diff options
Diffstat (limited to 'pd/doc/3.audio.examples/E04.difference.tone.pd')
| -rw-r--r-- | pd/doc/3.audio.examples/E04.difference.tone.pd | 24 |
1 files changed, 12 insertions, 12 deletions
diff --git a/pd/doc/3.audio.examples/E04.difference.tone.pd b/pd/doc/3.audio.examples/E04.difference.tone.pd index 7272222b..982c6715 100644 --- a/pd/doc/3.audio.examples/E04.difference.tone.pd +++ b/pd/doc/3.audio.examples/E04.difference.tone.pd @@ -1,4 +1,4 @@ -#N canvas 266 135 637 523 12; +#N canvas 263 112 637 523 12; #X obj 19 128 +~; #X obj 18 209 output~; #X text 141 3 NONLINEAR DISTORTION AND DIFFERENCE TONES; @@ -6,7 +6,6 @@ #X floatatom 154 151 5 0 500 0 - - -; #X obj 18 181 clip~ -1 1; #X floatatom 42 81 5 0 0 0 - - -; -#X obj 42 103 osc~ 200; #X obj 18 155 *~; #X obj 42 35 loadbang; #X msg 154 127 50; @@ -30,16 +29,17 @@ no longer as if the two sinusoids had been processed separately. Instead At 300 and 225 Hz \, the subharmonic is at 75 \, two octaves below the upper tone and a twelveth below the lower one. Change the frequency of the second tone and you will hear a variety of effects.; -#X connect 0 0 8 0; -#X connect 3 0 8 1; +#X obj 42 103 osc~; +#X connect 0 0 7 0; +#X connect 3 0 7 1; #X connect 4 0 3 0; #X connect 5 0 1 0; #X connect 5 0 1 1; -#X connect 6 0 7 0; -#X connect 7 0 0 1; -#X connect 8 0 5 0; -#X connect 9 0 17 0; -#X connect 10 0 4 0; -#X connect 11 0 10 0; -#X connect 16 0 0 0; -#X connect 17 0 6 0; +#X connect 6 0 19 0; +#X connect 7 0 5 0; +#X connect 8 0 16 0; +#X connect 9 0 4 0; +#X connect 10 0 9 0; +#X connect 15 0 0 0; +#X connect 16 0 6 0; +#X connect 19 0 0 1; |