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
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@@ -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;