get rid of obsolete audio examples

svn path=/trunk/; revision=3005

30 files changed, 0 insertions, 6264 deletions

diff --git a/pd/doc/3.audio.examples/H01.intro.filters.pd b/pd/doc/3.audio.examples/H01.intro.filters.pd
deleted file mode 100644
index 4a64a0b5..00000000
--- a/pd/doc/3.audio.examples/H01.intro.filters.pd
+++ /dev/null
@@ -1,72 +0,0 @@
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-#X text 9 11 Filters;
-#X msg 87 130 \; pd dsp 1 \; metro bang;
-#X msg 191 135 \; pd dsp 0;
-#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 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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diff --git a/pd/doc/3.audio.examples/H02.bandpass.pd b/pd/doc/3.audio.examples/H02.bandpass.pd
deleted file mode 100644
index 0ce9cc47..00000000
--- a/pd/doc/3.audio.examples/H02.bandpass.pd
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-#X text 648 14 START;
-#X text 845 19 STOP;
-#X text 88 11 BANDPASS FILTERS;
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-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
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-to reset the output amplitude before you reduce Q again. I set the
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-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!)
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-\, 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.;
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diff --git a/pd/doc/3.audio.examples/H03.filter.sweep.pd b/pd/doc/3.audio.examples/H03.filter.sweep.pd
deleted file mode 100644
index 0d478275..00000000
--- a/pd/doc/3.audio.examples/H03.filter.sweep.pd
+++ /dev/null
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diff --git a/pd/doc/3.audio.examples/H04.filter.floyd.pd b/pd/doc/3.audio.examples/H04.filter.floyd.pd
deleted file mode 100644
index 02027117..00000000
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-#X text 277 354 convert to Hz.;
-#X text 35 6 ANOTHER SWEEPING FILTER EXAMPLE;
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diff --git a/pd/doc/3.audio.examples/H07.ssb.modulation.pd b/pd/doc/3.audio.examples/H07.ssb.modulation.pd
deleted file mode 100644
index 968b3b45..00000000
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-#X text 95 261 This is a pair of all-pass filters whose outputs somehow
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-know what phase relation they have with the original signal. I adapted
-this from a 4X patch by Emmanuel Favreau \, circa 1982;
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diff --git a/pd/doc/3.audio.examples/J03.qlist.pd b/pd/doc/3.audio.examples/J03.qlist.pd
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index 58495ca1..00000000
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-#X text 82 11 USING QLIST TO SEQUENCE AN OSCILLATOR BANK;
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-#X text 35 61 Here is an eight voice additive synthesis patch controlled
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-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;
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-#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.;
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-#X obj 596 547 *~;
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-#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-->;
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-#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
deleted file mode 100644
index 78c38efd..00000000
--- a/pd/doc/3.audio.examples/J05.vibrato.pd
+++ /dev/null
@@ -1,158 +0,0 @@
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-#X obj 27 246 unpack;
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-#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;
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-#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
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-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
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-;
-#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
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-or triangle wave if you prefer.;
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-#X connect 11 0 12 0;
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-#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
deleted file mode 100644
index 26300054..00000000
--- a/pd/doc/3.audio.examples/J06.adsr.sequenced.pd
+++ /dev/null
@@ -1,217 +0,0 @@
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-#X obj 315 401 / 69.23;
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-#X text 402 300 ADSR for filter. Here \, I thought it better to make
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-the "/ 69.23" as compared to the previous patch.);
-#X text 141 5 USING QLIST TO MAKE SEQUENCES OF "NOTES";
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diff --git a/pd/doc/3.audio.examples/J09.up.downsampling.pd b/pd/doc/3.audio.examples/J09.up.downsampling.pd
deleted file mode 100644
index cf50f9b9..00000000
--- a/pd/doc/3.audio.examples/J09.up.downsampling.pd
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-#X obj 78 258 outlet~ lin;
-#X obj 78 38 inlet~ lin;
-#X text 172 257 "lin" is for linear upsampling;
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-#X text 160 39 "lin" has (still !) no meaning when downsampling;
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-#X text 718 314 a pd-bug !;
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-#X connect 20 0 53 0;
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-#X connect 23 0 52 0;
-#X connect 25 0 24 0;
-#X connect 26 0 35 1;
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-#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;
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diff --git a/pd/doc/3.audio.examples/K01.pulse.width.mod.pd b/pd/doc/3.audio.examples/K01.pulse.width.mod.pd
deleted file mode 100644
index 214d250a..00000000
--- a/pd/doc/3.audio.examples/K01.pulse.width.mod.pd
+++ /dev/null
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-#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;
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-#X pop;
-#X obj 191 164 tabwrite~ phasor1-output;
-#X obj 191 222 tabwrite~ phasor2-output;
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-#X text 12 386 This patch demonstrates pulse width modulation \, which
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-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;
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-#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/K02.stereo.pd b/pd/doc/3.audio.examples/K02.stereo.pd
deleted file mode 100644
index 1c417df5..00000000
--- a/pd/doc/3.audio.examples/K02.stereo.pd
+++ /dev/null
@@ -1,87 +0,0 @@
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-#X msg 340 12 \; pd dsp 1;
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-#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;
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-#X msg 393 81 bang;
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-#X text 148 106 show level;
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-#X connect 9 1 4 1;
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-#X connect 11 0 1 1;
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-#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;
-#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;
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-#X connect 5 0 6 2;
-#X connect 6 0 5 0;
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-#X connect 9 0 14 0;
-#X connect 13 0 16 0;
-#X connect 14 0 6 0;
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diff --git a/pd/doc/3.audio.examples/K03.envelope.mod.pd b/pd/doc/3.audio.examples/K03.envelope.mod.pd
deleted file mode 100644
index 52551163..00000000
--- a/pd/doc/3.audio.examples/K03.envelope.mod.pd
+++ /dev/null
@@ -1,148 +0,0 @@
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-#X graph graph1 0 -1.02 44100 1.02 764 446 964 316;
-#X array cos-output 44100 float 0;
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-#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;
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-#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 6 0 1 0;
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-#X connect 9 1 4 1;
-#X connect 10 0 24 0;
-#X connect 11 0 1 1;
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-#X connect 12 0 10 0;
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-#X connect 14 0 22 0;
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-#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;
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-#X obj 88 259 clip~ -0.5 0.5;
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-#X graph graph1 0 -1.02 44100 1.02 763 311 963 181;
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-#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;
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-#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
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-width modulation example \, except that the widening is applied to
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-#X text 23 647 To see the envelope \, put the phasor on 2 Hz \, select
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-;
-#X text 734 688 updated for Pd version 0.34;
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-#X connect 25 0 31 0;
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diff --git a/pd/doc/3.audio.examples/K04.even.odd.pd b/pd/doc/3.audio.examples/K04.even.odd.pd
deleted file mode 100644
index bfa950a9..00000000
--- a/pd/doc/3.audio.examples/K04.even.odd.pd
+++ /dev/null
@@ -1,116 +0,0 @@
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-#X text 148 106 show level;
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-#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 \,
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-#X text 631 567 ---- 0.02 seconds ----;
-#X text 577 613 updated for Pd version 0.34;
-#X text 193 369 <-- output;
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-#X connect 5 0 8 0;
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-#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/K05.bandlimited.pd b/pd/doc/3.audio.examples/K05.bandlimited.pd
deleted file mode 100644
index f49bcb68..00000000
--- a/pd/doc/3.audio.examples/K05.bandlimited.pd
+++ /dev/null
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-#X text 366 79 period is 2000 samples \, twice the table length;
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-#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 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/K06.triangle.pd b/pd/doc/3.audio.examples/K06.triangle.pd
deleted file mode 100644
index ce8ac916..00000000
--- a/pd/doc/3.audio.examples/K06.triangle.pd
+++ /dev/null
@@ -1,169 +0,0 @@
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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;
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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;
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-#X text 210 37 You can delay a signal using the delwrite~ and delread~
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-#X text 212 99 delread always delays the signal an integer number of
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-#X text 211 137 The delwrite~ object creates the delay line \; you
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-#X text 209 184 Delread~'s arguments are the name of a delwrite (of
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-;
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-#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;
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-#X text 64 454 add the original and the delayed signal;
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-#X text 356 50 bang to recalculate the mtof table;
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diff --git a/pd/doc/4.fft.examples/01.fftanalysis.pd b/pd/doc/4.fft.examples/01.fftanalysis.pd
deleted file mode 100644
index 9b5e1e4c..00000000
--- a/pd/doc/4.fft.examples/01.fftanalysis.pd
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-#X text 82 30 Hanning window;
-#X text 61 106 forward real FFT;
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-#X msg 20 79 bang \; pd dsp 1;
-#X text 40 289 frequency;
-#X text 50 305 in bins;
-#X text 62 385 in Hz.;
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-#X text 235 70 The block size (256) and overlap (2) are set by the
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diff --git a/pd/doc/4.fft.examples/02.noisefft.pd b/pd/doc/4.fft.examples/02.noisefft.pd
deleted file mode 100644
index 65b4d92f..00000000
--- a/pd/doc/4.fft.examples/02.noisefft.pd
+++ /dev/null
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-#X connect 14 1 4 1;
-#X connect 15 0 16 0;
-#X connect 16 0 17 0;
-#X restore 673 43 pd output;
-#X msg 673 19 mute;
-#X text 710 70 AMPLITUDE;
-#X obj 673 93 s master-amp;
-#X text 241 9 NOISE FLOOR MEASUREMENT;
-#X text 149 31 This patch shows how you can average the RMS spectra
-of many windows of an incoming "noise floor" signal to estimate its
-spectrum. We'll use this in the "denoiser" patch \, next.;
-#X text 30 65 TO START;
-#X obj 99 515 dac~;
-#X obj 132 467 r master-out;
-#X text 148 100 The controls below let you send a mixture of a sine
-wave and white noise. The analysis is done in a subwindow.;
-#X obj 132 490 line~;
-#X obj 99 490 *~;
-#X obj 183 295 dbtorms;
-#X obj 279 297 dbtorms;
-#X connect 0 0 1 1;
-#X connect 1 0 25 1;
-#X connect 2 0 46 0;
-#X connect 3 0 45 0;
-#X connect 4 0 21 1;
-#X connect 6 0 12 0;
-#X connect 6 0 44 0;
-#X connect 7 0 8 0;
-#X connect 8 0 9 0;
-#X connect 9 0 21 0;
-#X connect 10 0 7 0;
-#X connect 13 0 12 0;
-#X connect 14 0 10 0;
-#X connect 15 0 28 0;
-#X connect 21 0 25 0;
-#X connect 23 0 1 0;
-#X connect 25 0 6 0;
-#X connect 28 0 14 0;
-#X connect 29 0 30 0;
-#X connect 30 0 28 1;
-#X connect 32 0 36 0;
-#X connect 33 0 32 0;
-#X connect 34 0 33 0;
-#X connect 41 0 43 0;
-#X connect 43 0 44 1;
-#X connect 44 0 40 0;
-#X connect 44 0 40 1;
-#X connect 45 0 4 0;
-#X connect 46 0 0 0;
diff --git a/pd/doc/4.fft.examples/03.denoise.pd b/pd/doc/4.fft.examples/03.denoise.pd
deleted file mode 100644
index 09e1244e..00000000
--- a/pd/doc/4.fft.examples/03.denoise.pd
+++ /dev/null
@@ -1,364 +0,0 @@
-#N canvas 54 36 882 556 12;
-#X floatatom 306 344;
-#X floatatom 68 337;
-#N canvas 72 0 896 679 fft-analysis 0;
-#X obj 140 447 *~;
-#X obj 54 705 *~;
-#X obj 139 612 *~;
-#X floatatom 206 267;
-#X obj 185 349 *~;
-#X obj 356 188 + 1;
-#X msg 447 257 0;
-#X obj 173 181 *~;
-#X obj 57 89 *~;
-#X obj 95 641 *~;
-#X obj 57 49 inlet~;
-#X obj 54 642 *~;
-#X obj 126 68 tabreceive~ hanning;
-#X obj 57 136 rfft~;
-#X obj 54 672 rifft~;
-#X obj 55 743 outlet~;
-#X text 132 50 Hanning window;
-#X text 63 115 forward real FFT;
-#X text 72 721 inverse real FFT;
-#X graph graph1 0 0 1024 20 491 631 891 331;
-#X array mask 1024 float;
-#X pop;
-#X obj 134 180 *~;
-#X obj 134 209 +~;
-#X msg 447 132 0;
-#X obj 317 129 float;
-#X obj 377 149 + 1;
-#X obj 318 72 bang~;
-#X obj 318 101 spigot;
-#X obj 449 186 < 10;
-#X floatatom 497 185;
-#X obj 256 306 tabreceive~ mask;
-#X obj 357 267 /;
-#X msg 357 237 1;
-#X obj 230 350 -~;
-#X obj 370 331 sig~;
-#X obj 447 232 sel 0;
-#X obj 348 356 *~;
-#X obj 331 387 +~;
-#X obj 330 412 tabsend~ mask;
-#X floatatom 448 287;
-#X obj 316 156 t f f;
-#X obj 446 56 r make-mask;
-#X obj 206 296 sig~;
-#X obj 206 241 r mask-level;
-#X obj 140 414 /~;
-#X obj 356 212 t b f;
-#X obj 177 612 sig~ 0.001;
-#X obj 29 781 block~ 1024 4;
-#X obj 663 76 r window-size;
-#X obj 447 84 t b f;
-#X obj 676 137 t b f;
-#X obj 663 171 /;
-#X obj 661 194 * 250;
-#X text 728 202 hop size in msec;
-#X obj 497 107 /;
-#X text 497 206 number of;
-#X text 505 221 frames;
-#X text 439 12 calculate a mask using N msec of;
-#X text 438 30 background noise;
-#X obj 176 415 sig~ 1e-20;
-#X text 152 467 multiply the signal by the;
-#X text 153 485 quantity s/(s+m) where "s";
-#X text 152 505 is signal power and "m" is mask.;
-#X text 153 527 The multiplier is close to 1 if;
-#X text 155 549 s>>m \, but close to 0 if s<<m.;
-#X text 157 572 We gratuitously square it.;
-#X floatatom 657 237;
-#X obj 699 109 r srate;
-#X connect 0 0 2 0;
-#X connect 1 0 15 0;
-#X connect 2 0 11 1;
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-#X connect 4 0 43 1;
-#X connect 5 0 44 0;
-#X connect 6 0 38 0;
-#X connect 7 0 21 1;
-#X connect 8 0 13 0;
-#X connect 9 0 14 1;
-#X connect 10 0 8 0;
-#X connect 11 0 14 0;
-#X connect 12 0 8 1;
-#X connect 12 0 1 1;
-#X connect 13 0 11 0;
-#X connect 13 0 20 0;
-#X connect 13 0 20 1;
-#X connect 13 1 9 0;
-#X connect 13 1 7 0;
-#X connect 13 1 7 1;
-#X connect 14 0 1 0;
-#X connect 20 0 21 0;
-#X connect 21 0 32 0;
-#X connect 21 0 43 0;
-#X connect 21 0 43 1;
-#X connect 22 0 23 1;
-#X connect 22 0 27 0;
-#X connect 23 0 39 0;
-#X connect 23 0 24 0;
-#X connect 24 0 23 1;
-#X connect 25 0 26 0;
-#X connect 26 0 23 0;
-#X connect 27 0 26 1;
-#X connect 27 0 34 0;
-#X connect 28 0 27 1;
-#X connect 29 0 32 1;
-#X connect 29 0 4 0;
-#X connect 29 0 36 0;
-#X connect 30 0 38 0;
-#X connect 31 0 30 0;
-#X connect 32 0 35 0;
-#X connect 33 0 35 1;
-#X connect 34 0 6 0;
-#X connect 35 0 36 1;
-#X connect 36 0 37 0;
-#X connect 38 0 33 0;
-#X connect 39 0 27 0;
-#X connect 39 1 5 0;
-#X connect 40 0 48 0;
-#X connect 41 0 4 1;
-#X connect 42 0 3 0;
-#X connect 43 0 0 0;
-#X connect 43 0 0 1;
-#X connect 44 0 31 0;
-#X connect 44 1 30 1;
-#X connect 45 0 2 1;
-#X connect 47 0 50 0;
-#X connect 48 0 22 0;
-#X connect 48 1 53 0;
-#X connect 49 0 50 0;
-#X connect 49 1 50 1;
-#X connect 50 0 51 0;
-#X connect 51 0 53 1;
-#X connect 51 0 65 0;
-#X connect 53 0 28 0;
-#X connect 58 0 43 1;
-#X connect 66 0 49 0;
-#X restore 67 412 pd fft-analysis;
-#X obj 67 470 dac~;
-#N canvas 99 31 767 592 hanning-window 0;
-#X obj 108 242 phasor~;
-#X obj 108 275 cos~;
-#X obj 27 386 tabwrite~ hanning;
-#X obj 35 297 -~;
-#X obj 33 257 sig~ 1;
-#X msg 44 212 0;
-#X text 166 16 CALCULATE HANNING;
-#X text 166 32 WINDOW TABLE;
-#X graph graph1 0 -1 1024 1 308 538 708 238;
-#X array hanning 1024 float;
-#X pop;
-#X msg 308 550 \; hanning resize 1024;
-#X obj 109 154 / 1024;
-#X obj 109 201 sig~;
-#X text 206 174 sample rate / window size;
-#X msg 27 169 bang;
-#X obj 78 316 sig~ 0.5;
-#X obj 58 353 *~;
-#X obj 79 113 samplerate~;
-#X obj 29 27 r window-size;
-#X obj 29 62 t b f;
-#X connect 0 0 1 0;
-#X connect 1 0 3 1;
-#X connect 3 0 15 0;
-#X connect 4 0 3 0;
-#X connect 5 0 0 1;
-#X connect 10 0 11 0;
-#X connect 11 0 0 0;
-#X connect 13 0 2 0;
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-#X connect 14 0 15 1;
-#X connect 15 0 2 0;
-#X connect 16 0 10 0;
-#X connect 17 0 18 0;
-#X connect 18 0 16 0;
-#X connect 18 0 13 0;
-#X connect 18 1 10 1;
-#X restore 459 435 pd hanning-window;
-#X text 157 311 noise;
-#X text 91 289 amplitudes;
-#X obj 476 467 loadbang;
-#N canvas 132 255 634 335 insample 0;
-#X graph graph1 0 -1 155947 1 200 170 600 20;
-#X array sample 155948 float;
-#X pop;
-#X obj 21 78 r read-sample;
-#X obj 21 106 unpack s f;
-#X obj 59 134 s insamprate;
-#X obj 21 190 soundfiler;
-#X msg 21 163 read -resize \$1 sample;
-#X obj 21 223 s insamplength;
-#X msg 397 219 \; sample resize 220500 \; insamplength 220500;
-#X connect 1 0 2 0;
-#X connect 2 0 5 0;
-#X connect 2 1 3 0;
-#X connect 4 0 6 0;
-#X connect 5 0 4 0;
-#X restore 459 407 pd insample;
-#X obj 306 369 s mask-level;
-#X obj 119 474 line~;
-#X obj 67 442 *~;
-#X obj 476 495 samplerate~;
-#X obj 476 523 s srate;
-#X floatatom 164 338;
-#X obj 676 312 hip~ 5;
-#X obj 676 284 adc~ 1;
-#X msg 749 248 bang;
-#X obj 782 284 r srate;
-#X obj 749 284 f;
-#X obj 749 312 s insamprate;
-#X msg 24 209 \; window-size 1024 \; pd dsp 1;
-#X obj 676 340 tabwrite~ sample;
-#X msg 451 343 \; play-sample 0 5000;
-#X floatatom 451 277;
-#X floatatom 691 80;
-#N canvas 194 37 397 591 output 0;
-#X obj 95 230 t b;
-#X obj 95 174 f;
-#X obj 95 118 inlet;
-#X text 101 94 mute;
-#X obj 95 258 f;
-#X msg 154 284 0;
-#X msg 95 146 bang;
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-#X obj 154 256 t b f;
-#X obj 107 490 outlet;
-#X msg 107 462 set \$1;
-#X obj 228 182 moses 1;
-#X obj 249 493 dbtorms;
-#X obj 249 521 pack 0 100;
-#X obj 228 154 r master-lvl;
-#X obj 107 424 r master-lvl;
-#X obj 95 315 s master-lvl;
-#X obj 249 549 s master-out;
-#X connect 0 0 4 0;
-#X connect 1 0 7 0;
-#X connect 2 0 6 0;
-#X connect 4 0 16 0;
-#X connect 5 0 16 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 10 0 9 0;
-#X connect 11 1 4 1;
-#X connect 12 0 13 0;
-#X connect 13 0 17 0;
-#X connect 14 0 1 1;
-#X connect 14 0 11 0;
-#X connect 15 0 10 0;
-#X connect 15 0 12 0;
-#X restore 691 52 pd output;
-#X msg 691 24 mute;
-#X obj 119 446 r master-out;
-#X text 734 71 MASTER;
-#X text 733 85 LEVEL;
-#X obj 691 108 s master-lvl;
-#X msg 305 314 6;
-#X text 306 291 on;
-#X text 351 292 off;
-#X text 23 189 click here first;
-#X text 301 189 read a sample;
-#X text 670 221 record your own sample;
-#X text 305 270 masking;
-#X text 481 322 play sample back;
-#X text 290 5 DENOISER;
-#X text 74 22 This patch attempts to scrub the noise floor from a sample in two steps. First using the "make-mask" message (which is caught in the "fft-analysis" window) \, you estimate the background spectrum. Do this while only the background noise is playing.;
-#X msg 350 315 0;
-#X obj 451 301 metro 2000;
-#X msg 201 213 \; read-sample ../sound/bell.aiff 44100;
-#N canvas 190 43 534 552 test-signal 0;
-#X obj 149 326 tabread4~ sample;
-#X obj 149 298 line~;
-#X obj 106 162 f;
-#X obj 204 137 r insamprate;
-#X obj 356 422 *~;
-#X obj 151 389 *~;
-#X obj 359 290 noise~;
-#X obj 151 441 +~;
-#X obj 182 390 dbtorms;
-#X obj 384 422 dbtorms;
-#X obj 182 365 inlet;
-#X obj 384 398 inlet;
-#X obj 359 375 *~;
-#X obj 359 315 bp~ 2000 7;
-#X obj 151 499 outlet~;
-#X obj 122 109 r insamplength;
-#X msg 149 274 0 \, \$1 \$2;
-#X obj 149 246 pack 0 0;
-#X obj 200 221 /;
-#X obj 204 163 * 0.001;
-#X obj 200 190 t b f;
-#X text 347 260 nasty non-flat noise;
-#X obj 151 469 hip~ 5;
-#X obj 100 8 loadbang;
-#X text 269 15 sample playback;
-#X msg 100 30 1;
-#X obj 99 74 metro 1000;
-#X floatatom 99 51;
-#X obj 385 349 phasor~ 3000;
-#X connect 0 0 5 0;
-#X connect 1 0 0 0;
-#X connect 2 0 17 0;
-#X connect 2 0 18 0;
-#X connect 3 0 19 0;
-#X connect 4 0 7 1;
-#X connect 5 0 7 0;
-#X connect 6 0 13 0;
-#X connect 7 0 22 0;
-#X connect 8 0 5 1;
-#X connect 9 0 4 1;
-#X connect 10 0 8 0;
-#X connect 11 0 9 0;
-#X connect 12 0 4 0;
-#X connect 13 0 12 0;
-#X connect 15 0 2 1;
-#X connect 16 0 1 0;
-#X connect 17 0 16 0;
-#X connect 18 0 17 1;
-#X connect 18 0 26 1;
-#X connect 19 0 20 0;
-#X connect 20 0 18 0;
-#X connect 20 1 18 1;
-#X connect 22 0 14 0;
-#X connect 23 0 25 0;
-#X connect 25 0 27 0;
-#X connect 26 0 2 0;
-#X connect 27 0 26 0;
-#X connect 28 0 12 1;
-#X restore 70 375 pd test-signal;
-#X text 56 310 sampler;
-#X msg 507 213 \; make-mask 1000;
-#X msg 564 492 \; window-size 1024;
-#X text 488 186 calculate noise mask;
-#X text 74 98 Then turn both the sample and the noise on together \, set the "mask-level" to 6 or so and enjoy the result. Alternatively \, you could try to mask the bell out of the noise...;
-#X connect 0 0 9 0;
-#X connect 1 0 45 0;
-#X connect 2 0 11 0;
-#X connect 7 0 12 0;
-#X connect 7 0 48 0;
-#X connect 10 0 11 1;
-#X connect 11 0 3 0;
-#X connect 11 0 3 1;
-#X connect 12 0 13 0;
-#X connect 14 0 45 1;
-#X connect 15 0 22 0;
-#X connect 16 0 15 0;
-#X connect 17 0 19 0;
-#X connect 17 0 22 0;
-#X connect 18 0 19 1;
-#X connect 19 0 20 0;
-#X connect 24 0 43 0;
-#X connect 25 0 31 0;
-#X connect 26 0 25 0;
-#X connect 27 0 26 0;
-#X connect 28 0 10 0;
-#X connect 32 0 0 0;
-#X connect 42 0 0 0;
-#X connect 43 0 23 0;
-#X connect 45 0 2 0;
diff --git a/pd/doc/4.fft.examples/04.shifts.pd b/pd/doc/4.fft.examples/04.shifts.pd
deleted file mode 100644
index faf25118..00000000
--- a/pd/doc/4.fft.examples/04.shifts.pd
+++ /dev/null
@@ -1,27 +0,0 @@
-#N canvas 213 9 614 383 12;
-#X msg 225 315 bang;
-#X obj 201 341 print~;
-#X graph graph1 0 -1 63 1 367 335 567 185;
-#X array array1 64 float;
-#X pop;
-#X msg 155 317 bang;
-#X obj 45 206 tabreceive~ array1;
-#X obj 131 343 print~;
-#X text 48 110 click here first;
-#X msg 74 314 bang;
-#X obj 50 340 print~;
-#X text 93 23 This is a test of the "lrshift~" object \, which can be used for calculations that compare neighboring bins of an FFT. The "tabreceive~" picks up the contents of "array1' (consisting of 0 \, 1 \, 0 \, 0 \, ...) and the three print~ objects show the input and the two outputs.;
-#X text 155 224 shift left;
-#X text 182 260 shift right;
-#X obj 128 240 lrshift~ 1;
-#X obj 149 276 lrshift~ -1;
-#X msg 49 131 \; pd dsp 1 \; array1 1 1;
-#X text 223 5 SAMPLE SHIFTS;
-#X connect 0 0 1 0;
-#X connect 3 0 5 0;
-#X connect 4 0 8 0;
-#X connect 4 0 12 0;
-#X connect 4 0 13 0;
-#X connect 7 0 8 0;
-#X connect 12 0 5 0;
-#X connect 13 0 1 0;
diff --git a/pd/doc/4.fft.examples/05.sheepgoat.pd b/pd/doc/4.fft.examples/05.sheepgoat.pd
deleted file mode 100644
index 255b2a14..00000000
--- a/pd/doc/4.fft.examples/05.sheepgoat.pd
+++ /dev/null
@@ -1,395 +0,0 @@
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-#X floatatom 189 254;
-#N canvas 31 3 710 622 fft-analysis 0;
-#X obj 58 523 *~;
-#X obj 306 397 +~;
-#X obj 264 397 +~;
-#X obj 232 427 *~;
-#X obj 197 427 *~;
-#X obj 197 452 +~;
-#X obj 197 477 sqrt~;
-#X obj 528 342 *~;
-#X obj 493 342 *~;
-#X obj 493 367 +~;
-#X obj 399 256 *~;
-#X obj 269 147 *~;
-#X obj 234 147 *~;
-#X obj 199 147 *~;
-#X obj 163 147 *~;
-#X obj 163 172 +~;
-#X obj 21 573 *~;
-#X obj 368 141 *~;
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-#X obj 80 105 rfft~;
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-#X obj 21 597 outlet~;
-#X text 34 16 Hanning window;
-#X text 106 88 forward real FFT;
-#X obj 333 141 *~;
-#X obj 333 167 +~;
-#X obj 43 263 sig~ 0.001;
-#X obj 601 576 block~ 2048 4;
-#X obj 271 51 tabreceive~ last-real;
-#X text 368 23 previous analysis;
-#X obj 449 51 tabreceive~ last-imag;
-#X obj 333 192 rsqrt~;
-#X text 388 192 inverse modulus;
-#X obj 234 172 -~;
-#X obj 347 256 *~;
-#X text 435 254 encoded as a single complex number;
-#X text 435 229 amplitude and phase change;
-#X obj 165 240 *~;
-#X obj 128 289 tabsend~ last-real;
-#X obj 165 266 tabsend~ last-imag;
-#X text 191 240 sic;
-#X text 543 393 modulus;
-#X obj 493 448 +~;
-#X text 522 447 sum of moduli;
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-#X text 244 472 modulus of sum;
-#X obj 197 503 /~;
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-#X obj 10 523 *~;
-#X obj 251 509 sig~ 1.5e-20;
-#X obj 350 512 r flip;
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-#X msg 350 563 1e+20;
-#X msg 395 563 -1e+20;
-#X floatatom 83 447;
-#X obj 83 346 / 100;
-#X obj 136 373 lrshift~ 1;
-#X obj 210 373 lrshift~ -1;
-#X obj 331 373 lrshift~ 1;
-#X obj 405 373 lrshift~ -1;
-#X obj 510 419 lrshift~ 1;
-#X obj 593 422 lrshift~ -1;
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-#X text 38 285 CLICK HERE FIRST;
-#X msg 576 312 0 \, 250 10000;
-#X msg 28 309 \; pd dsp 1 \; sample-rate 44100 \; window-size 1024 \; make-window bang \; pitch 48 \; specshift 0 \;;
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-#X text 196 292 analyze from soundfile;
-#X text 118 10 WAVEFORM GRABBER;
-#X text 21 27 This patch takes an incoming sound does an overlap-2 FFT analysis of it \, and bashes the phases of the spectra to known values. In this way you can use samples as waveforms and cross-fade them at will without getting phase modulation.;
-#X text 19 93 This might be useful for making synthetic instruments that mimic the spectral variation of recorded sounds. Here we analyze a soundfile \, but you can replace "readsf~" by "adc~" to analyze on the fly. The result is a massaged sample suitable for reading via the "regenerate" subpatch.;
-#X text 18 169 Since the analysis is done with an overlap of 2 \, the analyzed sample is twice the length of the original sound.;
-#X text 18 199 When you aren't busy doing analyses \, you can turn the "FFT" window off by replacing the block~ with a switch~.;
-#X msg 186 322 open ../sound/voice.wav \, 1 \; specshift -720 \; do-grab bang;
-#X text 15 231 The resynthesized sound seems to be skewed slightly north spectrally. The recorded sample should just need -530 cents of correction (because of the different sample rate) but my ears prefer -720;
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diff --git a/pd/doc/4.fft.examples/x.wav b/pd/doc/4.fft.examples/x.wav
deleted file mode 100644
index 3a2fd446..00000000
--- a/pd/doc/4.fft.examples/x.wav
+++ /dev/null