4 files changed, 42 insertions, 42 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;
diff --git a/pd/doc/3.audio.examples/E06.exponential.pd b/pd/doc/3.audio.examples/E06.exponential.pd
index 02fe058b..7247e44d 100644
--- a/pd/doc/3.audio.examples/E06.exponential.pd
+++ b/pd/doc/3.audio.examples/E06.exponential.pd
@@ -1,10 +1,10 @@
-#N canvas 88 112 754 729 12;
-#N canvas 0 0 450 300 graph1 0;
+#N canvas 85 89 754 729 12;
+#N canvas 0 0 450 300 (subpatch) 0;
 #X array E06-signal 882 float 0;
 #X coords 0 1.02 882 -1.02 200 130 1;
 #X restore 509 46 graph;
 #X obj 14 265 hip~ 5;
-#N canvas 0 0 450 300 graph1 0;
+#N canvas 0 0 450 300 (subpatch) 0;
 #X array E06-spectrum 128 float 0;
 #X coords 0 4300 127 -40 257 130 1;
 #X restore 463 222 graph;
@@ -99,7 +99,7 @@ frequency for showing spectra: the 16th bin in a 4096-point spectrum
 #X text 722 276 0.5;
 #X obj 82 238 tgl 18 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0 1
 ;
-#N canvas 0 0 450 300 graph1 0;
+#N canvas 0 0 450 300 (subpatch) 0;
 #X array E06-tab 1003 float 1;
 #A 0 1.01005 1 0.99005 0.980199 0.970446 0.960789 0.951229 0.941765
 0.932394 0.923116 0.913931 0.904837 0.895834 0.88692 0.878095 0.869358
@@ -278,7 +278,7 @@ frequency for showing spectra: the 16th bin in a 4096-point spectrum
 #X connect 7 0 10 0;
 #X connect 8 0 4 1;
 #X restore 302 258 pd make-table;
-#X text 251 95 waveshaping function;
+#X text 252 85 waveshaping function;
 #X text 438 210 0;
 #X text 437 114 1;
 #X obj 12 168 +~ 1;
diff --git a/pd/doc/3.audio.examples/E07.evenodd.pd b/pd/doc/3.audio.examples/E07.evenodd.pd
index e6d3851e..6de461b9 100644
--- a/pd/doc/3.audio.examples/E07.evenodd.pd
+++ b/pd/doc/3.audio.examples/E07.evenodd.pd
@@ -1,9 +1,9 @@
-#N canvas 187 149 784 591 12;
+#N canvas 184 126 784 591 12;
 #X obj 230 101 f;
 #X obj 264 77 + 1;
 #X obj 264 101 mod 11;
-#N canvas 0 0 450 300 graph1 0;
-#X array E07 11 float 0;
+#N canvas 0 0 450 300 (subpatch) 0;
+#X array E07 11 float 2;
 #X coords 0 96 11 36 100 160 1;
 #X restore 528 15 graph;
 #X floatatom 320 53 0 10 999 0 - - -;
@@ -28,7 +28,7 @@
 #X text 354 79 <--increment;
 #X text 355 56 <--msec;
 #X obj 26 193 *~ 0.01;
-#X obj 230 29 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0 1
+#X obj 230 29 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1 1
 ;
 #X obj 27 321 output~;
 #X text 527 562 updated for Pd version 0.37;
@@ -36,13 +36,13 @@
 #X obj 230 150 +;
 #X floatatom 265 150 0 -48 120 0 - - -;
 #X text 299 152 <--transpose;
-#N canvas 0 0 538 208 make-table 0;
+#N canvas 61 76 538 208 make-table 0;
 #X obj 38 71 loadbang;
 #X text 16 11 This patch loads a sequence of pitches into E07. The
 values are floating-point \, so we could use microtones (60.5 \, for
 example) if we wish.;
-#X msg 38 99 \; E07 0 55 56 57 55 57 61 55 61 63 57 63 \; E07
-yticks 36 12 1 \; E07 ylabel 12 36 48 60 72 84 96;
+#X msg 38 99 \; E07 0 54 55 57 63 61 67 71 57 70 61 63 \; E07 yticks
+36 12 1 \; E07 ylabel 12 36 48 60 72 84 96;
 #X connect 0 0 2 0;
 #X restore 527 195 pd make-table;
 #X obj 176 50 sel 0;
diff --git a/pd/doc/3.audio.examples/I07.phase.vocoder.pd b/pd/doc/3.audio.examples/I07.phase.vocoder.pd
index 735b8cd2..11028419 100644
--- a/pd/doc/3.audio.examples/I07.phase.vocoder.pd
+++ b/pd/doc/3.audio.examples/I07.phase.vocoder.pd
@@ -1,4 +1,4 @@
-#N canvas 425 33 744 599 12;
+#N canvas 0 0 742 597 12;
 #X floatatom 494 315 5 0 0 0 - transpo-set -;
 #X floatatom 167 383 3 0 0 0 - speed-set -;
 #X floatatom 55 385 7 0 0 0 - location-set -;
@@ -347,11 +347,11 @@ shifts the signal to the left or right depending on its argument.)
 #X connect 54 0 21 0;
 #X restore 55 480 pd fft-analysis;
 #N canvas 260 23 647 768 phase-tables 0;
-#N canvas 0 0 450 300 graph2 0;
+#N canvas 0 0 450 300 (subpatch) 0;
 #X array prev-imag 4096 float 0;
 #X coords 0 1000 4096 -1000 400 300 1;
 #X restore 169 326 graph;
-#N canvas 0 0 450 300 graph3 0;
+#N canvas 0 0 450 300 (subpatch) 0;
 #X array prev-real 4096 float 0;
 #X coords 0 500 4096 -500 400 300 1;
 #X restore 170 17 graph;
@@ -362,9 +362,9 @@ shifts the signal to the left or right depending on its argument.)
 #X text 389 359 normal;
 #X obj 56 517 output~;
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-#N canvas 0 0 450 300 graph1 0;
-#X array \$0-hann 1024 float 0;
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+#X array \$0-hann 2048 float 0;
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 #X restore 82 311 graph;
 #X obj 378 165 osc~;
 #X obj 378 190 *~ -0.5;
@@ -412,9 +412,9 @@ and window-msec (analysis window size in seconds and msec).;
 #X connect 19 1 18 0;
 #X restore 440 528 pd hann-window;
 #N canvas 388 86 694 447 insample 0;
-#N canvas 0 0 450 300 graph1 0;
-#X array \$0-sample 160161 float 0;
-#X coords 0 1 160160 -1 400 150 1;
+#N canvas 0 0 450 300 (subpatch) 0;
+#X array \$0-sample 62079 float 0;
+#X coords 0 1 62078 -1 400 150 1;
 #X restore 281 135 graph;
 #X obj 28 133 r read-sample;
 #X obj 28 184 unpack s f;
@@ -495,7 +495,6 @@ and window-msec (analysis window size in seconds and msec).;
 #X text 57 361 motion);
 #X text 165 348 motion in;
 #X text 232 464 read input sound;
-#X text 103 7 PHASE VOCODER FOR TIME STETCHING AND CONTRACTION;
 #X text 604 479 length \, msec;
 #X floatatom 607 419 5 0 0 0 - window-size -;
 #X msg 607 307 512;
@@ -527,6 +526,7 @@ to see the workings.;
 #X obj 535 460 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
 -1;
 #X text 466 458 file ->;
+#X text 103 7 PHASE VOCODER FOR TIME STRETCHING AND CONTRACTION;
 #X connect 0 0 5 0;
 #X connect 1 0 21 0;
 #X connect 2 0 20 0;
@@ -538,11 +538,11 @@ to see the workings.;
 #X connect 17 0 11 0;
 #X connect 19 0 29 0;
 #X connect 22 0 23 0;
-#X connect 24 0 49 0;
-#X connect 25 0 49 0;
-#X connect 26 0 49 0;
-#X connect 39 0 43 0;
-#X connect 40 0 43 0;
-#X connect 41 0 43 0;
-#X connect 42 0 43 0;
-#X connect 53 0 11 1;
+#X connect 24 0 48 0;
+#X connect 25 0 48 0;
+#X connect 26 0 48 0;
+#X connect 38 0 42 0;
+#X connect 39 0 42 0;
+#X connect 40 0 42 0;
+#X connect 41 0 42 0;
+#X connect 52 0 11 1;