#N canvas 110 17 775 614 12;
#X obj 463 303 loadbang;
#X obj 553 222 adc~ 1;
#X obj 463 358 soundfiler;
#X obj 31 394 output~;
#X obj 554 269 tabwrite~ E03-table;
#X msg 463 330 read ../sound/voice.wav E03-table;
#X obj 58 83 fiddle~ 2048;
#X obj 126 106 unpack;
#X obj 126 130 moses 1;
#X obj 199 108 mtof;
#N canvas 0 0 446 202 /SUBPATCH/ 0;
#X obj 261 30 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 1 1
;
#X obj 100 20 inlet~;
#X obj 99 87 *~;
#X obj 98 159 outlet~;
#X text 381 181 corner;
#X connect 0 0 2 1;
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#X coords 0 0 100 100 40 18 1;
#X restore 77 329 pd;
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#X obj 100 20 inlet~;
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#X text 381 181 corner;
#X connect 0 0 2 1;
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#X coords 0 0 100 100 40 18 1;
#X restore 31 329 pd;
#N canvas 414 195 613 302 looper 0;
#N canvas 0 0 450 300 graph1 0;
#X array E03-table 44103 float 0;
#X coords 0 1.02 44103 -1.02 200 130 1;
#X restore 349 22 graph;
#X text 347 161 ---- 44103 samples ----;
#X obj 35 77 +~ 1;
#X obj 35 25 phasor~ 1;
#X obj 35 50 *~ 44100;
#X obj 35 106 tabread4~ E03-table;
#X obj 35 132 outlet~;
#X text 46 238 one-second sample reader loop. You can replace this
with an adc~ if you want to go live.;
#X connect 2 0 5 0;
#X connect 3 0 4 0;
#X connect 4 0 2 0;
#X connect 5 0 6 0;
#X restore 31 30 pd looper;
#X text 547 309 re-read original sample;
#X obj 565 246 bng 15 250 50 0 empty empty empty 0 -6 0 8 -262144 -1
-1;
#X text 584 244 <-- record a sample;
#X text 152 314 on/off for original;
#X text 123 330 <--and processed sounds;
#X text 240 3 OCTAVE DOUBLING VIA VARIABLE COMB FILTER;
#X obj 31 367 +~;
#X obj 252 157 samplerate~;
#X obj 199 156 t f b;
#X obj 59 58 delwrite~ G06-del 100;
#X obj 79 234 delread~ G06-del;
#X obj 101 282 vd~ G06-del;
#X obj 78 306 +~;
#X obj 230 210 +;
#X obj 199 131 expr 500/$f1;
#X obj 230 262 line~;
#X obj 230 239 pack 0 20;
#X text 243 108 fundamental frequency;
#X text 311 131 1/2 period \, in msec;
#X text 286 201 estimate fiddle~ delay;
#X text 491 592 updated for Pd version 0.37-1;
#X text 159 401 We already saw how to use ring modulation to alias
a pitched sound down one octave. Here we do the reverse: filter out
all odd harmonics using a variable-delay comb filter tuned one octave
above the incoming sound. We use two taps into the delay line. The
fixed one (delread~) adjusts for the delayed output of fiddle~. The
variable one (vd~) adds to this an additional delay equal to 1/2 the
measured period of the incoming sound. THese two are added. Odd harmonics
are 180 degrees out of phase at the two taps and cancel. Even harmonics
get through - so the sound goes up an octave \, without denaturing
the timbre as a speed-up would.;
#X obj 252 183 expr 2048000/$f1;
#X text 288 216 as one window (in msec);
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