Added about 64 files that I hadn't realized weren't in the CVS

repository.  Threw in pd/portaudio/pa_win_wdmks for good measure, although
I haven't tried compiling that in yet (no windoze machine handy today).

svn path=/trunk/; revision=4316

12 files changed, 1438 insertions, 0 deletions

diff --git a/pd/extra/bonk~/bonk~-help.pd b/pd/extra/bonk~/bonk~-help.pd
new file mode 100644
index 00000000..45b4e403
--- /dev/null
+++ b/pd/extra/bonk~/bonk~-help.pd
@@ -0,0 +1,172 @@
+#N canvas 133 65 958 626 10;
+#X obj 320 579 print;
+#X floatatom 314 501 0 0 0 0 - - -;
+#X obj 320 549 spigot;
+#X msg 314 471 0;
+#X msg 351 471 1;
+#X msg 442 427 bang;
+#X obj 429 518 bonk~;
+#X msg 442 244 learn 1;
+#X msg 442 304 learn 0;
+#X msg 437 486 print;
+#X obj 390 467 adc~;
+#X text 320 597 cooked;
+#X msg 565 76 \; pd dsp 1;
+#X obj 257 579 print;
+#X floatatom 251 501 0 0 0 0 - - -;
+#X obj 257 549 spigot;
+#X msg 251 471 0;
+#X msg 282 471 1;
+#X text 257 597 raw;
+#N canvas 366 126 600 400 synth 0;
+#X obj 112 24 r bonk-cooked;
+#X obj 112 49 unpack;
+#X obj 112 99 * 12;
+#X obj 112 124 div 7;
+#X obj 112 74 + 1;
+#X obj 112 174 mtof;
+#X obj 112 224 osc~;
+#X obj 112 249 cos~;
+#X obj 112 149 + 47;
+#X obj 209 247 line~;
+#X obj 209 272 *~;
+#X obj 209 297 lop~ 500;
+#X obj 112 274 *~;
+#X obj 103 361 dac~;
+#X obj 253 165 dbtorms;
+#X obj 253 115 * 0.5;
+#X obj 253 140 + 50;
+#X obj 211 189 f;
+#X msg 173 159 bang;
+#X obj 258 83 inlet;
+#X obj 111 307 hip~ 5;
+#X msg 34 24 0 60;
+#X obj 112 199 sig~;
+#X msg 209 222 \$1 \, 0 200;
+#X connect 0 0 1 0;
+#X connect 1 0 4 0;
+#X connect 2 0 3 0;
+#X connect 3 0 8 0;
+#X connect 4 0 2 0;
+#X connect 5 0 18 0;
+#X connect 5 0 22 0;
+#X connect 6 0 7 0;
+#X connect 7 0 12 0;
+#X connect 8 0 5 0;
+#X connect 9 0 10 0;
+#X connect 9 0 10 1;
+#X connect 10 0 11 0;
+#X connect 11 0 12 1;
+#X connect 12 0 20 0;
+#X connect 14 0 17 1;
+#X connect 15 0 16 0;
+#X connect 16 0 14 0;
+#X connect 17 0 23 0;
+#X connect 18 0 17 0;
+#X connect 19 0 15 0;
+#X connect 20 0 13 1;
+#X connect 20 0 13 0;
+#X connect 21 0 1 0;
+#X connect 22 0 6 0;
+#X connect 23 0 9 0;
+#X restore 804 86 pd synth;
+#X obj 454 549 s bonk-cooked;
+#X floatatom 804 63 0 0 0 0 - - -;
+#X msg 804 33 0;
+#X msg 442 274 learn 10;
+#X msg 442 334 forget;
+#X msg 442 364 write templates.txt;
+#X msg 442 394 read templates.txt;
+#X msg 835 33 90;
+#X msg 442 120 thresh 6 50;
+#X text 8 70 The Bonk object takes an audio signal input and looks
+for "attacks" defined as sharp changes in the spectral envelope of
+the incoming sound. Optionally \, and less reliably \, you can have
+Bonk check the attack against a collection of stored templates to try
+to guess which of two or more instruments was hit. Bonk is described
+theoretically in the 1998 ICMC proceedings \, reprinted on http://man104nfs.ucsd.edu/~mpuckett.
+;
+#X text 470 70 click here;
+#X text 471 83 to start DSP;
+#X text 8 191 Bonk's two outputs are the raw spectrum of the attack
+(provided as a list of 11 numbers giving the signal "loudness" in the
+11 frequency bands used) \, and the "cooked" output which gives only
+an instrument number (counting up from zero) and a "velocity". The
+instrumnent number is significant only if Bonk has a "template set"
+in memory.;
+#X text 8 368 In this patch \, after starting DSP \, you can print
+out the raw or cooked output using the two "spigots" or listen to a
+synthesizer output by raising its volume.;
+#X text 259 448 enable printout;
+#X text 705 32 output volume;
+#X text 719 50 (0-100);
+#X text 533 118 Set low and high thresholds. Signal growth must exceed
+the high one and then fall to the low one to make an attack.;
+#X text 533 151 Minimum velocity to output (quieter notes are ignored.)
+;
+#X msg 442 180 mask 4 0.7;
+#X msg 442 214 debounce 0;
+#X text 8 299 Bonk's analysis is carried out on a 256-point window
+(6 msec at 44.1 kHz) and by default the analysis period is 128 samples.
+The analysis period can be specified as Bonk's creation argument but
+must be a multiple of 64;
+#X text 532 219 Minimum time (msec) between attacks;
+#X text 532 170 Describes how energy in each frequency band masks later
+energy in the band. Here the masking is total for 4 analysis periods
+and then drops by 0.7 each period.;
+#X text 530 244 Forget all templates and start learning new ones. The
+argument gives the number of times you will hit each instrument (10
+recommended.) Turn on the output volume above for audible feedback
+as you train Bonk. "Learn 0" exits learn mode.;
+#X text 530 328 Forget the last template. In Learn mode \, use "forget"
+to erase and record over a template.;
+#X text 595 368 Write templates to a file in text-editable format.
+;
+#X text 596 398 Read templates from a file.;
+#X text 538 493 Print out all settings and templates.;
+#X msg 442 150 minvel 10;
+#X text 538 426 Poll the current spectrum via "raw" outlet \, You can
+set a very high threshold if you don't want attacks mixed in.;
+#X text 218 12 BONK - an attack detector for small percussion instruments
+;
+#X msg 634 517 print;
+#X msg 437 456 debug 0;
+#X text 538 466 turn debugging on or off.;
+#X obj 118 422 phasor~ 110;
+#X obj 106 510 dac~;
+#X obj 105 483 *~;
+#X floatatom 160 466 5 0 0 0 - - -;
+#X obj 157 488 dbtorms;
+#X connect 1 0 2 1;
+#X connect 2 0 0 0;
+#X connect 3 0 1 0;
+#X connect 4 0 1 0;
+#X connect 5 0 6 0;
+#X connect 6 0 15 0;
+#X connect 6 1 2 0;
+#X connect 6 1 20 0;
+#X connect 7 0 6 0;
+#X connect 8 0 6 0;
+#X connect 9 0 6 0;
+#X connect 10 0 6 0;
+#X connect 14 0 15 1;
+#X connect 15 0 13 0;
+#X connect 16 0 14 0;
+#X connect 17 0 14 0;
+#X connect 21 0 19 0;
+#X connect 22 0 21 0;
+#X connect 23 0 6 0;
+#X connect 24 0 6 0;
+#X connect 25 0 6 0;
+#X connect 26 0 6 0;
+#X connect 27 0 21 0;
+#X connect 28 0 6 0;
+#X connect 39 0 6 0;
+#X connect 40 0 6 0;
+#X connect 49 0 6 0;
+#X connect 53 0 6 0;
+#X connect 55 0 57 0;
+#X connect 57 0 56 0;
+#X connect 57 0 56 1;
+#X connect 58 0 59 0;
+#X connect 59 0 57 1;
diff --git a/pd/extra/choice/choice-help.pd b/pd/extra/choice/choice-help.pd
new file mode 100644
index 00000000..0677db87
--- /dev/null
+++ b/pd/extra/choice/choice-help.pd
@@ -0,0 +1,58 @@
+#N canvas 16 5 609 600 12;
+#X obj 8 195 choice;
+#X msg 41 86 print;
+#X msg 29 63 clear;
+#X msg 8 34 add 1 0 0 \, add 0 1 0 \, add 0 0 1 \, add 1 1 1 \, add
+1 1 0;
+#X obj 77 171 pack 0 0 0;
+#X floatatom 182 125 0 0 0 0 - - -;
+#X floatatom 148 125 0 0 0 0 - - -;
+#X floatatom 115 125 0 0 0 0 - - -;
+#X obj 77 147 f;
+#X msg 77 125 bang;
+#X floatatom 8 216 0 0 0 0 - - -;
+#X obj 71 196 choice 1;
+#X floatatom 71 217 0 0 0 0 - - -;
+#X obj 76 4 choice;
+#X text 135 3 - search for a best match to an incoming list;
+#X text 19 243 The choice object holds a list of vectors \, each having
+up to ten elements. When sent a list of numbers \, it outputs the index
+of the known vector that matches most closely. The quality of the match
+is the dot product of the two vectors after normalizing them \, i.e.
+\, the vector whose direction is closest to that of the input wins.
+;
+#X text 19 340 If given a nonzero creation argument \, choice tries
+to avoid repetitious outputs by weighting less recently output vectors
+preferentially.;
+#X text 20 389 You can use this to choose interactively between a number
+of behaviors depending on their attributes. For example \, you might
+have stored a number of melodies \, of which some are syncopated \,
+some chromatic \, some are more than 100 years old \, some are bugle
+calls \, and some are Christmas carols. You could then ask to find
+a syncopated bugle call (1 \, 0 \, 0 \, 1 \, 0) and you'll get the
+thing most closely matching the request.;
+#X text 19 514 You can use numbers other than 0 and 1 to indicate relative
+strengths of the attributes \, or even use negative numbers to indicate
+opposites \, either in the incoming lists or in the stored ones.;
+#X text 320 572 updated for Pd version-0.30;
+#X text 79 62 delete all stored vectors;
+#X text 498 34 add vectors;
+#X text 94 84 debugging printout;
+#X text 69 104 tweak the numbers and hit "bang" to input a list;
+#X text 151 197 creation argument to avoid repeated outout;
+#X text 108 219 output is the index of best match \, counting from
+zero;
+#X connect 0 0 10 0;
+#X connect 1 0 0 0;
+#X connect 2 0 0 0;
+#X connect 2 0 11 0;
+#X connect 3 0 0 0;
+#X connect 3 0 11 0;
+#X connect 4 0 0 0;
+#X connect 4 0 11 0;
+#X connect 5 0 4 2;
+#X connect 6 0 4 1;
+#X connect 7 0 8 1;
+#X connect 8 0 4 0;
+#X connect 9 0 8 0;
+#X connect 11 0 12 0;
diff --git a/pd/extra/complex-mod~-help.pd b/pd/extra/complex-mod~-help.pd
new file mode 100644
index 00000000..9e14904d
--- /dev/null
+++ b/pd/extra/complex-mod~-help.pd
@@ -0,0 +1,26 @@
+#N canvas 136 85 600 480 12;
+#X graph graph1 0 -1 882 1 279 209 579 39;
+#X array mod-output 882 float;
+#X pop;
+#X msg 84 256 bang \; pd dsp 1;
+#X floatatom 67 56;
+#X obj 67 186 complex-mod~;
+#X obj 67 84 phasor~ 440;
+#X obj 67 115 cos~;
+#X obj 106 138 cos~;
+#X obj 106 114 -~ 0.25;
+#X floatatom 145 152;
+#X text 93 351 The complex modulator takes two signals in which it considers to be the real and imaginary part of a complex-valued signal. It then does a complex multiplication by a sinusoud to shift all frequencies up or down by any frequency shift in Hz. See also hilbert~.;
+#X obj 69 298 tabwrite~ mod-output;
+#X text 149 204 right outlet;
+#X text 151 220 gives the other;
+#X text 149 236 sideband;
+#X connect 1 0 10 0;
+#X connect 2 0 4 0;
+#X connect 3 0 10 0;
+#X connect 4 0 5 0;
+#X connect 4 0 7 0;
+#X connect 5 0 3 0;
+#X connect 6 0 3 1;
+#X connect 7 0 6 0;
+#X connect 8 0 3 2;
diff --git a/pd/extra/expr-help.pd b/pd/extra/expr-help.pd
new file mode 100644
index 00000000..adc575fb
--- /dev/null
+++ b/pd/extra/expr-help.pd
@@ -0,0 +1,497 @@
+#N canvas 70 36 1012 579 10;
+#X text 66 10 expression evaluation family - expr \, expr~ \, fexpr~
+;
+#X text 63 239 Syntyax:;
+#X text 64 311 $f#: float input variable;
+#X text 65 326 $s#: symbol input variable;
+#X text 553 90 Used for expr~ only:;
+#X text 553 105 $v#: signal (vector) input (vector by vector evaluation)
+;
+#X text 550 164 Used for fexpr~ only:;
+#X text 550 220 $y[n]: the output value indexed by n where n has to
+satisfy 0 > n >= -vector size.;
+#X text 550 248 (the vector size can be changed by the "block~" object.)
+;
+#X text 550 179 $x#[n]: the sample from inlet # indexed by n where
+n has to satisfy 0 => n >= -vector size \, ($x# is a shorthand for
+$x#[0] \, specifying the current sample);
+#X text 63 151 expr~ is used for expression evaluaion of signal data
+on the vector by vector basis;
+#X text 63 136 expr is used for expression evaluaion of control data
+;
+#X text 67 39 For a more detailed documentaion refer to http://www.crca.ucsd.edu/~yadegari/expr.html
+;
+#X text 64 254 The syntax is very close to how expressions are written
+in C. Variables are specified as follows where the '#' stands for the
+inlet number:;
+#X text 65 297 $i#: integer input variable;
+#X text 63 179 fexpr~ is used for expression evaluaion on sample level
+data \; i.e. \, filter design. Warning: fexpr~ is very cpu intensive.
+;
+#X text 633 12 updated for Pd 0.35 test 26 and expr* 0.4;
+#X text 67 85 you can define multiple expressoins in the same object.
+semicolon is used to separates the expressions.;
+#X text 635 294 $y -> $y1[-1];
+#X text 550 263 Shorthands: $x -> $x1[0];
+#X text 635 279 $x1 -> $x1[0] $x2 -> $x2[0] .....;
+#X text 635 309 $y1 -> $y1[-1] $y2 -> $y2[-1] .....;
+#N canvas 0 0 828 385 Examples 0;
+#X obj 33 151 expr 1;
+#X floatatom 197 119 0 0 0;
+#X floatatom 33 181 0 0 0;
+#X msg 33 123 bang;
+#X obj 101 149 expr 2 + 3;
+#X msg 101 122 bang;
+#X floatatom 101 177 0 0 0;
+#X floatatom 196 177 0 0 0;
+#X obj 196 149 expr 2+$f1;
+#X floatatom 34 220 0 0 0;
+#X floatatom 34 277 0 0 0;
+#X obj 34 249 expr $f1 * $f2;
+#X floatatom 113 220 0 0 0;
+#N canvas 0 0 450 300 graph1 0;
+#X array array1 10 float 0;
+#X coords 0 10 10 0 200 150 1;
+#X restore 584 180 graph;
+#X floatatom 35 315 0 0 0;
+#X floatatom 35 371 0 0 0;
+#X floatatom 194 219 0 0 0;
+#X floatatom 194 276 0 0 0;
+#X obj 194 248 expr $s2[$f1];
+#X msg 267 220 symbol array1;
+#X obj 35 343 expr sin(2 * 3.14159 * $f1 / 360);
+#X msg 330 281 \; array1 1 4 2 8 5 6 1 4 2 8 5 6;
+#X floatatom 310 184 5 0 0;
+#X floatatom 395 186 5 0 0;
+#X floatatom 480 184 5 0 0;
+#X floatatom 310 105 5 0 0;
+#X obj 310 132 expr $f1 \; if ($f1 > 0 \, $f1 * 2 \, 0) \; if ($f1
+<= 0 \, $f1 / 2 \, 0);
+#X text 34 56 Examples of expr object;
+#X text 304 88 an example of multiple expressions and the use of 'if'
+;
+#X connect 0 0 2 0;
+#X connect 1 0 8 0;
+#X connect 3 0 0 0;
+#X connect 4 0 6 0;
+#X connect 5 0 4 0;
+#X connect 8 0 7 0;
+#X connect 9 0 11 0;
+#X connect 11 0 10 0;
+#X connect 12 0 11 1;
+#X connect 14 0 20 0;
+#X connect 16 0 18 0;
+#X connect 18 0 17 0;
+#X connect 19 0 18 1;
+#X connect 20 0 15 0;
+#X connect 25 0 26 0;
+#X connect 26 0 22 0;
+#X connect 26 1 23 0;
+#X connect 26 2 24 0;
+#X restore 307 398 pd Examples of expr;
+#N canvas 23 24 882 676 Examples 0;
+#X text -88 101 expr~ examples:;
+#X obj -24 355 print~;
+#X msg 13 334 bang;
+#X obj -24 276 sig~ 440;
+#X floatatom 49 293 0 0 0;
+#X floatatom -24 253 0 0 0;
+#X obj -24 316 expr~ $v1*$f2;
+#X obj 85 356 print~;
+#X msg 101 335 bang;
+#X floatatom 85 268 0 0 0;
+#X floatatom 158 270 0 0 0;
+#X floatatom 357 291 0 0 0;
+#X floatatom 244 267 0 0 0;
+#X obj 244 294 osc~;
+#X msg 369 47 \; pd dsp 0;
+#X msg 291 49 \; pd dsp 1;
+#X text 294 26 audio on;
+#X text 377 25 audio off;
+#X text -45 236 vector times scalar;
+#X text 87 236 vector;
+#X obj 243 354 dac~;
+#X text 241 245 frequency;
+#X text 373 273 amplitude;
+#X obj 85 315 expr~ $v1*$v2;
+#X floatatom 207 471 5 0 0;
+#X obj -40 520 tabsend~ a1;
+#N canvas 0 0 450 300 graph4 0;
+#X array a1 64 float 0;
+#X coords 0 1 63 -1 200 140 1;
+#X restore -39 542 graph;
+#X obj -40 497 expr~ max(min($v1 \, $f2/10) \, -$f2/10);
+#X text -38 123 NOTES: the first inlet of expr~ cannot be a $f1 or
+$i1 \, this may change in later releases;
+#X text -87 420 A simple limiter example;
+#X obj 356 158 vsl 15 128 0 127 0 0 empty empty empty 20 8 0 8 -262144
+-1 -1 0 1;
+#X obj 243 315 expr~ $v1*$f2/128;
+#X text -82 28 make sure you turn on audio for the expr~ examples;
+#X obj -40 473 osc~ 2756.25;
+#X text 122 436 Move the value below between 0 and 10;
+#X text 126 451 to change the limiter threshold;
+#X obj 417 522 tabsend~ a2;
+#X obj 580 518 tabsend~ a3;
+#X obj 417 439 osc~ 2756.25;
+#N canvas 0 0 450 300 graph1 0;
+#X array a2 64 float 1;
+#A 0 -0.419198 -0.487122 -0.481805 -0.400382 -0.252053 -0.0571681 0.155563
+0.353314 0.504227 0.582557 0.573016 0.473664 0.296682 0.0669659 -0.18137
+-0.410083 -0.582709 -0.670415 -0.656787 -0.540803 -0.337462 -0.0758923
+0.204826 0.461522 0.653623 0.74958 0.732042 0.600932 0.373867 0.0838359
+-0.225617 -0.506972 -0.716061 -0.819026 -0.797803 -0.653251 -0.405409
+-0.0906877 0.243486 0.545852 0.769218 0.877835 0.853191 0.697093 0.431698
+0.096368 -0.258195 -0.577642 -0.812367 -0.925245 -0.897515 -0.731894
+-0.452386 -0.100793 0.269551 0.601932 0.844984 0.960659 0.930205 0.757204
+0.467199 0.103913 -0.277405 -0.618414;
+#X coords 0 1 63 -1 200 140 1;
+#X restore 347 554 graph;
+#N canvas 0 0 450 300 graph2 0;
+#X array a3 64 float 0;
+#X coords 0 1 63 -1 200 140 1;
+#X restore 569 554 graph;
+#X obj 417 473 expr~ $v1 *$v2 \; if ($v2 > 0 \, 0 \, $v1*$v2);
+#X obj 580 439 osc~ 100;
+#X connect 2 0 1 0;
+#X connect 3 0 6 0;
+#X connect 4 0 6 1;
+#X connect 5 0 3 0;
+#X connect 6 0 1 0;
+#X connect 8 0 7 0;
+#X connect 9 0 23 0;
+#X connect 10 0 23 1;
+#X connect 11 0 31 1;
+#X connect 12 0 13 0;
+#X connect 13 0 31 0;
+#X connect 23 0 7 0;
+#X connect 24 0 27 1;
+#X connect 27 0 25 0;
+#X connect 30 0 11 0;
+#X connect 31 0 20 0;
+#X connect 31 0 20 1;
+#X connect 33 0 27 0;
+#X connect 38 0 41 0;
+#X connect 41 0 36 0;
+#X connect 41 1 37 0;
+#X connect 42 0 41 1;
+#X restore 307 433 pd Examples of expr~;
+#X text 40 399 For expr examples click here ->;
+#X text 41 433 For expr~ examples click here ->;
+#X text 40 471 For fexpr~ examples click here ->;
+#N canvas 0 0 1059 688 examples 0;
+#X msg 519 84 \; pd dsp 0;
+#X msg 428 84 \; pd dsp 1;
+#X text 426 64 audio on;
+#X text 518 65 audio off;
+#X floatatom 126 304 0 0 0;
+#X floatatom 259 323 0 0 0;
+#X msg 226 283 -10;
+#X text 53 103 fexpr~ examples:;
+#X obj 125 571 print~;
+#X msg 247 552 bang;
+#X floatatom 125 475 0 0 0;
+#X obj 126 347 fexpr~ ($x1[$f2]+$x1)/2;
+#X obj 125 532 fexpr~ $x1+$y[-1];
+#X floatatom 635 366 0 0 0;
+#X floatatom 795 387 0 0 0;
+#X obj 630 456 dac~;
+#X obj 632 407 fexpr~ ($x1[$f2/1000]+$x1)/2;
+#X msg 864 317 0 10000;
+#X obj 795 368 line 0;
+#X msg 798 318 -10000;
+#X obj 120 389 dac~;
+#X text 96 227 Simple FIR filter;
+#X text 557 134 Simple FIR filter using fractional offset;
+#X msg 704 318 -10000 10000;
+#X obj 635 387 osc~ 2205;
+#X msg 644 343 1102.5;
+#X msg 862 342 0 10000;
+#X msg 796 343 -20000;
+#X msg 702 343 -20000 10000;
+#X msg 635 318 2205;
+#X msg 548 312 start;
+#X msg 550 334 stop;
+#X msg 57 284 start;
+#X msg 56 309 stop;
+#X msg 75 469 start;
+#X msg 74 494 stop;
+#X obj 491 335 loadbang;
+#X obj 18 495 loadbang;
+#X obj 1 309 loadbang;
+#X text 617 291 frequency;
+#X text 707 300 of the simple filter;
+#X msg 293 282 -20;
+#X obj 126 325 osc~ 2205;
+#X msg 156 281 1102.5;
+#X msg 110 281 2205;
+#X msg 260 282 0;
+#X text 123 445 simple accumulator defined as and an IIR filter;
+#X text 52 148 NOTE: fexpr~ could use lots of CPU power \, by default
+fexpr~ is on when it is loaded. In this page we are turning them off
+with loadbang \, so to hear them you have to turn them on explicitly.
+You can use the "start" and "stop" messages to start and stop fexpr~
+and expr~;
+#X text 706 288 index defining the frequency;
+#X text 95 240 -10 offset will fully filter audio frequency of 2205
+\, and -20 offset will filter audio at frequency of 1102.5;
+#X text 559 215 Thus \, the offset -10000 will filter audio at frequency
+of 2205 and the offset value -20000 will filter the audio at frequency
+of 1102.5.;
+#X text 558 161 When fractional offset is used \, fexpr~ determines
+indexed by linear interpolation. In the following example the offset
+value is divided by 1000 \, thus we can continuously change the offset
+without an audible click in the output.;
+#X text 288 318 If you change this value you;
+#X text 290 330 hear a click;
+#X text 51 87 make sure you turn on audio for the fexpr~ examples;
+#X text 55 -323 Used for fexpr~ only:;
+#X text 55 -267 $y[n]: the output value indexed by n where n has to
+satisfy 0 > n >= -vector size.;
+#X text 55 -239 (the vector size can be changed by the "block~" object.)
+;
+#X text 55 -308 $x#[n]: the sample from inlet # indexed by n where
+n has to satisfy 0 => n >= -vector size \, ($x# is a shorthand for
+$x#[0] \, specifying the current sample);
+#X text 140 -193 $y -> $y1[-1];
+#X text 55 -224 Shorthands: $x -> $x1[0];
+#X text 140 -208 $x1 -> $x1[0] $x2 -> $x2[0] .....;
+#X text 140 -178 $y1 -> $y1[-1] $y2 -> $y2[-1] .....;
+#X text 64 -125 fexpr~ responds to the following methods;
+#X text 66 -106 clear - clears all the previous input and output buffers
+;
+#X text 65 -92 clear x# - clears the previous values of the #th input
+;
+#X text 66 -79 clear y# - clears the previous values of the #th output
+;
+#X text 66 -33 set x# val-1 val-2 ... - sets the as many supplied values
+of the #th input;
+#X text 513 -22 e.g. \, set x2 3.4 0.4 sets x2[-1]=3.4 and x2[-2]=0.4
+;
+#X text 66 -2 set y# val-1 val-2 ... - sets the as many supplied values
+of the #th input;
+#X text 514 4 e.g. \, set y3 1.1 3.3 4.5 sets y3[-1]=1.1 y3[-2]=3.3
+and y3[-3]=4.5;
+#X text 64 -54 set val val ... - sets the first past values of each
+output;
+#X text 513 -59 e.g. \, set 0.1 2.2 0.4 sets y1[-1]=0.1 y2[-1]=2.2
+\, and y3[-1]=0.4;
+#X msg 244 475 set 4000;
+#X obj 125 504 sig~ 0.001;
+#X msg 245 498 clear;
+#X text 22 442 comment;
+#X text 14 431 1 first click the start button;
+#X text 307 494 2 click the set or the clear button;
+#X text 304 547 3 then click bang to see how set and clear work;
+#X connect 4 0 42 0;
+#X connect 5 0 11 1;
+#X connect 6 0 5 0;
+#X connect 9 0 8 0;
+#X connect 10 0 74 0;
+#X connect 11 0 20 0;
+#X connect 11 0 20 1;
+#X connect 12 0 8 0;
+#X connect 13 0 24 0;
+#X connect 14 0 16 1;
+#X connect 16 0 15 0;
+#X connect 16 0 15 1;
+#X connect 17 0 18 0;
+#X connect 18 0 14 0;
+#X connect 19 0 18 0;
+#X connect 23 0 18 0;
+#X connect 24 0 16 0;
+#X connect 25 0 13 0;
+#X connect 26 0 18 0;
+#X connect 27 0 18 0;
+#X connect 28 0 18 0;
+#X connect 29 0 13 0;
+#X connect 30 0 16 0;
+#X connect 31 0 16 0;
+#X connect 32 0 11 0;
+#X connect 33 0 11 0;
+#X connect 34 0 12 0;
+#X connect 35 0 12 0;
+#X connect 36 0 31 0;
+#X connect 37 0 35 0;
+#X connect 38 0 33 0;
+#X connect 41 0 5 0;
+#X connect 42 0 11 0;
+#X connect 43 0 4 0;
+#X connect 44 0 4 0;
+#X connect 45 0 5 0;
+#X connect 73 0 12 0;
+#X connect 74 0 12 0;
+#X connect 75 0 12 0;
+#X restore 306 472 pd examples of fexpr~;
+#X text 42 504 For using fexpr~ for solving;
+#X text 43 520 differential equations click here ->;
+#N canvas 112 22 944 449 lorenz 0;
+#X obj 176 67 v pr;
+#X obj 307 68 v r;
+#X obj 233 69 v b;
+#X floatatom 176 38 5 0 0;
+#X floatatom 307 40 5 0 0;
+#X msg 177 13 10;
+#X obj 231 10 expr 8./3;
+#X msg 128 136 set 1.2 2.3 4.4;
+#X floatatom 233 39 7 0 0;
+#X msg 75 46 stop;
+#X msg 75 67 start;
+#X floatatom 399 40 5 0 0;
+#X obj 399 69 v dt;
+#X msg 310 12 18;
+#X msg 395 13 0.01;
+#X obj 68 296 dac~;
+#X obj 128 -41 bng 15 250 50 0 empty empty empty 20 8 0 8 -262144 -1
+-1;
+#X text 201 -41 <- turn audio on and bang here;
+#X text 463 42 <- experiment with these numbers;
+#X text 472 72 if you hear a buzz \, you have probably gone unstable
+bang on the top again;
+#X obj 489 15 line;
+#X obj 128 241 /~ 20;
+#X obj 234 238 /~ 20;
+#X obj 340 237 /~ 20;
+#X msg 484 -11 0.01 \, 0.04 5000;
+#X obj 128 185 fexpr~ $y1+(pr*$y2-pr*$y1)*dt \; $y2 +(-$y1*$y3 + r*$y1-$y2)*dt
+\; $y3+($y1*$y2 - b*$y3)*dt;
+#X obj 14 65 loadbang;
+#X text 113 -100 This is an example of how fexpr~ could be used for
+solving differential equations \, in this case the lorenz equations
+which generate chotic signals;
+#X text 361 182 Note the following shorthands:;
+#X text 360 198 $y1 -> $y1[-1] \, $y2 -> $y2[-1] \, .....;
+#X text 248 136 the 'set' commands sets the initial previous values
+;
+#X obj 128 298 tabsend~ lorenz1a;
+#X obj 234 278 tabsend~ lorenz2a;
+#X obj 339 259 tabsend~ lorenz3a;
+#N canvas 0 0 450 300 graph1 0;
+#X array lorenz1a 64 float 0;
+#X coords 0 1 63 -1 200 140 1;
+#X restore 73 437 graph;
+#N canvas 0 0 450 300 graph2 0;
+#X array lorenz2a 64 float 0;
+#X coords 0 1 63 -1 200 140 1;
+#X restore 331 435 graph;
+#N canvas 0 0 450 300 graph3 0;
+#X array lorenz3a 64 float 0;
+#X coords 0 1 63 -1 200 140 1;
+#X restore 592 436 graph;
+#X text 301 315 You can see the graphs if you scroll down;
+#X text 301 328 but the redrawings may cause clicks in the audio;
+#X connect 3 0 0 0;
+#X connect 4 0 1 0;
+#X connect 5 0 3 0;
+#X connect 6 0 8 0;
+#X connect 7 0 25 0;
+#X connect 8 0 2 0;
+#X connect 9 0 25 0;
+#X connect 10 0 25 0;
+#X connect 11 0 12 0;
+#X connect 13 0 4 0;
+#X connect 14 0 11 0;
+#X connect 16 0 5 0;
+#X connect 16 0 6 0;
+#X connect 16 0 13 0;
+#X connect 16 0 14 0;
+#X connect 16 0 7 0;
+#X connect 16 0 10 0;
+#X connect 20 0 11 0;
+#X connect 21 0 31 0;
+#X connect 21 0 15 0;
+#X connect 21 0 15 1;
+#X connect 22 0 32 0;
+#X connect 23 0 33 0;
+#X connect 24 0 20 0;
+#X connect 25 0 21 0;
+#X connect 25 1 22 0;
+#X connect 25 2 23 0;
+#X connect 26 0 9 0;
+#X restore 308 518 pd lorenz equations for audition;
+#N canvas 97 36 978 656 lorenz 0;
+#X obj 176 67 v pr;
+#X obj 307 68 v r;
+#X obj 233 69 v b;
+#X floatatom 176 38 5 0 0;
+#X floatatom 307 40 5 0 0;
+#X msg 177 13 10;
+#X obj 231 10 expr 8./3;
+#N canvas 0 0 450 300 graph1 0;
+#X array lorenz1 2048 float 0;
+#X coords 0 -1 2047 1 200 140 1;
+#X restore 82 357 graph;
+#N canvas 0 0 450 300 graph2 0;
+#X array lorenz2 2048 float 0;
+#X coords 0 -1 2047 1 200 140 1;
+#X restore 327 353 graph;
+#N canvas 0 0 450 300 graph3 0;
+#X array lorenz3 2048 float 0;
+#X coords 0 -1 2047 1 200 140 1;
+#X restore 570 347 graph;
+#X msg 128 136 set 1.2 2.3 4.4;
+#X floatatom 233 39 7 0 0;
+#X msg 75 46 stop;
+#X msg 75 67 start;
+#X floatatom 399 40 5 0 0;
+#X obj 399 69 v dt;
+#X msg 310 12 18;
+#X msg 395 13 0.01;
+#X obj 128 -41 bng 15 250 50 0 empty empty empty 20 8 0 8 -262144 -1
+-1;
+#X text 201 -41 <- turn audio on and bang here;
+#X text 463 42 <- experiment with these numbers;
+#X text 472 72 if you hear a buzz \, you have probably gone unstable
+bang on the top again;
+#X obj 489 15 line;
+#X obj 128 241 /~ 20;
+#X obj 234 238 /~ 20;
+#X obj 340 237 /~ 20;
+#X msg 484 -11 0.01 \, 0.04 5000;
+#X obj 14 65 loadbang;
+#X text 113 -100 This is an example of how fexpr~ could be used for
+solving differential equations \, in this case the lorenz equations
+which generate chotic signals;
+#X text 361 182 Note the following shorthands:;
+#X text 360 198 $y1 -> $y1[-1] \, $y2 -> $y2[-1] \, .....;
+#X text 248 136 the 'set' commands sets the initial previous values
+;
+#X obj 128 298 tabsend~ lorenz1;
+#X obj 234 278 tabsend~ lorenz2;
+#X obj 339 259 tabsend~ lorenz3;
+#X obj 627 280 block~ 2048;
+#X text 669 133 Lorenz Equations;
+#X obj 128 185 fexpr~ $y1+pr * ($y2-$y1)*dt \; $y2 +(-$y1*$y3 + r*$y1-$y2)*dt
+\; $y3+($y1*$y2 - b*$y3)*dt;
+#X text 672 197 dZ/dt = -bZ;
+#X text 669 167 dX/dt = pr * (X - Y);
+#X text 668 147 written with 3 state variable X \, Y \, and Z;
+#X text 670 182 dY/dt = -XZ + rX - y;
+#X connect 3 0 0 0;
+#X connect 4 0 1 0;
+#X connect 5 0 3 0;
+#X connect 6 0 11 0;
+#X connect 10 0 37 0;
+#X connect 11 0 2 0;
+#X connect 12 0 37 0;
+#X connect 13 0 37 0;
+#X connect 14 0 15 0;
+#X connect 16 0 4 0;
+#X connect 17 0 14 0;
+#X connect 18 0 5 0;
+#X connect 18 0 6 0;
+#X connect 18 0 16 0;
+#X connect 18 0 17 0;
+#X connect 18 0 10 0;
+#X connect 18 0 13 0;
+#X connect 22 0 14 0;
+#X connect 23 0 32 0;
+#X connect 24 0 33 0;
+#X connect 25 0 34 0;
+#X connect 26 0 22 0;
+#X connect 27 0 12 0;
+#X connect 37 0 23 0;
+#X connect 37 1 24 0;
+#X connect 37 2 25 0;
+#X restore 308 541 pd lorenz equations for visualization;
+#X text 68 24 by Shahrokh Yadegari;
diff --git a/pd/extra/fiddle~/fiddle~-help.pd b/pd/extra/fiddle~/fiddle~-help.pd
new file mode 100644
index 00000000..f396725a
--- /dev/null
+++ b/pd/extra/fiddle~/fiddle~-help.pd
@@ -0,0 +1,142 @@
+#N canvas 93 26 980 745 10;
+#X obj 262 522 phasor~;
+#X obj 531 616 unpack;
+#X floatatom 531 666 0 0 0 0 - - -;
+#X msg 437 449 print;
+#X obj 262 500 sig~;
+#X floatatom 262 478 0 0 0 0 - - -;
+#X obj 262 456 mtof;
+#X floatatom 262 434 0 0 0 0 - - -;
+#X floatatom 545 643 0 0 0 0 - - -;
+#X obj 531 576 route 1 2 3 4;
+#X obj 614 616 unpack;
+#X floatatom 614 666 0 0 0 0 - - -;
+#X floatatom 628 643 0 0 0 0 - - -;
+#X obj 698 616 unpack;
+#X floatatom 698 666 0 0 0 0 - - -;
+#X floatatom 712 643 0 0 0 0 - - -;
+#X obj 389 616 unpack;
+#X floatatom 389 666 0 0 0 0 - - -;
+#X floatatom 403 643 0 0 0 0 - - -;
+#X obj 334 545 *~;
+#X obj 322 394 loadbang;
+#X obj 353 522 sig~;
+#X floatatom 353 500 0 0 0 0 - - -;
+#X msg 322 478 1;
+#X msg 353 478 0;
+#X floatatom 466 666 0 0 0 0 - - -;
+#X obj 281 666 print attack;
+#X obj 190 666 print pitch;
+#X msg 555 45 \; pd dsp 1;
+#X text 460 39 click here;
+#X text 460 61 to start DSP;
+#X text 226 4 FIDDLE - pitch estimator and sinusoidal peak finder;
+#X text 8 70 The Fiddle object estimates the pitch and amplitude of
+an incoming sound \, both continuously and as a stream of discrete
+"note" events. Fiddle optionally outputs a list of detected sinusoidal
+peaks used to make the pitch determination. Fiddle is described theoretically
+in the 1998 ICMC proceedings \, reprinted on http://man104nfs.ucsd.edu/~mpuckett.
+;
+#X text 8 170 Fiddle's creation arguments specify an analysis window
+size \, the maximum polyphony (i.e. \, the number of simultaneous "pitches"
+to try to find) \, the number of peaks in the spectrum to consider
+\, and the number of peaks \, if any \, to output "raw." The outlets
+give discrete pitch (a number) \, detected attacks in the amplitude
+envelope (a bang) \, one or more voices of continuous pitch and amplitude
+\, overall amplitude \, and optionally a sequence of messages with
+the peaks.;
+#X text 8 296 The analysis hop size is half the window size so in the
+example shown here \, one analysis is done every 512 samples (11.6
+msec at 44K1) \, and the analysis uses the most recent 1024 samples
+(23.2 msec at 44K1). The minimum frequency that Fiddle will report
+is 2-1/2 cycles per analysis windows \, or about 108 Hz. (just below
+MIDI 45.);
+#X text 669 535 number of pitch outlets (1-3 \, default 1);
+#X text 669 557 number of peaks to find (1-100 \, default 20);
+#X text 669 579 number of peaks to output (default 0.);
+#X msg 441 107 amp-range 40 50;
+#X msg 439 227 reattack 100 10;
+#X msg 438 282 npartial 7;
+#X msg 438 170 vibrato 50 0.5;
+#X text 560 91 a low and high amplitude threshold: if signal amplitude
+is below the low threshold \, no pitches or peaks are output. The high
+threshold is a minimum at which "cooked" outputs may appear.;
+#X text 560 152 A period in milliseconds (50) over which the raw pitch
+may not deviate more than an interval in half-tones (0.5) from the
+average pitch to report it as a note to the "cooked" pitch outlet.
+;
+#X text 560 213 A period in milliseconds (100) over which a re-attack
+is reported if the amplitude rises more than (1) dB. The re-attack
+will result in a "bang" in the attack outlet and may give rise to repeated
+notes in the cooked pitch output.;
+#X text 142 432 test input pitch;
+#X text 330 444 test input;
+#X text 330 457 amplitude;
+#X obj 410 545 fiddle~ 1024 1 20 3;
+#X text 538 690 individual sinusoidal components;
+#X text 466 688 amplitude;
+#X text 476 703 (dB);
+#X text 389 688 raw pitch;
+#X text 376 712 and amplitude;
+#X text 364 729 (up to 3 outputs);
+#X text 287 686 bang on;
+#X text 287 708 attack;
+#X text 185 686 cooked pitch;
+#X text 202 703 output;
+#X text 545 545 ------ arguments:;
+#X msg 262 412 57;
+#X msg 440 331 auto 1;
+#X msg 440 353 auto 0;
+#X msg 439 418 bang;
+#X text 561 416 poll current values --- useful if not in auto mode
+\,;
+#X text 560 274 Higher partials are weighed less strongly than lower
+ones in determining the pitch. This specifies the number of the partial
+(7) which will be weighted half as strongly as the fundamental.;
+#X text 560 335 start and stop "auto" mode (on by default.) If off
+\, output only appears on "bang" (poll mode).;
+#X text 561 448 print out all settings;
+#X text 669 513 window size (128-2048 \, default 1024);
+#X msg 440 375 npoints 2048;
+#X text 562 384 number of points in analysis window (power of 2 \,
+128-2048);
+#X msg 439 396 npoints 1024;
+#X connect 0 0 19 0;
+#X connect 1 0 2 0;
+#X connect 1 1 8 0;
+#X connect 3 0 48 0;
+#X connect 4 0 0 0;
+#X connect 5 0 4 0;
+#X connect 6 0 5 0;
+#X connect 7 0 6 0;
+#X connect 9 0 1 0;
+#X connect 9 1 10 0;
+#X connect 9 2 13 0;
+#X connect 10 0 11 0;
+#X connect 10 1 12 0;
+#X connect 13 0 14 0;
+#X connect 13 1 15 0;
+#X connect 16 0 17 0;
+#X connect 16 1 18 0;
+#X connect 19 0 48 0;
+#X connect 20 0 60 0;
+#X connect 20 0 23 0;
+#X connect 21 0 19 1;
+#X connect 22 0 21 0;
+#X connect 23 0 22 0;
+#X connect 24 0 22 0;
+#X connect 38 0 48 0;
+#X connect 39 0 48 0;
+#X connect 40 0 48 0;
+#X connect 41 0 48 0;
+#X connect 48 0 27 0;
+#X connect 48 1 26 0;
+#X connect 48 2 16 0;
+#X connect 48 3 25 0;
+#X connect 48 4 9 0;
+#X connect 60 0 7 0;
+#X connect 61 0 48 0;
+#X connect 62 0 48 0;
+#X connect 63 0 48 0;
+#X connect 69 0 48 0;
+#X connect 71 0 48 0;
diff --git a/pd/extra/hilbert~-help.pd b/pd/extra/hilbert~-help.pd
new file mode 100644
index 00000000..130ec750
--- /dev/null
+++ b/pd/extra/hilbert~-help.pd
@@ -0,0 +1,18 @@
+#N canvas 156 234 600 488 12;
+#X obj 67 124 hilbert~;
+#X obj 66 85 osc~ 440;
+#X graph graph1 0 -1 882 1 279 209 579 39;
+#X array out-left 882 float;
+#X array out-right 882 float;
+#X pop;
+#X obj 67 274 tabwrite~ out-left;
+#X obj 118 248 tabwrite~ out-right;
+#X msg 137 188 bang \; pd dsp 1;
+#X floatatom 66 57;
+#X text 71 319 The Hilbert transform (the name is abused here according to computer music tradition) puts out a phase quadrature version of the input signal suitable for signal sideband modulation via complex-mod~.;
+#X connect 0 0 3 0;
+#X connect 0 1 4 0;
+#X connect 1 0 0 0;
+#X connect 5 0 3 0;
+#X connect 5 0 4 0;
+#X connect 6 0 1 0;
diff --git a/pd/extra/loop~/loop~-help.pd b/pd/extra/loop~/loop~-help.pd
new file mode 100644
index 00000000..a445b805
--- /dev/null
+++ b/pd/extra/loop~/loop~-help.pd
@@ -0,0 +1,74 @@
+#N canvas 33 0 647 662 12;
+#X floatatom 41 204 0 0 0 0 - - -;
+#X obj 254 382 print~;
+#X msg 254 347 bang;
+#X obj 41 338 loop~;
+#X floatatom 66 279 0 0 0 0 - - -;
+#X msg 55 252 bang;
+#X obj 183 382 print~;
+#X msg 183 347 bang;
+#N canvas 0 0 450 300 graph1 0;
+#X array array2 150000 float 0;
+#X coords 0 1 150000 -1 200 150 1;
+#X restore 393 464 graph;
+#X msg 393 622 \; array2 resize 150000;
+#X obj 25 613 soundfiler;
+#X obj 16 453 tabread4~ array2;
+#X obj 16 407 *~;
+#X obj 16 522 dac~;
+#X obj 16 499 hip~ 5;
+#X obj 62 411 samphold~;
+#X obj 16 430 +~;
+#X floatatom 96 303 0 0 0 0 - - -;
+#X obj 96 326 *~ 1000;
+#X msg 43 568 read ../doc/sound/bell.aiff array2;
+#X msg 43 591 read ../doc/sound/vocal.aiff array2;
+#X msg 47 229 set 0.5;
+#X text 95 196 left signal input is transposition (1 is normal \, 2
+is up an octave \, etc);
+#X text 82 4 loop~ - phase generator for looping samplers;
+#X text 116 228 set phase (0 to 1);
+#X text 104 253 reset phase to 0;
+#X text 104 278 right signal input is window size in samples;
+#X text 134 302 here's how to handle onsets;
+#X obj 16 476 *~;
+#X floatatom 167 432 0 0 0 0 - - -;
+#X obj 167 501 line~;
+#X obj 167 455 dbtorms;
+#X obj 167 478 pack 0 50;
+#X text 201 431 output level 0-100;
+#X text 187 326 print outputs;
+#X text 33 32 loop~ takes input signals to set a window size and transposition
+\, and outputs a phase and a sampled window size. The window size only
+changes at phase zero crossings and the phase output is adjusted so
+that changing window size doesn't change the transposition.;
+#X text 33 112 You can send "bang" or "set" message to force the phase
+to zero--you should mute the output before doing so. This may be desirable
+if you've set a large window size but then want to decrease it without
+waiting for the next phase crossing.;
+#X connect 0 0 3 0;
+#X connect 2 0 1 0;
+#X connect 3 0 6 0;
+#X connect 3 0 12 0;
+#X connect 3 0 15 1;
+#X connect 3 1 1 0;
+#X connect 3 1 12 1;
+#X connect 4 0 3 1;
+#X connect 5 0 3 0;
+#X connect 7 0 6 0;
+#X connect 11 0 28 0;
+#X connect 12 0 16 0;
+#X connect 14 0 13 0;
+#X connect 14 0 13 1;
+#X connect 15 0 16 1;
+#X connect 16 0 11 0;
+#X connect 17 0 18 0;
+#X connect 18 0 15 0;
+#X connect 19 0 10 0;
+#X connect 20 0 10 0;
+#X connect 21 0 3 0;
+#X connect 28 0 14 0;
+#X connect 29 0 31 0;
+#X connect 30 0 28 1;
+#X connect 31 0 32 0;
+#X connect 32 0 30 0;
diff --git a/pd/extra/lrshift~/rlshift~-help.pd b/pd/extra/lrshift~/rlshift~-help.pd
new file mode 100644
index 00000000..cdfd8830
--- /dev/null
+++ b/pd/extra/lrshift~/rlshift~-help.pd
@@ -0,0 +1,29 @@
+#N canvas 143 0 673 325 12;
+#X msg 268 277 bang;
+#X obj 244 303 print~;
+#X msg 185 278 bang;
+#X obj 161 304 print~;
+#X text 53 117 click here first;
+#X msg 72 270 bang;
+#X obj 48 296 print~;
+#X text 162 222 shift left;
+#X text 243 224 shift right;
+#X obj 161 252 lrshift~ 1;
+#X obj 244 251 lrshift~ -1;
+#X text 39 37 Acting at whatever vector size the window is running at \, lrshift~ shifts samples to the left (toward the beginning sample) or to the right. The argument gives the direction and the amount of the shift. The rightmost (or leftmost) samples are set to zero.;
+#X graph graph2 0 0 63 1 448 258 648 118;
+#X array shiftin 64 float;
+#X pop;
+#X obj 47 11 rlshift~;
+#X text 115 11 -- shift signal vector elements left or right;
+#X msg 54 138 \; pd dsp 1 \; shiftin 1 1;
+#X obj 48 204 tabreceive~ shiftin;
+#X text 525 308 Updated for Pd 0.31.;
+#X connect 0 0 1 0;
+#X connect 2 0 3 0;
+#X connect 5 0 6 0;
+#X connect 9 0 3 0;
+#X connect 10 0 1 0;
+#X connect 16 0 6 0;
+#X connect 16 0 9 0;
+#X connect 16 0 10 0;
diff --git a/pd/extra/pique/pique-help.pd b/pd/extra/pique/pique-help.pd
new file mode 100644
index 00000000..1689c95b
--- /dev/null
+++ b/pd/extra/pique/pique-help.pd
@@ -0,0 +1,33 @@
+#N canvas 143 0 729 407 12;
+#X obj 47 11 pique;
+#X text 105 12 -- find peaks in an FFT spectrum;
+#X obj 214 174 rfft~;
+#X obj 131 129 osc~ 2000;
+#X graph graph2 0 -64 63 64 519 179 719 39;
+#X array fft-real 64 float;
+#X pop;
+#X graph graph3 0 -64 63 64 519 327 719 187;
+#X array fft-imag 64 float;
+#X pop;
+#X obj 214 215 tabwrite~ fft-real;
+#X obj 245 240 tabwrite~ fft-imag;
+#X obj 315 158 metro 1000;
+#X obj 315 116 loadbang;
+#X msg 315 138 1;
+#X obj 91 349 pique;
+#X msg 91 322 64 fft-real fft-imag 10;
+#X obj 91 376 print;
+#X obj 205 132 osc~ 5000;
+#X text 25 37 pique takes unwindowed FFT analyses as input (they should be stored in arrays) and outputs a list of peaks \, giving their peak number \, frequency \, amplitude \, and phase (as a cosine/sine pair.);
+#X text 13 289 message argumnets: number of FFT points \, fft real part \, fft imaginary part \, maximum number of peaks to report.;
+#X text 578 387 updated for Pd 0.31.;
+#X connect 2 0 6 0;
+#X connect 2 1 7 0;
+#X connect 3 0 2 0;
+#X connect 8 0 6 0;
+#X connect 8 0 7 0;
+#X connect 9 0 10 0;
+#X connect 10 0 8 0;
+#X connect 11 0 13 0;
+#X connect 12 0 11 0;
+#X connect 14 0 2 0;
diff --git a/pd/extra/rev1~-help.pd b/pd/extra/rev1~-help.pd
new file mode 100644
index 00000000..55580bd5
--- /dev/null
+++ b/pd/extra/rev1~-help.pd
@@ -0,0 +1,119 @@
+#N canvas 55 21 1008 526 12;
+#X obj 148 439 dac~;
+#X obj 58 72 line~;
+#X msg 58 49 0 \, 10000 5;
+#X obj 58 118 cos~;
+#X msg 146 70 1;
+#X obj 146 47 loadbang;
+#X obj 58 95 clip~ 0 0.25;
+#X floatatom 173 264 0 0 0;
+#X obj 251 134 line~;
+#X obj 251 157 cos~;
+#X msg 324 54 -0.25 \, 0.25 100;
+#X obj 251 8 loadbang;
+#X msg 251 31 -0.25;
+#X obj 251 203 *~;
+#X obj 58 140 hip~ 5;
+#X floatatom 162 328 0 0 0;
+#X obj 162 373 pack 0 100;
+#X obj 162 396 line~;
+#X obj 148 416 *~;
+#X obj 162 350 dbtorms;
+#X msg 324 77 -0.25 \, 0.25 400;
+#X floatatom 324 145 0 0 0;
+#X obj 324 191 osc~ 440;
+#X obj 324 168 mtof;
+#X msg 324 31 -0.25 \, 0.25 20;
+#X obj 251 180 *~ 0.1;
+#X msg 324 100 -0.25 \, 0.25 1000;
+#X msg 324 122 -0.25 \, 0.25 2000;
+#X obj 324 226 *~;
+#X obj 342 252 *~;
+#X obj 58 439 dac~;
+#X floatatom 68 323 0 0 0;
+#X obj 68 368 pack 0 100;
+#X obj 68 391 line~;
+#X obj 58 416 *~;
+#X obj 68 346 dbtorms;
+#X msg 324 8 0;
+#X obj 308 257 *~;
+#X obj 58 26 metro 2000;
+#X floatatom 58 4 0 0 0;
+#X msg 220 265 bang;
+#X obj 284 322 env~ 32768;
+#X floatatom 284 344 0 0 0;
+#X text 166 244 1 sec;
+#X text 143 226 dB after;
+#X text 220 245 clear;
+#X text 1 51 impulse;
+#X text 362 7 tone;
+#X text 484 31 beeps;
+#X text 428 167 This is an experimental reverberator design composed
+of a series of allpass filters with exponentially growing delay times.
+Each allpass filter has a gain of 0.7. The reverb time is adjusted
+by adjusting the input gains of the allpass filters. The last unit
+is modified so that its first two "echos" mimic those of an allpass
+but its loop gain depends on reverb time.;
+#X text 430 299 Reverb time is controlled by specifying the dB gain
+(100 normal) after one second \, so that 100 corresponds to infinite
+reverb time \, 70 to two seconds \, 40 to one second \, and 0 to 0
+;
+#X text 671 499 modified for Pd version 0.30.;
+#X msg 560 34 \; pd dsp 1;
+#X text 427 475 The rev1~ module eats about 18% of my 300mHz P2 machine.
+;
+#X obj 148 289 rev1~;
+#X text 428 381 The "clear" button impolitely clears out all the delay
+lines \, You may immediately resume pumping the reverberator \, but
+the input signal should be cleanly enveloped. The output \, too \,
+must be enveloped and may not be opened until 5 msec after the "clear"
+message is sent.;
+#X connect 1 0 6 0;
+#X connect 2 0 1 0;
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+#X connect 22 0 28 1;
+#X connect 22 0 29 0;
+#X connect 23 0 22 0;
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+#X connect 26 0 8 0;
+#X connect 27 0 8 0;
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+#X connect 28 0 37 1;
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+#X connect 40 0 54 2;
+#X connect 41 0 42 0;
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+#X connect 54 0 41 0;
diff --git a/pd/extra/rev2~-help.pd b/pd/extra/rev2~-help.pd
new file mode 100644
index 00000000..8f9fbaaf
--- /dev/null
+++ b/pd/extra/rev2~-help.pd
@@ -0,0 +1,134 @@
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+#X msg 279 150 -0.25 \, 0.25 \$1;
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+#X restore 17 154 pd tests;
+#X msg 56 35 10;
+#X msg 54 62 20;
+#X msg 53 90 100;
+#X msg 52 115 500;
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+#X text 37 9 impulse;
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+#X obj 177 74 clip 0 120;
+#X msg 257 133 \; pd dsp 1;
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+#X floatatom 97 127 0 0 0 0 - - -;
+#X text 136 96 tone;
+#X text 135 112 pitch;
+#X text 114 185 level \, dB;
+#X floatatom 117 209 0 0 100 0 - - -;
+#X text 158 209 liveness \, 0-100;
+#X text 505 330 modified for Pd version 0.37;
+#X floatatom 161 235 0 0 120 0 - - -;
+#X floatatom 205 259 0 0 120 0 - - -;
+#X text 192 235 crossover frequency \, Hz.;
+#X text 238 260 HF damping \, percent;
+#X obj 30 290 rev2~ 100 90 3000 20;
+#X text 141 324 output level \, dB;
+#X text 281 8 REV2~ - a simple 1-in \, 4-out reverberator;
+#X text 95 35 tone;
+#X text 96 52 bursts;
+#X text 231 37 The creation arguments (level \, liveness \, crossover
+frequency \, HF damping) may also be supplied in four inlets as shown.
+The "liveness" (actually the internal feedback percentage) should be
+100 for infinite reverb \, 90 for longish \, and 80 for short. The
+crossover frequency and HF damping work together: at frequencies above
+crossover \, the feedback is diminished by the "damping" as a percentage.
+So zero HF damping means equal reverb time at all frequencies \, and
+100% damping means almost nothing above the crossover frequency gets
+through.;
+#X text 132 130 (60 for;
+#X text 115 150 middle C);
+#X connect 0 0 21 1;
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+#X connect 17 0 21 3;
+#X connect 18 0 21 4;
+#X connect 21 0 9 0;
+#X connect 21 1 9 1;
diff --git a/pd/extra/rev3~-help.pd b/pd/extra/rev3~-help.pd
new file mode 100644
index 00000000..78ef15f5
--- /dev/null
+++ b/pd/extra/rev3~-help.pd
@@ -0,0 +1,136 @@
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+#X text 175 234 liveness \, 0-100;
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+#X text 240 283 HF damping \, percent;
+#X text 140 341 output level \, dB;
+#X text 94 52 tone;
+#X text 95 69 bursts;
+#X text 131 147 (60 for;
+#X text 114 167 middle C);
+#X obj 29 307 rev3~ 100 90 3000 20;
+#X text 263 4 REV3~ - hard-core \, 2-in \, 4-out reverberator;
+#X text 236 56 The creation arguments (level \, liveness \, crossover
+frequency \, HF damping) may also be supplied in four inlets as shown.
+The "liveness" (actually the internal feedback percentage) should be
+100 for infinite reverb \, 90 for longish \, and 80 for short. The
+crossover frequency and HF damping work together: at frequencies above
+crossover \, the feedback is diminished by the "damping" as a percentage.
+So zero HF damping means equal reverb time at all frequencies \, and
+100% damping means almost nothing above the crossover frequency gets
+through.;
+#X text 236 29 (A more expensive \, presumably better \, one than rev2~.)
+;
+#X text 470 352 modified for Pd version 0.37-1;
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