osc~ 440;
+#X text 589 176 0;
+#X text 590 77 10;
+#X text 406 186 ------ 123 samples ------;
+#X floatatom 61 204 0 0 0;
+#N canvas 159 26 532 285 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;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 158 audio;
+#X text 93 110 show level;
+#X obj 425 153 t b;
+#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 26 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 21 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 5 0;
+#X restore 32 232 pd output;
+#X msg 108 205 MUTE;
+#X text 149 204 <-- output amplitude;
+#X text 112 276 <-- attack;
+#X text 113 333 <-- release;
+#X msg 32 319 \; pd dsp 1 \; trigger 0;
+#X obj 32 182 *~;
+#X msg 31 264 \; pd dsp 1 \; trigger 1;
+#X text 29 431 Notice how the attack sounds different when you retrigger
+than when you start from zero. This is because if you go from the steady
+state you only rise 30 dB instead of 100 \, so it sounds slower.;
+#X obj 32 106 adsr 100 100 200 70 300;
+#X text 29 381 The table is indexed from 1 to 120 so that 1 gives a
+true zero out and 120 gives 10 (a 20 dB boost.) The extra 20 dB are
+for headroom.;
+#X text 28 498 If this is a problem you have at least 2 ways of dealing
+with it. The best might be to adjust the attack time inside the abstraction
+using snapshot~ to find out where you're slewing from \, as demonstrated
+in the next patch.;
+#X text 406 631 updated for Pd version 0.35;
+#X text 28 568 There's also a "real" dbtorms~ object... but it's almost
+certainly much more compute-intensive than tabread4~ \, since it has
+to call a library "exp" function.;
+#X connect 0 0 21 0;
+#X connect 3 0 18 0;
+#X connect 7 0 18 1;
+#X connect 11 0 12 1;
+#X connect 12 0 11 0;
+#X connect 13 0 12 2;
+#X connect 18 0 12 0;
+#X connect 21 0 3 0;
diff --git a/pd/doc/3.audio.examples/D04.envelope.pitch.pd b/pd/doc/3.audio.examples/D04.envelope.pitch.pd
new file mode 100644
index 00000000..43fbe5bc
--- /dev/null
+++ b/pd/doc/3.audio.examples/D04.envelope.pitch.pd
@@ -0,0 +1,209 @@
+#N canvas 222 84 686 544 12;
+#X obj 48 106 r trigger;
+#X obj 48 154 tabread4~ dbtorms;
+#X floatatom 86 232 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 158 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 48 258 pd output;
+#X msg 124 232 MUTE;
+#X text 166 231 <-- output amplitude;
+#X text 141 298 <-- attack;
+#X text 568 305 <-- release;
+#X obj 48 208 *~;
+#N canvas 151 343 812 522 make-table 0;
+#X msg 82 49 bang;
+#X obj 82 78 t b b;
+#X obj 141 142 f;
+#X obj 179 142 + 1;
+#X msg 150 112 0;
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+#X text 35 6 PITCH ENVELOPES;
+#X text 125 24 For pitch envelopes \, unlike amplitude envelopes \,
+discontinuities are allowed and sometimes you would rather the envelope
+generator actually jump to zero when it's triggered. The "adsr" object
+does this for you if you send a negative trigger instead of a positive
+one:;
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+#X obj 280 154 +~ 69;
+#X text 358 314 restarting;
+#X text 363 331 pitch env;
+#X text 37 377 We have added a new table \, mtof \, for converting
+audio signals from pitch to frequency. Its range is 1-127 \, so you
+want to add a base pitch in before you start reading from it.;
+#X text 37 443 This is an extreme use of pitch enveloping. In a real
+situation you might want an envelope controlling vibrato depth or the
+like instead of straight pitch.;
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new file mode 100644
index 00000000..6542e8b5
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+#X text 35 6 PORTAMENTO;
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+#X text 40 37 Portamento can be done using just line~ \, but you still
+might want to sweep in pitch \, not frequency:;
+#X text 363 293 updated for Pd version 0.35;
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diff --git a/pd/doc/3.audio.examples/D06.additive.pd b/pd/doc/3.audio.examples/D06.additive.pd
new file mode 100644
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+#X text 87 15 ADDITIVE SYNTHESIS;
+#X text 32 73 This patch demonstrates using an abstraction \, "partial"
+\, to make a simple additive synthesis instrument.;
+#X text 28 114 Partial takes as arguments an amplitude \, a relative
+frequency \, a detuning frequency \, and a relative duration. You set
+absolute duration and pitch using the controls below. Hit hte trigger
+to make sound.;
+#X text 460 435 updated for Pd version 0.26;
+#X text 535 207 duration in tenths;
+#X text 535 222 of a second;
+#X text 419 215 pitch;
+#X text 251 253 click to start;
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+#X obj 55 396 dbtorms;
+#X obj 55 367 unpack;
+#X obj 55 425 sqrt;
+#X obj 55 454 sqrt;
+#X obj 55 482 line~;
+#X obj 37 569 *~;
+#X obj 55 511 *~;
+#X obj 55 540 *~;
+#X text 107 51 messages to the phase generating line~;
+#X text 188 114 setting the sample number.;
+#X text 238 143 compute the name;
+#X text 110 171 and send a "set" message to the tabread4~.;
+#X text 116 270 line~ for de-clicking;
+#X text 156 341 The envelope generator. Rather than sending our message
+straight to the line~ we unpack it in order to fool with the amplitude
+field.;
+#X text 126 397 convert amplitude to linear units.;
+#X text 121 426 take the fourth root. This because we want to raies
+the line~'s output to the 4th power afterward. This is an inexpensive
+way to give the rise and decay a more natural sounding evolution than
+just a straight line.;
+#X text 94 514 square the output twice to get the fourth power.;
+#X connect 0 0 10 0;
+#X connect 1 0 2 1;
+#X connect 2 0 17 0;
+#X connect 3 0 1 0;
+#X connect 4 0 0 0;
+#X connect 6 0 5 0;
+#X connect 7 0 8 0;
+#X connect 8 0 9 0;
+#X connect 9 0 10 0;
+#X connect 10 0 2 0;
+#X connect 11 0 13 0;
+#X connect 12 0 14 0;
+#X connect 13 0 12 0;
+#X connect 13 1 16 1;
+#X connect 14 0 15 0;
+#X connect 15 0 16 0;
+#X connect 16 0 18 0;
+#X connect 16 0 18 1;
+#X connect 17 0 6 0;
+#X connect 18 0 19 0;
+#X connect 18 0 19 1;
+#X connect 19 0 17 1;
+#X restore 29 480 pd playback;
+#X msg 29 332 record 2;
+#X text 641 25 ARGUMENTS FOR NOTES:;
+#X text 662 53 pitch in halftones;
+#X text 662 77 amplitude (dB);
+#X text 662 125 sample number;
+#X text 662 101 duration (msec);
+#X text 662 149 start location (msec);
+#X text 662 173 rise time (msec);
+#X text 662 197 decay time (msec);
+#X obj 359 62 unpack 0 0 0 0 0 0 0;
+#X text 46 6 CHOCOLATE SAMPLER;
+#X obj 517 168 f;
+#X obj 452 142 f;
+#X obj 383 142 f;
+#X obj 346 142 f;
+#X obj 314 142 f;
+#X obj 220 142 f;
+#X obj 220 169 mtof;
+#X obj 220 197 / 261.62;
+#X obj 220 224 * 4.41e+08;
+#X obj 220 252 +;
+#X obj 485 142 delay;
+#X obj 314 312 pack 0 0 0 0 0;
+#X obj 253 62 t b b b;
+#X text 494 346 This starts the note \, sending to "receives" in the
+playback subptach. The new receive "envelope" is an amplitude control
+in parallel with the cutoff control. The "sample-number" switches the
+tabread4~ between tables.;
+#X msg 152 44 \; pd dsp 1 \; cutoff 0 5;
+#X obj 383 197 + 1;
+#X msg 552 467 60 100 10000 1 0 0 0;
+#X obj 552 737 s note;
+#X msg 517 196 \; envelope 0 \$1;
+#X msg 671 691 62;
+#X msg 706 691 64;
+#X msg 637 691 60;
+#X msg 608 691 55;
+#X msg 739 691 72;
+#X msg 576 691 48;
+#X msg 638 734 60.5;
+#X msg 552 494 60 90 10000 1 0 0 0;
+#X msg 552 522 60 100 10000 2 0 0 0;
+#X msg 552 550 60 100 10000 1 3000 0 0;
+#X obj 383 169 * 44.1;
+#X msg 552 605 60 100 100 1 0 0 0;
+#X msg 552 632 60 100 100 1 0 0 1000;
+#X msg 552 577 60 100 10000 1 0 1000 0;
+#X msg 314 340 \; envelope 0 \, \$1 \$2 \; phase \$3 \, \$4 1e+07 \;
+sample-number \$5 \; cutoff 1 5 \;;
+#X text 108 315 <-- record;
+#X msg 29 388 reload;
+#X msg 29 415 browse;
+#X text 6 109 transposition works;
+#X text 6 133 by altering the phase;
+#X text 6 181 The mtof and / 261;
+#X text 6 205 calculate speed change;
+#X text 6 229 considering 60 as unity.;
+#X text 20 43 as before we;
+#X text 11 64 mute and wait;
+#X text 6 157 target ($4 below right.);
+#X text 446 303 combine amplitude \, rise time \, start phase \, end
+phase \, and sample number in one message;
+#X text 16 594 This patch take the same principle as the previous one
+\, but allows you to parametrize sample playback. Since we must wait
+5 msec before starting the playback \, we store all the parameters
+in "f" objects \, and recall them to construct the new note. Transposition
+is done by altering the amount to play back in the (artificial) ten
+thousand seconds (1e+07). The playback segment can be altered to start
+in the middle of the sample instead of the beginning \, and you can
+change the duration and rise and decay times.;
+#X text 744 468 straight playback;
+#X text 749 495 change amplitude;
+#X text 752 523 change sample number;
+#X text 755 550 change start location;
+#X text 754 576 change rise time;
+#X text 754 609 change duration;
+#X text 755 633 ... and decay time;
+#X text 688 736 microtones OK too.;
+#X text 576 667 If you omit values they stay unchanged;
+#X text 799 759 updated for Pd version 0.33;
+#X text 548 426 Here are buttons to demonstrate the effect of varying
+the parameters one by one.;
+#X connect 4 0 5 1;
+#X connect 5 0 4 0;
+#X connect 6 0 5 2;
+#X connect 8 0 9 0;
+#X connect 8 0 42 0;
+#X connect 9 0 40 0;
+#X connect 11 0 26 0;
+#X connect 14 0 13 0;
+#X connect 15 0 13 0;
+#X connect 16 0 5 0;
+#X connect 17 0 13 0;
+#X connect 26 0 33 1;
+#X connect 26 0 8 0;
+#X connect 26 1 32 1;
+#X connect 26 2 38 1;
+#X connect 26 3 31 1;
+#X connect 26 4 30 1;
+#X connect 26 5 29 1;
+#X connect 26 6 28 1;
+#X connect 28 0 46 0;
+#X connect 29 0 39 1;
+#X connect 30 0 57 0;
+#X connect 31 0 39 4;
+#X connect 32 0 39 0;
+#X connect 33 0 34 0;
+#X connect 34 0 35 0;
+#X connect 35 0 36 0;
+#X connect 36 0 37 0;
+#X connect 37 0 39 3;
+#X connect 38 0 28 0;
+#X connect 39 0 61 0;
+#X connect 40 0 32 0;
+#X connect 40 1 33 0;
+#X connect 40 2 29 0;
+#X connect 40 2 30 0;
+#X connect 40 2 31 0;
+#X connect 40 2 38 0;
+#X connect 43 0 39 2;
+#X connect 43 0 37 1;
+#X connect 44 0 45 0;
+#X connect 47 0 45 0;
+#X connect 48 0 45 0;
+#X connect 49 0 45 0;
+#X connect 50 0 45 0;
+#X connect 51 0 45 0;
+#X connect 52 0 45 0;
+#X connect 53 0 45 0;
+#X connect 54 0 45 0;
+#X connect 55 0 45 0;
+#X connect 56 0 45 0;
+#X connect 57 0 43 0;
+#X connect 58 0 45 0;
+#X connect 59 0 45 0;
+#X connect 60 0 45 0;
+#X connect 63 0 13 0;
+#X connect 64 0 13 0;
diff --git a/pd/doc/3.audio.examples/D08.sampler.poly.pd b/pd/doc/3.audio.examples/D08.sampler.poly.pd
new file mode 100644
index 00000000..3e6cdba9
--- /dev/null
+++ b/pd/doc/3.audio.examples/D08.sampler.poly.pd
@@ -0,0 +1,229 @@
+#N canvas 66 253 1119 674 12;
+#X floatatom 582 562 0 0 0 0 - - -;
+#N canvas 159 26 495 262 output 0;
+#X obj 406 192 t b;
+#X obj 406 132 f;
+#X obj 406 72 inlet;
+#X text 413 35 mute;
+#X obj 406 222 f;
+#X msg 510 214 0;
+#X msg 406 102 bang;
+#X obj 406 162 moses 1;
+#X obj 510 184 t b f;
+#X obj 476 140 moses 1;
+#X obj 100 178 dbtorms;
+#X obj 476 110 r master-lvl;
+#X obj 100 50 r master-lvl;
+#X obj 406 252 s master-lvl;
+#X obj 26 217 inlet~;
+#X obj 239 49 inlet;
+#X text 239 22 level;
+#X obj 239 120 s master-lvl;
+#X msg 115 78 set \$1;
+#X obj 115 107 outlet;
+#X msg 257 77 \; pd dsp 1;
+#X obj 100 233 line~;
+#X obj 26 254 *~;
+#X obj 26 289 dac~;
+#X obj 100 205 pack 0 50;
+#X text 24 190 audio;
+#X text 112 132 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 547 595 pd output;
+#X msg 617 562 MUTE;
+#X text 660 561 <-- output amplitude;
+#N canvas 0 0 600 392 samples 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array sample1 176403 float 0;
+#X coords 0 1.02 176403 -1.02 200 130 1;
+#X restore 262 41 graph;
+#X text 282 385 ------ 4 seconds ------;
+#N canvas 0 0 450 300 graph1 0;
+#X array sample2 176403 float 0;
+#X coords 0 1.02 176403 -1.02 200 130 1;
+#X restore 262 226 graph;
+#X restore 931 97 pd samples;
+#N canvas 52 219 967 340 recorder 0;
+#X obj 220 21 inlet;
+#X obj 174 174 adc~ 1;
+#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 obj 26 88 makefilename sample%1;
+#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;
+#X msg 514 140 read \$1 sample1;
+#X obj 514 167 soundfiler;
+#X connect 0 0 13 0;
+#X connect 1 0 2 0;
+#X connect 2 0 4 0;
+#X connect 3 0 4 1;
+#X connect 4 0 8 0;
+#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 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 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 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 547 522 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;
+#X obj 604 76 t b f;
+#X obj 544 109 f;
+#X obj 580 109 + 1;
+#X obj 552 146 mod 1e+06;
+#X obj 544 175 makenote 64;
+#X obj 544 203 poly 8 1;
+#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 206 142 increment mod 1e+06 to make fake pitch;
+#X text 326 177 supply note-off message;
+#X text 336 207 allocate sampler voice;
+#X text 359 232 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 19 271 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 20 421 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 20 523 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 connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 6 0 5 0;
+#X connect 7 0 5 0;
+#X connect 8 0 5 0;
+#X connect 17 0 5 0;
+#X connect 18 0 5 0;
+#X connect 20 0 1 0;
+#X connect 21 0 20 0;
+#X connect 22 0 21 0;
+#X connect 23 0 22 0;
+#X connect 24 0 23 0;
+#X connect 25 0 24 0;
+#X connect 26 0 25 0;
+#X connect 27 0 26 0;
+#X connect 28 0 29 0;
+#X connect 29 0 30 0;
+#X connect 29 1 37 2;
+#X connect 29 2 34 2;
+#X connect 29 2 37 3;
+#X connect 29 3 37 4;
+#X connect 29 4 37 5;
+#X connect 29 5 37 6;
+#X connect 29 6 37 7;
+#X connect 30 0 31 0;
+#X connect 30 1 37 1;
+#X connect 31 0 32 0;
+#X connect 31 0 34 0;
+#X connect 32 0 33 0;
+#X connect 33 0 31 1;
+#X connect 34 0 35 0;
+#X connect 34 1 35 1;
+#X connect 35 0 36 0;
+#X connect 35 2 36 1;
+#X connect 36 0 37 0;
+#X connect 37 0 38 0;
+#X connect 38 0 27 1;
+#X connect 38 1 26 1;
+#X connect 38 2 25 1;
+#X connect 38 3 24 1;
+#X connect 38 4 23 1;
+#X connect 38 5 22 1;
+#X connect 38 6 21 1;
+#X connect 38 7 20 1;
+#X connect 53 0 44 0;
diff --git a/pd/doc/3.audio.examples/D09.table.spectrum.pd b/pd/doc/3.audio.examples/D09.table.spectrum.pd
new file mode 100644
index 00000000..65ccccde
--- /dev/null
+++ b/pd/doc/3.audio.examples/D09.table.spectrum.pd
@@ -0,0 +1,143 @@
+#N canvas 227 120 801 403 12;
+#X graph graph3 0 0 126 50 496 276 796 136;
+#X array spectrum-tab 127 float 1;
+#A 0 42.8571 42.5 43.2143 43.2143 43.2143 43.2143 43.2143 42.8571 42.8571
+42.8571 42.8571 42.8571 42.8571 42.5 42.5 42.5 42.5 42.5 42.5 42.5
+42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5 42.5
+42.5 42.5 42.1429 42.1429 41.7857 41.0714 40.3571 39.6429 39.2857 38.2143
+37.5 37.1429 36.0714 35.3571 33.9286 33.2143 32.8571 31.4286 31.0714
+30.3571 28.9286 28.2143 27.5 26.4286 25.7143 23.9286 23.2143 21.7857
+21.0714 20.7143 20 19.6429 19.6429 23.2143 28.2143 31.4286 33.5714
+36.4286 37.8571 38.9286 43.9286 45.7143 47.8571 47.8571 47.8571 47.8571
+47.5 47.1429 43.2143 40.3571 36.4286 33.9286 32.1429 29.2857 18.2143
+16.7857 16.7857 17.5 19.6429 22.1429 28.2143 33.9286 33.9286 33.9286
+33.5714 22.5 18.5714 16.7857 4.64286 4.64286 18.2143 17.1429 8.92857
+4.28571 11.4286 10 7.5 6.42857 5.71429 5.35714 5 4.64286 4.28571 3.92857
+3.92857 3.57143 3.57143 2.85714 2.5 2.14286 1.78571 0.714286 0.357143
+;
+#X pop;
+#X floatatom 57 351 0 0 0;
+#N canvas 159 26 526 286 output 0;
+#X obj 345 163 t b;
+#X obj 345 112 f;
+#X obj 345 61 inlet;
+#X text 351 30 mute;
+#X obj 345 189 f;
+#X msg 434 182 0;
+#X msg 345 87 bang;
+#X obj 345 138 moses 1;
+#X obj 405 119 moses 1;
+#X obj 85 151 dbtorms;
+#X obj 405 94 r master-lvl;
+#X obj 85 43 r master-lvl;
+#X obj 345 214 s master-lvl;
+#X obj 22 185 inlet~;
+#X obj 203 42 inlet;
+#X text 203 18 level;
+#X obj 203 102 s master-lvl;
+#X msg 98 67 set \$1;
+#X obj 98 91 outlet;
+#X msg 218 65 \; pd dsp 1;
+#X obj 85 198 line~;
+#X obj 22 216 *~;
+#X obj 22 246 dac~;
+#X obj 85 175 pack 0 50;
+#X text 20 162 audio;
+#X obj 434 155 t b;
+#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 25 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 21 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 25 0 5 0;
+#X restore 19 376 pd output;
+#X msg 95 350 MUTE;
+#N canvas 98 16 694 474 oscbank 0;
+#X obj 36 53 spectrum-partial 1;
+#X obj 36 79 spectrum-partial 2;
+#X obj 36 105 spectrum-partial 3;
+#X obj 36 131 spectrum-partial 4;
+#X obj 36 157 spectrum-partial 5;
+#X obj 36 183 spectrum-partial 6;
+#X obj 36 209 spectrum-partial 7;
+#X obj 36 235 spectrum-partial 8;
+#X obj 36 261 spectrum-partial 9;
+#X obj 36 287 spectrum-partial 10;
+#X obj 216 53 spectrum-partial 11;
+#X obj 122 382 loadbang;
+#X obj 122 407 metro 30;
+#X obj 122 433 s poll-table;
+#X text 107 21 This is the bank of oscillators--open one to see:;
+#X text 72 345 And here we send bangs to "poll-table" needed by the
+abstraction.;
+#X obj 216 79 spectrum-partial 12;
+#X obj 216 105 spectrum-partial 13;
+#X obj 216 131 spectrum-partial 14;
+#X obj 216 157 spectrum-partial 15;
+#X obj 216 183 spectrum-partial 16;
+#X obj 216 209 spectrum-partial 17;
+#X obj 216 235 spectrum-partial 18;
+#X obj 215 261 spectrum-partial 19;
+#X obj 215 287 spectrum-partial 20;
+#X obj 395 53 spectrum-partial 21;
+#X obj 395 78 spectrum-partial 22;
+#X obj 395 104 spectrum-partial 23;
+#X obj 395 130 spectrum-partial 24;
+#X obj 395 156 spectrum-partial 25;
+#X obj 395 182 spectrum-partial 26;
+#X obj 395 207 spectrum-partial 27;
+#X obj 396 234 spectrum-partial 28;
+#X obj 395 260 spectrum-partial 29;
+#X obj 395 287 spectrum-partial 30;
+#X connect 11 0 12 0;
+#X connect 12 0 13 0;
+#X restore 17 251 pd oscbank;
+#X obj 19 321 catch~ sum-bus;
+#X obj 16 153 s pitch;
+#X floatatom 16 125 4 0 0;
+#X text 43 18 DRAWABLE SPECTRA;
+#X floatatom 14 183 4 0 0;
+#X obj 14 211 s whammybar;
+#N canvas 0 0 650 341 table-setup 0;
+#X obj 39 227 loadbang;
+#X msg 39 261 \; spectrum-tab xlabel -5 0 12 24 36 48 60 72 84 96 108
+120;
+#X text 82 60 comment;
+#X connect 0 0 1 0;
+#X restore 17 283 pd table-setup;
+#X msg 596 65 \; spectrum-tab const 0;
+#X text 555 381 Updated for Pd version 0.34;
+#X text 26 42 In this array \, you can draw a spectral envelope that
+will be synthesized by an oscillator bank. Each oscillator in the bank
+computes its own frequency and uses it to look up amplitude from the
+array.;
+#X text 113 254 <-- the oscillator bank;
+#X text 71 128 <-- pitch;
+#X text 61 185 <-- left or right shift (normally 0);
+#X text 157 318 <-- here we just collect the sum of all the partials
+which are computed in "oscbank".;
+#X text 662 44 CLEAR;
+#X text 148 283 <-- make the number labels;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 5 0 2 0;
+#X connect 7 0 6 0;
+#X connect 9 0 10 0;
diff --git a/pd/doc/3.audio.examples/D10.risset.bell.pd b/pd/doc/3.audio.examples/D10.risset.bell.pd
new file mode 100644
index 00000000..8e329eaa
--- /dev/null
+++ b/pd/doc/3.audio.examples/D10.risset.bell.pd
@@ -0,0 +1,109 @@
+#N canvas 375 37 484 454 12;
+#X floatatom 129 403 0 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 182 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 159 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
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new file mode 100644
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+#X text 130 114 phase -1/2 to 1/2;
+#X text 152 91 phase 0 to 1;
+#X text 132 5 PULSE GENERATOR;
+#X obj 32 234 tabwrite~ phase-output;
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+#X text 116 372 high pass filter to cut DC;
+#X msg 32 147 bang;
+#X text 332 79 fix range;
+#X text 337 100 force;
+#X text 337 117 nonnegative;
+#X text 339 164 smooth it;
+#X text 327 187 add 1;
+#X text 78 148 <-- click to graph;
+#X text 96 209 increase amplitude;
+#X text 177 264 clip back to range -1/2 to 1/2;
+#X text 103 316 cosine wave lookup (-1/2 and 1/2 give -1);
+#X text 24 470 This patch computes a pulse train \, with a "bandwidth"
+control that essentually squeezes the pulses. If "bandwidth" is zero
+you get a pure cosine wave \, and for larger values of the bandwidth
+\, the cosine wave is squeezed to fill smaller portions of the waveform.
+;
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new file mode 100644
index 00000000..b82b4953
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+#X text 225 19 negative frequency;
+#X text 226 35 makes falling sawtooth;
+#X text 155 59 square it to make a curve;
+#X text 245 152 you can;
+#X text 243 170 adjust these;
+#X text 247 189 values;
+#X text 334 250 We interrupt this series of patches to bring you an
+important message from Nancy Reagan. If \, anywhere \, at any time
+\, someone offers you an illicit drug \, just say one word in reply...
+;
+#X text 334 313 Now that I'm sure you've heard this important message
+\, we can return to the essentially frivolous occupation of making
+turn-of-the-millenium western art music.;
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+#X text 561 384 updated for Pd version 0.34;
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diff --git a/pd/doc/3.audio.examples/E03.pulse.spectrum.pd b/pd/doc/3.audio.examples/E03.pulse.spectrum.pd
new file mode 100644
index 00000000..49d21cbd
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+#X text 143 226 <-- click to graph;
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+#X text 63 1 PULSE SPECTRUM MEASUREMENT;
+#X text 16 377 Here is a measured amplitude spectrum for the pulse
+train. Nutice that \, other than a smallish spillover \, the energy
+sits in one "lobe" whose changing width justifies our calling the squeeze
+factor the "bandwidth.";
+#X text 16 442 The spectrum is in units of amplitude. THe sidelobes
+\, although they look small \, are actually only about 34 dB down.
+You can design more complicated pulse trains \, little Blackman window
+functions \, which control the sidelobes much better.;
+#X text 17 518 The spectrum measurement is done in the "pd fft" subwindow
+\, but see the "FFT examples" for information about that.;
+#X text 501 291 0;
+#X text 749 288 5512;
+#X text 633 511 ---- 0.02 seconds ----;
+#X text 160 319 <-- output;
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new file mode 100644
index 00000000..1aa97555
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+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 39 331 pd output;
+#X msg 106 303 MUTE;
+#X text 150 302 <-- output amplitude;
+#X obj 220 147 pack 0 50;
+#X floatatom 220 46 0 0 0;
+#X text 640 544 updated for Pd version 0.26;
+#X obj 70 108 *~;
+#X obj 220 72 / 10;
+#X obj 220 96 moses 0;
+#X msg 220 120 0;
+#X obj 39 275 hip~ 5;
+#X graph graph1 0 0 128 300 620 491 876 361;
+#X array spectrum 128 float 0;
+#X pop;
+#X text 215 28 bandwidth;
+#X msg 135 235 bang;
+#X text 177 234 <-- click to graph;
+#N canvas 204 17 358 238 fft 0;
+#X obj 46 48 inlet~;
+#X obj 159 181 tabwrite~ spectrum;
+#X obj 159 145 inlet;
+#X obj 46 78 rfft~;
+#X obj 46 111 *~;
+#X obj 77 111 *~;
+#X obj 46 141 sqrt~;
+#X obj 191 45 block~ 1024 1;
+#X connect 0 0 3 0;
+#X connect 2 0 1 0;
+#X connect 3 0 4 0;
+#X connect 3 0 4 1;
+#X connect 3 1 5 0;
+#X connect 3 1 5 1;
+#X connect 4 0 6 0;
+#X connect 5 0 6 0;
+#X connect 6 0 1 0;
+#X restore 68 237 pd fft;
+#X text 618 497 0;
+#X text 851 492 5512;
+#X obj 78 141 *~;
+#X obj 18 141 sig~ 1;
+#X obj 39 194 /~;
+#X obj 54 168 +~;
+#X obj 70 79 osc~ 86.1328;
+#X text 103 107 call this X;
+#X text 111 141 X^2;
+#X text 84 171 1+X^2;
+#X text 71 196 1/(1+X^2);
+#X text 10 357 This is the form of pulse train used in the Phase Aligned
+Formant (PAF) algorithm. It has the neat property that its amplitude
+spectrum drops off as a perfectly exponential function of frequency.
+This algorithm is protected by French and US patents. contact Vincent
+Puig to learn what restrictions may apply.;
+#X text 11 457 On the other hand \, there are rumors that exp(-X*X)
+actually sounds better than 1/(1+X*X). To compute exp(-X*X) efficiently
+you will want to employ tabread4~ with a stored bell curve. I don't
+want to know you're doing this. However \, the first Pd user who e-mails
+me the correct formula for the output spectrum wins a free CO2 fire
+extinguisher.;
+#X text 28 4 ANOTHER PULSE WIDTH MOD ALGORITHM;
+#X connect 0 0 12 1;
+#X connect 5 0 6 1;
+#X connect 6 0 5 0;
+#X connect 7 0 6 2;
+#X connect 9 0 0 0;
+#X connect 10 0 13 0;
+#X connect 12 0 24 0;
+#X connect 12 0 24 1;
+#X connect 13 0 14 0;
+#X connect 14 0 15 0;
+#X connect 14 1 9 0;
+#X connect 15 0 9 0;
+#X connect 16 0 6 0;
+#X connect 19 0 21 1;
+#X connect 24 0 27 1;
+#X connect 25 0 26 0;
+#X connect 25 0 27 0;
+#X connect 26 0 16 0;
+#X connect 26 0 21 0;
+#X connect 27 0 26 1;
+#X connect 28 0 12 0;
diff --git a/pd/doc/3.audio.examples/E05.pulse.width.mod.pd b/pd/doc/3.audio.examples/E05.pulse.width.mod.pd
new file mode 100644
index 00000000..214d250a
--- /dev/null
+++ b/pd/doc/3.audio.examples/E05.pulse.width.mod.pd
@@ -0,0 +1,98 @@
+#N canvas 27 355 931 532 12;
+#X floatatom 86 104 0 0 0;
+#X graph graph1 0 -1.02 882 1.02 669 456 869 326;
+#X array difference-output 882 float 0;
+#X pop;
+#X floatatom 123 324 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 158 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 86 351 pd output;
+#X msg 162 324 MUTE;
+#X obj 86 137 phasor~ 0;
+#X text 83 86 frequency;
+#X graph graph1 0 -1.02 882 1.02 668 179 868 49;
+#X array phasor1-output 882 float 0;
+#X pop;
+#X msg 191 77 bang;
+#X text 231 76 <-- click to graph;
+#X text 57 9 CLASSICAL PULSE WIDTH MODULATION;
+#X obj 102 196 phasor~ 0;
+#X obj 102 172 + 0.2;
+#X obj 86 246 -~;
+#X graph graph1 0 -1.02 882 1.02 668 316 868 186;
+#X array phasor2-output 882 float 0;
+#X pop;
+#X obj 191 164 tabwrite~ phasor1-output;
+#X obj 191 222 tabwrite~ phasor2-output;
+#X obj 191 276 tabwrite~ difference-output;
+#X text 12 386 This patch demonstrates pulse width modulation \, which
+is accomplished simply by subtracting two sawtooth waves at a varying
+phase difference. Here their frequencies are set to differ by 1/5 Hz.
+so that the relative phase wanders continuously.;
+#X text 669 459 ---- 0.02 seconds ----;
+#X text 665 498 updated for Pd version 0.34;
+#X text 203 325 <-- output;
+#X connect 0 0 5 0;
+#X connect 0 0 12 0;
+#X connect 2 0 3 1;
+#X connect 3 0 2 0;
+#X connect 4 0 3 2;
+#X connect 5 0 13 0;
+#X connect 5 0 15 0;
+#X connect 8 0 15 0;
+#X connect 8 0 16 0;
+#X connect 8 0 17 0;
+#X connect 11 0 13 1;
+#X connect 11 0 16 0;
+#X connect 12 0 11 0;
+#X connect 13 0 17 0;
+#X connect 13 0 3 0;
diff --git a/pd/doc/3.audio.examples/E06.stereo.pd b/pd/doc/3.audio.examples/E06.stereo.pd
new file mode 100644
index 00000000..1c417df5
--- /dev/null
+++ b/pd/doc/3.audio.examples/E06.stereo.pd
@@ -0,0 +1,87 @@
+#N canvas 27 355 553 341 12;
+#X floatatom 59 63;
+#X msg 340 12 \; pd dsp 1;
+#X msg 407 12 \; pd dsp 0;
+#X text 361 45 ON;
+#X text 424 43 OFF;
+#X floatatom 123 196;
+#N canvas 159 26 618 383 output 0;
+#X obj 393 156 t b;
+#X obj 393 106 f;
+#X obj 393 56 inlet;
+#X text 399 25 mute;
+#X obj 393 181 f;
+#X msg 480 174 0;
+#X msg 393 81 bang;
+#X obj 393 131 moses 1;
+#X obj 480 149 t b f;
+#X obj 452 113 moses 1;
+#X obj 138 144 dbtorms;
+#X obj 452 88 r master-lvl;
+#X obj 138 38 r master-lvl;
+#X obj 393 206 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 254 37 inlet;
+#X text 254 14 level;
+#X obj 254 96 s master-lvl;
+#X msg 151 61 set \$1;
+#X obj 151 85 outlet;
+#X msg 269 60 \; pd dsp 1;
+#X obj 138 190 line~;
+#X obj 22 212 *~;
+#X obj 138 167 pack 0 50;
+#X text 34 159 audio;
+#X text 148 106 show level;
+#X obj 73 182 inlet~;
+#X obj 73 213 *~;
+#X obj 22 241 dac~ 1;
+#X obj 73 241 dac~ 2;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 23 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 21 0 27 1;
+#X connect 22 0 28 0;
+#X connect 23 0 21 0;
+#X connect 26 0 27 0;
+#X connect 27 0 29 0;
+#X restore 61 224 pd output;
+#X msg 152 196 MUTE;
+#X text 186 195 <-- output amplitude;
+#X obj 59 111 phasor~ 0;
+#X text 56 45 frequency;
+#X text 331 323 updated for Pd version 0.26;
+#X text 57 9 CLASSICAL PULSE WIDTH MODULATION;
+#X obj 131 110 phasor~ 0;
+#X obj 59 134 -~ 0.5;
+#X obj 131 85 + 0.5;
+#X obj 131 135 -~ 0.5;
+#X obj 131 160 *~ -1;
+#X text 34 262 Here's what happens if you take the previous patch but \, instead of subtracting the two sawtooth waves \, we put them in two speakers with opposite phase.;
+#X connect 0 0 9 0;
+#X connect 0 0 15 0;
+#X connect 5 0 6 2;
+#X connect 6 0 5 0;
+#X connect 7 0 6 3;
+#X connect 9 0 14 0;
+#X connect 13 0 16 0;
+#X connect 14 0 6 0;
+#X connect 15 0 13 0;
+#X connect 16 0 17 0;
+#X connect 17 0 6 1;
diff --git a/pd/doc/3.audio.examples/E07.envelope.mod.pd b/pd/doc/3.audio.examples/E07.envelope.mod.pd
new file mode 100644
index 00000000..52551163
--- /dev/null
+++ b/pd/doc/3.audio.examples/E07.envelope.mod.pd
@@ -0,0 +1,148 @@
+#N canvas 75 15 1014 733 12;
+#X graph graph1 0 -1.02 44100 1.02 764 446 964 316;
+#X array cos-output 44100 float 0;
+#X pop;
+#X graph graph1 0 -1.02 44103 1.02 761 148 961 18;
+#X array sample-table 44103 float 0;
+#X pop;
+#X obj 593 579 loadbang;
+#X floatatom 96 489 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 158 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 67 517 pd output;
+#X msg 133 490 MUTE;
+#X text 176 490 <-- output amplitude;
+#X obj 67 460 hip~ 5;
+#X obj 47 408 tabread4~ sample-table;
+#X floatatom 46 50 0 0 0;
+#X text 85 49 <-- frequency (Hz.);
+#X floatatom 97 358 0 0 0;
+#X obj 97 385 * 441;
+#X obj 47 358 *~ 0;
+#X obj 47 383 +~ 1;
+#X text 271 274 <-- click to display output;
+#X msg 229 275 bang;
+#X text 136 357 <-- chunk size (100ths of a second);
+#X obj 588 471 adc~ 1;
+#X obj 588 495 hip~ 5;
+#X obj 588 545 tabwrite~ sample-table;
+#X msg 603 518 bang;
+#X text 635 518 <-- click here to record your own sample;
+#X text 704 583 v-- re-read the original sample;
+#X text 40 9 ENVELOPING YOUR LOOPING SAMPLER;
+#X obj 88 101 -~ 0.5;
+#X obj 88 259 clip~ -0.5 0.5;
+#X obj 88 237 *~ 1;
+#X graph graph1 0 -1.02 44100 1.02 763 311 963 181;
+#X array cos-input 44100 float 0;
+#X pop;
+#X obj 229 303 tabwrite~ cos-input;
+#X obj 88 284 cos~;
+#X obj 88 126 wrap~;
+#X obj 88 155 -~ 0.5;
+#X obj 88 332 *~ -0.5;
+#X obj 88 307 -~ 1;
+#X obj 229 329 tabwrite~ cos-output;
+#X floatatom 119 187 0 0 0;
+#X obj 67 433 *~;
+#X text 157 98 subtracting 0.5 and wrapping produces a sawtooth wave
+180 degrees out of phase from the original.;
+#X text 153 150 as before we subtract 1/2 again to center the sawtooth
+from -1/2 to 1/2.;
+#X text 153 188 <-- sharpness (at least 1);
+#X msg 593 608 read ../sound/voice.wav sample-table;
+#X obj 593 633 soundfiler;
+#X text 776 150 -- 44103 samples ---;
+#X text 767 447 ----- 1 second ------;
+#X obj 119 211 max 1;
+#X obj 46 77 phasor~;
+#X text 24 560 Here we apply an amplitude envelope to protect against
+discontinuities at the loop point. The envelope is based on the pulse
+width modulation example \, except that the widening is applied to
+the "1" part of the pulse \, not the "0" part.;
+#X text 23 647 To see the envelope \, put the phasor on 2 Hz \, select
+"sharpness" values between 1 and 3 \, and look at "cos-input" and "cos-output."
+You should both see and hear the effect of the "sharpness" parameter.
+;
+#X text 734 688 updated for Pd version 0.34;
+#X connect 2 0 41 0;
+#X connect 3 0 4 1;
+#X connect 4 0 3 0;
+#X connect 5 0 4 2;
+#X connect 7 0 4 0;
+#X connect 8 0 37 0;
+#X connect 9 0 46 0;
+#X connect 11 0 12 0;
+#X connect 12 0 13 1;
+#X connect 13 0 14 0;
+#X connect 14 0 8 0;
+#X connect 16 0 29 0;
+#X connect 16 0 35 0;
+#X connect 18 0 19 0;
+#X connect 19 0 20 0;
+#X connect 21 0 20 0;
+#X connect 25 0 31 0;
+#X connect 26 0 30 0;
+#X connect 26 0 29 0;
+#X connect 27 0 26 0;
+#X connect 30 0 34 0;
+#X connect 31 0 32 0;
+#X connect 32 0 27 0;
+#X connect 33 0 35 0;
+#X connect 33 0 37 1;
+#X connect 34 0 33 0;
+#X connect 36 0 45 0;
+#X connect 37 0 7 0;
+#X connect 41 0 42 0;
+#X connect 45 0 27 1;
+#X connect 46 0 13 0;
+#X connect 46 0 25 0;
diff --git a/pd/doc/3.audio.examples/E08.even.odd.pd b/pd/doc/3.audio.examples/E08.even.odd.pd
new file mode 100644
index 00000000..bfa950a9
--- /dev/null
+++ b/pd/doc/3.audio.examples/E08.even.odd.pd
@@ -0,0 +1,116 @@
+#N canvas 213 27 840 639 12;
+#X floatatom 45 74 0 0 0;
+#X obj 99 164 wrap~;
+#X graph graph1 0 -1.02 882 1.02 624 153 824 23;
+#X array phasor-output 882 float 0;
+#X pop;
+#X obj 45 102 phasor~ 0;
+#X text 81 73 frequency;
+#X obj 45 130 -~ 0.5;
+#X obj 99 192 -~ 0.5;
+#X obj 36 244 -~;
+#X obj 98 244 +~;
+#X graph graph1 0 -1.02 882 1.02 625 288 825 158;
+#X array wrap-output 882 float 0;
+#X pop;
+#X graph graph1 0 -1.02 882 1.02 626 423 826 293;
+#X array sum 882 float 0;
+#X pop;
+#X graph graph1 0 -1.02 882 1.02 626 563 826 433;
+#X array difference 882 float 0;
+#X pop;
+#X obj 172 166 tabwrite~ phasor-output;
+#X obj 172 218 tabwrite~ wrap-output;
+#X obj 172 282 tabwrite~ sum;
+#X obj 172 327 tabwrite~ difference;
+#X msg 172 120 bang;
+#X text 106 13 BUCHLA'S METHOD;
+#X floatatom 119 369 0 0 0;
+#N canvas 159 26 618 383 output 0;
+#X obj 393 156 t b;
+#X obj 393 106 f;
+#X obj 393 56 inlet;
+#X text 399 25 mute;
+#X obj 393 181 f;
+#X msg 480 174 0;
+#X msg 393 81 bang;
+#X obj 393 131 moses 1;
+#X obj 480 149 t b f;
+#X obj 452 113 moses 1;
+#X obj 138 144 dbtorms;
+#X obj 452 88 r master-lvl;
+#X obj 138 38 r master-lvl;
+#X obj 393 206 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 254 37 inlet;
+#X text 254 14 level;
+#X obj 254 96 s master-lvl;
+#X msg 151 61 set \$1;
+#X obj 151 85 outlet;
+#X msg 269 60 \; pd dsp 1;
+#X obj 138 190 line~;
+#X obj 22 212 *~;
+#X obj 138 167 pack 0 50;
+#X text 34 159 audio;
+#X text 148 106 show level;
+#X obj 73 182 inlet~;
+#X obj 73 213 *~;
+#X obj 22 241 dac~ 1;
+#X obj 73 241 dac~ 2;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 23 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 21 0 27 1;
+#X connect 22 0 28 0;
+#X connect 23 0 21 0;
+#X connect 26 0 27 0;
+#X connect 27 0 29 0;
+#X restore 81 392 pd output;
+#X msg 156 369 MUTE;
+#X text 13 430 A patch to split a sawtooth into even and odd harmonics
+ala Buchla. The wrap~ object folds its input into the interval [0 \,
+1) so taht \, for instance \, subtracting 1/5 from a phasor and wrapping
+it gives another phasor a half cycle out of phase frmo the original.
+Adding and subtracting the two give the results shown and heard. (Listen
+to the two outputs separately \, then together.);
+#X text 631 567 ---- 0.02 seconds ----;
+#X text 577 613 updated for Pd version 0.34;
+#X text 193 369 <-- output;
+#X connect 0 0 3 0;
+#X connect 1 0 6 0;
+#X connect 3 0 5 0;
+#X connect 5 0 1 0;
+#X connect 5 0 12 0;
+#X connect 5 0 8 0;
+#X connect 5 0 7 0;
+#X connect 6 0 13 0;
+#X connect 6 0 8 1;
+#X connect 6 0 7 1;
+#X connect 7 0 15 0;
+#X connect 7 0 19 0;
+#X connect 8 0 14 0;
+#X connect 8 0 19 1;
+#X connect 16 0 13 0;
+#X connect 16 0 14 0;
+#X connect 16 0 15 0;
+#X connect 16 0 12 0;
+#X connect 18 0 19 2;
+#X connect 19 0 18 0;
+#X connect 20 0 19 3;
diff --git a/pd/doc/3.audio.examples/E09.bandlimited.pd b/pd/doc/3.audio.examples/E09.bandlimited.pd
new file mode 100644
index 00000000..f49bcb68
--- /dev/null
+++ b/pd/doc/3.audio.examples/E09.bandlimited.pd
@@ -0,0 +1,166 @@
+#N canvas 21 90 540 752 12;
+#X floatatom 183 91;
+#X obj 183 115 mtof;
+#X floatatom 340 183;
+#X obj 164 431 -~;
+#N canvas 391 51 561 806 tables 1;
+#X graph graph1 0 -1 1002 1 99 322 499 22;
+#X array array1 1002 float;
+#X pop;
+#X graph graph1 0 -1 882 1 96 684 496 384;
+#X array array2 882 float;
+#X pop;
+#X text 138 326 ---------------- 1002 samples ---------------;
+#X text 150 693 ---------------- 0.02 sec ---------------;
+#X restore 33 201 pd tables;
+#N canvas 104 390 728 408 make-table 0;
+#X obj 469 146 cos~;
+#X obj 303 146 cos~;
+#X obj 255 141 cos~;
+#X msg 199 210 bang;
+#X obj 255 229 tabwrite~ array1;
+#X text 366 79 period is 2000 samples \, twice the table length;
+#X msg 94 94 \; pd dsp 1;
+#X text 118 286 this network puts a half cycle of a band-limited square wave into the table "array1.";
+#X text 114 335 logically the half-cycle is in samples 1 through 1000 \; samples 0 and 1001 are provided so that the 4-point interpolation will work everywhere.;
+#X text 401 57 back the phase up one sample;
+#X msg 336 56 -0.0005;
+#X obj 171 16 loadbang;
+#X obj 303 120 *~ 3;
+#X obj 468 122 *~ 5;
+#X obj 303 171 *~ 0.33333;
+#X obj 468 172 *~ -0.2;
+#X obj 255 169 *~ -1;
+#X msg 171 38 bang;
+#X obj 254 80 phasor~ 22.05;
+#X obj 255 202 *~ 0.57692;
+#X connect 0 0 15 0;
+#X connect 1 0 14 0;
+#X connect 2 0 16 0;
+#X connect 3 0 4 0;
+#X connect 10 0 18 1;
+#X connect 11 0 17 0;
+#X connect 12 0 1 0;
+#X connect 13 0 0 0;
+#X connect 14 0 19 0;
+#X connect 15 0 19 0;
+#X connect 16 0 19 0;
+#X connect 17 0 10 0;
+#X connect 17 0 6 0;
+#X connect 17 0 3 0;
+#X connect 18 0 2 0;
+#X connect 18 0 12 0;
+#X connect 18 0 13 0;
+#X connect 19 0 4 0;
+#X restore 34 224 pd make-table;
+#X obj 183 163 sig~;
+#X obj 341 283 /~;
+#X obj 357 256 clip~ 1 999999;
+#X obj 183 218 phasor~;
+#X obj 196 301 *~;
+#X obj 196 325 clip~ -0.5 0.5;
+#X floatatom 183 139;
+#X obj 196 397 tabread4~ array1;
+#X floatatom 340 135;
+#X obj 340 206 * 0.33333;
+#X obj 340 159 mtof;
+#X text 374 110 band limit (MIDI units);
+#X text 220 78 pitch;
+#X obj 340 87 loadbang;
+#X msg 340 111 130;
+#X obj 340 230 sig~;
+#X text 246 139 frequency;
+#X obj 196 349 *~ 1000;
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+#X connect 22 0 23 0;
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+#X restore 177 469 pd output;
+#X msg 235 441 MUTE;
+#X text 276 440 <-- output amplitude;
+#X text 27 503 Patch to make an approximately band-limited sawtooth. This is useful if you intend to use sawtooth generators above about 200 Hz. \, perhaps to use any of the techniques shown in the previous four patches.;
+#X text 28 562 We generate a perfect square wave at Nyquist/6 \; this will have partials 1 \, 3 \, and 5 \, but the Nyquist frequency at partial 6 will cut off the rest of the partials. This is stored in array1 using the "make-table" subpatch.;
+#X text 64 34 BAND-LIMITED SAWTOOTH GENERATOR;
+#X obj 43 459 tabwrite~ array2;
+#X msg 44 435 bang;
+#X text 28 632 Now any time we wish to make a discontinuity in the output signal \, we make it look exactly like the bandlimited square wave looks. We do this by reading through the table we recorded \, carefully adding a "digital" \, non-band-limited \, sawtooth to "array1" so that the discontinuities in the two cancel out and what you have left is the transition in the table.;
+#X text 338 737 updated for Pd version 0.26;
+#X text 41 409 graph output;
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diff --git a/pd/doc/3.audio.examples/F01.PART7.filters.pd b/pd/doc/3.audio.examples/F01.PART7.filters.pd
new file mode 100644
index 00000000..4a64a0b5
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+#X text 9 11 Filters;
+#X msg 87 130 \; pd dsp 1 \; metro bang;
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+#X text 15 417 Original;
+#X text 122 417 Low pass;
+#X text 210 417 High pass;
+#X text 298 416 Band pass;
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+#X text 97 110 start;
+#X text 193 111 stop;
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+#X text 51 236 <-- change frequency;
+#X text 294 247 <-- center/rolloff frequency;
+#X text 374 297 <-- Q;
+#X text 548 341 This graph holds 4 arrays for the input and three filter outputs.;
+#X text 375 389 RMS amplitudes of the original signal and the three filter outputs;
+#X text 746 536 updated for Pd version 0.26;
+#X obj 334 482 metro 1000;
+#X text 29 33 Pd provides low \, high \, and band pass filters \, as shown here. By changing the test frequency \, the filter frequency \, and the "Q" value \, you can see how these filters affect the amplitude and phase of incoming signals;
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+#X text 456 434 Notice how the phase of the graphed sinusoids slips back and forth... this is because graphing always starts on the nearest 64-sample boundary to the time the metronome fires. If you run at 48K the slippage disappears \, because then the metronome fires every 48K samples \, which is a multiple of 64;
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+#X text 320 706 <-- output amplitude;
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+#X text 648 14 START;
+#X text 845 19 STOP;
+#X text 88 11 BANDPASS FILTERS;
+#X text 12 41 In this example we use two cascaded bandpass filters
+to troll for partials in Jonathan Harvey's famous bell sample.;
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+#X text 14 82 Note that filters can give unexpected level changes.
+The bp~ object is designed to have roughly unit gain at teh 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.;
+#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 271 436 <-- center pitch;
+#X text 281 450 (shift-drag to fine tune);
+#X text 292 492 <-- center frequency;
+#X text 359 570 <-- Q (filter selectivity);
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+#X text 681 739 updated for Pd version 0.33;
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+#X text 160 490 <-- Q (selectivity);
+#X text 51 277 sawtooth;
+#X text 50 291 oscillator;
+#X text 228 167 <-- sweep speed;
+#X text 265 189 LFO for sweep;
+#X text 251 241 <-- sweep depth;
+#X text 242 316 <-- base center frequency;
+#X text 218 383 add base to sweep;
+#X text 307 408 convert to Hz.;
+#X text 13 28 If you want actively changing center frequencies \, use
+"vcf~" instead of "bp~". The vcf~ module takes an audio signal to set
+center frequency. (Q is still set by messages though.) Vcf is somewhat
+more expensive than bp~.;
+#X text 78 165 <-- pitch;
+#X text 13 95 Note the effect of negative and positive sweep speed.
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new file mode 100644
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+#X text 93 110 show level;
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+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 22 527 pd output;
+#X msg 87 500 MUTE;
+#X text 121 499 <-- output amplitude;
+#N canvas 0 0 600 388 hilbert 0;
+#X obj 166 190 biquad~ 0.83774 -0.06338 0.06338 -0.83774 1;
+#X obj 166 164 biquad~ 1.94632 -0.94657 0.94657 -1.94632 1;
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+#X obj 98 76 inlet~;
+#X obj 166 213 outlet~;
+#X obj 99 213 outlet~;
+#X text 95 261 This is a pair of all-pass filters whose outputs somehow
+manage to be about 90 degrees out of phase from each other. I don't
+know what phase relation they have with the original signal. I adapted
+this from a 4X patch by Emmanuel Favreau \, circa 1982;
+#X connect 0 0 5 0;
+#X connect 1 0 0 0;
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+#X graph graph1 0 -1 155947 1 441 284 641 134;
+#X array array1 155948 float 0;
+#X pop;
+#X text 36 257 sample loop for;
+#X text 36 271 test signal;
+#X text 35 314 pair of allpass;
+#X text 34 333 filters to make;
+#X text 34 353 90 degree phase;
+#X text 32 373 shifted versions;
+#X text 201 323 <-- shift frequency;
+#X text 122 438 <-- complex multiply;
+#X text 123 452 (calculate real part);
+#X text 161 412 cosine and sine waves;
+#X text 55 7 SINGLE SIDEBAND MODULATION;
+#X text 55 26 (AKA FREQUENCY SHIFTING);
+#X text 394 296 The signal sideband modulator gives you only one sideband
+for each frequency in teh input signal (whereas ring modulation gave
+both a positie and negative sideband.) You can set the shift frequency
+positive to shift all frequencies upward \, or negative to shift them
+downwards.;
+#X obj 484 417 r readfile;
+#X msg 334 34 \; readfile ../sound/bell.aiff \; pd dsp 1;
+#X obj 484 444 symbol;
+#X msg 483 470 read -resize \$1 array1;
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+#X obj 483 521 s totsamps;
+#X text 671 568 updated for Pd version 0.33;
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diff --git a/pd/doc/3.audio.examples/G01.delays.pd b/pd/doc/3.audio.examples/G01.delays.pd
new file mode 100644
index 00000000..5c4f20de
--- /dev/null
+++ b/pd/doc/3.audio.examples/G01.delays.pd
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+#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;
+#X obj 33 317 *~ 3;
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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
+give it a name and a size in milliseconds. Each delwrite~ should have
+a different name.;
+#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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diff --git a/pd/doc/3.audio.examples/G02.delay.loop.pd b/pd/doc/3.audio.examples/G02.delay.loop.pd
new file mode 100644
index 00000000..71b35253
--- /dev/null
+++ b/pd/doc/3.audio.examples/G02.delay.loop.pd
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+#X text 103 401 feedback gain;
+#X text 57 9 DELAYS WITH FEEDBACK;
+#X text 33 39 You can feed the result of a delread~ module back into
+its own delwrite~ \, as long as you're careful about stability. For
+delays below 30 msec \, you can frequently hear teh resonant pitch.
+For longer delay times you get the famous old delay loop effect.;
+#X text 32 118 We've added an amplitude control here so that teh test
+oscillator only speaks while you're dragging the pitch up and down.
+Be sure to try the shift key.;
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diff --git a/pd/doc/3.audio.examples/G03.delay.variable.pd b/pd/doc/3.audio.examples/G03.delay.variable.pd
new file mode 100644
index 00000000..bb16de95
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+++ b/pd/doc/3.audio.examples/G03.delay.variable.pd
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new file mode 100644
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+#X msg 930 349 -100;
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+#X connect 4 1 5 1;
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+#X connect 5 1 6 1;
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+#X connect 16 0 20 0;
+#X connect 16 0 22 0;
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+#X connect 20 0 25 1;
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+#X connect 21 0 26 0;
+#X connect 22 0 24 1;
+#X connect 22 0 26 1;
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+#X connect 25 0 31 0;
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+#X connect 40 0 29 1;
+#X connect 40 0 27 1;
+#X restore 50 193 pd reverb;
+#X floatatom 108 163 0 0 0;
+#X text 143 163 <-- feedback (100 maximum);
+#X text 32 41 Here is a simple recirculating reverberator. "Feedback"
+should be between -100 and 100;
+#X text 37 285 You can spend a lifetime tweaking reverberators... we'll
+just leave it at that for now.;
+#X connect 0 0 9 0;
+#X connect 0 0 6 0;
+#X connect 3 0 0 0;
+#X connect 5 0 6 2;
+#X connect 6 0 5 0;
+#X connect 7 0 6 3;
+#X connect 9 0 6 0;
+#X connect 9 1 6 1;
+#X connect 10 0 9 1;
diff --git a/pd/doc/3.audio.examples/H01.more.FM.pd b/pd/doc/3.audio.examples/H01.more.FM.pd
new file mode 100644
index 00000000..1b0e112b
--- /dev/null
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+#X obj 207 104 s master-lvl;
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+#X obj 100 93 outlet;
+#X msg 222 67 \; pd dsp 1;
+#X obj 86 205 line~;
+#X obj 12 218 *~;
+#X obj 12 244 dac~;
+#X obj 86 179 pack 0 50;
+#X text 12 142 audio;
+#X text 100 118 show level;
+#X obj 12 192 hip~ 1;
+#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;
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+#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 158 630 pd output;
+#X msg 234 602 MUTE;
+#X text 528 618 updated for Pd version 0.34;
+#X text 277 601 <-- output;
+#X text 79 4 FM \, PWM \, PAF as formant generators;
+#X text 39 22 The next several patches illustrate "Synthesizing Sounds
+with Specified \, Time-Varying Spectra" presented at ICMC 2001 and
+reprinted on http://www.crca.ucsd.edu/~msp/publications.html.;
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+#X text 250 370 carrier freq;
+#X obj 158 547 cos~;
+#X graph graph1 0 0 128 500 499 556 755 426;
+#X array spectrum 128 float 0;
+#X pop;
+#X msg 233 546 bang;
+#X text 271 543 <-- click to graph;
+#N canvas 204 17 358 238 fft 0;
+#X obj 46 48 inlet~;
+#X obj 159 181 tabwrite~ spectrum;
+#X obj 159 145 inlet;
+#X obj 46 78 rfft~;
+#X obj 46 111 *~;
+#X obj 77 111 *~;
+#X obj 46 141 sqrt~;
+#X obj 191 45 block~ 1024 1;
+#X connect 0 0 3 0;
+#X connect 2 0 1 0;
+#X connect 3 0 4 0;
+#X connect 3 0 4 1;
+#X connect 3 1 5 0;
+#X connect 3 1 5 1;
+#X connect 4 0 6 0;
+#X connect 5 0 6 0;
+#X connect 6 0 1 0;
+#X restore 187 574 pd fft;
+#X text 490 562 0;
+#X text 738 559 5512;
+#X obj 153 520 +~;
+#X obj 248 448 phasor~;
+#X obj 23 458 osc~ 172.266;
+#X obj 146 417 / 100;
+#X obj 248 422 * 172.266;
+#X text 34 93 First compare this phase modulation example with the
+ring modulation example from the section on processing (patch 51).
+Here we choose a convenient \, fixed modulation frequency and consider
+the effect of changing carrier frequency and modulation index. It's
+exactly as if the carrier frequency were a ring modulation frequency.
+;
+#X text 33 331 Next we'll look at two techniques for sliding a formant
+frequency without losing harmonicity.;
+#X text 33 191 Using either method we can synthesize the hat-shaped
+spectra called "formants." However \, if you try to move the formant
+up or down in frequency \, you'll lose harmonicity \; the partials
+are only integer multiples of the fundamental \, 172.266 \, when the
+carrier is an integer multiple. To hear this \, set index to 20 and
+carrier frequency to zero \, and scroll carrier through integers. Then
+shift-drag on the carrier frequency to change it in hundredths. Presto
+\, inharmonic sounds...;
+#X connect 0 0 1 1;
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+#X connect 2 0 1 2;
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+#X connect 21 0 14 0;
+#X connect 22 0 21 1;
+#X connect 23 0 10 0;
+#X connect 24 0 8 0;
+#X connect 25 0 22 0;
diff --git a/pd/doc/3.audio.examples/H02.packets.pd b/pd/doc/3.audio.examples/H02.packets.pd
new file mode 100644
index 00000000..072ae27d
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+#X msg 214 64 \; pd dsp 1;
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+#X text 93 110 show level;
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+#X connect 26 0 21 0;
+#X restore 48 660 pd output;
+#X msg 124 633 MUTE;
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+#X floatatom 315 328 0 0 0;
+#X obj 47 429 -~ 0.5;
+#X obj 47 468 *~;
+#X obj 315 352 / 10;
+#X obj 47 493 clip~ -0.5 0.5;
+#X text 315 306 bandwidth;
+#X msg 165 602 bang;
+#X obj 315 448 +~ 1;
+#X obj 48 540 +~ 1;
+#X obj 197 513 cos~;
+#X obj 48 569 *~;
+#X floatatom 219 342 4 0 0;
+#X obj 219 366 / 10;
+#X text 644 472 --- 0.02 seconds ---;
+#X obj 197 487 *~;
+#N canvas 204 427 939 588 graph 0;
+#X obj 91 345 inlet~;
+#X obj 729 341 inlet;
+#X obj 74 395 tabwrite~ pulse-output;
+#X obj 319 350 inlet~;
+#X obj 493 343 inlet~;
+#X obj 302 400 tabwrite~ window;
+#X obj 484 401 tabwrite~ carrier;
+#X msg 390 53 \; array2 rename window;
+#X connect 0 0 2 0;
+#X connect 1 0 2 0;
+#X connect 1 0 5 0;
+#X connect 1 0 6 0;
+#X connect 3 0 5 0;
+#X connect 4 0 6 0;
+#X restore 76 602 pd graph;
+#X obj 315 376 max 0;
+#X obj 219 438 line~;
+#X obj 219 414 pack 0 50;
+#X obj 219 390 max 0;
+#X graph graph3 0 -2 881 2 644 328 844 188;
+#X array carrier 882 float 0;
+#X pop;
+#X graph graph4 0 -2 881 2 645 175 845 35;
+#X array window 882 float 0;
+#X pop;
+#X text 211 601 <-- graph;
+#X floatatom 47 381 4 0 0;
+#X obj 47 405 phasor~ 100;
+#X text 31 2 WINDOWED PACKETS;
+#X text 169 632 <-- output;
+#X text 43 356 freq.;
+#X text 43 337 fundamental;
+#X text 28 51 The simpler technique is to synthesize enveloped sinusoidal
+wave packets. The packets should repeat at the fundamental frequency
+\, but the frequency of the packet itself controls the center frequency
+of the formant. The length of the packet varies inversely with bandwidth.
+;
+#X text 27 132 In the patch below \, the "clip~" followed by "cos~"
+and "+~ 1" is the enveloping ("windowing" function \, which appears
+in the top graph. This is just the original PWM patch from part 2 The
+carrier \, on the other hand \, is a broken sinusoid made by amplifying
+the phasor~ (the "*~" controlled by "center freq.") and taking the
+cos~ of the result. The "breaks" in the sinusoid only occur when the
+enveloping signal is zero.;
+#X text 197 256 center;
+#X text 195 275 freq. (in;
+#X text 194 294 tenths of;
+#X text 193 314 fundamental);
+#X text 92 535 window;
+#X text 233 487 magnified phase;
+#X text 278 531 desired center frequency;
+#X text 250 514 <--this cosine goes at the;
+#X text 279 550 but its phase is reset each;
+#X text 277 569 fundamental period.;
+#X text 612 666 updated for Pd version 0.34;
+#X connect 0 0 14 0;
+#X connect 1 0 15 0;
+#X connect 3 0 4 1;
+#X connect 4 0 3 0;
+#X connect 5 0 4 2;
+#X connect 6 0 0 0;
+#X connect 7 0 10 0;
+#X connect 8 0 9 0;
+#X connect 8 0 21 0;
+#X connect 9 0 11 0;
+#X connect 10 0 23 0;
+#X connect 11 0 1 0;
+#X connect 13 0 22 3;
+#X connect 14 0 9 1;
+#X connect 15 0 17 0;
+#X connect 15 0 22 1;
+#X connect 16 0 17 1;
+#X connect 16 0 22 2;
+#X connect 17 0 22 0;
+#X connect 17 0 4 0;
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+#X connect 21 0 16 0;
+#X connect 23 0 6 0;
+#X connect 24 0 21 1;
+#X connect 25 0 24 0;
+#X connect 26 0 25 0;
+#X connect 30 0 31 0;
+#X connect 31 0 8 0;
diff --git a/pd/doc/3.audio.examples/H03.packet.spectrum.pd b/pd/doc/3.audio.examples/H03.packet.spectrum.pd
new file mode 100644
index 00000000..bef1483b
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+#X text 199 18 level;
+#X obj 199 100 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 15 125 audio;
+#X text 93 110 show level;
+#X obj 17 177 hip~ 1;
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+#X connect 10 0 1 1;
+#X connect 10 0 8 0;
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+#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 35 587 pd output;
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+#X obj 34 356 -~ 0.5;
+#X obj 34 395 *~;
+#X obj 302 279 / 10;
+#X obj 34 420 clip~ -0.5 0.5;
+#X text 302 233 bandwidth;
+#X obj 302 375 +~ 1;
+#X obj 35 467 +~ 1;
+#X obj 184 440 cos~;
+#X obj 35 496 *~;
+#X floatatom 206 269 4 0 0;
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+#X text 204 224 center;
+#X text 204 243 freq.;
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+#X obj 206 317 max 0;
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+#X obj 34 332 phasor~ 100;
+#X text 156 559 <-- output;
+#X text 30 283 freq.;
+#X text 30 264 fundamental;
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+#X pop;
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+#X connect 0 0 3 0;
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+#X connect 5 0 6 0;
+#X connect 6 0 1 0;
+#X restore 59 524 pd fft;
+#X text 439 502 0;
+#X text 687 499 5512;
+#X text 149 498 <-- graph;
+#X text 31 2 WINDOWED PACKET SPECTRUM;
+#X text 19 34 Here's the spectrum you get. Note that even if you put
+the center frequency right on a partial \, there is significant energy
+in neighboring partials (try fundamental 440 \, "center freq" 30 \,
+bandwidth 0.);
+#X text 18 104 The center frequency is in units of ten per partial
+\, or in other words a value of "30" means "centered on the third partial".
+;
+#X text 505 596 updated for Pd version 0.34;
+#X text 22 155 This technique only works if you're doing Hanning-window
+shaped PWM--you can't combine this naturally with FM or with the waveshaping
+technique we'll see later.;
+#X connect 0 0 12 0;
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+#X connect 3 0 2 0;
+#X connect 4 0 3 2;
+#X connect 5 0 0 0;
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+#X connect 9 0 21 0;
+#X connect 10 0 1 0;
+#X connect 12 0 8 1;
+#X connect 13 0 15 0;
+#X connect 14 0 15 1;
+#X connect 15 0 3 0;
+#X connect 15 0 32 0;
+#X connect 16 0 17 0;
+#X connect 17 0 24 0;
+#X connect 18 0 14 0;
+#X connect 21 0 5 0;
+#X connect 22 0 18 1;
+#X connect 23 0 22 0;
+#X connect 24 0 23 0;
+#X connect 25 0 26 0;
+#X connect 26 0 7 0;
+#X connect 31 0 32 1;
diff --git a/pd/doc/3.audio.examples/H04.two.cosines.pd b/pd/doc/3.audio.examples/H04.two.cosines.pd
new file mode 100644
index 00000000..0f813164
--- /dev/null
+++ b/pd/doc/3.audio.examples/H04.two.cosines.pd
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+#X text 199 18 level;
+#X obj 199 100 s master-lvl;
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+#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~;
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+#X text 15 125 audio;
+#X text 93 110 show level;
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+#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 226 576 pd output;
+#X msg 302 549 MUTE;
+#X msg 59 550 bang;
+#X obj 185 427 cos~;
+#X floatatom 232 217 4 0 0;
+#X obj 232 241 / 10;
+#X text 464 288 --- 0.02 seconds ---;
+#X obj 185 397 *~;
+#X text 236 133 center;
+#X obj 232 313 line~;
+#X obj 232 265 max 0;
+#X graph graph3 0 -2 881 2 450 276 650 136;
+#X array carrier 882 float 0;
+#X pop;
+#X floatatom 33 284 4 0 0;
+#X text 29 240 fundamental;
+#X text 31 2 ADDING TWO COSINES;
+#X text 234 152 freq. (in;
+#X text 233 171 tenths of;
+#X text 232 191 fundamental);
+#X text 29 259 frequency;
+#X obj 227 427 cos~;
+#X obj 268 340 wrap~;
+#X obj 232 367 -~;
+#X obj 227 397 +~;
+#X obj 232 464 -~;
+#X obj 247 494 *~;
+#X obj 225 519 +~;
+#X obj 59 578 tabwrite~ carrier;
+#X obj 33 308 phasor~ 40;
+#X obj 232 289 pack 0 50;
+#X text 27 36 The other \, spiffier way is to make a sum of cosines
+to interpolate between adjacent harmonics. Suppose for example we want
+a center frequency of 5.3 (in units of the fundamental.) We just take
+partial 5 with amplitude 0.7 and partial 6 with amplitude 0.7:;
+#X text 451 581 updated for Pd version 0.34;
+#X text 281 366 subtract to get the integer part "n";
+#X text 277 399 multiply phase by n and n+1;
+#X text 282 427 synthesize the two partials;
+#X text 54 526 graph;
+#X text 347 548 <--output;
+#X text 323 339 the fractional part "b";
+#X text 280 463 p2 - p1;
+#X text 295 492 b * (p2 - p1);
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new file mode 100644
index 00000000..eb296e63
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+#X text 454 648 updated for Pd version 0.34;
+#X text 327 611 <--output;
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+#X text 31 2 CHANGING THE CENTER FREQUENCY QUICKLY;
+#X text 313 381 off to hear the straight sig~;
+#X text 286 363 <--on to hear the "samphold~" \,;
+#X text 25 27 Since in the previous patch the amplitudes of the two
+cosines depend on "center frequency" we can't change that discontinuously
+without clicking \, as you hear in this patch. The fix is to use a
+samphold~ object to keep the center frequency frozen except at phase
+crossings. At the phase crossings the two weighted cosines add to one
+\, so we can discontinuously change the frequencies and weights there.
+;
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+#X text 520 628 updated for Pd version 0.34;
+#X text 325 605 <--output;
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+#X text 31 2 APPLYING TWO-COSINE CARRIER TO FM;
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+#X restore 68 630 pd fft;
+#X text 25 33 And now we just treat the cosines like carrier signals
+in an FM instrument. This doesn't work as well as you'd wish \, because
+the phases of the partials of the two FM instruments don't line up
+\, so that \, for indices of modulation above about 20% \, you get
+beating effects as the center frequency goes up and down.;
+#X text 385 440 modulating;
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+#X text 31 2 THE PAF: TWO-COSINE RING MODULATOR FOR WAVESHAPER;
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+#X text 25 33 Instead of using the two cosines as FM carrier oscillators
+\, we can use them as ring modulators for a synthetic tone. Here (as
+described in the paper) we use a sinusoid looking up a Gaussian bell
+curve. This has the nice properties that the partials are always positive
+cosines in phase \, and the spectrum spreads out smoothly as the index
+changes.;
+#X text 26 137 We needed the sine wave to have half the fundamental
+frequency \, so we run the phasor~ at half speed but double its output
+to the cosine pair and the samphold~ \, thus giving us the original
+frequency. As to the half-speed signal \, we take its sine (-~ 0.25
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+#X text 375 621 waveshaper;
+#X text 27 239 Then with ~* we do the ring modulation and we're done.
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+#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 179 713 pd output;
+#X msg 255 684 MUTE;
+#X obj 122 565 cos~;
+#X obj 122 542 *~;
+#X obj 165 565 cos~;
+#X obj 220 510 wrap~;
+#X obj 184 510 -~;
+#X obj 165 542 +~;
+#X obj 158 595 -~;
+#X obj 178 627 *~;
+#X obj 140 627 +~;
+#X text 478 719 updated for Pd version 0.34;
+#X text 299 702 <--output;
+#X obj 184 478 samphold~;
+#X floatatom 183 266 4 0 0;
+#X text 181 218 center;
+#X obj 184 345 line~;
+#X obj 184 322 pack 0 50;
+#X obj 67 413 phasor~;
+#X floatatom 69 305 4 0 0;
+#X text 52 256 fundamental;
+#X floatatom 408 361 4 0 0;
+#X obj 408 438 line~;
+#X obj 306 518 *~;
+#X obj 408 415 pack 0 50;
+#N canvas 94 264 600 388 make-table 0;
+#X msg 81 44 bang;
+#X obj 81 73 t b b;
+#X obj 159 142 f;
+#X obj 197 142 + 1;
+#X msg 175 112 0;
+#X obj 81 102 until;
+#X obj 161 177 t f f;
+#X obj 76 306 tabwrite bell-curve;
+#X obj 52 270 expr exp(-$f1*$f1);
+#X obj 63 168 sel 199;
+#X obj 51 241 expr ($f1-100)/25;
+#X graph graph4 0 0 199 1 342 225 542 85;
+#X array bell-curve 200 float 1;
+#A 0 1.12535e-07 1.54727e-07 2.12059e-07 2.89706e-07 3.94519e-07 5.35535e-07
+7.24633e-07 9.77371e-07 1.31404e-06 1.76105e-06 2.35258e-06 3.13275e-06
+4.15832e-06 5.50199e-06 7.25659e-06 9.54016e-06 1.25023e-05 1.63317e-05
+2.1266e-05 2.76026e-05 3.57128e-05 4.60584e-05 5.92113e-05 7.58768e-05
+9.69224e-05 0.00012341 0.000156634 0.000198167 0.000249912 0.000314163
+0.000393669 0.000491721 0.000612231 0.000759842 0.000940028 0.00115923
+0.00142498 0.00174605 0.00213263 0.00259648 0.00315111 0.00381201 0.00459678
+0.0055254 0.0066204 0.00790705 0.0094136 0.0111714 0.013215 0.0155826
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+0.960789 0.944027 0.924595 0.902668 0.878447 0.852144 0.823987 0.794216
+0.763074 0.730811 0.697676 0.663916 0.62977 0.595473 0.561244 0.527292
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+0.111872 0.0992216 0.0877205 0.0773047 0.0679081 0.0594631 0.0519019
+0.0451575 0.0391639 0.0338573 0.0291763 0.0250621 0.0214592 0.0183156
+0.0155826 0.013215 0.0111714 0.0094136 0.00790705 0.0066204 0.0055254
+0.00459678 0.00381201 0.00315111 0.00259648 0.00213263 0.00174605 0.00142498
+0.00115923 0.000940028 0.000759842 0.000612231 0.000491721 0.000393669
+0.000314163 0.000249912 0.000198167 0.000156634 0.00012341 9.69224e-05
+7.58768e-05 5.92113e-05 4.60584e-05 3.57128e-05 2.76026e-05 2.1266e-05
+1.63317e-05 1.25023e-05 9.54016e-06 7.25659e-06 5.50199e-06 4.15832e-06
+3.13275e-06 2.35258e-06 1.76105e-06 1.31404e-06 9.77371e-07 7.24633e-07
+5.35535e-07 3.94519e-07 2.89706e-07 2.12059e-07 1.54727e-07;
+#X pop;
+#X connect 0 0 1 0;
+#X connect 1 0 5 0;
+#X connect 1 1 4 0;
+#X connect 2 0 3 0;
+#X connect 2 0 6 0;
+#X connect 2 0 9 0;
+#X connect 3 0 2 1;
+#X connect 4 0 2 1;
+#X connect 5 0 2 0;
+#X connect 6 0 10 0;
+#X connect 6 1 7 1;
+#X connect 8 0 7 0;
+#X connect 9 0 5 1;
+#X connect 10 0 8 0;
+#X restore 573 591 pd make-table;
+#X obj 67 390 * 0.5;
+#X obj 306 495 cos~;
+#X obj 306 472 -~ 0.25;
+#X obj 306 549 +~ 100;
+#X obj 306 572 tabread4~ bell-curve;
+#X obj 67 442 *~ 2;
+#X obj 179 656 *~;
+#X text 338 597 waveshaper;
+#X text 31 2 CHANGING PAF CONTROLS TO NATURAL UNITS;
+#X obj 67 362 mtof;
+#X obj 68 335 max 0;
+#X obj 206 370 expr 1/$f1;
+#X obj 183 296 mtof;
+#X text 181 238 freq.;
+#X obj 184 394 *~;
+#X text 406 340 bandwidth;
+#X obj 408 389 mtof;
+#X obj 408 474 *~;
+#X obj 408 498 *~ 25;
+#X text 25 33 The more "natural" units for describing a formant might
+be center frequency and bandwidth \, so that you can change the fundamental
+without having the formant shift up and down in parallel. Here all
+three frequencies are expressed in MIDI units. The bandwidth and center
+frequency have to be divided by the fundamental (the expr 1/$f1 takes
+its reciprocal and two *~ objects finish the division.);
+#X text 448 473 divide by fundamental;
+#X text 466 497 range for table;
+#X text 372 548 offset to middle of table;
+#X text 191 416 C.F. relative;
+#X text 192 432 to fundamental;
+#X text 48 275 (MIDI units);
+#X text 215 654 ring mod;
+#X text 25 150 And now you essentially have the PAF. Note \, however
+\, that there's a nice paf~ "external" object in the "extras" library
+that does this all more efficiently and takes care of a couple of subtle
+details we don't see here...;
+#X connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 3 0 9 1;
+#X connect 3 0 11 0;
+#X connect 4 0 8 0;
+#X connect 4 0 3 0;
+#X connect 5 0 9 0;
+#X connect 6 0 7 1;
+#X connect 6 0 10 1;
+#X connect 7 0 4 1;
+#X connect 8 0 5 0;
+#X connect 9 0 10 0;
+#X connect 10 0 11 1;
+#X connect 11 0 33 0;
+#X connect 14 0 7 0;
+#X connect 14 0 6 0;
+#X connect 15 0 39 0;
+#X connect 17 0 41 0;
+#X connect 18 0 17 0;
+#X connect 19 0 29 0;
+#X connect 19 0 32 0;
+#X connect 20 0 37 0;
+#X connect 22 0 43 0;
+#X connect 23 0 44 0;
+#X connect 24 0 30 0;
+#X connect 25 0 23 0;
+#X connect 27 0 19 0;
+#X connect 28 0 24 0;
+#X connect 29 0 28 0;
+#X connect 30 0 31 0;
+#X connect 31 0 33 1;
+#X connect 32 0 14 1;
+#X connect 32 0 4 0;
+#X connect 32 0 8 0;
+#X connect 33 0 1 0;
+#X connect 36 0 27 0;
+#X connect 36 0 38 0;
+#X connect 37 0 36 0;
+#X connect 38 0 41 1;
+#X connect 38 0 44 1;
+#X connect 39 0 18 0;
+#X connect 41 0 14 0;
+#X connect 43 0 25 0;
+#X connect 44 0 45 0;
+#X connect 45 0 24 1;
diff --git a/pd/doc/3.audio.examples/J01.quartic.pd b/pd/doc/3.audio.examples/J01.quartic.pd
new file mode 100644
index 00000000..d71da05a
--- /dev/null
+++ b/pd/doc/3.audio.examples/J01.quartic.pd
@@ -0,0 +1,140 @@
+#N canvas 57 35 614 650 12;
+#X graph graph1 0 0 40 1 151 551 551 301;
+#X array array-ampdb 41 float 1;
+#A 0 0.01 0.0112202 0.0125893 0.0141254 0.0158489 0.0177828 0.0199526
+0.0223872 0.0251189 0.0281838 0.0316228 0.0354813 0.0398107 0.0446684
+0.0501187 0.0562341 0.0630957 0.0707946 0.0794328 0.0891251 0.1 0.112202
+0.125893 0.141254 0.158489 0.177828 0.199526 0.223872 0.251189 0.281838
+0.316228 0.354813 0.398107 0.446684 0.501187 0.562341 0.630957 0.707946
+0.794328 0.891251 1;
+#X array array-dbdb 41 float 1;
+#A 0 0 0.025 0.05 0.075 0.1 0.125 0.15 0.175 0.2 0.225 0.25 0.275 0.3
+0.325 0.35 0.375 0.4 0.425 0.45 0.475 0.5 0.525 0.55 0.575 0.6 0.625
+0.65 0.675 0.7 0.725 0.75 0.775 0.8 0.825 0.85 0.875 0.9 0.925 0.95
+0.975 1;
+#X array array-4thpow 41 float 1;
+#A 0 0 3.90624e-07 6.25001e-06 3.16406e-05 1e-04 0.000244141 0.00050625
+0.000937891 0.0016 0.00256289 0.00390625 0.00571914 0.0081 0.0111566
+0.0150063 0.0197754 0.0256 0.0326254 0.0410062 0.0509067 0.0625 0.0759691
+0.0915063 0.109313 0.1296 0.152588 0.178506 0.207594 0.2401 0.276282
+0.316406 0.36075 0.4096 0.46325 0.522006 0.586182 0.6561 0.732094 0.814506
+0.903688 1;
+#X pop;
+#N canvas 293 37 890 657 otherstuff 0;
+#X obj 42 438 loadbang;
+#X msg 259 94 bang;
+#X obj 259 123 t b b;
+#X obj 337 192 f;
+#X obj 375 192 + 1;
+#X msg 353 162 0;
+#X obj 259 152 until;
+#X obj 263 329 dbtorms;
+#X obj 339 227 t f f;
+#X msg 51 101 bang;
+#X obj 51 130 t b b;
+#X obj 129 199 f;
+#X obj 167 199 + 1;
+#X msg 145 169 0;
+#X obj 51 159 until;
+#X obj 131 234 t f f;
+#X obj 59 339 tabwrite array-dbdb;
+#X obj 263 355 tabwrite array-ampdb;
+#X msg 505 98 bang;
+#X obj 505 127 t b b;
+#X obj 583 196 f;
+#X obj 621 196 + 1;
+#X msg 599 166 0;
+#X obj 505 156 until;
+#X obj 585 231 t f f;
+#X obj 559 432 expr $f1 * $f1 * $f1 * $f1;
+#X obj 559 341 expr 1 + $f2 * ($f1 - 1);
+#X obj 705 253 loadbang;
+#X floatatom 703 309 0 0 0;
+#X msg 705 281 1;
+#X obj 559 385 max 0;
+#X obj 561 464 tabwrite array-4thpow;
+#X obj 263 274 + 100;
+#X obj 51 232 sel 40;
+#X obj 258 221 sel 40;
+#X obj 503 226 sel 40;
+#X obj 559 300 / 40;
+#X obj 263 302 - 40;
+#X obj 93 303 / 40;
+#X msg 43 465 \; graph1 xlabel -0.03 0 10 20 30 40 \; graph1 ylabel
+-2 0.25 0.5 0.75 1;
+#X text 53 27 (here's how I computed the three transfer functions...)
+;
+#X connect 0 0 39 0;
+#X connect 1 0 2 0;
+#X connect 2 0 6 0;
+#X connect 2 1 5 0;
+#X connect 3 0 4 0;
+#X connect 3 0 8 0;
+#X connect 3 0 34 0;
+#X connect 4 0 3 1;
+#X connect 5 0 3 1;
+#X connect 6 0 3 0;
+#X connect 7 0 17 0;
+#X connect 8 0 32 0;
+#X connect 8 1 17 1;
+#X connect 9 0 10 0;
+#X connect 10 0 14 0;
+#X connect 10 1 13 0;
+#X connect 11 0 12 0;
+#X connect 11 0 15 0;
+#X connect 11 0 33 0;
+#X connect 12 0 11 1;
+#X connect 13 0 11 1;
+#X connect 14 0 11 0;
+#X connect 15 0 38 0;
+#X connect 15 1 16 1;
+#X connect 18 0 19 0;
+#X connect 19 0 23 0;
+#X connect 19 1 22 0;
+#X connect 20 0 21 0;
+#X connect 20 0 24 0;
+#X connect 20 0 35 0;
+#X connect 21 0 20 1;
+#X connect 22 0 20 1;
+#X connect 23 0 20 0;
+#X connect 24 0 36 0;
+#X connect 24 1 31 1;
+#X connect 25 0 31 0;
+#X connect 26 0 30 0;
+#X connect 27 0 29 0;
+#X connect 28 0 26 1;
+#X connect 29 0 28 0;
+#X connect 30 0 25 0;
+#X connect 32 0 37 0;
+#X connect 33 0 14 1;
+#X connect 34 0 6 1;
+#X connect 35 0 23 1;
+#X connect 36 0 26 0;
+#X connect 37 0 7 0;
+#X connect 38 0 16 0;
+#X restore 53 608 pd otherstuff;
+#X text 292 403 linear;
+#X text 279 509 decibels;
+#X text 387 518 quartic;
+#X text 45 5 QUARTIC CURVES AS THE IDEAL AMPLITUDE AND FREQUENCY SCALERS
+;
+#X text 346 611 updated for Pd version 0.34;
+#X text 246 578 units-->;
+#X text 45 447 amplitude;
+#X text 79 429 |;
+#X text 79 420 |;
+#X text 79 410 |;
+#X text 79 402 |;
+#X text 78 398 ^;
+#X text 38 149 The graph below shows that a simple quartic curve \,
+x-to-the-fourth-power \, twists like decibels but--unlike decibels--actually
+hits zero at left. You get the best of both worlds. Moreover \, raising
+something to the fourth power is very cheap: just two multiplications--whereas
+\, if you're computing envelopes in dB \, eventually you'll have to
+exponentiate \, sample by sample \, to get to linear units.;
+#X text 36 34 It's an old saw that we perceive amplitude and frequency
+logarithmically. But using decibels as a unit for controlling amplitude
+and frequency gets ugly for two reasons. First \, it's expensive to
+do the conversion. Second and more profoundly \, decibels grow by shifting
+\, and things should grow by scaling \, so that \, for example \, zero
+really means "nothing.";
diff --git a/pd/doc/3.audio.examples/J02.more.quartic.pd b/pd/doc/3.audio.examples/J02.more.quartic.pd
new file mode 100644
index 00000000..fdb01dab
--- /dev/null
+++ b/pd/doc/3.audio.examples/J02.more.quartic.pd
@@ -0,0 +1,147 @@
+#N canvas 130 66 880 587 12;
+#X floatatom 89 506 0 0 100;
+#N canvas 159 26 516 274 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 396 182 0;
+#X msg 338 85 bang;
+#X obj 338 135 moses 1;
+#X obj 391 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 391 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 20 182 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 104 s master-lvl;
+#X msg 96 65 set \$1;
+#X obj 96 90 outlet;
+#X msg 214 65 \; pd dsp 1;
+#X obj 83 198 line~;
+#X obj 20 207 *~;
+#X obj 20 232 dac~;
+#X obj 83 173 pack 0 50;
+#X text 20 159 audio;
+#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 21 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 restore 51 534 pd output;
+#X msg 127 507 MUTE;
+#X obj 32 441 *~;
+#X obj 12 469 -~;
+#X obj 73 446 *~;
+#X floatatom 170 421 1 0 100;
+#X obj 365 337 osc~;
+#X obj 365 362 *~;
+#X obj 425 342 line~;
+#X obj 365 312 line~;
+#X obj 550 468 osc~;
+#X obj 599 496 *~;
+#X obj 621 379 line~;
+#X obj 550 379 line~;
+#X obj 550 326 sqrt;
+#X obj 550 352 sqrt;
+#X obj 621 326 sqrt;
+#X obj 621 352 sqrt;
+#X obj 550 411 *~;
+#X obj 550 441 *~;
+#X obj 621 411 *~;
+#X obj 621 440 *~;
+#X obj 550 301 unpack;
+#X obj 621 301 unpack;
+#X obj 365 287 r freq;
+#X obj 425 318 r amp;
+#X obj 550 276 r freq;
+#X obj 621 276 r amp;
+#X obj 365 388 s~ linear;
+#X obj 599 523 s~ quartic;
+#X obj 12 377 r~ linear;
+#X obj 56 406 r~ quartic;
+#X msg 27 185 \; amp 0 5000 \;;
+#X msg 29 139 \; amp 1 5000 \;;
+#X msg 139 185 \; amp 0 1000 \;;
+#X msg 141 139 \; amp 1 1000 \;;
+#X msg 26 238 \; freq 1760 5000 \;;
+#X msg 29 286 \; freq 55 5000 \;;
+#X msg 180 238 \; freq 1760 1000 \;;
+#X msg 183 286 \; freq 55 1000 \;;
+#X text 90 15 QUARTIC AND LINEAR ENVELOPES COMPARED;
+#X obj 202 488 loadbang;
+#X msg 202 516 \; amp 1 \; freq 1760;
+#X text 194 414 1 for quartic \; 0 for linear;
+#X text 19 39 This patch has two sine wave oscillators \, one with
+linear envelopes \, the other with quartic ones which sound more uniform.
+The "toggle switch" at bottom selects between the two \, and the message
+boxes sweep the amplitude and frequency up and down.;
+#X text 366 257 LINEAR;
+#X text 555 249 QUARTIC;
+#X text 335 120 The two oscillators are below. In the quartic one \,
+for both the amplitude and the frequency \, we have to take the fourth
+root of the target value (which we get by taking square root twice.)
+Then we raise the line~ output to the fourth power by squaring twice
+(the *~ objects \, whose left and right inlets are the same.) The cost
+is mostly that of the four additional *~ objects.;
+#X text 579 560 updated for Pd version 0.34;
+#X connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 3 0 4 1;
+#X connect 4 0 1 0;
+#X connect 5 0 1 0;
+#X connect 6 0 5 1;
+#X connect 6 0 3 1;
+#X connect 7 0 8 0;
+#X connect 8 0 29 0;
+#X connect 9 0 8 1;
+#X connect 10 0 7 0;
+#X connect 11 0 12 0;
+#X connect 12 0 30 0;
+#X connect 13 0 21 0;
+#X connect 13 0 21 1;
+#X connect 14 0 19 0;
+#X connect 14 0 19 1;
+#X connect 15 0 16 0;
+#X connect 16 0 14 0;
+#X connect 17 0 18 0;
+#X connect 18 0 13 0;
+#X connect 19 0 20 0;
+#X connect 19 0 20 1;
+#X connect 20 0 11 0;
+#X connect 21 0 22 0;
+#X connect 21 0 22 1;
+#X connect 22 0 12 1;
+#X connect 23 0 15 0;
+#X connect 23 1 14 1;
+#X connect 24 0 17 0;
+#X connect 24 1 13 1;
+#X connect 25 0 10 0;
+#X connect 26 0 9 0;
+#X connect 27 0 23 0;
+#X connect 28 0 24 0;
+#X connect 31 0 3 0;
+#X connect 31 0 4 0;
+#X connect 32 0 5 0;
+#X connect 42 0 43 0;
diff --git a/pd/doc/3.audio.examples/J03.qlist.pd b/pd/doc/3.audio.examples/J03.qlist.pd
new file mode 100644
index 00000000..58495ca1
--- /dev/null
+++ b/pd/doc/3.audio.examples/J03.qlist.pd
@@ -0,0 +1,102 @@
+#N canvas 233 179 684 516 12;
+#X floatatom 57 459 0 0 0;
+#N canvas 159 26 497 272 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 182 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 159 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 19 488 pd output;
+#X msg 95 459 MUTE;
+#X obj 19 211 osc-voice amp1 pit1;
+#X obj 19 240 osc-voice amp2 pit2;
+#X obj 19 269 osc-voice amp3 pit3;
+#X obj 19 298 osc-voice amp4 pit4;
+#X obj 19 327 osc-voice amp5 pit5;
+#X obj 19 356 osc-voice amp6 pit6;
+#X obj 19 385 osc-voice amp7 pit7;
+#X obj 19 414 osc-voice amp8 pit8;
+#X obj 467 382 qlist;
+#X msg 389 226 stop;
+#X msg 527 339 read qlist.txt;
+#X obj 527 294 loadbang;
+#X text 261 203 start;
+#X text 391 202 stop;
+#X text 537 318 reread file;
+#X msg 470 238 rewind;
+#X msg 538 238 next;
+#X msg 258 254 tempo 100 \, bang;
+#X msg 253 227 tempo 1 \, bang;
+#X text 82 11 USING QLIST TO SEQUENCE AN OSCILLATOR BANK;
+#X text 474 215 single step;
+#X obj 556 454 r #;
+#X text 35 61 Here is an eight voice additive synthesis patch controlled
+by a qlist. Open a text editor on the file \, "qlist.txt" \, to see
+how the oscillators' amplitudes and frequencies are specified. The
+abstraction \, "osc-voice" \, shows an effective way to make patches
+react to qlists but also to mousing.;
+#X text 258 453 this is where qlist comments go:;
+#X text 418 485 updatged for Pd version 0.34;
+#X connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 3 0 4 0;
+#X connect 4 0 5 0;
+#X connect 5 0 6 0;
+#X connect 6 0 7 0;
+#X connect 7 0 8 0;
+#X connect 8 0 9 0;
+#X connect 9 0 10 0;
+#X connect 10 0 1 0;
+#X connect 12 0 11 0;
+#X connect 13 0 11 0;
+#X connect 14 0 13 0;
+#X connect 18 0 11 0;
+#X connect 19 0 11 0;
+#X connect 20 0 11 0;
+#X connect 21 0 11 0;
diff --git a/pd/doc/3.audio.examples/J04.more.adsr.pd b/pd/doc/3.audio.examples/J04.more.adsr.pd
new file mode 100644
index 00000000..5b38917a
--- /dev/null
+++ b/pd/doc/3.audio.examples/J04.more.adsr.pd
@@ -0,0 +1,117 @@
+#N canvas 105 38 705 609 12;
+#X obj 39 140 r trigger;
+#X floatatom 70 376 0 0 0;
+#N canvas 159 26 495 266 output 0;
+#X obj 351 166 t b;
+#X obj 351 114 f;
+#X obj 351 62 inlet;
+#X text 358 30 mute;
+#X obj 351 192 f;
+#X msg 442 185 0;
+#X msg 351 88 bang;
+#X obj 351 140 moses 1;
+#X obj 442 159 t b f;
+#X obj 413 122 moses 1;
+#X obj 86 154 dbtorms;
+#X obj 413 96 r master-lvl;
+#X obj 86 44 r master-lvl;
+#X obj 351 218 s master-lvl;
+#X obj 23 188 inlet~;
+#X obj 207 42 inlet;
+#X text 207 19 level;
+#X obj 207 104 s master-lvl;
+#X msg 100 67 set \$1;
+#X obj 100 93 outlet;
+#X msg 222 66 \; pd dsp 1;
+#X obj 86 202 line~;
+#X obj 23 221 *~;
+#X obj 23 250 dac~;
+#X obj 86 178 pack 0 50;
+#X text 21 165 audio;
+#X text 97 114 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 39 406 pd output;
+#X msg 107 376 MUTE;
+#X text 150 375 <-- output amplitude;
+#X text 518 189 <-- attack;
+#X text 485 281 <-- release;
+#X obj 39 338 *~;
+#X obj 39 282 *~;
+#X obj 39 310 *~;
+#X obj 80 340 osc~ 440;
+#X text 88 9 ADSR envelope;
+#X text 35 29 You can use the quartic trick to simplify patches using
+ADSR envelopes. For amplitude control it's especially simple. It's
+usually good enough in practice to control amplitudes by ranging an
+ADSR from 0 to 1 (divide by 100 so your input range can be a comfortable
+0-100) \, then take fourth power:;
+#X obj 77 227 / 100;
+#X floatatom 77 197 3 0 100;
+#X msg 383 269 \; trigger 0;
+#X obj 39 166 unpack;
+#X floatatom 39 197 1 0 100;
+#X msg 383 175 \; trigger 1 100;
+#X text 503 229 <-- softer attack;
+#X msg 382 222 \; trigger 1 60;
+#X text 441 583 updated for Pd version 0.34;
+#X text 14 437 Note that the units aren't dB \; for most of the range
+0-100 it's about 0.4 dB per unit. If you want something closer to dB
+\, you can set the scale as 0-40 instead of 0-100 (just change "/ 100"
+to "/ 40") and then you'll get the response shown in the first patch
+in this section.;
+#X obj 596 519 *~;
+#X obj 596 547 *~;
+#X floatatom 605 390 3 0 100;
+#X obj 605 416 mtof;
+#X obj 605 441 sqrt;
+#X obj 605 466 sqrt;
+#X text 174 526 To use ADSR to control pitch \, you should;
+#X text 173 545 usually just use real pitch units like this-->;
+#X obj 596 490 adsr 0;
+#X obj 39 253 adsr 0 100 200 70 300;
+#X connect 0 0 16 0;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 7 0 2 0;
+#X connect 8 0 9 0;
+#X connect 8 0 9 1;
+#X connect 9 0 7 0;
+#X connect 10 0 7 1;
+#X connect 13 0 32 1;
+#X connect 14 0 13 0;
+#X connect 16 0 17 0;
+#X connect 16 1 14 0;
+#X connect 17 0 32 0;
+#X connect 23 0 24 0;
+#X connect 23 0 24 1;
+#X connect 25 0 26 0;
+#X connect 26 0 27 0;
+#X connect 27 0 28 0;
+#X connect 28 0 31 1;
+#X connect 31 0 23 0;
+#X connect 31 0 23 1;
+#X connect 32 0 8 0;
+#X connect 32 0 8 1;
diff --git a/pd/doc/3.audio.examples/J05.vibrato.pd b/pd/doc/3.audio.examples/J05.vibrato.pd
new file mode 100644
index 00000000..78c38efd
--- /dev/null
+++ b/pd/doc/3.audio.examples/J05.vibrato.pd
@@ -0,0 +1,158 @@
+#N canvas 80 10 736 726 12;
+#X obj 27 220 r trigger;
+#X floatatom 65 581 0 0 0;
+#N canvas 159 26 531 288 output 0;
+#X obj 351 166 t b;
+#X obj 351 114 f;
+#X obj 351 62 inlet;
+#X text 358 30 mute;
+#X obj 351 192 f;
+#X msg 442 185 0;
+#X msg 351 88 bang;
+#X obj 351 140 moses 1;
+#X obj 413 122 moses 1;
+#X obj 86 154 dbtorms;
+#X obj 413 96 r master-lvl;
+#X obj 86 44 r master-lvl;
+#X obj 351 218 s master-lvl;
+#X obj 24 163 inlet~;
+#X obj 207 42 inlet;
+#X text 207 19 level;
+#X obj 207 104 s master-lvl;
+#X msg 100 67 set \$1;
+#X obj 100 93 outlet;
+#X msg 222 66 \; pd dsp 1;
+#X obj 86 202 line~;
+#X obj 23 221 *~;
+#X obj 23 250 dac~;
+#X obj 86 178 pack 0 50;
+#X text 22 140 audio;
+#X obj 442 159 t b;
+#X obj 21 191 hip~ 1;
+#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 25 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 25 0 5 0;
+#X connect 26 0 21 0;
+#X restore 26 610 pd output;
+#X msg 102 581 MUTE;
+#X obj 27 446 *~;
+#X obj 27 474 *~;
+#X floatatom 62 277 3 0 100;
+#X msg 484 482 \; trigger 0;
+#X obj 27 246 unpack;
+#X floatatom 27 277 1 0 100;
+#X text 463 668 updated for Pd version 0.34;
+#X obj 26 525 +~ 0.3;
+#X obj 26 551 cos~;
+#X obj 26 499 osc~;
+#X text 88 9 PORTAMENTO AND VIBRATO;
+#X obj 62 300 mtof;
+#X obj 62 325 sqrt;
+#X obj 62 350 sqrt;
+#X text 619 402 <-- midC;
+#X text 607 444 <-- octave up;
+#X msg 484 388 \; trigger 1 60;
+#X msg 483 435 \; trigger 1 72;
+#X text 584 488 <-- release;
+#X text 590 506 is optional;
+#X obj 27 416 *~;
+#X obj 236 396 +~ 1;
+#X graph graph1 0 -1 130 1 433 643 633 543;
+#X array array62 131 float 1;
+#A 0 0.970031 1 0.970031 0.881921 0.740952 0.555571 0.336891 0.0980184
+-0.146729 -0.382682 -0.595698 -0.773009 -0.88 -0.9 -0.92 -0.92 -0.85773
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+0.803205 0.86 0.88 0.88 0.88 0.84 0.82 0.471402 0.242986 6.63397e-06
+-0.242974 -0.471391 -0.671554 -0.831465 -0.941541 -0.995184 -0.989178
+-0.923883 -0.803213 -0.68 -0.42 -0.24 0.1 0.4 0.6 0.7071 0.857723 0.956937
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+-0.336878 -0.55556 -0.7 -0.8 -0.88 -0.88 -0.88 -0.84 -0.82 -0.555582
+-0.336903 -0.0980316 0.146716 0.38267 0.595687 0.773001 0.903983 0.980782
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+-0.83148 -0.671573 -0.471414 -0.242999 -1.99019e-05 0.242961 0.471379
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+-0.595719 -0.382706 -0.146755 0.097992 0.336866 0.555549 0.740934 0.881909
+0.970025 1 0.970038;
+#X pop;
+#X obj 236 342 tabosc4~ array62;
+#X floatatom 236 286 3 0 0;
+#X obj 236 313 / 6;
+#X obj 236 370 *~;
+#X floatatom 390 323 3 0 0;
+#X text 235 421 since we'll multiply \,;
+#X text 234 436 vibrato output should;
+#X text 234 453 be centered at 1 \, not 0;
+#X text 275 372 multiply by vib depth;
+#X obj 390 350 / 6923;
+#X text 28 35 Portamento can be treated as a special case of an ADSR
+envelope \, with 100 percent sustain. Vibrato is properly computed
+in units of pitch \, but it's also easy to add vibrato to the envelope--before
+raising it to the fourth power \, so that it acts pseudo-logarithmically.
+Rather than add to the ADSR output \, we multiply a signal which controls
+relative frequency. The relative frequency change is one plus an oscillator.
+;
+#X text 61 417 apply vibrato;
+#X text 65 445 fourth;
+#X text 68 461 power;
+#X text 96 529 waveform;
+#X text 95 509 simple;
+#X text 465 344 4/(exp(log(2)/1200)-1);
+#X text 469 325 conversion factor is;
+#X text 383 279 vibrato depth;
+#X text 382 296 in cents;
+#X text 233 245 vibrato speed;
+#X text 232 262 in Hertz;
+#X text 152 168 I made a table with 6 cycles of vibrato and made small
+changes with the mouse to get a not-exactly-repeating vibrato \, and
+thus have to divide vibrato frequency by 6 You can just use a sine
+or triangle wave if you prefer.;
+#X obj 27 375 adsr 0 100 200 100 300;
+#X connect 0 0 8 0;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 4 0 5 0;
+#X connect 4 0 5 1;
+#X connect 5 0 13 0;
+#X connect 6 0 15 0;
+#X connect 8 0 9 0;
+#X connect 8 1 6 0;
+#X connect 9 0 50 0;
+#X connect 11 0 12 0;
+#X connect 12 0 2 0;
+#X connect 13 0 11 0;
+#X connect 15 0 16 0;
+#X connect 16 0 17 0;
+#X connect 17 0 50 1;
+#X connect 24 0 4 0;
+#X connect 24 0 4 1;
+#X connect 25 0 24 1;
+#X connect 27 0 30 0;
+#X connect 28 0 29 0;
+#X connect 29 0 27 0;
+#X connect 30 0 25 0;
+#X connect 31 0 36 0;
+#X connect 36 0 30 1;
+#X connect 50 0 24 0;
diff --git a/pd/doc/3.audio.examples/J06.adsr.sequenced.pd b/pd/doc/3.audio.examples/J06.adsr.sequenced.pd
new file mode 100644
index 00000000..26300054
--- /dev/null
+++ b/pd/doc/3.audio.examples/J06.adsr.sequenced.pd
@@ -0,0 +1,217 @@
+#N canvas 32 15 950 613 12;
+#X obj 33 220 r trigger;
+#X floatatom 70 520 0 0 0;
+#N canvas 159 26 584 307 output 0;
+#X obj 390 189 t b;
+#X obj 390 129 f;
+#X obj 390 69 inlet;
+#X text 397 32 mute;
+#X obj 390 219 f;
+#X msg 451 217 0;
+#X msg 390 99 bang;
+#X obj 390 159 moses 1;
+#X obj 460 137 moses 1;
+#X obj 100 178 dbtorms;
+#X obj 460 107 r master-lvl;
+#X obj 100 50 r master-lvl;
+#X obj 390 249 s master-lvl;
+#X obj 26 217 inlet~;
+#X obj 239 49 inlet;
+#X text 239 22 level;
+#X obj 239 120 s master-lvl;
+#X msg 115 78 set \$1;
+#X obj 115 107 outlet;
+#X msg 257 77 \; pd dsp 1;
+#X obj 100 233 line~;
+#X obj 26 254 *~;
+#X obj 26 289 dac~;
+#X obj 100 205 pack 0 50;
+#X text 24 190 audio;
+#X text 112 132 show level;
+#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 21 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 restore 32 546 pd output;
+#X msg 108 521 MUTE;
+#X obj 33 438 *~;
+#X obj 33 331 *~ 0.01;
+#X obj 33 366 *~;
+#X obj 33 396 *~;
+#X obj 80 360 r pitch;
+#X obj 80 410 mtof;
+#X floatatom 80 385 4 0 0;
+#X floatatom 57 272 4 0 0;
+#X obj 57 247 r level;
+#X floatatom 131 272 4 0 0;
+#X obj 131 247 r attack;
+#X floatatom 216 272 4 0 0;
+#X obj 216 247 r decay;
+#X floatatom 291 272 4 0 0;
+#X floatatom 385 272 4 0 0;
+#X obj 291 247 r sustain;
+#X obj 385 247 r release;
+#X obj 509 106 r note;
+#X msg 510 195 \; trigger 1;
+#X obj 634 185 del;
+#X msg 634 210 \; trigger 0;
+#X obj 9 167 qlist;
+#X obj 8 6 r qlist;
+#X msg 30 35 bang;
+#X msg 30 60 rewind;
+#X obj 37 89 r tempo;
+#X floatatom 37 114 4 0 0;
+#X msg 37 139 tempo \$1;
+#X obj 509 156 t b f;
+#X obj 564 157 s pitch;
+#X obj 656 120 r duration;
+#X floatatom 656 145 4 0 0;
+#X floatatom 509 131 4 0 0;
+#X obj 289 320 r trigger;
+#X floatatom 315 376 4 0 0;
+#X floatatom 387 406 4 0 0;
+#X floatatom 477 406 4 0 0;
+#X floatatom 563 406 4 0 0;
+#X floatatom 659 406 4 0 0;
+#X obj 315 351 r level2;
+#X obj 387 381 r attack2;
+#X obj 477 381 r decay2;
+#X obj 563 381 r sustain2;
+#X obj 659 381 r release2;
+#X obj 80 435 tabosc4~ array1;
+#X floatatom 239 366 4 0 0;
+#X obj 33 482 vcf~;
+#X floatatom 140 488 4 0 0;
+#X obj 140 463 r q;
+#X obj 33 306 adsr 0 0 0 0 0;
+#X obj 289 444 adsr 0 0 0 0 0;
+#X obj 315 401 / 69.23;
+#X obj 239 391 mtof;
+#X obj 239 416 sqrt;
+#X obj 239 441 sqrt;
+#X obj 197 336 r filter;
+#X obj 240 494 *~;
+#X obj 240 519 *~;
+#X obj 289 469 +~ 1;
+#X obj 239 466 *~;
+#X text 139 215 ADSR for amplitude:;
+#X text 402 300 ADSR for filter. Here \, I thought it better to make
+the envelope modify a constant "filter pitch"--so the "filter" receive
+gets the "mtof" treatment and the ADSR is an offset in halftones (thus
+the "/ 69.23" as compared to the previous patch.);
+#X text 141 5 USING QLIST TO MAKE SEQUENCES OF "NOTES";
+#N canvas -10 258 703 380 otherstuff 0;
+#X obj 289 86 loadbang;
+#X obj 418 85 loadbang;
+#X graph graph2 0 -1 66 1 62 221 262 81;
+#X array array1 67 float 1;
+#A 0 0 0 0 0 0.714286 0.742857 0.757143 0.771429 0.778571 0.785714
+0.785714 0.785714 0.785714 0.790476 0.795238 0.614286 0.585714 0.442857
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+-0.614286 -0.685714 -0.828571 -0.828571 0 0 0 0 0 0 0 0 0 0 0 0 0 0
+0.557143 0.571429 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0;
+#X pop;
+#X msg 418 115 \; qlist read qlist2.txt;
+#X msg 289 111 \; level 100 \; attack 20 \; decay 300 \; sustain 70
+\; release 300 \; duration 300 \; pitch 72 \; filter 38 \; level2 49
+\; attack2 19 \; decay2 300 \; sustain2 17 \; release2 700 \; q 3 \;
+tempo 1;
+#X connect 0 0 4 0;
+#X connect 1 0 3 0;
+#X restore 32 571 pd otherstuff;
+#X text 82 34 <--start loop;
+#X text 99 62 <--stop loop;
+#X text 85 114 <--set tempo;
+#X text 248 34 The qlist reads the file \, "qlist2.txt" \, which contains
+four "note" messages and a message at the end that restarts the qlist
+at the beginning. The "note" messages are translated into a pitch change
+and triggers for the ADSRs:;
+#X text 694 573 updated for Pd version 0.34;
+#X text 155 573 <--loadbangs and table;
+#X msg 468 518 \; qlist read qlist2.txt;
+#X text 462 494 click to reload qlist2.txt;
+#X text 149 521 <--output;
+#X connect 0 0 53 0;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 4 0 50 0;
+#X connect 5 0 6 0;
+#X connect 5 0 6 1;
+#X connect 6 0 7 0;
+#X connect 6 0 7 1;
+#X connect 7 0 4 0;
+#X connect 8 0 10 0;
+#X connect 9 0 48 0;
+#X connect 10 0 9 0;
+#X connect 11 0 53 1;
+#X connect 12 0 11 0;
+#X connect 13 0 53 2;
+#X connect 14 0 13 0;
+#X connect 15 0 53 3;
+#X connect 16 0 15 0;
+#X connect 17 0 53 4;
+#X connect 18 0 53 5;
+#X connect 19 0 17 0;
+#X connect 20 0 18 0;
+#X connect 21 0 36 0;
+#X connect 23 0 24 0;
+#X connect 26 0 25 0;
+#X connect 27 0 25 0;
+#X connect 28 0 25 0;
+#X connect 29 0 30 0;
+#X connect 30 0 31 0;
+#X connect 31 0 25 0;
+#X connect 32 0 23 0;
+#X connect 32 0 22 0;
+#X connect 32 1 33 0;
+#X connect 34 0 35 0;
+#X connect 35 0 23 1;
+#X connect 36 0 32 0;
+#X connect 37 0 54 0;
+#X connect 38 0 55 0;
+#X connect 39 0 54 2;
+#X connect 40 0 54 3;
+#X connect 41 0 54 4;
+#X connect 42 0 54 5;
+#X connect 43 0 38 0;
+#X connect 44 0 39 0;
+#X connect 45 0 40 0;
+#X connect 46 0 41 0;
+#X connect 47 0 42 0;
+#X connect 48 0 4 1;
+#X connect 49 0 56 0;
+#X connect 50 0 2 0;
+#X connect 51 0 50 2;
+#X connect 52 0 51 0;
+#X connect 53 0 5 0;
+#X connect 54 0 62 0;
+#X connect 55 0 54 1;
+#X connect 56 0 57 0;
+#X connect 57 0 58 0;
+#X connect 58 0 63 0;
+#X connect 59 0 49 0;
+#X connect 60 0 61 0;
+#X connect 60 0 61 1;
+#X connect 61 0 50 1;
+#X connect 62 0 63 1;
+#X connect 63 0 60 0;
+#X connect 63 0 60 1;
diff --git a/pd/doc/3.audio.examples/J07.execution.order.pd b/pd/doc/3.audio.examples/J07.execution.order.pd
new file mode 100644
index 00000000..2bea8e92
--- /dev/null
+++ b/pd/doc/3.audio.examples/J07.execution.order.pd
@@ -0,0 +1,127 @@
+#N canvas 100 17 724 631 12;
+#X floatatom 448 290 0 0 0;
+#X obj 70 432 +~;
+#X obj 91 401 vd~ delay1;
+#X floatatom 108 559 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;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#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 70 585 pd output;
+#X msg 145 559 MUTE;
+#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:;
+#X obj 69 299 noise~;
+#X obj 91 375 line~;
+#X obj 448 344 pack 0 100;
+#X text 518 292 <-- delay in samples;
+#X obj 92 505 *~;
+#X obj 92 481 -~;
+#X floatatom 175 505 1 0 0;
+#X obj 293 297 noise~;
+#X obj 423 398 line~;
+#N canvas 0 0 600 400 delay-writer 0;
+#X obj 96 107 inlet~;
+#X obj 96 180 outlet~;
+#X obj 116 144 delwrite~ delay2 1000;
+#X connect 0 0 1 0;
+#X connect 0 0 2 0;
+#X restore 293 325 pd delay-writer;
+#N canvas 0 0 280 330 delay-reader 0;
+#X obj 96 107 inlet~;
+#X obj 89 267 outlet~;
+#X obj 112 163 inlet~;
+#X obj 112 198 vd~ delay2;
+#X obj 89 237 +~;
+#X connect 0 0 4 0;
+#X connect 2 0 3 0;
+#X connect 3 0 4 1;
+#X connect 4 0 1 0;
+#X restore 293 427 pd delay-reader;
+#X obj 70 533 +~;
+#X text 194 505 <-- 0 to hear left-hand side \, 1 to hear right hand
+side.;
+#X text 46 105 All it took was to put the delread~ and vd~ objects
+in subpatches. The audio connections between the subpatches force the
+"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.;
+#X connect 0 0 23 0;
+#X connect 1 0 14 1;
+#X connect 1 0 20 0;
+#X connect 2 0 1 1;
+#X connect 3 0 4 1;
+#X connect 4 0 3 0;
+#X connect 5 0 4 2;
+#X connect 9 0 1 0;
+#X connect 9 0 24 0;
+#X connect 10 0 2 0;
+#X connect 11 0 10 0;
+#X connect 11 0 17 0;
+#X connect 13 0 20 1;
+#X connect 14 0 13 0;
+#X connect 15 0 13 1;
+#X connect 16 0 18 0;
+#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
new file mode 100644
index 00000000..05bad0d2
--- /dev/null
+++ b/pd/doc/3.audio.examples/J08.control.blocksize.pd
@@ -0,0 +1,111 @@
+#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;
+#X obj 397 110 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 85 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#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;
+#X obj 177 164 metro 500;
+#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;
+#X connect 9 0 8 0;
+#X connect 10 0 7 1;
+#X connect 11 0 7 1;
+#X connect 12 0 10 0;
+#X connect 12 0 13 0;
+#X connect 12 0 15 0;
+#X connect 13 0 16 0;
+#X connect 14 0 12 0;
+#X connect 15 0 11 0;
+#X connect 16 0 9 0;
+#X connect 17 0 7 0;
diff --git a/pd/doc/3.audio.examples/J09.up.downsampling.pd b/pd/doc/3.audio.examples/J09.up.downsampling.pd
new file mode 100644
index 00000000..cf50f9b9
--- /dev/null
+++ b/pd/doc/3.audio.examples/J09.up.downsampling.pd
@@ -0,0 +1,191 @@
+#N canvas 32 25 1089 690 10;
+#X obj 57 567 osc~ 412;
+#X floatatom 58 543 5 0 0;
+#X obj 122 595 tabwrite~ scope;
+#X msg 122 571 bang;
+#X msg 205 43 bang;
+#X obj 42 191 tabwrite~ scope;
+#X msg 54 165 bang;
+#N canvas 316 181 600 400 simple 0;
+#X obj 185 46 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 38 inlet~;
+#X obj 78 258 outlet~;
+#X obj 317 103 block~ 64 1 0.25;
+#X connect 0 0 1 0;
+#X connect 2 0 1 0;
+#X connect 2 0 3 0;
+#X restore 42 64 pd simple downsampling 4;
+#X msg 451 42 bang;
+#X obj 275 190 tabwrite~ scope;
+#X msg 287 164 bang;
+#X graph graph2 0 -1 511 1 297 629 897 489;
+#X array scope 512 float 0;
+#X pop;
+#X msg 683 45 bang;
+#X obj 520 193 tabwrite~ scope;
+#X msg 532 167 bang;
+#X msg 929 44 bang;
+#X obj 753 192 tabwrite~ scope;
+#X msg 765 166 bang;
+#N canvas 165 168 600 400 simple 0;
+#X obj 185 74 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 38 inlet~;
+#X obj 78 258 outlet~;
+#X text 130 38 zero-padding upsampling;
+#X obj 317 103 block~ 64 1 4;
+#X connect 0 0 1 0;
+#X connect 2 0 1 0;
+#X connect 2 0 3 0;
+#X restore 520 66 pd simple upsampling 4;
+#X obj 42 38 r~ sine;
+#X obj 275 39 r~ sine;
+#X obj 57 595 s~ sine;
+#X obj 520 41 r~ sine;
+#X obj 753 41 r~ sine;
+#X obj 41 415 tabwrite~ scope;
+#X msg 47 369 bang;
+#X msg 804 265 bang;
+#X obj 711 415 tabwrite~ scope;
+#X msg 723 389 bang;
+#X obj 41 262 r~ sine;
+#X obj 711 264 r~ sine;
+#X obj 152 416 tabwrite~ scope;
+#X msg 158 370 bang;
+#X text 43 431 zero-padded;
+#N canvas 290 149 600 400 downsampling 0;
+#X obj 78 38 inlet~;
+#X obj 78 258 outlet~;
+#X obj 152 258 outlet~ hold;
+#X obj 317 103 block~ 64 1 0.25;
+#X connect 0 0 1 0;
+#X connect 0 0 2 0;
+#X restore 41 288 pd downsampling 4 (mixed);
+#N canvas 261 147 600 400 bad 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X text 172 257 "lin" is for linear upsampling;
+#X text 160 39 "lin" has no meaning when downsampling;
+#X obj 317 103 block~ 64 2;
+#X obj 78 258 outlet~;
+#X obj 78 38 inlet~;
+#X connect 0 0 1 0;
+#X connect 6 0 1 0;
+#X connect 6 0 5 0;
+#X restore 711 288 pd bad overlap;
+#X msg 1018 263 bang;
+#X obj 841 415 tabwrite~ scope;
+#X msg 853 389 bang;
+#X obj 841 264 r~ sine;
+#N canvas 121 72 600 400 bad 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 258 outlet~ lin;
+#X obj 78 38 inlet~ lin;
+#X text 167 38 "lin" is for linear upsampling;
+#X text 166 259 "lin" has no meaning when downsampling;
+#X obj 317 103 block~ 64 2 2;
+#X connect 0 0 1 0;
+#X connect 3 0 1 0;
+#X connect 3 0 2 0;
+#X restore 841 288 pd bad overlap (upsampled);
+#X msg 458 267 bang;
+#X obj 323 417 tabwrite~ scope;
+#X msg 335 391 bang;
+#X obj 323 266 r~ sine;
+#X text 155 433 sample&hold;
+#X msg 653 265 bang;
+#X obj 511 416 tabwrite~ scope;
+#X msg 523 390 bang;
+#X obj 511 265 r~ sine;
+#N canvas 249 128 600 400 downsampled 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 258 outlet~ lin;
+#X obj 78 230 *~ 0.5;
+#X obj 78 38 inlet~;
+#X obj 317 103 block~ 128 2 0.25;
+#X connect 0 0 1 0;
+#X connect 3 0 2 0;
+#X connect 4 0 1 0;
+#X connect 4 0 3 0;
+#X restore 511 289 pd downsampled overlap;
+#N canvas 175 94 600 400 upsampled 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 258 outlet~ lin;
+#X obj 78 38 inlet~ lin;
+#X obj 78 230 *~ 0.5;
+#X obj 317 103 block~ 256 2 2;
+#X connect 0 0 1 0;
+#X connect 3 0 1 0;
+#X connect 3 0 4 0;
+#X connect 4 0 2 0;
+#X restore 323 290 pd upsampled overlap;
+#N canvas 350 164 600 400 upsampling 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 38 inlet~ hold;
+#X obj 78 258 outlet~;
+#X text 160 39 "hold" is for sample&hold upsampling;
+#X obj 317 103 block~ 64 1 16;
+#X connect 0 0 1 0;
+#X connect 2 0 1 0;
+#X connect 2 0 3 0;
+#X restore 753 65 pd upsampling 16 (sample&hold);
+#N canvas 236 170 600 400 downsampling 0;
+#X obj 185 81 inlet;
+#X obj 185 102 tabwrite~ scope;
+#X obj 78 258 outlet~ lin;
+#X obj 78 38 inlet~ lin;
+#X text 172 257 "lin" is for linear upsampling;
+#X obj 320 102 block~ 64 1 0.125;
+#X text 330 137 0.125 = 1/8 = 8*downsampling;
+#X text 160 39 "lin" has (still !) no meaning when downsampling;
+#X connect 0 0 1 0;
+#X connect 3 0 1 0;
+#X connect 3 0 2 0;
+#X restore 275 63 pd downsampling 8 (linear);
+#X text 718 314 a pd-bug !;
+#X connect 0 0 2 0;
+#X connect 0 0 21 0;
+#X connect 1 0 0 0;
+#X connect 3 0 2 0;
+#X connect 4 0 7 1;
+#X connect 6 0 5 0;
+#X connect 7 0 5 0;
+#X connect 8 0 53 1;
+#X connect 10 0 9 0;
+#X connect 12 0 18 1;
+#X connect 14 0 13 0;
+#X connect 15 0 52 1;
+#X connect 17 0 16 0;
+#X connect 18 0 13 0;
+#X connect 19 0 7 0;
+#X connect 20 0 53 0;
+#X connect 22 0 18 0;
+#X connect 23 0 52 0;
+#X connect 25 0 24 0;
+#X connect 26 0 35 1;
+#X connect 28 0 27 0;
+#X connect 29 0 34 0;
+#X connect 30 0 35 0;
+#X connect 32 0 31 0;
+#X connect 34 0 24 0;
+#X connect 34 1 31 0;
+#X connect 35 0 27 0;
+#X connect 36 0 40 1;
+#X connect 38 0 37 0;
+#X connect 39 0 40 0;
+#X connect 40 0 37 0;
+#X connect 41 0 51 1;
+#X connect 43 0 42 0;
+#X connect 44 0 51 0;
+#X connect 46 0 50 1;
+#X connect 48 0 47 0;
+#X connect 49 0 50 0;
+#X connect 50 0 47 0;
+#X connect 51 0 42 0;
+#X connect 52 0 16 0;
+#X connect 53 0 9 0;
diff --git a/pd/doc/3.audio.examples/J10.waveshaping.pd b/pd/doc/3.audio.examples/J10.waveshaping.pd
new file mode 100644
index 00000000..b217112f
--- /dev/null
+++ b/pd/doc/3.audio.examples/J10.waveshaping.pd
@@ -0,0 +1,133 @@
+#N canvas 222 24 761 466 12;
+#X floatatom 61 408 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;
+#X obj 425 153 t b f;
+#X obj 397 117 moses 1;
+#X obj 83 148 dbtorms;
+#X obj 397 92 r master-lvl;
+#X obj 83 42 r master-lvl;
+#X obj 338 210 s master-lvl;
+#X obj 22 181 inlet~;
+#X obj 199 41 inlet;
+#X text 199 18 level;
+#X obj 199 100 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 20 158 audio;
+#X text 93 110 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 23 433 pd output;
+#X msg 99 405 MUTE;
+#X text 139 406 <-- output amplitude;
+#X obj 336 272 loadbang;
+#X text 35 6 ANALOG SYNTH SEQUENCER;
+#X obj 215 152 metro 100;
+#X obj 214 178 f;
+#X obj 248 181 + 1;
+#X obj 248 205 mod 11;
+#X graph graph1 0 36 11 96 511 197 711 97;
+#X array array1 11 float 0;
+#X pop;
+#X floatatom 215 127 0 0 0;
+#X floatatom 304 152 0 0 0;
+#X obj 214 230 tabread array1;
+#X obj 214 256 mtof;
+#X obj 214 283 osc~ 0;
+#X msg 26 171 1;
+#X obj 24 303 *~;
+#X obj 24 350 cos~;
+#X obj 24 375 hip~ 5;
+#X obj 24 327 +~ 0.1;
+#X msg 336 298 \; array1 0 50 51 52 50 52 56 50 56 58 52 58;
+#X floatatom 43 219 0 0 0;
+#X floatatom 163 221 0 0 0;
+#X floatatom 93 219 0 0 0;
+#X floatatom 128 220 0 0 0;
+#X msg 93 311 0;
+#X msg 93 329 0.1;
+#X msg 93 348 0.25;
+#X msg 215 101 1;
+#X text 244 101 <--START;
+#X text 126 331 <--symmetry;
+#X text 72 185 ADSR controls;
+#X text 43 199 lvl;
+#X text 95 200 A;
+#X text 137 201 D;
+#X text 170 202 S;
+#X floatatom 298 181 0 0 0;
+#X text 332 183 <--increment;
+#X text 339 155 <--msec;
+#X text 20 35 Analog synths had sequencers which could be used in a
+wide variety of ways. You can use an array to hold a sequence of control
+values as shown here.;
+#X obj 23 274 adsr 1 65 13 10 1000;
+#X obj 42 243 / 100;
+#X text 336 340 You can also do microtones \; 50.5 is a quarter tone
+sharper than 50;
+#X text 505 431 updated for Pd version 0.34;
+#X connect 0 0 1 1;
+#X connect 1 0 0 0;
+#X connect 2 0 1 2;
+#X connect 4 0 21 0;
+#X connect 6 0 7 0;
+#X connect 6 0 16 0;
+#X connect 7 0 8 0;
+#X connect 7 0 13 0;
+#X connect 8 0 9 0;
+#X connect 9 0 7 1;
+#X connect 11 0 6 0;
+#X connect 12 0 6 1;
+#X connect 13 0 14 0;
+#X connect 14 0 15 0;
+#X connect 15 0 17 1;
+#X connect 16 0 41 0;
+#X connect 17 0 20 0;
+#X connect 18 0 19 0;
+#X connect 19 0 1 0;
+#X connect 20 0 18 0;
+#X connect 22 0 42 0;
+#X connect 23 0 41 4;
+#X connect 24 0 41 2;
+#X connect 25 0 41 3;
+#X connect 26 0 20 1;
+#X connect 27 0 20 1;
+#X connect 28 0 20 1;
+#X connect 29 0 11 0;
+#X connect 37 0 8 1;
+#X connect 41 0 17 0;
+#X connect 42 0 41 1;
diff --git a/pd/doc/3.audio.examples/adsr.pd b/pd/doc/3.audio.examples/adsr.pd
index b6b2d7d2..351f354c 100644
--- a/pd/doc/3.audio.examples/adsr.pd
+++ b/pd/doc/3.audio.examples/adsr.pd
@@ -1,64 +1,77 @@
-#N canvas 112 36 785 655 12;
-#X obj 205 119 inlet;
-#X obj 412 147 inlet;
-#X text 201 94 trigger;
-#X obj 205 147 sel 0;
-#X obj 258 157 t b;
-#X obj 134 335 f \$1;
-#X obj 134 360 pack 0 \$2;
-#X obj 476 148 inlet;
-#X obj 403 281 del \$2;
+#N canvas 371 139 752 655 12;
+#X obj 105 111 inlet;
+#X obj 435 151 inlet;
+#X text 101 86 trigger;
+#X obj 105 139 sel 0;
+#X obj 244 155 t b;
+#X obj 166 264 f \$1;
+#X obj 166 289 pack 0 \$2;
+#X obj 492 151 inlet;
+#X obj 438 281 del \$2;
 #X obj 458 429 line~;
-#X obj 432 304 f \$4;
-#X obj 466 379 pack 0 \$3;
-#X obj 537 149 inlet;
-#X obj 605 149 inlet;
-#X obj 678 148 inlet;
-#X msg 205 178 stop;
-#X obj 576 301 pack 0 \$5;
-#X text 410 124 level;
-#X obj 466 355 * \$1;
-#X text 31 306 ATTACK;
+#X obj 462 304 f \$4;
+#X obj 501 379 pack 0 \$3;
+#X obj 554 151 inlet;
+#X obj 616 151 inlet;
+#X obj 689 150 inlet;
+#X msg 105 170 stop;
+#X obj 612 306 pack 0 \$5;
+#X text 435 129 level;
+#X obj 501 355 * \$1;
 #X obj 458 454 outlet~;
-#X text 6 329 recall level;
-#X text 6 349 and pack with;
-#X text 7 369 attack time;
-#X text 131 134 if zero;
-#X text 132 151 release;
-#X text 112 168 and cancel;
-#X text 143 185 decay;
-#X text 262 139 bang if attack;
-#X text 245 272 on attack \, set a;
-#X text 200 286 delay to go to sustain;
-#X text 242 303 recall sustain value;
-#X text 237 354 multiply by overall level;
-#X text 281 375 pack with decay time;
-#X text 569 327 on release ramp;
-#X text 570 344 back to zero;
-#X text 17 487 When you send this patch a nonzero trigger it schedules
-a line~ to do an attack and decay \, and if zero \, it starts the release
-ramp.;
-#X obj 432 329 * 0.01;
-#X text 16 539 Objects such as "f" and "pack" can be given dollar sign
+#X text 102 378 and pack with;
+#X text 103 398 attack time;
+#X text 31 126 if zero;
+#X text 32 143 release;
+#X text 12 160 and cancel;
+#X text 43 177 decay;
+#X text 284 272 on attack \, set a;
+#X text 278 305 recall sustain value;
+#X text 315 378 pack with decay time;
+#X text 605 332 on release ramp;
+#X text 606 349 back to zero;
+#X obj 462 329 * 0.01;
+#X text 47 567 Objects such as "f" and "pack" can be given dollar sign
 arguments to initialize their contents from adsr's creation arguments.
 Inlets are supplied to change them on the fly.;
-#X text 505 613 Updated for Pd version 0.34;
-#X text 86 4 ADSR ENVELOPE;
-#X text 245 327 convert from percent;
-#X text 76 24 Arguments: level \, attack time \, decay time \, sustain
+#X text 13 2 ADSR ENVELOPE;
+#X text 488 129 attack;
+#X text 555 128 decay;
+#X text 609 129 sustain;
+#X text 686 129 release;
+#X text 202 71 attack;
+#X obj 204 92 moses;
+#X obj 194 122 t b b;
+#X msg 128 290 0;
+#X text 20 273 optionally;
+#X text 10 291 bash to zero;
+#X text 25 246 ATTACK:;
+#X text 49 477 When you send this patch a positive trigger it schedules
+a line~ to do an attack and decay \, and if zero \, it starts the release
+ramp.;
+#X text 495 629 Updated for Pd version 0.37;
+#X text 255 89 test for negative trigger;
+#X text 253 113 if so \, zero;
+#X text 254 129 the output;
+#X text 278 165 in any case;
+#X text 303 355 multiply by peak level;
+#X text 280 286 delay for sustain;
+#X text 276 328 convert from percent;
+#X text 155 340 ... then;
+#X text 103 359 recall peak level;
+#X text 439 113 peak;
+#X text 281 149 ... do this;
+#X text 47 529 Negative triggers cause the output to jump to zero and
+then attack (instead of attacking from the current location).;
+#X text 208 1 Arguments: level \, attack time \, decay time \, sustain
 level \, release time. A \, D \, and R are in msec and S is in percent.
-This patch is used as an abstraction in 25.envelope.pd and others.
-;
-#X text 472 127 attack;
-#X text 538 126 decay;
-#X text 598 127 sustain;
-#X text 675 127 release;
+This patch is used as an abstraction in various examples.;
 #X connect 0 0 3 0;
 #X connect 1 0 5 1;
 #X connect 1 0 18 1;
 #X connect 3 0 15 0;
 #X connect 3 0 16 0;
-#X connect 3 1 4 0;
+#X connect 3 1 39 0;
 #X connect 4 0 5 0;
 #X connect 4 0 8 0;
 #X connect 5 0 6 0;
@@ -66,8 +79,8 @@ This patch is used as an abstraction in 25.envelope.pd and others.
 #X connect 7 0 6 1;
 #X connect 7 0 8 1;
 #X connect 8 0 10 0;
-#X connect 9 0 20 0;
-#X connect 10 0 37 0;
+#X connect 9 0 19 0;
+#X connect 10 0 31 0;
 #X connect 11 0 9 0;
 #X connect 12 0 11 1;
 #X connect 13 0 10 1;
@@ -75,4 +88,9 @@ This patch is used as an abstraction in 25.envelope.pd and others.
 #X connect 15 0 8 0;
 #X connect 16 0 9 0;
 #X connect 18 0 11 0;
-#X connect 37 0 18 0;
+#X connect 31 0 18 0;
+#X connect 39 0 40 0;
+#X connect 39 1 4 0;
+#X connect 40 0 4 0;
+#X connect 40 1 41 0;
+#X connect 41 0 9 0;
diff --git a/pd/doc/3.audio.examples/output~.pd b/pd/doc/3.audio.examples/output~.pd
index 13ae9252..d1ccdc9f 100644
--- a/pd/doc/3.audio.examples/output~.pd
+++ b/pd/doc/3.audio.examples/output~.pd
@@ -7,13 +7,13 @@
 #X obj 630 518 t b f;
 #X obj 596 479 moses 1;
 #X obj 30 117 dbtorms;
-#X obj 83 208 inlet~;
+#X obj 86 207 inlet~;
 #X msg 341 285 \; pd dsp 1;
-#X obj 27 208 line~;
-#X obj 61 242 *~;
-#X obj 61 272 dac~;
+#X obj 30 207 line~;
+#X obj 64 241 *~;
+#X obj 64 271 dac~;
 #X obj 30 147 pack 0 50;
-#X text 110 184 audio in;
+#X text 113 183 audio in;
 #X text 301 496 test if less than 1 -->;
 #X text 267 523 if true convert to bang -->;
 #X text 101 116 <-- convert from dB to linear units;
@@ -21,8 +21,8 @@
 #X obj 516 449 bng 15 250 50 0 empty empty mute -38 7 0 12 -262144
 -1 -1;
 #X text 119 146 <-- make a ramp to avoid clicks or zipper noise;
-#X obj 172 209 inlet~;
-#X obj 151 241 *~;
+#X obj 175 208 inlet~;
+#X obj 154 240 *~;
 #X text 502 399 MUTE logic:;
 #X obj 341 193 r \$0-master-lvl;
 #X obj 516 573 s \$0-master-lvl;
@@ -46,8 +46,8 @@ patch.;
 #X connect 6 1 2 1;
 #X connect 7 0 13 0;
 #X connect 8 0 11 1;
-#X connect 10 0 11 1;
 #X connect 10 0 22 0;
+#X connect 10 0 11 0;
 #X connect 11 0 12 0;
 #X connect 13 0 10 0;
 #X connect 18 0 9 0;
diff --git a/pd/doc/3.audio.examples/qlist-sampler.txt b/pd/doc/3.audio.examples/qlist-sampler.txt
new file mode 100644
index 00000000..0c412767
--- /dev/null
+++ b/pd/doc/3.audio.examples/qlist-sampler.txt
@@ -0,0 +1,147 @@
+note 60 90 50 2 50 30 30;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+15 note 60;
+100 note 59 90 100;
+comment measure 1;
+100 note 60 90 150 2 0;
+    note 36 90 200 2 50;
+200 note 48 90 250 2 0;
+    note 40 90 200 2 50;
+    note 43 90 200 2 50;
+200 note 48 90 250 2 0;
+    note 31 90 200 2 50;
+200 note 55 90 100;
+    note 41 90 200;
+    note 43 90 200;
+100 note 53 90 100;
+100 note 52 90 100;
+    note 36 90 200;
+100 note 55 90 100;
+100 note 60 90 100;
+    note 40 90 200;
+    note 43 90 200;
+100 note 59 90 100;
+100 note 60 90 100;
+    note 25 90 200;
+100 note 64 90 100;
+100 note 62 90 100;
+    note 39 90 200;
+    note 43 90 200;
+100 note 61 90 100;
+
+comment measure 2;
+100 note 62 90 150 2 0;
+    note 26 90 200;
+200 note 50 90 250 2 50;
+    note 41 90 200;
+    note 42 90 200;
+200 note 50 90 250;
+    note 29 90 200;
+200 note 50 90 100;
+    note 30 90 200;
+    note 44 90 200;
+    note 48 90 200;
+100 note 48 90 100;
+100 note 47 90 100;
+    note 31 90 200;
+    note 43 90 200;
+    note 47 90 200;
+100 note 50 90 100;
+100 note 55 90 100;
+    note 34 90 200;
+    note 42 90 200;
+    note 46 90 200;
+100 note 54 90 100;
+100 note 55 90 200;
+    note 35 90 200;
+    note 42 90 200;
+    note 45 90 200;
+200 note 57 90 100;
+    note 41 90 200;
+    note 47 90 200;
+100 note 59 90 100;
+comment measure 3;
+100 note 60 90 100;
+    note 24 90 200;
+    note 40 90 200;
+    note 48 90 200 2 0;
+
+100 note 59 90 100 2 50;
+100 note 57 90 100;
+100 note 55 90 100;
+
+100 note 57 90 100;
+    note 28 90 200;
+    note 38 90 200;
+    note 46 90 200;
+100 note 55 90 100;
+100 note 53 90 100;
+100 note 52 90 100;
+
+100 note 53 90 100;
+    note 29 90 100;
+    note 36 90 100;
+    note 45 90 100;
+100 note 52 90 100;
+100 note 50 90 100;
+    note 29 90 300;
+    note 36 90 300;
+    note 45 90 300;
+100 note 48 90 100;
+
+100 note 50 90 100;
+100 note 48 90 100;
+100 note 47 90 100;
+    note 29 90 300;
+    note 38 90 300;
+    note 44 90 300 2 0;
+100 note 45 90 100 2 50;
+
+comment measure 4;
+100 note 43 90 100;
+    note 31 90 200;
+    note 38 90 200;
+100 note 48 90 100;
+100 note 47 90 100;
+    note 31 90 300;
+    note 40 90 300;
+    note 43 90 300 2 0;
+100 note 50 90 100 2 50;
+
+100 note 48 90 100;
+100 note 52 90 100;
+100 note 50 90 100;
+    note 31 90 300 2 0;
+    note 41 90 300;
+    note 43 90 300;
+100 note 53 90 100 2 50;
+
+100 note 52 90 200;
+    note 31 90 300 2 50;
+200 note 48 90 200;
+    note 19 90 200 2 50;
+    note 29 90 200 2 50;
+    note 36 90 200 2 50;
+
+200 note 48 90 100 2 50 0 4000;
+    note 12 90 300;
+    note 28 90 300;
+    note 36 90 300;
+
+
+
diff --git a/pd/doc/3.audio.examples/qlist.txt b/pd/doc/3.audio.examples/qlist.txt
index fe105141..719dc89b 100644
--- a/pd/doc/3.audio.examples/qlist.txt
+++ b/pd/doc/3.audio.examples/qlist.txt
@@ -1,4 +1,4 @@
-# This is a qlist for patch number 60, which demonstrates an oscillator

+# This is a qlist for patch number 68, which demonstrates an oscillator

 bank.

 ;

 # comments start with a "#" which must be followed by a space.  The comment

diff --git a/pd/doc/3.audio.examples/shepvoice.pd b/pd/doc/3.audio.examples/shepvoice.pd
new file mode 100644
index 00000000..f1929976
--- /dev/null
+++ b/pd/doc/3.audio.examples/shepvoice.pd
@@ -0,0 +1,37 @@
+#N canvas 63 20 638 403 12;
+#X obj 300 253 pack 0 50;
+#X obj 243 203 pack 0 50;
+#X obj 151 216 inlet~;
+#X obj 243 232 line~;
+#X obj 300 278 line~;
+#X obj 243 297 *~;
+#X obj 151 316 +~;
+#X obj 151 342 outlet~;
+#X obj 399 121 r pitch+;
+#X obj 326 108 r interval+;
+#X obj 297 144 expr $f1 * $f2 + $f3;
+#X obj 537 90 r dropoff+;
+#X obj 297 75 expr ($i1% 10000) * 0.0002 - 1;
+#X obj 296 20 r phase;
+#X obj 296 47 + \$1;
+#X obj 457 114 expr exp(-$f1*$f1*$f2);
+#X obj 243 179 mtof;
+#X obj 243 258 osc~;
+#X connect 0 0 4 0;
+#X connect 1 0 3 0;
+#X connect 2 0 6 0;
+#X connect 3 0 17 0;
+#X connect 4 0 5 1;
+#X connect 5 0 6 1;
+#X connect 6 0 7 0;
+#X connect 8 0 10 2;
+#X connect 9 0 10 1;
+#X connect 10 0 16 0;
+#X connect 11 0 15 1;
+#X connect 12 0 10 0;
+#X connect 12 0 15 0;
+#X connect 13 0 14 0;
+#X connect 14 0 12 0;
+#X connect 15 0 0 0;
+#X connect 16 0 1 0;
+#X connect 17 0 5 0;
diff --git a/pd/doc/3.audio.examples/sinevoice.pd b/pd/doc/3.audio.examples/sinevoice.pd
new file mode 100644
index 00000000..d8d1848b
--- /dev/null
+++ b/pd/doc/3.audio.examples/sinevoice.pd
@@ -0,0 +1,67 @@
+#N canvas 621 65 547 441 12;
+#X obj 120 299 line~;
+#X obj 120 323 *~;
+#X obj 120 346 *~;
+#X obj 125 232 sqrt;
+#X obj 96 39 inlet;
+#X obj 125 253 sqrt;
+#X obj 51 360 inlet~;
+#X obj 51 413 outlet~;
+#X obj 120 370 *~;
+#X obj 206 351 osc~;
+#X obj 51 388 +~;
+#X obj 261 210 pack;
+#X text 142 40 inlet: volume \, pitch \, duration;
+#X obj 96 88 unpack 0 0 0;
+#X text 12 2 arguments: \$1 = relative amplitude \, \$2 = pitch multiplier
+\, \$3 = detune \, \$4 = time multiplier;
+#X obj 157 117 dbtorms;
+#X obj 157 139 * \$1;
+#X obj 125 211 f;
+#X obj 206 216 f;
+#X obj 228 117 mtof;
+#X obj 228 142 * \$2;
+#X obj 228 164 + \$3;
+#X obj 273 118 * \$4;
+#X msg 8 148 0 5;
+#X msg 99 118 bang;
+#X obj 42 148 del 5;
+#X obj 106 65 outlet;
+#X msg 99 161 0;
+#X obj 125 272 pack 0 5;
+#X obj 99 139 del 10;
+#X connect 0 0 1 0;
+#X connect 0 0 1 1;
+#X connect 1 0 2 0;
+#X connect 1 0 2 1;
+#X connect 2 0 8 0;
+#X connect 3 0 5 0;
+#X connect 4 0 13 0;
+#X connect 4 0 26 0;
+#X connect 5 0 28 0;
+#X connect 6 0 10 0;
+#X connect 8 0 10 1;
+#X connect 9 0 8 1;
+#X connect 10 0 7 0;
+#X connect 11 0 0 0;
+#X connect 13 0 15 0;
+#X connect 13 0 23 0;
+#X connect 13 0 24 0;
+#X connect 13 1 19 0;
+#X connect 13 2 22 0;
+#X connect 15 0 16 0;
+#X connect 16 0 17 1;
+#X connect 17 0 3 0;
+#X connect 18 0 9 0;
+#X connect 19 0 20 0;
+#X connect 20 0 21 0;
+#X connect 21 0 18 1;
+#X connect 22 0 11 1;
+#X connect 23 0 0 0;
+#X connect 24 0 25 0;
+#X connect 24 0 29 0;
+#X connect 25 0 17 0;
+#X connect 25 0 18 0;
+#X connect 27 0 11 0;
+#X connect 28 0 0 0;
+#X connect 29 0 27 0;