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diff --git a/desiredata/doc/3.audio.examples/I06.timbre.stamp.pd b/desiredata/doc/3.audio.examples/I06.timbre.stamp.pd
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+#X text 458 408 modulus;
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+#X text 458 425 of control;
+#X text 456 442 amplitude;
+#X text 196 248 reciprocal;
+#X text 199 267 modulus of;
+#X text 195 287 filter input;
+#X text 196 306 amplitude;
+#X msg 599 76 \; pd dsp 1 \; window-size 1024 \; squelch 30 \; squelch-set
+set 30;
+#X text 115 159 filter input;
+#X text 438 282 control source;
+#X text 434 332 Fourier transform;
+#X text 28 17 Internal workings of the timbre stamping algorithm. First
+the "filter input" is treated as in the compressor patch \, multiplying
+each channel amplitude by one over its modulus (but limited by the
+"squelch" parameter.) It is then multiplied by the modulus of the channel
+amplitude for the control source (which is Fourier analyzed in parallel
+with the filter input.);
+#X text 145 422 multiply the two amplitude;
+#X text 143 439 factors (for compression;
+#X text 145 455 and to apply new timbre);
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+#X text 21 28 test signal: looped sample playback;
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+#X text 104 393 <- record ->;
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+#X text 15 8 calculate Hann window table (variable window size) and
+constants window-hz (fundamental frequency of analysis) \, window-sec
+and window-msec (analysis window size in seconds and msec).;
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+#X text 509 412 sample lengths \,;
+#X text 510 427 msec;
+#X text 27 35 This is a Fourier-based "vocoder" (perhaps better called
+a "timbre stamp") like the one the Convolution brothers use. The "control
+source" is analyzed to get its spectral envelope \, which is then stamped
+onto the "filter input" by adjusting the amplitudes of its Fourier
+transform. The "filter input" is first whitened by the compression
+algorithm from the previous patch in this series. The best value of
+"squelch" to use depends critically on what kind of sounds are used
+for the filter input and the control source.;
+#X text 402 498 updated for Pd version 0.39;
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