puredata-doc 0.46.7-3 / usr / share / puredata / doc / 3.audio.examples / E03.octave.divider.pd

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#X obj 31 289 hip~ 5;
#X obj 477 53 adc~ 1;
#X obj 477 190 soundfiler;
#X obj 32 322 output~;
#X text 544 646 updated for Pd version 0.37;
#X obj 478 100 tabwrite~ E03-table;
#X msg 477 162 read ../sound/voice.wav E03-table;
#X obj 117 64 fiddle~ 2048;
#X obj 118 95 unpack;
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#X text 347 161 ---- 44103 samples ----;
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#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.;
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#X text 561 141 re-read original sample;
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#X obj 14 49 delwrite~ E03-del 40;
#X obj 15 195 delread~ E03-del;
#X obj 15 152 expr 1000*1024/$f1;
#X obj 15 128 samplerate~;
#X text 208 47 write to delay line which has enough memory to hold
40 msec;
#X text 125 128 get sample rate at load time;
#X text 185 152 divide 1024 by sample rate to give time in seconds
\; multiply by 1000 to convert to milliseconds.;
#X text 168 197 read from the delay line at the calculater delay;
#X text 317 268 1024-sample delay;
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#X text 242 4 OCTAVE DIVIDING VIA RING MODULATION;
#X text 508 75 <-- record a sample;
#X text 265 125 <-- choose an effect;
#X text 157 231 on/off for original;
#X text 128 247 <--and processed sounds;
#X text 196 274 This patch demonstrates using ring modulation to alias
a sound down one octave. The ring modulation itself ("osc~" and multiplier)
is easy. (We step it up by a factor of 2 to balance the original better.)
;
#X text 198 340 Harder is getting the fundamental frequency of the
original sound. We do this with the complicated "fiddle~" object \,
which puts out a stream of analysis data for an incoming signal. The
"2048" argument specifies the analysis window size. The analysis is
most closely aligned with what the sound was doing at the middle of
the window \, i.e. \, 1024 samples ago. The "pd delay" window delays
the signal itself 1024 samples so it will be as tightly synchronized
with the analysis data as possible. (If you're doing this on a real-time
input \, you might drop the delay and settle for less perfect synchronization.)
;
#X text 198 512 About fiddle~ \, suffice it to say that the third outlet
contains (pitch \, amplitude) pairs. We unpack the pitch and strip
out any zeros (when fiddle~ fails to find a pitch it outputs zero but
we'd rather stick with the most recent good one). This is converted
from MIDI to Hertz \, and multiplied by 1/2 to control the modulation
oscillator. (You can also try large-ish integers which leave the pitch
intact but introduce funny formants.);
#X msg 406 237 read ../../saucisse.wav E03-table;
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