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-rw-r--r--pd/doc/3.audio.examples/A07.frequency.mod.pd141
1 files changed, 45 insertions, 96 deletions
diff --git a/pd/doc/3.audio.examples/A07.frequency.mod.pd b/pd/doc/3.audio.examples/A07.frequency.mod.pd
index a7bab032..aedb1cc1 100644
--- a/pd/doc/3.audio.examples/A07.frequency.mod.pd
+++ b/pd/doc/3.audio.examples/A07.frequency.mod.pd
@@ -1,105 +1,54 @@
-#N canvas 52 144 760 640 12;
-#X obj 256 180 *~;
-#X floatatom 256 95 0 0 0;
-#X floatatom 166 130 0 0 0;
-#X obj 166 200 +~;
-#X graph graph1 0 -1.02 440 1.02 527 170 727 40;
+#N canvas 92 96 760 640 12;
+#X obj 259 168 *~;
+#X floatatom 259 83 0 0 0 0 - - -;
+#X floatatom 169 118 0 0 0 0 - - -;
+#X obj 169 188 +~;
+#N canvas 0 0 450 300 graph1 0;
#X array fm-output 441 float 0;
-#X pop;
-#X floatatom 204 300 0 0 100;
-#N canvas 159 26 516 274 output 1;
-#X obj 338 160 t b;
-#X obj 338 110 f;
-#X obj 338 60 inlet;
-#X text 344 29 mute;
-#X obj 338 185 f;
-#X msg 396 182 0;
-#X msg 338 85 bang;
-#X obj 338 135 moses 1;
-#X obj 391 110 moses 1;
-#X obj 83 148 dbtorms;
-#X obj 391 85 r master-lvl;
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-#X obj 338 210 s master-lvl;
-#X obj 20 182 inlet~;
-#X obj 199 41 inlet;
-#X text 199 18 level;
-#X obj 199 104 s master-lvl;
-#X msg 96 65 set \$1;
-#X obj 96 90 outlet;
-#X msg 214 65 \; pd dsp 1;
-#X obj 83 198 line~;
-#X obj 20 207 *~;
-#X obj 20 232 dac~;
-#X obj 83 173 pack 0 50;
-#X text 20 159 audio;
-#X connect 0 0 4 0;
-#X connect 1 0 7 0;
-#X connect 2 0 6 0;
-#X connect 4 0 12 0;
-#X connect 5 0 12 0;
-#X connect 6 0 1 0;
-#X connect 7 0 0 0;
-#X connect 7 1 5 0;
-#X connect 8 1 4 1;
-#X connect 9 0 23 0;
-#X connect 10 0 1 1;
-#X connect 10 0 8 0;
-#X connect 11 0 9 0;
-#X connect 11 0 17 0;
-#X connect 13 0 21 0;
-#X connect 14 0 16 0;
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-#X connect 20 0 21 1;
-#X connect 21 0 22 0;
-#X connect 21 0 22 1;
-#X connect 23 0 20 0;
-#X restore 166 328 pd output;
-#X msg 242 301 MUTE;
-#X text 283 301 <-- output amplitude;
-#X msg 242 248 bang;
-#X text 284 248 <-- click to graph;
-#X obj 242 272 tabwrite~ fm-output;
-#X floatatom 278 150 0 0 0;
-#X text 163 87 carrier;
-#X text 162 105 frequency;
-#X text 241 71 frequency;
-#X text 242 54 modulation;
+#X coords 0 1.02 440 -1.02 200 130 1;
+#X restore 527 40 graph;
+#X msg 244 228 bang;
+#X text 286 228 <-- click to graph;
+#X obj 244 252 tabwrite~ fm-output;
+#X floatatom 281 138 0 0 0 0 - - -;
+#X text 166 75 carrier;
+#X text 165 93 frequency;
+#X text 244 59 frequency;
+#X text 245 42 modulation;
#X text 33 8 FREQUENCY MODULATION ("FM") USING TWO OSCILLATORS;
-#X obj 166 252 osc~;
-#X text 50 234 "carrier";
-#X text 32 252 oscillator -->;
-#X text 40 161 add modulator;
-#X text 39 179 to carrier;
-#X text 37 198 frequency -->;
-#X text 317 162 index;
-#X text 319 143 modulation;
-#X text 477 601 updated for Pd version 0.34;
-#X obj 256 120 osc~;
-#X text 52 363 This shows the classical FM synthesis technique developed
-by John Chowning. It's nothing but an oscillator with vibrato controlled
-by another "modulation" oscillator. First \, to understand the patch
-\, set carrier frequency to 400 or so \, modulation frequency between
-5 and 10 \, and try modulation index values between 0 and 400 \, say.
-You'll hear a sine wave with vibrato.;
+#X obj 168 232 osc~;
+#X text 52 214 "carrier";
+#X text 34 232 oscillator -->;
+#X text 47 149 add modulator;
+#X text 46 167 to carrier;
+#X text 44 186 frequency -->;
+#X text 320 150 index;
+#X text 322 131 modulation;
+#X obj 259 108 osc~;
#X text 531 172 --- 0.01 seconds ----;
-#X text 51 478 To get the FM sound \, set all three of carrier frequency
+#X text 53 443 To get the FM sound \, set all three of carrier frequency
\, modulation frequency \, and modulation index in the hundreds. Note
that you get a timbral change as you sweep modulation index \, because
this changes the amplitudes of the components of the output sound but
not their frequencies.;
-#X text 48 564 The component frequencies are equal to the carrier frequency
-\, plus or minus multiples of the modulator frequency.;
+#X obj 167 270 output~;
+#X text 489 613 updated for Pd version 0.37;
+#X text 54 332 This patch shows the classical FM synthesis technique
+developed by John Chowning. It's nothing but an oscillator with vibrato
+controlled by another "modulation" oscillator. First \, to understand
+the patch \, set carrier frequency to 400 or so \, modulation frequency
+between 5 and 10 \, and try modulation index values between 0 and 400
+\, say. You'll hear a sine wave with vibrato.;
+#X text 55 526 The component frequencies are equal to the carrier frequency
+\, plus or minus multiples of the modulator frequency. A more complete
+discussion of FM occurs in part 5 of this series.;
#X connect 0 0 3 1;
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#X connect 2 0 3 0;
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-#X connect 27 0 0 0;
+#X connect 3 0 14 0;
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