#N canvas 231 67 770 791 12;
#X obj 284 616 *~;
#X obj 183 744 outlet~;
#X obj 110 536 makefilename sample%d;
#X msg 110 559 set \$1;
#X obj 110 582 tabread4~ sample1;
#X obj 367 559 dbtorms;
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#X obj 367 605 sqrt;
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#X obj 367 651 *~;
#X obj 367 674 *~;
#X msg 122 184 bang;
#X obj 130 207 delay 5;
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#X obj 283 276 f;
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#X obj 159 332 * 4.41e+08;
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#X msg 85 478 0 5;
#X msg 295 477 1 5;
#X msg 331 477 0 \, \$1 \$2;
#X msg 134 478 \$3 \, \$4 1e+07;
#X msg 259 477 \$5;
#X msg 411 477 0 \$1;
#X obj 230 119 inlet;
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#X text 498 181 pitch in halftones;
#X text 499 158 amplitude (dB);
#X text 499 206 sample number;
#X text 499 230 start location (msec);
#X text 499 254 rise time (msec);
#X text 499 278 decay time (msec);
#X text 498 133 ARGUMENTS FOR NOTE ON:;
#X text 460 317 (Zero amplitude means note off \;;
#X text 481 338 other parameters are ignored.);
#X obj 230 144 route 0;
#X obj 288 175 unpack 0 0 0 0 0 0;
#X text 35 5 This is an abstraction used by the polyphonic sampler
\, version 2 \, which takes separate note-on and note-off messages.
Unlike "sampvoice" (the first version) \, there is no "duration" field
\, and the amplitude and pitch fields are reversed to make it easy
to separate note-on from note-off messages (which have amplitude zero.)
;
#X text 299 153 note-on;
#X text 155 153 note-off;
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#X msg 230 166 bang;
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