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Diffstat (limited to 'pd/doc/3.audio.examples/05.output.subpatch.pd')
-rw-r--r-- | pd/doc/3.audio.examples/05.output.subpatch.pd | 30 |
1 files changed, 0 insertions, 30 deletions
diff --git a/pd/doc/3.audio.examples/05.output.subpatch.pd b/pd/doc/3.audio.examples/05.output.subpatch.pd deleted file mode 100644 index d24fdba2..00000000 --- a/pd/doc/3.audio.examples/05.output.subpatch.pd +++ /dev/null @@ -1,30 +0,0 @@ -#N canvas 300 159 635 486 12; -#X text 261 20 CONTROLLING OUTPUT AMPLITUDE; -#X obj 32 27 osc~ 440; -#X obj 54 55 osc~ 550; -#X obj 54 116 osc~ 660; -#X obj 32 88 +~; -#X obj 32 142 +~; -#X text 108 177 <-- this is a subwindow--right click on it; -#X text 149 197 and select "open" to see inside.; -#X text 30 401 The output control automatically starts DSP whenever -you touch the level control. Hitting "mute" toggles between the current -level and zero.; -#X obj 32 173 output~; -#X text 383 463 updated for Pd version 0.36; -#X text 143 115 <-- Here we make an A major triad as a test signal. -; -#X text 31 250 In this and subsequent patches \, we'll use a subwindow -\, "output" \, to control overall amplitude. The amplitudes are in -decibels \, with 100 being full blast. In this example \, you can't -actually push the output amplitude past 90 or so without clipping. -You'll know you're clipping if \, instead of an A major chord \, you -hear a single \, distorted tone two octaves down. The clipping happens -at Pd's last stage of audio output. Audio signals internal to Pd have -essentially no level limit.; -#X connect 1 0 4 0; -#X connect 2 0 4 1; -#X connect 3 0 5 1; -#X connect 4 0 5 0; -#X connect 5 0 9 0; -#X connect 5 0 9 1; |