path: root/pd/doc/3.audio.examples/D07.sampler.notes.pd

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#X msg 946 17 \; pd dsp 0;
#X text 887 53 ON;
#X text 965 53 OFF;
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#N canvas 159 26 495 262 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;
#X msg 406 102 bang;
#X obj 406 162 moses 1;
#X obj 510 184 t b f;
#X obj 476 140 moses 1;
#X obj 100 178 dbtorms;
#X obj 476 110 r master-lvl;
#X obj 100 50 r master-lvl;
#X obj 406 252 s master-lvl;
#X obj 26 217 inlet~;
#X obj 239 49 inlet;
#X text 239 22 level;
#X obj 239 120 s master-lvl;
#X msg 115 78 set \$1;
#X obj 115 107 outlet;
#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 29 546 pd output;
#X msg 98 512 MUTE;
#X text 143 511 <-- output amplitude;
#X msg 253 7 bang;
#X obj 253 35 delay 5;
#X text 493 269 end of note;
#X obj 359 35 r note;
#N canvas 459 46 678 451 samples 0;
#X graph graph1 0 -1.02 176403 1.02 262 171 462 41;
#X array sample1 176403 float 0;
#X pop;
#X text 264 376 ------ 4 seconds ------;
#X graph graph1 0 -1.02 176403 1.02 262 356 462 226;
#X array sample2 176403 float 0;
#X pop;
#X restore 29 277 pd samples;
#N canvas 21 287 947 410 recorder 0;
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#X msg 341 226 1;
#X obj 400 191 del 3990;
#X msg 377 226 0 10;
#X obj 272 304 tabwrite~ sample1;
#X obj 124 110 makefilename sample%1;
#X msg 124 139 set \$1 \, bang;
#X msg 446 162 stop;
#X msg 400 162 bang;
#X obj 557 182 loadbang;
#X obj 660 137 openpanel;
#X msg 660 109 bang;
#X text 702 108 <-- browse for samples;
#X text 628 233 v-- re-read original samples;
#X obj 318 72 route record stop reload browse;
#X obj 557 319 soundfiler;
#X msg 557 261 read ../sound/bell.aiff sample1 \, read ../sound/voice2.wav
sample2;
#X msg 660 164 read \$1 sample1;
#X obj 660 191 soundfiler;
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#X msg 29 305 record 1;
#X msg 29 360 stop;
#N canvas 700 402 671 621 playback 0;
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#X obj 37 50 r phase;
#X obj 37 626 outlet~;
#X obj 37 598 hip~ 5;
#X obj 49 113 r sample-number;
#X obj 49 142 makefilename sample%d;
#X msg 49 170 set \$1;
#X obj 37 211 tabread4~ sample1;
#X obj 55 338 r envelope;
#X obj 55 396 dbtorms;
#X obj 55 367 unpack;
#X obj 55 425 sqrt;
#X obj 55 454 sqrt;
#X obj 55 482 line~;
#X obj 37 569 *~;
#X obj 55 511 *~;
#X obj 55 540 *~;
#X text 107 51 messages to the phase generating line~;
#X text 188 114 setting the sample number.;
#X text 238 143 compute the name;
#X text 110 171 and send a "set" message to the tabread4~.;
#X text 116 270 line~ for de-clicking;
#X text 156 341 The envelope generator. Rather than sending our message
straight to the line~ we unpack it in order to fool with the amplitude
field.;
#X text 126 397 convert amplitude to linear units.;
#X text 121 426 take the fourth root. This because we want to raies
the line~'s output to the 4th power afterward. This is an inexpensive
way to give the rise and decay a more natural sounding evolution than
just a straight line.;
#X text 94 514 square the output twice to get the fourth power.;
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#X restore 29 480 pd playback;
#X msg 29 332 record 2;
#X text 641 25 ARGUMENTS FOR NOTES:;
#X text 662 53 pitch in halftones;
#X text 662 77 amplitude (dB);
#X text 662 125 sample number;
#X text 662 101 duration (msec);
#X text 662 149 start location (msec);
#X text 662 173 rise time (msec);
#X text 662 197 decay time (msec);
#X obj 359 62 unpack 0 0 0 0 0 0 0;
#X text 46 6 CHOCOLATE SAMPLER;
#X obj 517 168 f;
#X obj 452 142 f;
#X obj 383 142 f;
#X obj 346 142 f;
#X obj 314 142 f;
#X obj 220 142 f;
#X obj 220 169 mtof;
#X obj 220 197 / 261.62;
#X obj 220 224 * 4.41e+08;
#X obj 220 252 +;
#X obj 485 142 delay;
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#X obj 253 62 t b b b;
#X text 494 346 This starts the note \, sending to "receives" in the
playback subptach. The new receive "envelope" is an amplitude control
in parallel with the cutoff control. The "sample-number" switches the
tabread4~ between tables.;
#X msg 152 44 \; pd dsp 1 \; cutoff 0 5;
#X obj 383 197 + 1;
#X msg 552 467 60 100 10000 1 0 0 0;
#X obj 552 737 s note;
#X msg 517 196 \; envelope 0 \$1;
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#X msg 576 691 48;
#X msg 638 734 60.5;
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#X msg 552 522 60 100 10000 2 0 0 0;
#X msg 552 550 60 100 10000 1 3000 0 0;
#X obj 383 169 * 44.1;
#X msg 552 605 60 100 100 1 0 0 0;
#X msg 552 632 60 100 100 1 0 0 1000;
#X msg 552 577 60 100 10000 1 0 1000 0;
#X msg 314 340 \; envelope 0 \, \$1 \$2 \; phase \$3 \, \$4 1e+07 \;
sample-number \$5 \; cutoff 1 5 \;;
#X text 108 315 <-- record;
#X msg 29 388 reload;
#X msg 29 415 browse;
#X text 6 109 transposition works;
#X text 6 133 by altering the phase;
#X text 6 181 The mtof and / 261;
#X text 6 205 calculate speed change;
#X text 6 229 considering 60 as unity.;
#X text 20 43 as before we;
#X text 11 64 mute and wait;
#X text 6 157 target ($4 below right.);
#X text 446 303 combine amplitude \, rise time \, start phase \, end
phase \, and sample number in one message;
#X text 16 594 This patch take the same principle as the previous one
\, but allows you to parametrize sample playback. Since we must wait
5 msec before starting the playback \, we store all the parameters
in "f" objects \, and recall them to construct the new note. Transposition
is done by altering the amount to play back in the (artificial) ten
thousand seconds (1e+07). The playback segment can be altered to start
in the middle of the sample instead of the beginning \, and you can
change the duration and rise and decay times.;
#X text 744 468 straight playback;
#X text 749 495 change amplitude;
#X text 752 523 change sample number;
#X text 755 550 change start location;
#X text 754 576 change rise time;
#X text 754 609 change duration;
#X text 755 633 ... and decay time;
#X text 688 736 microtones OK too.;
#X text 576 667 If you omit values they stay unchanged;
#X text 799 759 updated for Pd version 0.33;
#X text 548 426 Here are buttons to demonstrate the effect of varying
the parameters one by one.;
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