This commit was generated by cvs2svn to compensate for changes in r1301,

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

svn path=/trunk/; revision=1302

10 files changed, 1086 insertions, 323 deletions

diff --git a/pd/doc/3.audio.examples/G01.delay.pd b/pd/doc/3.audio.examples/G01.delay.pd
new file mode 100644
index 00000000..6b03ed12
--- /dev/null
+++ b/pd/doc/3.audio.examples/G01.delay.pd
@@ -0,0 +1,48 @@
+#N canvas 19 35 777 377 12;
+#X text 103 7 DELAYS;
+#X text 248 79 The delwrite~ object creates the delay line \; you give
+it a name and a size in milliseconds. Each delwrite~ should have a
+different name.;
+#N canvas 0 0 548 248 sample 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array G01-tab 61079 float 0;
+#X coords 0 1 61078 -1 200 140 1;
+#X restore 100 20 graph;
+#X obj 61 176 loadbang;
+#X obj 60 221 soundfiler;
+#X msg 61 199 read -resize ../sound/voice.wav G01-tab;
+#X connect 1 0 3 0;
+#X connect 3 0 2 0;
+#X restore 253 337 pd sample;
+#X floatatom 38 196 4 0 999 0 - - -;
+#X text 81 195 <-- delay time;
+#X text 46 230 read from delay line;
+#X obj 38 249 delread~ delay1;
+#X obj 14 87 tabplay~ G01-tab;
+#X obj 14 63 metro 1000;
+#X obj 14 39 loadbang;
+#X text 40 146 write to delay line;
+#X obj 16 303 output~;
+#X obj 15 275 +~;
+#X obj 24 165 delwrite~ delay1 1000;
+#X text 499 348 updated for Pd version 0.37-1;
+#X text 248 24 You can delay a signal using the delwrite~ and delread~
+objects. In this example \, a sample loops continuously and is added
+to a delayed copy of itself.;
+#X text 247 215 The delread~ object always delays the signal an integer
+number of samples and does no interpolation.;
+#X text 28 107 test signal to delay;
+#X text 248 130 Delread~'s arguments are the name of a delwrite (of
+which there should be exactly one) and an optional 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 can then function as multiple
+delay taps.;
+#X text 114 209 (msec);
+#X connect 3 0 6 0;
+#X connect 6 0 12 1;
+#X connect 7 0 12 0;
+#X connect 7 0 13 0;
+#X connect 8 0 7 0;
+#X connect 9 0 8 0;
+#X connect 12 0 11 0;
+#X connect 12 0 11 1;
diff --git a/pd/doc/3.audio.examples/G02.delay.loop.pd b/pd/doc/3.audio.examples/G02.delay.loop.pd
index 71b35253..ba355b7c 100644
--- a/pd/doc/3.audio.examples/G02.delay.loop.pd
+++ b/pd/doc/3.audio.examples/G02.delay.loop.pd
@@ -1,213 +1,44 @@
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-#X floatatom 58 505 0 0 0;
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-#X obj 338 160 t b;
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-#X text 20 158 audio;
-#X text 93 110 show level;
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-#X restore 29 533 pd output;
-#X msg 87 505 MUTE;
-#X text 126 504 <-- output amplitude;
-#X obj 29 476 hip~ 5;
-#X obj 29 297 -~;
-#X obj 29 273 *~ 3;
-#X obj 66 279 *~ 2;
-#X floatatom 29 177 0 0 0;
-#X obj 29 249 clip~ 0 0.667;
-#X obj 39 450 delwrite~ delay1 2000;
-#X floatatom 45 353 0 0 0;
-#X text 79 176 <-- pitch;
-#X text 75 352 <-- delay time;
-#X text 238 450 write to delay line;
-#X text 226 378 read from delay line;
-#X text 64 426 add the original and the delayed signal;
-#X obj 29 201 mtof;
-#X msg 135 238 1;
-#X obj 29 321 *~;
-#X obj 29 225 phasor~ 0;
-#X obj 135 286 tabread4~ dbtorms;
-#X obj 135 262 adsr 100 100 2000 0 2000;
-#X obj 29 427 +~;
-#X obj 45 377 delread~ delay1 160;
-#X obj 45 401 *~ 0.7;
-#X text 103 401 feedback gain;
+#N canvas 130 225 601 527 12;
+#X floatatom 36 197 5 -30 130 0 - - -;
+#X floatatom 58 322 0 0 0 0 - - -;
+#X text 88 196 <-- pitch;
+#X text 88 321 <-- delay time;
+#X text 287 420 write to delay line;
+#X text 246 346 read from delay line;
+#X text 72 393 add the original and the delayed signal;
+#X obj 36 233 mtof;
+#X msg 111 233 1;
+#X obj 37 282 *~;
+#X obj 37 394 +~;
+#X obj 58 370 *~ 0.7;
+#X text 116 370 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.
+delays below 30 msec \, you can frequently hear the 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
+#X obj 111 281 *~;
+#X obj 111 257 adsr 1 100 1000 0 1000;
+#X obj 37 463 output~;
+#X text 32 118 We've added an amplitude control here so that the test
 oscillator only speaks while you're dragging the pitch up and down.
-Be sure to try the shift key.;
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-#X text 89 148 ------ 123 samples ------;
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-#X msg 19 76 bang;
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-#X obj 79 259 dbtorms;
-#X obj 90 194 t f f;
-#X obj 35 291 tabwrite dbtorms;
-#X text 18 49 bang to recalculate dbtorms table;
-#X text 356 50 bang to recalculate the mtof table;
-#X connect 0 0 1 0;
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-#X connect 18 0 21 0;
-#X connect 19 0 21 0;
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-#X connect 20 1 21 1;
-#X restore 375 76 pd regenerate-tables;
-#X restore 334 483 pd conversion-tables;
-#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 6 0 20 0;
-#X connect 7 0 6 0;
-#X connect 8 0 6 1;
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-#X connect 24 0 5 0;
-#X connect 25 0 26 0;
-#X connect 26 0 24 1;
+Be sure to try shift-dragging on the pitch control.;
+#X text 330 495 updated for Pd version 0.37-1;
+#X obj 36 257 phasor~;
+#X obj 58 346 delread~ G02-del 160;
+#X obj 77 419 delwrite~ G02-del 2000;
+#X connect 0 0 7 0;
+#X connect 0 0 8 0;
+#X connect 1 0 21 0;
+#X connect 7 0 20 0;
+#X connect 8 0 16 0;
+#X connect 9 0 10 0;
+#X connect 10 0 17 0;
+#X connect 10 0 17 1;
+#X connect 10 0 22 0;
+#X connect 11 0 10 1;
+#X connect 15 0 9 1;
+#X connect 16 0 15 0;
+#X connect 16 0 15 1;
+#X connect 20 0 9 0;
+#X connect 21 0 11 0;
diff --git a/pd/doc/3.audio.examples/G03.delay.variable.pd b/pd/doc/3.audio.examples/G03.delay.variable.pd
index bb16de95..c2ece553 100644
--- a/pd/doc/3.audio.examples/G03.delay.variable.pd
+++ b/pd/doc/3.audio.examples/G03.delay.variable.pd
@@ -1,105 +1,55 @@
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-#X obj 63 330 clip~ -0.2 0.2;
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-#X obj 426 444 delwrite~ delay1 1000;
-#X obj 63 354 +~;
-#X obj 426 396 *~;
-#X obj 256 336 vd~ delay1;
-#X obj 256 288 *~;
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-#N canvas 159 26 495 266 output 0;
-#X obj 338 160 t b;
-#X obj 338 110 f;
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-#X text 344 29 mute;
-#X obj 338 185 f;
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-#X obj 338 135 moses 1;
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-#X obj 397 92 r master-lvl;
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-#X obj 199 100 s master-lvl;
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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 restore 64 447 pd output;
-#X msg 122 419 MUTE;
-#X text 161 418 <-- output amplitude;
-#X obj 63 378 hip~ 5;
-#X text 401 505 updated for Pd version 0.26;
-#X obj 256 264 +~ 1;
-#X obj 256 240 osc~ 0;
-#X obj 256 312 +~ 1.46;
-#X obj 426 420 clip~ -5 5;
-#X text 43 35 This is a fuzzed FM generator going into a delay loop \, this time using a variable delay object (vd~). You can get several interesting effects this way. We have taken the precaution if clipping inside the loop to avoid instabilities. You can push the loop gain past 1 if you want \, it will just uscillate.;
-#X text 184 165 <-- timbre;
-#X text 96 136 <-- pitch;
-#X text 300 192 <-- cycle frequency (hundredths);
-#X text 361 222 <-- cycle depth (msec);
-#X text 491 298 <-- feedback (hundredths);
-#X text 86 9 VARIABLE DELAYS;
-#X obj 63 207 osc~ 0;
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+#X obj 33 353 +~;
+#X obj 361 395 *~;
+#X obj 226 287 *~;
+#X obj 226 215 / 100;
+#X obj 33 377 hip~ 5;
+#X obj 226 263 +~ 1;
+#X obj 226 239 osc~ 0;
+#X obj 226 311 +~ 1.46;
+#X text 154 164 <-- timbre;
+#X text 66 135 <-- pitch;
+#X text 279 191 <-- cycle frequency (hundredths);
+#X text 354 222 <-- cycle depth (msec);
+#X text 431 298 <-- feedback (hundredths);
+#X text 89 6 VARIABLE DELAYS;
+#X obj 33 206 osc~ 0;
+#X text 46 32 This is a fuzzed FM generator going into a delay loop
+\, this time using a variable delay object (vd~). You can get several
+interesting effects this way. We have taken the precaution of clipping
+inside the loop to avoid instabilities. You can push the loop gain
+past 1 if you want \, it will just oscillate.;
+#X obj 32 409 output~;
+#X obj 226 335 vd~ G03-del;
+#X obj 361 443 delwrite~ G03-del 1000;
+#X obj 361 419 clip~ -1 1;
+#X text 387 481 updated for Pd version 0.37-1;
 #X connect 0 0 17 0;
 #X connect 1 0 3 0;
-#X connect 2 0 23 1;
+#X connect 2 0 21 1;
 #X connect 3 0 2 0;
-#X connect 4 0 24 0;
+#X connect 4 0 22 0;
 #X connect 5 0 8 0;
-#X connect 6 0 21 1;
+#X connect 6 0 20 1;
 #X connect 7 0 6 0;
 #X connect 8 0 7 0;
 #X connect 9 0 18 0;
@@ -109,21 +59,19 @@
 #X connect 13 0 0 0;
 #X connect 14 0 15 0;
 #X connect 15 0 16 0;
-#X connect 16 0 42 0;
-#X connect 17 0 20 0;
+#X connect 16 0 33 0;
+#X connect 17 0 19 0;
 #X connect 18 0 11 0;
-#X connect 20 0 29 0;
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diff --git a/pd/doc/3.audio.examples/G04.control.blocksize.pd b/pd/doc/3.audio.examples/G04.control.blocksize.pd
new file mode 100644
index 00000000..efae501a
--- /dev/null
+++ b/pd/doc/3.audio.examples/G04.control.blocksize.pd
@@ -0,0 +1,79 @@
+#N canvas 100 17 637 513 12;
+#N canvas 195 311 647 354 delay-writer 0;
+#X obj 86 220 inlet~;
+#X obj 86 326 outlet~;
+#X obj 392 197 block~ 1;
+#X obj 164 267 *~ 0.99;
+#X obj 87 272 +~;
+#X obj 165 221 inlet;
+#X text 80 7 Because of the feedback \, the delwrite~ has to be computed
+after the delread~. So we set the blocksize to 1 to minimize the resulting
+delay.;
+#X text 390 219 this object sets the;
+#X text 389 236 block size for audio;
+#X text 388 255 computations in this;
+#X obj 165 244 delread~ G04-del;
+#X obj 98 302 delwrite~ G04-del 1000;
+#X text 79 183 incoming;
+#X text 81 198 pulses;
+#X text 165 182 delay;
+#X text 166 197 time;
+#X text 388 273 window. Must be a;
+#X text 388 292 power of two.;
+#X text 77 60 The smaller the blocksize the more expensive the computations
+are \, so don't reduce it lower than you have to. Also \, it's a good
+idea to isolate the portion of the patch that requires the smaller
+block size \, and only run that portion that way. Here \, the pulses
+that excite the delay line are computed outside this window \, and
+the output level control as well.;
+#X connect 0 0 4 0;
+#X connect 3 0 4 1;
+#X connect 4 0 1 0;
+#X connect 4 0 11 0;
+#X connect 5 0 10 0;
+#X connect 10 0 3 0;
+#X restore 153 420 pd delay-writer;
+#X obj 283 384 expr 1000/$f1;
+#X obj 283 358 mtof;
+#X msg 153 355 1;
+#X msg 192 355 0;
+#X obj 153 254 metro 500;
+#X obj 283 304 random 60;
+#X obj 153 228 loadbang;
+#X obj 283 330 + 30;
+#X text 86 9 CONTROLLING DELAY WITH BLOCK~;
+#X text 299 420 <-- here is the delay loop;
+#X text 63 43 In situations where a delay read feeds back to a delay
+write \, the minimum possible delay you can achieve is one block \,
+which by default is 64 samples \, or 1.45 msec at 44100 Hz. You can
+shorten the minimum delay by changing the block size. Do this in a
+subpatch (open it to see how).;
+#X obj 153 449 output~;
+#X obj 153 387 vline~;
+#X text 371 487 updated for Pd version 0.37-1;
+#X text 61 124 Here we use this principle to make a harpisichord-like
+sound by sending pulses into a recirculating delay line (which imitates
+the travel of the wave up and down the harpsichord string.) This is
+related to Karplus-Strong synthesis \, but the idea is probably much
+older than their paper.;
+#X text 33 328 this makes;
+#X text 32 346 a rectangular;
+#X text 31 384 long.;
+#X text 409 366 length of delay line is;
+#X text 410 384 1000/(frequency);
+#X obj 192 329 del 1;
+#X text 32 364 pulse 1 msec;
+#X connect 0 0 12 0;
+#X connect 0 0 12 1;
+#X connect 1 0 0 1;
+#X connect 2 0 1 0;
+#X connect 3 0 13 0;
+#X connect 4 0 13 0;
+#X connect 5 0 3 0;
+#X connect 5 0 6 0;
+#X connect 5 0 21 0;
+#X connect 6 0 8 0;
+#X connect 7 0 5 0;
+#X connect 8 0 2 0;
+#X connect 13 0 0 0;
+#X connect 21 0 4 0;
diff --git a/pd/doc/3.audio.examples/G05.execution.order.pd b/pd/doc/3.audio.examples/G05.execution.order.pd
new file mode 100644
index 00000000..d50c97a9
--- /dev/null
+++ b/pd/doc/3.audio.examples/G05.execution.order.pd
@@ -0,0 +1,79 @@
+#N canvas 100 17 683 605 12;
+#X floatatom 424 290 0 0 100 0 - - -;
+#X obj 59 404 +~;
+#X text 86 9 ORDER OF EXECUTION OF DELWRITE~ AND DELREAD~/VD~;
+#X text 42 29 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 text 471 284 <-- delay in samples;
+#X obj 94 490 *~;
+#X obj 94 466 -~;
+#N canvas 0 0 600 400 delay-writer 0;
+#X obj 96 107 inlet~;
+#X obj 96 180 outlet~;
+#X obj 116 144 delwrite~ G05-d2 1000;
+#X connect 0 0 1 0;
+#X connect 0 0 2 0;
+#X restore 283 403 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 89 237 +~;
+#X obj 112 198 vd~ G05-d2;
+#X connect 0 0 3 0;
+#X connect 2 0 4 0;
+#X connect 3 0 1 0;
+#X connect 4 0 3 1;
+#X restore 282 431 pd delay-reader;
+#X obj 59 490 +~;
+#X obj 424 313 / 44.1;
+#X obj 59 534 output~;
+#X obj 135 490 tgl 18 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1
+1;
+#X text 159 490 <-- off to hear left-hand side \; on to hear right
+hand side.;
+#X text 393 575 updated for Pd version 0.37-1;
+#X obj 424 337 pack 0 30;
+#N canvas 0 0 450 300 pulse 0;
+#X obj 64 197 outlet~;
+#X obj 63 93 phasor~ 50;
+#X obj 63 119 *~ 100;
+#X obj 63 144 clip~ 0.75 1.25;
+#X obj 64 170 cos~;
+#X connect 1 0 2 0;
+#X connect 2 0 3 0;
+#X connect 3 0 4 0;
+#X connect 4 0 0 0;
+#X restore 60 302 pd pulse;
+#X obj 81 354 delwrite~ G05-d1 1000;
+#X obj 82 381 vd~ G05-d1;
+#X obj 424 362 line~;
+#X text 44 96 To get them to go off in the correct order \, 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 subpatches.;
+#X text 43 175 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
+\, but the patch at right can go all the way down to one sample.;
+#X text 45 241 You can use the same strategy to avoid picking up unwanted
+64-sample delays in send~/receive~ and throw~/catch~ pairs.;
+#X connect 0 0 10 0;
+#X connect 1 0 6 1;
+#X connect 1 0 9 0;
+#X connect 5 0 9 1;
+#X connect 6 0 5 0;
+#X connect 7 0 8 0;
+#X connect 8 0 6 0;
+#X connect 9 0 11 0;
+#X connect 9 0 11 1;
+#X connect 10 0 15 0;
+#X connect 12 0 5 1;
+#X connect 15 0 19 0;
+#X connect 16 0 1 0;
+#X connect 16 0 7 0;
+#X connect 16 0 17 0;
+#X connect 18 0 1 1;
+#X connect 19 0 8 1;
+#X connect 19 0 18 0;
diff --git a/pd/doc/3.audio.examples/G06.octave.doubler.pd b/pd/doc/3.audio.examples/G06.octave.doubler.pd
new file mode 100644
index 00000000..a95fe24e
--- /dev/null
+++ b/pd/doc/3.audio.examples/G06.octave.doubler.pd
@@ -0,0 +1,114 @@
+#N canvas 110 17 775 614 12;
+#X obj 463 303 loadbang;
+#X obj 553 222 adc~ 1;
+#X obj 463 358 soundfiler;
+#X obj 31 394 output~;
+#X obj 554 269 tabwrite~ E03-table;
+#X msg 463 330 read ../sound/voice.wav E03-table;
+#X obj 58 83 fiddle~ 2048;
+#X obj 126 106 unpack;
+#X obj 126 130 moses 1;
+#X obj 199 108 mtof;
+#N canvas 0 0 446 202 /SUBPATCH/ 0;
+#X obj 261 30 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1 1
+;
+#X obj 100 20 inlet~;
+#X obj 99 87 *~;
+#X obj 98 159 outlet~;
+#X text 381 181 corner;
+#X connect 0 0 2 1;
+#X connect 1 0 2 0;
+#X connect 2 0 3 0;
+#X coords 0 0 100 100 40 18 1;
+#X restore 77 329 pd;
+#N canvas 0 0 446 202 /SUBPATCH/ 0;
+#X obj 261 30 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0 1
+;
+#X obj 100 20 inlet~;
+#X obj 99 87 *~;
+#X obj 98 159 outlet~;
+#X text 381 181 corner;
+#X connect 0 0 2 1;
+#X connect 1 0 2 0;
+#X connect 2 0 3 0;
+#X coords 0 0 100 100 40 18 1;
+#X restore 31 329 pd;
+#N canvas 414 195 613 302 looper 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array E03-table 44103 float 0;
+#X coords 0 1.02 44103 -1.02 200 130 1;
+#X restore 349 22 graph;
+#X text 347 161 ---- 44103 samples ----;
+#X obj 35 77 +~ 1;
+#X obj 35 25 phasor~ 1;
+#X obj 35 50 *~ 44100;
+#X obj 35 106 tabread4~ E03-table;
+#X obj 35 132 outlet~;
+#X text 46 238 one-second sample reader loop. You can replace this
+with an adc~ if you want to go live.;
+#X connect 2 0 5 0;
+#X connect 3 0 4 0;
+#X connect 4 0 2 0;
+#X connect 5 0 6 0;
+#X restore 31 30 pd looper;
+#X text 547 309 re-read original sample;
+#X obj 565 246 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
+-1;
+#X text 584 244 <-- record a sample;
+#X text 152 314 on/off for original;
+#X text 123 330 <--and processed sounds;
+#X text 240 3 OCTAVE DOUBLING VIA VARIABLE COMB FILTER;
+#X obj 31 367 +~;
+#X obj 252 157 samplerate~;
+#X obj 199 156 t f b;
+#X obj 59 58 delwrite~ G06-del 100;
+#X obj 79 234 delread~ G06-del;
+#X obj 101 282 vd~ G06-del;
+#X obj 78 306 +~;
+#X obj 230 210 +;
+#X obj 199 131 expr 500/$f1;
+#X obj 230 262 line~;
+#X obj 230 239 pack 0 20;
+#X text 243 108 fundamental frequency;
+#X text 311 131 1/2 period \, in msec;
+#X text 286 201 estimate fiddle~ delay;
+#X text 491 592 updated for Pd version 0.37-1;
+#X text 159 401 We already saw how to use ring modulation to alias
+a pitched sound down one octave. Here we do the reverse: filter out
+all odd harmonics using a variable-delay comb filter tuned one octave
+above the incoming sound. We use two taps into the delay line. The
+fixed one (delread~) adjusts for the delayed output of fiddle~. The
+variable one (vd~) adds to this an additional delay equal to 1/2 the
+measured period of the incoming sound. THese two are added. Odd harmonics
+are 180 degrees out of phase at the two taps and cancel. Even harmonics
+get through - so the sound goes up an octave \, without denaturing
+the timbre as a speed-up would.;
+#X obj 252 183 expr 2048000/$f1;
+#X text 288 216 as one window (in msec);
+#X connect 0 0 5 0;
+#X connect 1 0 4 0;
+#X connect 5 0 2 0;
+#X connect 6 2 7 0;
+#X connect 7 0 8 0;
+#X connect 8 1 9 0;
+#X connect 9 0 27 0;
+#X connect 10 0 19 1;
+#X connect 11 0 19 0;
+#X connect 12 0 6 0;
+#X connect 12 0 11 0;
+#X connect 12 0 22 0;
+#X connect 14 0 4 0;
+#X connect 19 0 3 0;
+#X connect 19 0 3 1;
+#X connect 20 0 35 0;
+#X connect 21 0 26 0;
+#X connect 21 1 20 0;
+#X connect 23 0 25 0;
+#X connect 24 0 25 1;
+#X connect 25 0 10 0;
+#X connect 26 0 29 0;
+#X connect 27 0 21 0;
+#X connect 28 0 24 0;
+#X connect 29 0 28 0;
+#X connect 35 0 26 1;
+#X connect 35 0 23 0;
diff --git a/pd/doc/3.audio.examples/G07.shaker.pd b/pd/doc/3.audio.examples/G07.shaker.pd
new file mode 100644
index 00000000..1da97e8e
--- /dev/null
+++ b/pd/doc/3.audio.examples/G07.shaker.pd
@@ -0,0 +1,80 @@
+#N canvas 159 89 808 531 12;
+#X obj 21 438 output~;
+#X obj 21 411 +~;
+#X obj 33 192 delwrite~ G07-del 30;
+#X obj 99 391 line~;
+#X obj 63 391 *~;
+#X obj 93 335 line~;
+#X obj 57 335 *~;
+#X obj 80 281 line~;
+#X obj 44 281 *~;
+#X obj 58 221 line~;
+#X obj 22 221 *~;
+#X text 51 8 THE "SHAKER";
+#X obj 279 86 + 1;
+#X obj 279 109 mod 4;
+#X obj 244 83 f;
+#X obj 284 160 random 1000;
+#X obj 244 135 t f b;
+#X obj 244 37 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1 1
+;
+#X floatatom 347 34 5 10 1000 0 - - -;
+#X obj 244 242 route 0 1 2 3;
+#X obj 44 255 delread~ G07-del 30;
+#X obj 23 165 phasor~ 80;
+#X obj 57 309 delread~ G07-del 17;
+#X obj 63 365 delread~ G07-del 11;
+#X obj 347 59 * 4;
+#X obj 284 187 expr 2 * $f1/1000 - 0.7;
+#X floatatom 23 142 5 30 1000 0 - - -;
+#X obj 244 58 metro 50;
+#X obj 244 218 pack 0 0 200;
+#X text 23 118 frequency;
+#X text 225 17 on/off;
+#X text 344 13 time constant (msec);
+#X text 536 511 updated for Pd version 0.37-1;
+#X text 266 306 This is a time-varying comb filter \, combining four
+delayed copies of the input signal. The amplitude of each delayed copy
+varies randomly between -0.7 and +1.3. Each time the metronome goes
+off \, one of the four delay's gains is changed in sequence. The change
+occurs over the next four ticks of the metronome (so \, if the metronome
+ticks every 50 msec \, each message to a line~ has a second argument
+of 200.);
+#X text 268 424 Any collection of four gains for the four delayed copies
+of the signal (including the original) defines some sort of irregular
+comb filter. The peaks and valleys of the comb filter shift constantly
+as the gains change to new \, random values.;
+#X connect 1 0 0 0;
+#X connect 1 0 0 1;
+#X connect 3 0 4 1;
+#X connect 4 0 1 1;
+#X connect 5 0 6 1;
+#X connect 6 0 1 1;
+#X connect 7 0 8 1;
+#X connect 8 0 1 1;
+#X connect 9 0 10 1;
+#X connect 10 0 1 0;
+#X connect 12 0 13 0;
+#X connect 13 0 14 1;
+#X connect 14 0 12 0;
+#X connect 14 0 16 0;
+#X connect 15 0 25 0;
+#X connect 16 0 28 0;
+#X connect 16 1 15 0;
+#X connect 17 0 27 0;
+#X connect 18 0 24 0;
+#X connect 18 0 27 1;
+#X connect 19 0 9 0;
+#X connect 19 1 7 0;
+#X connect 19 2 5 0;
+#X connect 19 3 3 0;
+#X connect 20 0 8 0;
+#X connect 21 0 2 0;
+#X connect 21 0 10 0;
+#X connect 22 0 6 0;
+#X connect 23 0 4 0;
+#X connect 24 0 28 2;
+#X connect 25 0 28 1;
+#X connect 26 0 21 0;
+#X connect 27 0 14 0;
+#X connect 28 0 19 0;
diff --git a/pd/doc/3.audio.examples/G08.reverb.pd b/pd/doc/3.audio.examples/G08.reverb.pd
new file mode 100644
index 00000000..09941436
--- /dev/null
+++ b/pd/doc/3.audio.examples/G08.reverb.pd
@@ -0,0 +1,253 @@
+#N canvas 390 121 616 352 12;
+#N canvas 0 0 499 321 test-input 0;
+#X obj 75 253 outlet~;
+#X obj 74 201 -~;
+#X obj 74 177 *~ 3;
+#X obj 111 183 *~ 2;
+#X floatatom 74 81 0 0 0 0 - - -;
+#X obj 74 153 clip~ 0 0.667;
+#X text 124 80 <-- pitch;
+#X obj 74 105 mtof;
+#X msg 195 142 1;
+#X obj 74 225 *~;
+#X obj 74 129 phasor~ 0;
+#X obj 195 190 tabread4~ dbtorms;
+#X obj 195 166 adsr 100 100 2000 0 2000;
+#X obj 73 54 inlet;
+#N canvas 0 0 600 392 conversion-tables 0;
+#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
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+6.30957 7.07946 7.94328 8.91251 10 11.2202 12.5893;
+#X coords 0 10 123 0 200 100 1;
+#X restore 70 45 graph;
+#X text 272 138 0;
+#X text 274 38 10;
+#X text 89 148 ------ 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
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+#X coords 0 12000 130 0 200 100 1;
+#X restore 77 222 graph;
+#X text 87 330 ------ 130 samples ------;
+#X text 286 315 0;
+#X text 288 215 12000;
+#N canvas 244 212 672 338 regenerate-tables 0;
+#X msg 415 84 bang;
+#X obj 415 113 t b b;
+#X obj 474 177 f;
+#X obj 512 177 + 1;
+#X msg 483 147 0;
+#X obj 415 142 until;
+#X obj 474 211 t f f;
+#X obj 414 238 mtof;
+#X obj 405 202 sel 129;
+#X obj 413 264 tabwrite mtof;
+#X obj 35 227 moses 2;
+#X msg 19 76 bang;
+#X obj 19 105 t b b;
+#X obj 90 166 f;
+#X obj 128 166 + 1;
+#X msg 112 138 0;
+#X obj 19 134 until;
+#X obj 11 194 sel 122;
+#X msg 35 258 0;
+#X obj 79 259 dbtorms;
+#X obj 90 194 t f f;
+#X obj 35 291 tabwrite dbtorms;
+#X text 18 49 bang to recalculate dbtorms table;
+#X text 356 50 bang to recalculate the mtof table;
+#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 8 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 9 1;
+#X connect 7 0 9 0;
+#X connect 8 0 5 1;
+#X connect 10 0 18 0;
+#X connect 10 1 19 0;
+#X connect 11 0 12 0;
+#X connect 12 0 16 0;
+#X connect 12 1 15 0;
+#X connect 13 0 14 0;
+#X connect 13 0 17 0;
+#X connect 13 0 20 0;
+#X connect 14 0 13 1;
+#X connect 15 0 13 1;
+#X connect 16 0 13 0;
+#X connect 17 0 16 1;
+#X connect 18 0 21 0;
+#X connect 19 0 21 0;
+#X connect 20 0 10 0;
+#X connect 20 1 21 1;
+#X restore 375 76 pd regenerate-tables;
+#X restore 260 101 pd conversion-tables;
+#X connect 1 0 9 0;
+#X connect 2 0 1 0;
+#X connect 3 0 1 1;
+#X connect 4 0 7 0;
+#X connect 4 0 8 0;
+#X connect 5 0 2 0;
+#X connect 7 0 10 0;
+#X connect 8 0 12 0;
+#X connect 9 0 0 0;
+#X connect 10 0 3 0;
+#X connect 10 0 5 0;
+#X connect 11 0 9 1;
+#X connect 12 0 11 0;
+#X connect 13 0 4 0;
+#X restore 39 114 pd test-input;
+#X text 135 6 REVERBERATOR;
+#X floatatom 39 87 0 10 130 0 - - -;
+#X text 76 87 <-- pitch;
+#N canvas 96 169 958 610 reverb 0;
+#X obj 13 19 inlet~;
+#X obj 13 43 reverb-echo echo-del1 5.43216;
+#X obj 277 215 +~;
+#X obj 319 215 +~;
+#X obj 67 276 outlet~;
+#X obj 137 276 outlet~;
+#X obj 238 334 +~;
+#X obj 347 335 +~;
+#X obj 280 334 -~;
+#X obj 387 334 -~;
+#X obj 237 390 +~;
+#X obj 281 391 +~;
+#X obj 325 392 -~;
+#X obj 364 392 -~;
+#X obj 324 474 *~ 0;
+#X obj 282 473 *~ 0;
+#X obj 237 472 *~ 0;
+#X obj 365 475 *~ 0;
+#X obj 632 365 inlet;
+#X obj 632 437 / 200;
+#X obj 632 389 min 100;
+#X obj 632 412 max 0;
+#X obj 238 583 delwrite~ loop-del1 60;
+#X obj 283 561 delwrite~ loop-del2 71.9345;
+#X obj 364 515 delwrite~ loop-del4 95.945;
+#X obj 298 154 delread~ loop-del1 60;
+#X obj 340 179 delread~ loop-del2 71.9345;
+#X obj 408 233 delread~ loop-del4 95.945;
+#X obj 386 208 delread~ loop-del3 86.7545;
+#X obj 325 538 delwrite~ loop-del3 86.7545;
+#X obj 13 67 reverb-echo echo-del2 8.45346;
+#X obj 13 91 reverb-echo echo-del3 13.4367;
+#X obj 13 115 reverb-echo echo-del4 21.5463;
+#X obj 13 139 reverb-echo echo-del5 34.3876;
+#X obj 13 163 reverb-echo echo-del6 55.5437;
+#X text 286 42 "early echo" generators \, which also increase echo
+density. Open one to see what they do.;
+#X text 300 115 Get the outputs of the recirculating delays. Add the
+inputs to two of them.;
+#X text 420 313 Do a power-conserving mix of them in pairs. First combine
+(1 \, 2) and (3 \, 4)...;
+#X text 402 385 ...then (1 \, 3) and (2 \, 4);
+#X text 446 469 The two mixing stages have a combined gain of 2 \,
+so the recirculation gain is limited to 0.5.;
+#X text 586 542 Put the signals back into the;
+#X text 584 557 recirculating delays.;
+#X text 29 296 Tap outputs from here.;
+#X text 708 381 0 to 100 to control reverb;
+#X text 719 396 time.;
+#X text 691 364 feedback gain on a scale of;
+#X connect 0 0 1 0;
+#X connect 1 0 30 0;
+#X connect 1 1 30 1;
+#X connect 2 0 4 0;
+#X connect 2 0 6 0;
+#X connect 2 0 8 0;
+#X connect 3 0 5 0;
+#X connect 3 0 6 1;
+#X connect 3 0 8 1;
+#X connect 6 0 10 0;
+#X connect 6 0 12 0;
+#X connect 7 0 12 1;
+#X connect 7 0 10 1;
+#X connect 8 0 11 0;
+#X connect 8 0 13 0;
+#X connect 9 0 11 1;
+#X connect 9 0 13 1;
+#X connect 10 0 16 0;
+#X connect 11 0 15 0;
+#X connect 12 0 14 0;
+#X connect 13 0 17 0;
+#X connect 14 0 29 0;
+#X connect 15 0 23 0;
+#X connect 16 0 22 0;
+#X connect 17 0 24 0;
+#X connect 18 0 20 0;
+#X connect 19 0 17 1;
+#X connect 19 0 16 1;
+#X connect 19 0 15 1;
+#X connect 19 0 14 1;
+#X connect 20 0 21 0;
+#X connect 21 0 19 0;
+#X connect 25 0 2 1;
+#X connect 26 0 3 1;
+#X connect 27 0 7 1;
+#X connect 27 0 9 1;
+#X connect 28 0 7 0;
+#X connect 28 0 9 0;
+#X connect 30 0 31 0;
+#X connect 30 1 31 1;
+#X connect 31 0 32 0;
+#X connect 31 1 32 1;
+#X connect 32 0 33 0;
+#X connect 32 1 33 1;
+#X connect 33 0 34 0;
+#X connect 33 1 34 1;
+#X connect 34 0 2 0;
+#X connect 34 1 3 0;
+#X restore 58 179 pd reverb;
+#X floatatom 134 155 0 0 100 0 - - -;
+#X text 169 155 <-- feedback (100 maximum);
+#X obj 38 206 output~;
+#X text 342 317 updated for Pd version 0.37-1;
+#X text 149 180 <-- open to see how it works;
+#X text 34 269 Many improvements are possible. Much better reverberators
+can be found in the "extras" library.;
+#X text 29 30 Here is a simple recirculating reverberator. "Feedback"
+should be between 0 and 100 - if 100 \, the reverberation lasts forever.
+;
+#X connect 0 0 4 0;
+#X connect 0 0 7 0;
+#X connect 2 0 0 0;
+#X connect 4 0 7 0;
+#X connect 4 1 7 1;
+#X connect 5 0 4 1;
diff --git a/pd/doc/3.audio.examples/G09.pitchshift.pd b/pd/doc/3.audio.examples/G09.pitchshift.pd
new file mode 100644
index 00000000..f0122b1b
--- /dev/null
+++ b/pd/doc/3.audio.examples/G09.pitchshift.pd
@@ -0,0 +1,162 @@
+#N canvas 93 36 964 554 12;
+#X floatatom 19 87 0 0 0 0 - - -;
+#X obj 82 358 *~;
+#X obj 205 295 line~;
+#X floatatom 237 112 0 0 0 0 - - -;
+#X text 68 9 PITCH SHIFTER;
+#X obj 205 269 pack 0 200;
+#X obj 237 86 r window;
+#X obj 19 61 r transpose;
+#X obj 19 143 exp;
+#X floatatom 19 169 6 0 0 0 - - -;
+#X obj 19 259 /;
+#X obj 146 189 * 0.001;
+#X obj 314 365 line~;
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+#X floatatom 314 289 0 0 0 0 - - -;
+#X obj 314 263 r delay;
+#X obj 82 384 +~;
+#X obj 19 410 cos~;
+#X obj 19 437 *~;
+#X obj 19 466 +~;
+#X obj 106 317 wrap~;
+#X obj 251 360 *~;
+#X obj 251 393 +~;
+#X obj 188 420 cos~;
+#X obj 188 447 *~;
+#X msg 492 56 \; transpose 0 \; window 100 \; delay 0;
+#X obj 492 30 loadbang;
+#X obj 264 42 delwrite~ delay1 5000;
+#X obj 146 216 t b f;
+#X floatatom 19 285 6 0 0 0 - - -;
+#X obj 106 290 +~ 0.5;
+#X obj 19 358 -~ 0.5;
+#X obj 19 384 *~ 0.5;
+#X obj 188 359 -~ 0.5;
+#X obj 188 392 *~ 0.5;
+#X obj 19 196 - 1;
+#X obj 19 117 * 0.05776;
+#X obj 19 222 * -1;
+#X text 53 86 <-- transposition;
+#X text 96 99 (halftones);
+#X text 82 163 speed;
+#X text 81 177 change;
+#X text 281 111 <--window (msec);
+#X text 54 252 tape head;
+#N canvas 0 0 612 637 test-input 0;
+#N canvas 0 0 450 300 graph1 0;
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+#X restore 150 141 graph;
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+#X obj 139 413 /;
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+#X obj 139 492 +~ 1;
+#X msg 139 386 44100;
+#X obj 139 360 t b f;
+#X obj 182 469 r totsamps;
+#X text 153 538 sample loop for;
+#X text 153 555 test signal;
+#X obj 162 30 loadbang;
+#X obj 139 590 outlet~;
+#X obj 393 169 r readfile;
+#X obj 393 199 symbol;
+#X msg 392 228 read -resize \$1 array1;
+#X obj 392 256 soundfiler;
+#X obj 392 284 s totsamps;
+#X msg 161 64 \; readfile ../sound/bell.aiff;
+#X connect 1 0 13 0;
+#X connect 2 0 8 0;
+#X connect 3 0 5 0;
+#X connect 4 0 6 0;
+#X connect 5 0 4 0;
+#X connect 6 0 1 0;
+#X connect 7 0 3 0;
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+#X connect 8 1 3 1;
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+#X connect 12 0 19 0;
+#X connect 14 0 15 0;
+#X connect 15 0 16 0;
+#X connect 16 0 17 0;
+#X connect 17 0 18 0;
+#X restore 264 11 pd test-input;
+#X text 425 153 This is a classic rotating-tape-head style pitch shifter
+using the vd~ variable delay object. Ther are two moving tape heads
+\, each of which is loudest at the middle of its trajectory \, and
+enveloped out at the moment it has to jump back (or forward) to start
+another scratch. Most of the brain work is in computing how fast the
+tape heads have to move to get the desired transposition.;
+#X text 425 272 The "window size" is the total trajectory of the read
+points in the delay line \, in milliseconds. The delay times are controlled
+by a phasor~ object. The second delay time \, 180 degrees out of phase
+from the first one \, is computed using the "wrap" object.;
+#X text 423 362 The "window size" is the total trajectory of the read
+points in the delay line \, in milliseconds. The delay times are controlled
+by a phasor~ object. The second delay time \, 180 degrees out of phase
+from the first one \, is computed using the "wrap" object.;
+#X text 422 454 The cos~ objects compute the fadein and fadeout of
+the two delay line outputs. They each traverse the positive half of
+the cosine waveform (phase -0.25 to +0.25) over the time the phase
+goes from one end to the other.;
+#X obj 19 493 output~;
+#X obj 19 316 phasor~;
+#X text 689 534 updated for Pd version 0.37-1;
+#X obj 314 316 max 1.5;
+#X text 317 222 delay;
+#X text 314 240 (msec);
+#X obj 237 139 max 1;
+#X text 55 265 rotation freq;
+#X obj 82 410 vd~ G09-del;
+#X obj 251 422 vd~ G09-del;
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+#X connect 15 0 14 0;
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+#X connect 18 0 19 0;
+#X connect 19 0 49 0;
+#X connect 19 0 49 1;
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+#X connect 26 0 25 0;
+#X connect 28 0 10 0;
+#X connect 28 1 10 1;
+#X connect 29 0 50 0;
+#X connect 30 0 20 0;
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diff --git a/pd/doc/3.audio.examples/K06.triangle.pd b/pd/doc/3.audio.examples/K06.triangle.pd
new file mode 100644
index 00000000..ce8ac916
--- /dev/null
+++ b/pd/doc/3.audio.examples/K06.triangle.pd
@@ -0,0 +1,169 @@
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+#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;
+#X obj 74 318 *~ 2;
+#X obj 49 266 phasor~;
+#X floatatom 81 215 0 0 0 0 - - -;
+#X obj 33 293 clip~ 0 0.667;
+#X obj 30 190 line~;
+#X obj 30 165 pack 0 1000;
+#X obj 30 70 metro 1000;
+#X obj 30 94 random 200;
+#X obj 30 118 - 100;
+#X obj 30 142 * 0.001;
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+#X obj 44 374 delwrite~ delay1 2000;
+#X floatatom 49 401 0 0 0 0 - - -;
+#X obj 49 426 delread~ delay1 1000;
+#X obj 30 47 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 115 216 <-- pitch;
+#X text 83 401 <-- delay time;
+#X text 65 342 asymmetric triangle wave;
+#X text 236 372 write to delay line;
+#X text 232 425 read from delay line;
+#X text 64 454 add the original and the delayed signal;
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+#X text 274 38 10;
+#X text 89 148 ------ 123 samples ------;
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+#X obj 35 291 tabwrite dbtorms;
+#X text 18 49 bang to recalculate dbtorms table;
+#X text 356 50 bang to recalculate the mtof table;
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+#X text 427 536 updated for Pd version 0.35;
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