diff options
Diffstat (limited to 'pd/doc/3.audio.examples/A08.beating.pd')
| -rw-r--r-- | pd/doc/3.audio.examples/A08.beating.pd | 41 |
1 files changed, 41 insertions, 0 deletions
diff --git a/pd/doc/3.audio.examples/A08.beating.pd b/pd/doc/3.audio.examples/A08.beating.pd new file mode 100644 index 00000000..e7657450 --- /dev/null +++ b/pd/doc/3.audio.examples/A08.beating.pd @@ -0,0 +1,41 @@ +#N canvas 53 63 581 571 12; +#X obj 31 212 output~; +#X obj 32 178 +~; +#X text 320 537 updated for Pd version 0.40.; +#X obj 32 110 +~; +#X obj 187 105 +~; +#X obj 187 52 osc~ 440; +#X obj 32 57 osc~ 330; +#X obj 53 81 osc~ 330.2; +#X obj 208 75 osc~ 440.33; +#X obj 342 102 +~; +#X obj 343 52 osc~ 587; +#X obj 364 75 osc~ 587.25; +#X obj 33 147 +~; +#X text 133 7 Beating between closely tuned sinusoids; +#X text 33 280 In each of the three pairs of oscillators above \, the +two frequencies are within 1/3 Hz or closer (for example \, the leftmost +ones are close to 330 Hz but separated by 1/5 Hz.) The result is a +gradual change in amplitude as the phases of the two slip against each +other. This is called beating. More complex beating pattenrs may be +made by using three or more oscillators. Also their amplitudes need +not be equal (as they are here).; +#X text 31 407 They are all summed using "+~" boxes. They could have +been summed in any order ("+~" is commutative for practical purposes) +but here they are added in pairs to emphasize the relationships between +them.; +#X text 30 474 In contrast to the previous example \, the oscillators +are not tuned to the overtone series (ratios 1:2:3:4...) and so the +frequencies 330 \, 440 \, and 587 are heard separately.; +#X connect 1 0 0 0; +#X connect 1 0 0 1; +#X connect 3 0 12 0; +#X connect 4 0 12 1; +#X connect 5 0 4 0; +#X connect 6 0 3 0; +#X connect 7 0 3 1; +#X connect 8 0 4 1; +#X connect 9 0 1 1; +#X connect 10 0 9 0; +#X connect 11 0 9 1; +#X connect 12 0 1 0; |