From 64fdb009695828b788fce074135b20a5e52c5fc4 Mon Sep 17 00:00:00 2001
From: Thomas Grill <xovo@users.sourceforge.net>
Date: Tue, 23 Sep 2003 00:21:28 +0000
Subject: imported version 0.37-0

svn path=/trunk/; revision=1016
---
 pd/doc/3.audio.examples/H02.bandpass.pd | 146 ++++++++++++++++++++++++++++++++
 1 file changed, 146 insertions(+)
 create mode 100644 pd/doc/3.audio.examples/H02.bandpass.pd

(limited to 'pd/doc/3.audio.examples/H02.bandpass.pd')

diff --git a/pd/doc/3.audio.examples/H02.bandpass.pd b/pd/doc/3.audio.examples/H02.bandpass.pd
new file mode 100644
index 00000000..0ce9cc47
--- /dev/null
+++ b/pd/doc/3.audio.examples/H02.bandpass.pd
@@ -0,0 +1,146 @@
+#N canvas 58 17 943 765 12;
+#X floatatom 91 731 0 0 0;
+#X graph graph1 0 -1 155947 1 624 401 824 251;
+#X array array1 155948 float 0;
+#X pop;
+#X floatatom 247 705 0 0 0;
+#N canvas 159 26 495 266 output 0;
+#X obj 406 192 t b;
+#X obj 406 132 f;
+#X obj 406 72 inlet;
+#X text 413 35 mute;
+#X obj 406 222 f;
+#X msg 510 214 0;
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+#X obj 26 217 inlet~;
+#X obj 239 49 inlet;
+#X text 239 22 level;
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+#X msg 115 78 set \$1;
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+#X msg 257 77 \; pd dsp 1;
+#X obj 100 233 line~;
+#X obj 26 254 *~;
+#X obj 26 289 dac~;
+#X obj 100 205 pack 0 50;
+#X text 24 190 audio;
+#X text 112 132 show level;
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+#X restore 210 740 pd output;
+#X msg 280 707 MUTE;
+#X text 320 706 <-- output amplitude;
+#X obj 206 654 hip~ 5;
+#X obj 31 545 tabread4~ array1;
+#X obj 31 340 r totsamps;
+#X obj 31 430 /;
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+#X obj 91 702 int;
+#X msg 31 400 44100;
+#X obj 31 368 t b f;
+#X text 648 14 START;
+#X text 845 19 STOP;
+#X text 88 11 BANDPASS FILTERS;
+#X text 12 41 In this example we use two cascaded bandpass filters
+to troll for partials in Jonathan Harvey's famous bell sample.;
+#X obj 78 487 r totsamps;
+#X text 14 82 Note that filters can give unexpected level changes.
+The bp~ object is designed to have roughly unit gain at teh pass band
+\, so the higher you set "Q" the more amplitude is lost. YOu can correct
+for this by pushing the output amplitude \, but be sure to remember
+to reset the output amplitude before you reduce Q again. I set the
+Q to 100 and the output amplitude to 110 or 120 (with the room gain
+way down.) Then holding the shift key \, slowly drag the center pitch
+upward listening for modes.;
+#X text 16 233 You can hear partials around 48 \, 51.3 \, 55 (faint!)
+\, 57 (fainter!) \, 60 \, two beating partials around 65 \, 67 \, 69
+\, 70.9 \, 71.75 \, 72.6 \, 74 \, 74.65 \, 75.6 \, 77 \, 81.2 \, 84.6
+\, 86.5 \, and probably many more. There's also one down at 36 \, but
+it's easier to see it on the meter than hear it.;
+#X text 271 436 <-- center pitch;
+#X text 281 450 (shift-drag to fine tune);
+#X text 292 492 <-- center frequency;
+#X text 359 570 <-- Q (filter selectivity);
+#X obj 683 453 r readfile;
+#X obj 683 530 soundfiler;
+#X msg 683 503 read -resize \$1 array1;
+#X obj 683 478 symbol;
+#X msg 553 48 \; readfile ../sound/bell.aiff \; totsamps 143718 \;
+p 69 \; q 0 \; pd dsp 1;
+#X text 681 739 updated for Pd version 0.33;
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-- 
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