1 files changed, 117 insertions, 0 deletions
diff --git a/pd/doc/3.audio.examples/J04.more.adsr.pd b/pd/doc/3.audio.examples/J04.more.adsr.pd
new file mode 100644
index 00000000..5b38917a
--- /dev/null
+++ b/pd/doc/3.audio.examples/J04.more.adsr.pd
@@ -0,0 +1,117 @@
+#N canvas 105 38 705 609 12;
+#X obj 39 140 r trigger;
+#X floatatom 70 376 0 0 0;
+#N canvas 159 26 495 266 output 0;
+#X obj 351 166 t b;
+#X obj 351 114 f;
+#X obj 351 62 inlet;
+#X text 358 30 mute;
+#X obj 351 192 f;
+#X msg 442 185 0;
+#X msg 351 88 bang;
+#X obj 351 140 moses 1;
+#X obj 442 159 t b f;
+#X obj 413 122 moses 1;
+#X obj 86 154 dbtorms;
+#X obj 413 96 r master-lvl;
+#X obj 86 44 r master-lvl;
+#X obj 351 218 s master-lvl;
+#X obj 23 188 inlet~;
+#X obj 207 42 inlet;
+#X text 207 19 level;
+#X obj 207 104 s master-lvl;
+#X msg 100 67 set \$1;
+#X obj 100 93 outlet;
+#X msg 222 66 \; pd dsp 1;
+#X obj 86 202 line~;
+#X obj 23 221 *~;
+#X obj 23 250 dac~;
+#X obj 86 178 pack 0 50;
+#X text 21 165 audio;
+#X text 97 114 show level;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 13 0;
+#X connect 5 0 13 0;
+#X connect 6 0 1 0;
+#X connect 7 0 0 0;
+#X connect 7 1 8 0;
+#X connect 8 0 5 0;
+#X connect 9 1 4 1;
+#X connect 10 0 24 0;
+#X connect 11 0 1 1;
+#X connect 11 0 9 0;
+#X connect 12 0 10 0;
+#X connect 12 0 18 0;
+#X connect 14 0 22 0;
+#X connect 15 0 17 0;
+#X connect 15 0 20 0;
+#X connect 18 0 19 0;
+#X connect 21 0 22 1;
+#X connect 22 0 23 0;
+#X connect 22 0 23 1;
+#X connect 24 0 21 0;
+#X restore 39 406 pd output;
+#X msg 107 376 MUTE;
+#X text 150 375 <-- output amplitude;
+#X text 518 189 <-- attack;
+#X text 485 281 <-- release;
+#X obj 39 338 *~;
+#X obj 39 282 *~;
+#X obj 39 310 *~;
+#X obj 80 340 osc~ 440;
+#X text 88 9 ADSR envelope;
+#X text 35 29 You can use the quartic trick to simplify patches using
+ADSR envelopes. For amplitude control it's especially simple. It's
+usually good enough in practice to control amplitudes by ranging an
+ADSR from 0 to 1 (divide by 100 so your input range can be a comfortable
+0-100) \, then take fourth power:;
+#X obj 77 227 / 100;
+#X floatatom 77 197 3 0 100;
+#X msg 383 269 \; trigger 0;
+#X obj 39 166 unpack;
+#X floatatom 39 197 1 0 100;
+#X msg 383 175 \; trigger 1 100;
+#X text 503 229 <-- softer attack;
+#X msg 382 222 \; trigger 1 60;
+#X text 441 583 updated for Pd version 0.34;
+#X text 14 437 Note that the units aren't dB \; for most of the range
+0-100 it's about 0.4 dB per unit. If you want something closer to dB
+\, you can set the scale as 0-40 instead of 0-100 (just change "/ 100"
+to "/ 40") and then you'll get the response shown in the first patch
+in this section.;
+#X obj 596 519 *~;
+#X obj 596 547 *~;
+#X floatatom 605 390 3 0 100;
+#X obj 605 416 mtof;
+#X obj 605 441 sqrt;
+#X obj 605 466 sqrt;
+#X text 174 526 To use ADSR to control pitch \, you should;
+#X text 173 545 usually just use real pitch units like this-->;
+#X obj 596 490 adsr 0;
+#X obj 39 253 adsr 0 100 200 70 300;
+#X connect 0 0 16 0;
+#X connect 1 0 2 1;
+#X connect 2 0 1 0;
+#X connect 3 0 2 2;
+#X connect 7 0 2 0;
+#X connect 8 0 9 0;
+#X connect 8 0 9 1;
+#X connect 9 0 7 0;
+#X connect 10 0 7 1;
+#X connect 13 0 32 1;
+#X connect 14 0 13 0;
+#X connect 16 0 17 0;
+#X connect 16 1 14 0;
+#X connect 17 0 32 0;
+#X connect 23 0 24 0;
+#X connect 23 0 24 1;
+#X connect 25 0 26 0;
+#X connect 26 0 27 0;
+#X connect 27 0 28 0;
+#X connect 28 0 31 1;
+#X connect 31 0 23 0;
+#X connect 31 0 23 1;
+#X connect 32 0 8 0;
+#X connect 32 0 8 1;