18 files changed, 5119 insertions, 0 deletions
diff --git a/pd/doc/4.fft.examples/00.INTRO.txt b/pd/doc/4.fft.examples/00.INTRO.txt
new file mode 100644
index 00000000..b5218793
--- /dev/null
+++ b/pd/doc/4.fft.examples/00.INTRO.txt
@@ -0,0 +1,65 @@
+These patches demonstrate how to use Pd's short-time Fourier transform objects,
+rfft~ and rifft~, to do a variety of things.  The patches can be quite
+expensive; the phase vocoder, for instance, requires a 300MHz Pentium 2 to run
+at 44100 Hz.  By default Pd runs at 44100 Hz, but you can specify a different
+sample rate on the command line, for instance:
+
+pd -r 16000 09.pvoc.pd
+
+On SGI, Pd will check whether your audio system is running at the correct
+sample rate and will print out a warning if not.  In NT or W95, Pd's behavior
+will depend on your audio driver.  In Linux Pd usually tries to set the rate
+of the conversion hardware.
+
+Included in this directory are:
+
+01.fftanalysis.pd -- does a windowed FFT analysis and resynthesis of a sine
+tone, showing how to specify block size and overlap.
+
+02.noisefft.pd -- Fourier analysis of white noise.  This patch also shows how
+you can average power spectra over time.
+
+03.denoise.pd -- using the technique from the previous patch, finds the noise
+floor in a recorded sample and attempts to scrub it away.
+
+04.shifts.pd -- tests the leftshift and rightshift "externs" used in the next
+patch.
+
+05.sheepgoat.pd -- tries to discriminate between "pitched" and "unpitched"
+components of a sound.
+
+06.sheepgoat2.pd -- another attempt at the same thing.
+
+07.tinbell.pd -- a spectral flattener, which can make the sound of a large bell
+turn into the sound of a tamtam.
+
+08.convobros.pd -- spectral cross synthesis between two sounds
+
+09.pvoc.pd -- phase vocoder
+
+---------- after this point, the patches haven't been cleaned up -----------
+
+10.phaselockedvoc.pd -- phase locked vocoder; see Laroche&Dolson in ICMC97 for
+a discussion of something that works better than this.
+
+11.pianorev.pd -- an attempt at a phase-coherent reverberation algorithm to
+imitate the "piano reverb" obtained by putting a speaker under the sound board
+of a piano and picking up the sympathetic vibrations.
+
+12.sinedecomposer.pd -- estimate the frequencies and amplitudes of the
+components of a sound
+
+13.tracemaker.pd -- show how to use Pd to combine snapshots of a spectrum into
+continuous spectral traces.
+
+14.partialtracer.pd -- sinusoidal analysis/resynthesis of a time-verying sound.
+
+15.waveformgrab.pd -- bash a sample into phase-coherent windows and make a
+pitched resynthesis.
+
+
+
+
+
+
+
diff --git a/pd/doc/4.fft.examples/01.fftanalysis.pd b/pd/doc/4.fft.examples/01.fftanalysis.pd
new file mode 100644
index 00000000..9b5e1e4c
--- /dev/null
+++ b/pd/doc/4.fft.examples/01.fftanalysis.pd
@@ -0,0 +1,143 @@
+#N canvas 11 0 944 595 12;
+#X text 60 368 frequency;
+#X obj 20 238 tabwrite~ array2;
+#X msg 141 117 0;
+#N canvas 245 0 864 679 fft-analysis 0;
+#X obj 57 75 *~;
+#X obj 98 191 *~;
+#X graph graph1 0 -1 256 1 397 304 797 4;
+#X array array1 256 float 0;
+#X pop;
+#X graph graph2 0 -1 256 1 397 631 797 331;
+#X array array2 256 float 0;
+#X pop;
+#X obj 57 4 inlet~;
+#X obj 57 192 *~;
+#X obj 57 310 tabsend~ array1;
+#X msg 442 673 \; array1 resize 256 \; array2 resize 256;
+#X obj 76 48 tabreceive~ array2;
+#X obj 57 136 rfft~;
+#X obj 57 222 rifft~;
+#X obj 80 283 outlet~;
+#X obj 229 216 print~;
+#X msg 229 188 bang;
+#X obj 94 632 block~ 256 2;
+#X text 82 30 Hanning window;
+#X text 61 106 forward real FFT;
+#X text 74 243 inverse real FFT;
+#X text 121 126 renormalize by 1/256;
+#X obj 120 144 sig~ 0.0039;
+#X connect 0 0 9 0;
+#X connect 1 0 10 1;
+#X connect 4 0 0 0;
+#X connect 5 0 10 0;
+#X connect 8 0 0 1;
+#X connect 9 0 5 0;
+#X connect 9 0 12 0;
+#X connect 9 1 1 0;
+#X connect 10 0 11 0;
+#X connect 10 0 6 0;
+#X connect 13 0 12 0;
+#X connect 19 0 5 1;
+#X connect 19 0 1 1;
+#X restore 133 430 pd fft-analysis;
+#X floatatom 133 379 0 0 0;
+#X obj 134 525 dac~;
+#X graph graph1 0 -1 256 1 352 461 608 261;
+#X array array3 256 float 0;
+#X pop;
+#X obj 141 462 tabwrite~ array3;
+#X msg 77 442 bang;
+#X obj 133 324 * 44100;
+#X obj 133 352 / 256;
+#X floatatom 133 298 0 0 0;
+#X text 71 165 sample rate / 256;
+#X text 17 23 CLICK HERE TO;
+#X text 15 41 CALCULATE HANNING;
+#X text 14 58 WINDOW TABLE;
+#X msg 20 79 bang \; pd dsp 1;
+#X text 40 289 frequency;
+#X text 50 305 in bins;
+#X text 62 385 in Hz.;
+#X text 14 440 scope;
+#X text 236 23 A patch to test the rfft~ and rifft~ modules. An incoming
+sine wave is Hanning windowed and transformed. The inverse transform
+is then output.;
+#X text 235 70 The block size (256) and overlap (2) are set by the
+block~ object in the sub-patch. The output is automatically overlap-added
+by the outlet~ object.;
+#X floatatom 778 111 0 0 0;
+#N canvas 194 37 397 591 output 0;
+#X obj 72 249 t b;
+#X obj 72 173 f;
+#X obj 73 89 inlet;
+#X text 86 54 mute;
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+#X msg 149 292 0;
+#X msg 72 125 bang;
+#X obj 73 197 moses 1;
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+#X obj 109 543 outlet;
+#X msg 108 503 set \$1;
+#X obj 92 337 s master-amp;
+#X obj 206 153 r master-amp;
+#X obj 107 424 r master-amp;
+#X obj 206 186 moses 1;
+#X obj 249 494 dbtorms;
+#X obj 251 520 pack 0 100;
+#X obj 252 548 s master-out;
+#X connect 0 0 4 0;
+#X connect 1 0 7 0;
+#X connect 2 0 6 0;
+#X connect 4 0 11 0;
+#X connect 5 0 11 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 10 0 9 0;
+#X connect 12 0 1 1;
+#X connect 12 0 14 0;
+#X connect 13 0 10 0;
+#X connect 13 0 15 0;
+#X connect 14 1 4 1;
+#X connect 15 0 16 0;
+#X connect 16 0 17 0;
+#X restore 778 83 pd output;
+#X msg 778 55 mute;
+#X text 821 115 AMPLITUDE;
+#X obj 778 142 s master-amp;
+#X obj 191 522 line~;
+#X obj 134 495 *~;
+#X text 236 124 You can close the sub-patch if table updates are interfering
+with your audio output.;
+#X obj 191 495 r master-out;
+#X obj 36 166 osc~;
+#X obj 35 118 samplerate~;
+#X obj 36 142 / 256;
+#X obj 36 189 *~ -0.5;
+#X obj 36 209 +~ 0.5;
+#X obj 133 405 osc~;
+#X connect 2 0 32 1;
+#X connect 3 0 7 0;
+#X connect 3 0 29 0;
+#X connect 4 0 37 0;
+#X connect 8 0 7 0;
+#X connect 9 0 10 0;
+#X connect 10 0 4 0;
+#X connect 11 0 9 0;
+#X connect 16 0 1 0;
+#X connect 16 0 2 0;
+#X connect 16 0 33 0;
+#X connect 23 0 27 0;
+#X connect 24 0 23 0;
+#X connect 25 0 24 0;
+#X connect 28 0 29 1;
+#X connect 29 0 5 0;
+#X connect 31 0 28 0;
+#X connect 32 0 35 0;
+#X connect 33 0 34 0;
+#X connect 34 0 32 0;
+#X connect 35 0 36 0;
+#X connect 36 0 1 0;
+#X connect 37 0 3 0;
diff --git a/pd/doc/4.fft.examples/02.noisefft.pd b/pd/doc/4.fft.examples/02.noisefft.pd
new file mode 100644
index 00000000..65b4d92f
--- /dev/null
+++ b/pd/doc/4.fft.examples/02.noisefft.pd
@@ -0,0 +1,267 @@
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+#X obj 187 375 *~;
+#X floatatom 279 274 0 0 0;
+#X floatatom 183 273 0 0 0;
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+#X obj 37 38 *~;
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+#X pop;
+#X obj 37 4 inlet~;
+#X obj 37 436 *~;
+#X obj 94 271 tabsend~ fftout;
+#X obj 76 38 tabreceive~ hanning;
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+#X text 88 21 Hanning window;
+#X text 31 94 forward real FFT;
+#X text 52 479 inverse real FFT;
+#X obj 36 555 block~ 1024 2;
+#X obj 72 69 sig~ 0.03125;
+#X graph graph1 0 0 1024 1 476 554 876 354;
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+#X text 100 231 power is square;
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+#X text 237 11 click to make an average;
+#X obj 91 408 sig~ 0.03125;
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+#X text 338 70 Set the number;
+#X text 340 85 of frames to;
+#X text 342 101 average;
+#X text 593 573 average power spectrum;
+#X text 272 253 current frame;
+#X text 284 378 weight of new;
+#X text 275 391 frame in moving;
+#X text 304 404 average;
+#X msg 303 61 100;
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+#X text 45 71 WINDOW TABLE;
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+#X array hanning 1024 float 0;
+#X pop;
+#X msg 290 521 \; hanning resize 1024;
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+#X obj 99 374 +~;
+#X text 214 232 amplitudes;
+#X msg 26 84 \; pd dsp 1;
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+#X text 22 51 CLICK HERE;
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+#X text 710 70 AMPLITUDE;
+#X obj 673 93 s master-amp;
+#X text 241 9 NOISE FLOOR MEASUREMENT;
+#X text 149 31 This patch shows how you can average the RMS spectra
+of many windows of an incoming "noise floor" signal to estimate its
+spectrum. We'll use this in the "denoiser" patch \, next.;
+#X text 30 65 TO START;
+#X obj 99 515 dac~;
+#X obj 132 467 r master-out;
+#X text 148 100 The controls below let you send a mixture of a sine
+wave and white noise. The analysis is done in a subwindow.;
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+#X connect 44 0 40 1;
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diff --git a/pd/doc/4.fft.examples/03.denoise.pd b/pd/doc/4.fft.examples/03.denoise.pd
new file mode 100644
index 00000000..09e1244e
--- /dev/null
+++ b/pd/doc/4.fft.examples/03.denoise.pd
@@ -0,0 +1,364 @@
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+#X floatatom 306 344;
+#X floatatom 68 337;
+#N canvas 72 0 896 679 fft-analysis 0;
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+#X obj 54 705 *~;
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+#X text 63 115 forward real FFT;
+#X text 72 721 inverse real FFT;
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+#X text 728 202 hop size in msec;
+#X obj 497 107 /;
+#X text 497 206 number of;
+#X text 505 221 frames;
+#X text 439 12 calculate a mask using N msec of;
+#X text 438 30 background noise;
+#X obj 176 415 sig~ 1e-20;
+#X text 152 467 multiply the signal by the;
+#X text 153 485 quantity s/(s+m) where "s";
+#X text 152 505 is signal power and "m" is mask.;
+#X text 153 527 The multiplier is close to 1 if;
+#X text 155 549 s>>m \, but close to 0 if s<<m.;
+#X text 157 572 We gratuitously square it.;
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+#X pop;
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+#X text 74 98 Then turn both the sample and the noise on together \, set the "mask-level" to 6 or so and enjoy the result. Alternatively \, you could try to mask the bell out of the noise...;
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diff --git a/pd/doc/4.fft.examples/04.shifts.pd b/pd/doc/4.fft.examples/04.shifts.pd
new file mode 100644
index 00000000..9a03efbf
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new file mode 100644
index 00000000..255b2a14
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+#X text 516 84 LEVEL;
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+#X text 131 9 PIANO REVERB;
+#X text 42 29 This is intended as an imitation of how the strings of a piano can act as a reverberator. The sound is more "pitched" and less "whispered" than a standard delay-based reverberator (or for that matter \, than a reverberant room.);
+#X text 41 88 Many pieces in the literature call for just this effect \, notably Boulez's Dialogue de l'ombre double.;
+#X text 40 118 This particular algorithm is actually TOO clean sounding and would have to be chorused to make a serviceable imitation. However \, it might be interesting in its own right.;
+#X text 39 173 The technique is to run a phase vocoder \, but only to "punch" the incoming sound into channels where (1) there's a peak \, and (2) the incoming sound drowns out whatever might already be there.;
+#X text 27 238 reverb time;
+#X text 179 248 test pitch;
+#X text 267 249 trigger;
+#X text 334 264 duration;
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diff --git a/pd/doc/4.fft.examples/12.sinedecomposer.pd b/pd/doc/4.fft.examples/12.sinedecomposer.pd
new file mode 100644
index 00000000..52fb5eb9
--- /dev/null
+++ b/pd/doc/4.fft.examples/12.sinedecomposer.pd
@@ -0,0 +1,308 @@
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+ampimag;
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+#X text 613 247 analysis;
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+#X text 539 189 live sample;
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+#X text 168 7 SPECTRAL SNAPSHOTS.;
+#X text 15 18 This patch reads a soundfile or records a live sound.
+When you click on "snapshot" the peak-list window shows a list of the
+sinusoidal peaks that were found at that instant in the sound. You
+can also ask for the peak lists to be printed out.;
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+#X restore 134 386 pd test-signal;
+#X text 135 341 amplitude;
+#X text 204 212 read a sample;
+#X msg 128 231 \; read-sample ../sound/bell.aiff 44100;
+#X text 12 97 The active ingredient is "pique" in the "analysis" subwindow
+\, which is in the "extras" directory in the Pd release.;
+#X msg 124 275 \; read-sample ../sound/voice.wav 32000;
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diff --git a/pd/doc/4.fft.examples/13.partialtracer.pd b/pd/doc/4.fft.examples/13.partialtracer.pd
new file mode 100644
index 00000000..5458f900
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+++ b/pd/doc/4.fft.examples/13.partialtracer.pd
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+#X text 183 103 Wait for the next FFT to come by before doing the peak search.;
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+#X text 93 93 This template describes a pitch/amplitude trace. The array "bazoo" holds the actual points. In this template \, y is always 0 and x is the starting location in pixels. There are 5 pixels per point.;
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+#X text 98 56 This template describes a single point on a pitch trace (cf. trace-template w describes the trace itself.);
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+#X text 98 89 "y" is the field that is shown on the graph \; it's - 4 * pitch. You also get an "amp" field in dB \, which you can't see as a plot (yet).;
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diff --git a/pd/doc/4.fft.examples/14.waveformgrab.pd b/pd/doc/4.fft.examples/14.waveformgrab.pd
new file mode 100644
index 00000000..a9d17bed
--- /dev/null
+++ b/pd/doc/4.fft.examples/14.waveformgrab.pd
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+#X text 19 93 This might be useful for making synthetic instruments that mimic the spectral variation of recorded sounds. Here we analyze a soundfile \, but you can replace "readsf~" by "adc~" to analyze on the fly. The result is a massaged sample suitable for reading via the "regenerate" subpatch.;
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index 00000000..c04c855a
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+#X text 238 52 "state" -- 0 if free \, 1 if making a trace \, and 2 if we've added a point for the current frame;
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new file mode 100644
index 00000000..02a8bde5
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