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

15 files changed, 1252 insertions, 379 deletions

diff --git a/pd/doc/2.control.examples/22.random-walk.pd b/pd/doc/2.control.examples/22.random-walk.pd
new file mode 100644
index 00000000..21483bdb
--- /dev/null
+++ b/pd/doc/2.control.examples/22.random-walk.pd
@@ -0,0 +1,64 @@
+#N canvas 0 0 604 511 12;
+#X floatatom 113 218 5 0 0 0 - - -;
+#X obj 123 113 f;
+#X obj 104 198 random 4;
+#X obj 26 197 random 2;
+#X floatatom 35 219 5 0 0 0 - - -;
+#X obj 123 138 t b b f;
+#X obj 26 253 sel 0 1;
+#X obj 159 328 +;
+#X obj 123 87 metro 100;
+#X obj 123 65 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1 1
+;
+#X obj 104 252 + 1;
+#X floatatom 242 153 5 0 0 0 - - -;
+#X obj 82 309 *;
+#X msg 26 282 -1;
+#X obj 242 83 moses 0;
+#X obj 316 83 moses 100;
+#X obj 242 107 * -1;
+#X obj 407 86 * -1;
+#X obj 407 111 + 200;
+#X msg 60 282 1;
+#X text 39 9 Random walk generator;
+#X text 143 64 on/off;
+#X text 298 152 output;
+#X text 22 375 A random walk is a special case of a Markov chain \,
+in which the states are integers and the transitions add or subtract
+a small amount from the previous state to get a new one. Here the "f"
+holds the state. When it gets a bang \, the previous state is added
+to a random number (from 1 to 4) multiplied by a random sign (-1 or
+1). The new value is then coerced into the range from 0 to 100;
+#X text 35 235 sign;
+#X text 113 234 magnitude;
+#X text 203 313 add prev value;
+#X text 200 330 to random increment;
+#X text 256 30 coercion to range 0-100 \; if out of range \, reflect
+;
+#X text 255 60 us back in.;
+#X text 323 492 updated for Pd version 0.37-1;
+#X connect 1 0 5 0;
+#X connect 2 0 0 0;
+#X connect 2 0 10 0;
+#X connect 3 0 4 0;
+#X connect 3 0 6 0;
+#X connect 5 0 3 0;
+#X connect 5 1 2 0;
+#X connect 5 2 7 1;
+#X connect 6 0 13 0;
+#X connect 6 1 19 0;
+#X connect 7 0 14 0;
+#X connect 8 0 1 0;
+#X connect 9 0 8 0;
+#X connect 10 0 12 1;
+#X connect 11 0 1 1;
+#X connect 12 0 7 0;
+#X connect 13 0 12 0;
+#X connect 14 0 16 0;
+#X connect 14 1 15 0;
+#X connect 15 0 11 0;
+#X connect 15 1 17 0;
+#X connect 16 0 11 0;
+#X connect 17 0 18 0;
+#X connect 18 0 11 0;
+#X connect 19 0 12 0;
diff --git a/pd/doc/2.control.examples/23.sequencing.pd b/pd/doc/2.control.examples/23.sequencing.pd
new file mode 100644
index 00000000..1aa19942
--- /dev/null
+++ b/pd/doc/2.control.examples/23.sequencing.pd
@@ -0,0 +1,28 @@
+#N canvas 47 52 758 482 12;
+#X text 465 442 updated for Pd version 0.26;
+#X text 35 28 You can use "qlist" or "textfile" objects for sequencing.
+Qlist is simpler to use than the (more versatile) textfile.;
+#X obj 345 144 r receive1;
+#X obj 441 146 r receive2;
+#X msg 205 88 clear \, add receive1 1 \, add 1000 receive1 0 \, add
+receive2 2 \, add 1000 receive2 0 \, add receive1 3 \, bang;
+#X obj 205 129 qlist;
+#X floatatom 345 170 0 0 0 0 - - -;
+#X floatatom 441 171 0 0 0 0 - - -;
+#X text 48 202 The "add" messages add lines to the qlist \, so that
+it contains:;
+#X text 155 238 receive1 1;
+#X text 154 259 1000 receive1 0;
+#X text 155 279 receive2 2;
+#X text 153 299 1000 receive2 0;
+#X text 155 317 receive1 3;
+#X text 16 391 If you have more than 5 lines or so wou will probably
+want to store them as a separate file and have qlist read it. You can
+also write files \, set tempo \, and single step... see the help patch
+for details.;
+#X text 22 341 and the "bang" instructs qlist to play the sequence
+by sending messages to "receive" objects. Messages starting with numbers
+request that amount of delay.;
+#X connect 2 0 6 0;
+#X connect 3 0 7 0;
+#X connect 4 0 5 0;
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 @@
-#N canvas 22 1 630 601 12;
-#X text 309 531 updated for Pd version 0.26;
-#X floatatom 58 505 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 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.;
-#N canvas 0 0 600 392 conversion-tables 0;
-#N canvas 0 0 450 300 graph1 0;
-#X array dbtorms 123 float 1;
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-#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;
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-#X text 87 330 ------ 130 samples ------;
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-#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 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;
-#X connect 9 0 18 0;
-#X connect 9 0 19 0;
-#X connect 10 0 7 0;
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-#X connect 18 0 21 0;
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-#X connect 20 0 24 0;
-#X connect 21 0 8 0;
-#X connect 21 0 10 0;
-#X connect 22 0 20 1;
-#X connect 23 0 22 0;
-#X connect 24 0 11 0;
-#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 @@
-#N canvas 100 17 671 522 12;
-#X obj 63 306 hip~ 10;
-#X floatatom 331 222;
-#X obj 331 270 line~;
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-#X obj 63 183 * 0.5;
-#X obj 63 330 clip~ -0.2 0.2;
-#X obj 143 190 * 0.01;
-#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 *~;
-#X obj 256 216 / 100;
-#X floatatom 93 419;
-#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;
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-#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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-#X connect 15 0 20 0;
-#X connect 18 0 19 0;
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-#X connect 22 0 23 0;
-#X connect 22 0 23 1;
-#X connect 24 0 21 0;
-#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;
+#N canvas 100 17 660 504 12;
+#X obj 33 305 hip~ 10;
+#X floatatom 301 221 0 0 0 0 - - -;
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+#X obj 33 182 * 0.5;
+#X obj 33 329 clip~ -0.2 0.2;
+#X obj 113 189 * 0.01;
+#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;
-#X connect 21 0 34 0;
-#X connect 22 0 20 1;
-#X connect 23 0 33 0;
-#X connect 24 0 32 0;
-#X connect 25 0 26 1;
-#X connect 26 0 25 0;
-#X connect 27 0 26 2;
-#X connect 29 0 26 0;
-#X connect 29 0 21 0;
-#X connect 31 0 23 0;
-#X connect 32 0 31 0;
-#X connect 33 0 22 0;
-#X connect 34 0 19 0;
-#X connect 42 0 12 0;
+#X connect 19 0 23 0;
+#X connect 20 0 38 0;
+#X connect 21 0 26 0;
+#X connect 22 0 25 0;
+#X connect 23 0 20 0;
+#X connect 23 0 35 0;
+#X connect 23 0 35 1;
+#X connect 24 0 21 0;
+#X connect 25 0 24 0;
+#X connect 26 0 36 0;
+#X connect 33 0 12 0;
+#X connect 36 0 19 1;
+#X connect 38 0 37 0;
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
+12.9783 13.75 14.5676 15.4339 16.3516 17.3239 18.354 19.4454 20.6017
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+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 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~;
+#X obj 314 340 pack 0 200;
+#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;
+#X array array1 155948 float 0;
+#X coords 0 1 155947 -1 200 150 1;
+#X restore 150 141 graph;
+#X obj 139 518 tabread4~ array1;
+#X obj 139 333 r totsamps;
+#X obj 139 413 /;
+#X obj 139 465 *~ 0;
+#X obj 139 439 phasor~ 0;
+#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;
+#X connect 8 0 7 0;
+#X connect 8 1 3 1;
+#X connect 9 0 4 1;
+#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;
+#X connect 0 0 36 0;
+#X connect 1 0 16 0;
+#X connect 2 0 1 1;
+#X connect 2 0 21 1;
+#X connect 3 0 55 0;
+#X connect 5 0 2 0;
+#X connect 6 0 3 0;
+#X connect 7 0 0 0;
+#X connect 8 0 9 0;
+#X connect 9 0 35 0;
+#X connect 10 0 29 0;
+#X connect 11 0 28 0;
+#X connect 12 0 16 1;
+#X connect 12 0 22 1;
+#X connect 13 0 12 0;
+#X connect 14 0 52 0;
+#X connect 15 0 14 0;
+#X connect 16 0 57 0;
+#X connect 17 0 18 0;
+#X connect 18 0 19 0;
+#X connect 19 0 49 0;
+#X connect 19 0 49 1;
+#X connect 20 0 21 0;
+#X connect 20 0 33 0;
+#X connect 21 0 22 0;
+#X connect 22 0 58 0;
+#X connect 23 0 24 0;
+#X connect 24 0 19 1;
+#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;
+#X connect 31 0 32 0;
+#X connect 32 0 17 0;
+#X connect 33 0 34 0;
+#X connect 34 0 23 0;
+#X connect 35 0 37 0;
+#X connect 36 0 8 0;
+#X connect 37 0 10 0;
+#X connect 44 0 27 0;
+#X connect 50 0 1 0;
+#X connect 50 0 31 0;
+#X connect 50 0 30 0;
+#X connect 52 0 13 0;
+#X connect 55 0 11 0;
+#X connect 55 0 5 0;
+#X connect 57 0 18 1;
+#X connect 58 0 24 1;
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 @@
+#N canvas 80 114 729 584 12;
+#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;
+#X obj 33 453 +~;
+#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;
+#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 449 418 pd conversion-tables;
+#X text 427 536 updated for Pd version 0.35;
+#X obj 33 510 output~;
+#X connect 0 0 33 0;
+#X connect 0 0 33 1;
+#X connect 2 0 15 0;
+#X connect 2 0 16 0;
+#X connect 3 0 6 0;
+#X connect 4 0 2 0;
+#X connect 5 0 2 1;
+#X connect 6 0 5 0;
+#X connect 6 0 8 0;
+#X connect 7 0 24 1;
+#X connect 8 0 4 0;
+#X connect 9 0 24 0;
+#X connect 10 0 9 0;
+#X connect 11 0 12 0;
+#X connect 12 0 13 0;
+#X connect 13 0 14 0;
+#X connect 14 0 10 0;
+#X connect 15 0 0 0;
+#X connect 17 0 18 0;
+#X connect 18 0 15 1;
+#X connect 19 0 11 0;
+#X connect 24 0 3 0;
diff --git a/pd/doc/4.fft.examples/09.pvoc.pd b/pd/doc/4.fft.examples/09.pvoc.pd
index 495fd535..2af30f2b 100644
--- a/pd/doc/4.fft.examples/09.pvoc.pd
+++ b/pd/doc/4.fft.examples/09.pvoc.pd
@@ -1,8 +1,8 @@
 #N canvas 100 38 719 544 12;
-#X floatatom 283 336;
+#X floatatom 283 336 0 0 0 0 - - -;
 #X msg 569 149 bang;
-#X floatatom 197 329;
-#X floatatom 90 330;
+#X floatatom 197 329 0 0 0 0 - - -;
+#X floatatom 90 330 0 0 0 0 - - -;
 #N canvas 0 2 986 683 fft-analysis 0;
 #X obj 261 297 *~;
 #X obj 230 297 *~;
@@ -18,7 +18,7 @@
 #X obj 220 179 *~;
 #X obj 86 556 *~;
 #X obj 366 251 rfft~;
-#X obj 387 53 rfft~;
+#X obj 432 52 rfft~;
 #X obj 477 637 *~;
 #X obj 685 288 r window-size;
 #X obj 751 201 r sample-rate;
@@ -64,19 +64,18 @@
 #X obj 309 150 -~;
 #X obj 231 255 *~;
 #X obj 291 255 *~;
-#X obj 198 51 tabreceive~ phase-imag;
+#X obj 227 52 tabreceive~ phase-imag;
 #X obj 105 381 sig~;
 #X obj 88 311 t b f;
 #X msg 88 332 1;
 #X obj 102 355 /;
 #X obj 227 436 tabsend~ phase-real;
 #X obj 256 408 tabsend~ phase-imag;
-#X obj 104 133 sig~ 1.5e-20;
 #X obj 632 180 * 0.01;
 #X obj 691 212 s speed;
 #X obj 468 251 s see-location;
 #X obj 598 618 block~ 2048 4;
-#X floatatom 672 360;
+#X floatatom 672 360 0 0 0 0 - - -;
 #X obj 670 339 *;
 #X obj 829 234 r transpo;
 #X obj 829 256 * 0.01;
@@ -85,10 +84,11 @@
 #X obj 832 320 / 440;
 #X obj 689 316 t b f;
 #X obj 88 290 r window-size;
-#X floatatom 835 353;
+#X floatatom 835 353 0 0 0 0 - - -;
 #X obj 551 543 tabreceive~ hanning;
 #X obj 536 488 tabread4~ sample;
 #X obj 502 513 tabread4~ sample;
+#X obj 116 126 sig~ 1e-15;
 #X connect 0 0 2 1;
 #X connect 1 0 2 0;
 #X connect 2 0 65 0;
@@ -115,11 +115,11 @@
 #X connect 14 1 6 1;
 #X connect 14 1 8 1;
 #X connect 15 0 14 0;
-#X connect 16 0 73 0;
+#X connect 16 0 72 0;
 #X connect 17 0 44 0;
 #X connect 18 0 37 0;
 #X connect 18 0 45 0;
-#X connect 18 0 70 0;
+#X connect 18 0 69 0;
 #X connect 19 0 34 0;
 #X connect 20 0 22 0;
 #X connect 21 0 22 0;
@@ -132,16 +132,16 @@
 #X connect 30 0 18 0;
 #X connect 31 0 27 0;
 #X connect 31 0 50 0;
-#X connect 31 0 84 0;
+#X connect 31 0 83 0;
 #X connect 32 0 43 2;
 #X connect 32 0 38 1;
 #X connect 34 0 21 0;
-#X connect 35 0 68 0;
+#X connect 35 0 67 0;
 #X connect 36 0 39 0;
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-#X connect 39 0 69 0;
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 #X connect 41 1 40 0;
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 #X connect 49 0 50 1;
-#X connect 50 0 83 0;
+#X connect 50 0 82 0;
 #X connect 53 0 9 0;
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 #X connect 54 0 55 0;
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-#X connect 67 0 10 0;
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-#X connect 72 0 47 0;
-#X connect 72 0 40 1;
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+#X connect 77 0 80 0;
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+#X connect 78 1 72 1;
+#X connect 79 0 62 0;
+#X connect 81 0 23 1;
+#X connect 81 0 15 1;
+#X connect 81 0 12 1;
+#X connect 82 0 23 0;
+#X connect 83 0 15 0;
+#X connect 84 0 10 0;
 #X restore 43 402 pd fft-analysis;
 #X obj 43 488 dac~;
 #N canvas 260 23 647 768 phase-tables 0;
-#X graph graph2 0 -1 4096 1 172 590 572 290;
-#X array phase-imag 4096 float;
-#X pop;
-#X graph graph3 0 -1 4096 1 170 317 570 17;
-#X array phase-real 4096 float;
-#X pop;
-#X msg 167 564 \; phase-real resize 4096 \; phase-imag resize 4096;
+#N canvas 0 0 450 300 graph2 0;
+#X array phase-imag 4096 float 0;
+#X coords 0 1 4096 -1 400 300 1;
+#X restore 172 290 graph;
+#N canvas 0 0 450 300 graph3 0;
+#X array phase-real 4096 float 0;
+#X coords 0 1 4096 -1 400 300 1;
+#X restore 170 17 graph;
+#X msg 167 564 \; phase-real resize 4096 \; phase-imag resize 4096
+;
 #X restore 425 441 pd phase-tables;
 #X obj 43 428 hip~ 5;
 #X obj 43 458 *~;
 #N canvas 249 280 600 398 loc&precess 0;
-#X floatatom 160 229;
+#X floatatom 160 229 0 0 0 0 - - -;
 #X msg 270 175 set \$1;
 #X obj 269 207 outlet;
 #X obj 83 267 outlet;
@@ -259,9 +262,10 @@
 #X msg 37 180 0;
 #X text 141 13 CALCULATE HANNING;
 #X text 141 27 WINDOW TABLE;
-#X graph graph1 0 -1 4096 1 275 581 675 281;
-#X array hanning 4096 float;
-#X pop;
+#N canvas 0 0 450 300 graph1 0;
+#X array hanning 4096 float 0;
+#X coords 0 1 4096 -1 400 300 1;
+#X restore 275 281 graph;
 #X obj 93 171 sig~;
 #X text 175 148 sample rate / window size;
 #X msg 23 144 bang;
@@ -290,7 +294,7 @@
 #X connect 18 0 9 0;
 #X restore 423 464 pd hanning-window;
 #X msg 31 172 \; window-size 2048 \; transpo 0 \; pd dsp 1;
-#X floatatom 587 68;
+#X floatatom 587 68 0 0 0 0 - - -;
 #N canvas 194 37 397 591 output 0;
 #X obj 62 191 t b;
 #X obj 62 144 f;
@@ -336,7 +340,7 @@
 #X text 261 3 PHASE VOCODER;
 #X obj 87 486 line~;
 #X obj 87 462 r master-amp;
-#X text 108 30 This is a Fourier-based analysis/resynthesis tool.;
+#X text 47 30 This is a Fourier-based analysis/resynthesis tool.;
 #X text 55 251 set location;
 #X text 54 265 and stop;
 #X text 54 279 precession;
@@ -353,9 +357,10 @@
 #X obj 429 363 samplerate~;
 #X obj 425 385 s sample-rate;
 #N canvas 132 255 634 327 insample 0;
-#X graph graph1 0 -1 155947 1 199 168 599 18;
-#X array sample 155948 float;
-#X pop;
+#N canvas 0 0 450 300 graph1 0;
+#X array sample 155948 float 0;
+#X coords 0 1 155947 -1 400 150 1;
+#X restore 199 18 graph;
 #X obj 19 70 r read-sample;
 #X obj 19 95 unpack s f;
 #X obj 53 121 s insamprate;
@@ -371,8 +376,11 @@
 #X restore 425 415 pd insample;
 #X msg 196 146 \; read-sample ../sound/bell.aiff \; transpo 0;
 #X msg 196 197 \; read-sample ../sound/voice.wav \; transpo -530;
-#X text 107 99 The second soundfile read button sets the transposition to correct for the 32000 sample rate of the file.;
-#X text 108 50 You can move forward or backward in the sample \, or "freeze" at any point using the "precession" and "location" controls. Transposition is in hundredths of a half-tone.;
+#X text 46 99 The second soundfile read button sets the transposition
+to correct for the 32000 sample rate of the file.;
+#X text 47 50 You can move forward or backward in the sample \, or
+"freeze" at any point using the "precession" and "location" controls.
+Transposition is in hundredths of a half-tone.;
 #X obj 569 184 tabwrite~ sample;
 #X connect 0 0 13 0;
 #X connect 1 0 50 0;
diff --git a/pd/doc/5.reference/tabosc4~-help.pd b/pd/doc/5.reference/tabosc4~-help.pd
index ada694e1..9caf5291 100644
--- a/pd/doc/5.reference/tabosc4~-help.pd
+++ b/pd/doc/5.reference/tabosc4~-help.pd
@@ -1,5 +1,5 @@
 #N canvas 307 35 742 511 12;
-#X floatatom 66 450 0 0 0;
+#X floatatom 66 450 0 0 0 0 - - -;
 #N canvas 159 26 495 270 output 0;
 #X obj 414 196 t b;
 #X obj 414 134 f;
@@ -54,11 +54,12 @@
 #X restore 32 476 pd output;
 #X msg 102 450 MUTE;
 #X text 148 449 <--- volume in dB;
-#X floatatom 32 296 4 0 0;
+#X floatatom 32 296 4 0 0 0 - - -;
 #X obj 32 326 sig~ 100;
 #X obj 547 52 table table1;
 #X obj 547 80 table table2;
-#X msg 372 287 \; table1 sinesum 512 0.5 0.5 0.5 0.5 \; table2 cosinesum 512 0 1;
+#X msg 372 287 \; table1 sinesum 512 0.5 0.5 0.5 0.5 \; table2 cosinesum
+512 0 1;
 #X text 433 474 Updated for Pd version 0.33;
 #X obj 20 11 tabosc4~;
 #X text 110 12 4-point interpolating oscillator;
@@ -67,14 +68,23 @@
 #X msg 156 372 set table2;
 #X text 372 343 click above \, start DSP \, and turn output;
 #X text 372 361 volume up to hear this;
-#X text 14 40 tabosc4~ is a traditional computer music style wavetable lookup oscillator using 4-point polynomial interpolation. The table should have a poiwer of two points plus three "guard points" \, one at the beginning and two at the end \, which should be wraparound copies of the last point and the first two points \, respectively. The "sinesum" and "cosinesum" methods for arrays do this automatically for you if you just want to specify partial strengths.;
-#X text 14 178 For good results use 512 points for up to about 15 partials \, or 32*npartials (rounded up to a power of 2) for more than 15;
-#X floatatom 275 391 4 0 0;
-#X text 12 233 Don't send new "sinesum" messages to tables while you're running -- instead \, use "set" messages to switch between tables.;
+#X text 14 178 For good results use 512 points for up to about 15 partials
+\, or 32*npartials (rounded up to a power of 2) for more than 15;
+#X floatatom 275 391 4 0 0 0 - - -;
+#X text 12 233 Don't send new "sinesum" messages to tables while you're
+running -- instead \, use "set" messages to switch between tables.
+;
 #X text 80 298 signal input for frequency (Hz.);
 #X text 46 349 message to switch tables;
 #X text 325 391 inlet to reset phase;
 #X text 166 414 creation argument initializes table;
+#X text 14 40 tabosc4~ is a traditional computer music style wavetable
+lookup oscillator using 4-point polynomial interpolation. The table
+should have a power of two points plus three "guard points" \, one
+at the beginning and two at the end \, which should be wraparound copies
+of the last point and the first two points \, respectively. The "sinesum"
+and "cosinesum" methods for arrays do this automatically for you if
+you just want to specify partial strengths.;
 #X connect 0 0 1 1;
 #X connect 1 0 0 0;
 #X connect 2 0 1 2;
@@ -83,4 +93,4 @@
 #X connect 12 0 13 0;
 #X connect 13 0 1 0;
 #X connect 14 0 13 0;
-#X connect 19 0 13 1;
+#X connect 18 0 13 1;
diff --git a/pd/doc/6.externs/makefile b/pd/doc/6.externs/makefile
index a4e9308c..8a5657fe 100644
--- a/pd/doc/6.externs/makefile
+++ b/pd/doc/6.externs/makefile
@@ -10,7 +10,7 @@ pd_nt: obj1.dll obj2.dll obj3.dll obj4.dll obj5.dll dspobj~.dll
 .SUFFIXES: .obj .dll
 
 PDNTCFLAGS = /W3 /WX /DNT /DPD /nologo
-VC="C:\Program Files\Microsoft Visual Studio\Vc98"
+VC="D:\Program Files\Microsoft Visual Studio\Vc98"
 
 PDNTINCLUDE = /I. /I\tcl\include /I..\..\src /I$(VC)\include