+
+
+
+
book
@@ -26,19 +30,19 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up_g.png">
+ SRC="prev_g.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:#1
@@ -50,12 +54,16 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+
+
-
-
-
-Miller Puckette
-2006-12-30
-
-
-
+
+Book
+
\ No newline at end of file
diff --git a/node10.html b/node10.html
index a04af4c..7e014d8 100644
--- a/node10.html
+++ b/node10.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Controlling Amplitude
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Frequency
@@ -70,7 +74,7 @@ Perhaps the most frequently used operation on electronic sounds is to change
their amplitudes. For example, a simple strategy for synthesizing sounds is by
combining sinusoids, which can be generated by evaluating the formula on Page
, sample by sample. But the sinusoid has a constant
+ SRC="crossref.png">, sample by sample. But the sinusoid has a constant
nominal amplitude 5.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Frequency
diff --git a/node100.html b/node100.html
index fcac9c6..1a3181e 100644
--- a/node100.html
+++ b/node100.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Two-cosine carrier signal
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:The PAF generator
@@ -168,23 +172,23 @@ never avoid getting phase cancellations where they overlap.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:The PAF generator
diff --git a/node101.html b/node101.html
index 922cda3..9b74628 100644
--- a/node101.html
+++ b/node101.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
The PAF generator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Stretched wavetables
@@ -230,23 +234,23 @@ the fundamental dropping, not rising, in amplitude as the string decays.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Stretched wavetables
diff --git a/node102.html b/node102.html
index ccf3811..e0ca216 100644
--- a/node102.html
+++ b/node102.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Stretched wavetables
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node103.html b/node103.html
index dff21f3..3a1c0f1 100644
--- a/node103.html
+++ b/node103.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Time shifts and delays
diff --git a/node104.html b/node104.html
index 22258ca..4966608 100644
--- a/node104.html
+++ b/node104.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Time shifts and delays
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Complex numbers
@@ -197,23 +201,23 @@ section of this chapter we will develop the additional background needed.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Complex numbers
diff --git a/node105.html b/node105.html
index 0ebb181..11baaa9 100644
--- a/node105.html
+++ b/node105.html
@@ -1,4 +1,4 @@
-
+
+
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+
+
Complex numbers
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Complex sinusoids
@@ -519,23 +523,23 @@ imaginary parts.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Complex sinusoids
diff --git a/node106.html b/node106.html
index 5c84176..964e1fe 100644
--- a/node106.html
+++ b/node106.html
@@ -1,4 +1,4 @@
-
+
+
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+
Complex sinusoids
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Time shifts and phase
@@ -67,7 +71,7 @@ Complex sinusoids
Recall the formula for a (real-valued) sinusoid from Page
:
+ SRC="crossref.png">:
+
+
+
+
Time shifts and phase changes
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Delay networks
@@ -233,23 +237,23 @@ since the sinusoid advances
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Delay networks
diff --git a/node108.html b/node108.html
index c4b86f2..ad63a9e 100644
--- a/node108.html
+++ b/node108.html
@@ -1,4 +1,4 @@
-
+
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+
+
Delay networks
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Recirculating delay networks
@@ -595,23 +599,23 @@ over the entire range of possible delay times.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Recirculating delay networks
diff --git a/node109.html b/node109.html
index 93b1799..381c06e 100644
--- a/node109.html
+++ b/node109.html
@@ -1,4 +1,4 @@
-
+
+
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+
+
Recirculating delay networks
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Power conservation and complex
@@ -670,23 +674,23 @@ filters in Chapter 8.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Power conservation and complex
diff --git a/node11.html b/node11.html
index 85c2e0e..ae0f040 100644
--- a/node11.html
+++ b/node11.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Frequency
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Synthesizing a sinusoid
@@ -170,23 +174,23 @@ two-octave range, is shown in Figure 1.4.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Synthesizing a sinusoid
diff --git a/node110.html b/node110.html
index 2f603b5..0aa63d0 100644
--- a/node110.html
+++ b/node110.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Power conservation and complex delay networks
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Artificial reverberation
@@ -669,23 +673,23 @@ of which we will visit later in this book.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Artificial reverberation
diff --git a/node111.html b/node111.html
index 74dcd8a..a4e13f0 100644
--- a/node111.html
+++ b/node111.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Artificial reverberation
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Controlling reverberators
@@ -281,23 +285,23 @@ and lengthy tuning by trial, error, and critical listening.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Controlling reverberators
diff --git a/node112.html b/node112.html
index 19e8d98..de2a5f3 100644
--- a/node112.html
+++ b/node112.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Controlling reverberators
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Variable and fractional shifts
@@ -134,23 +138,23 @@ decay.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Variable and fractional shifts
diff --git a/node113.html b/node113.html
index 60d85e7..4ab6714 100644
--- a/node113.html
+++ b/node113.html
@@ -1,4 +1,4 @@
-
+
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+
+
+
Variable and fractional shifts
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Fidelity of interpolating delay
@@ -262,7 +266,7 @@ appropriately in case is not an integer. This is exactly the formula
for wavetable lookup (Page ). We can use all the
+ SRC="crossref.png">). We can use all the
properties of wavetable lookup of recorded sounds to predict the behavior
of variable delay lines.
@@ -390,23 +394,23 @@ diagonal region.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Fidelity of interpolating delay
diff --git a/node114.html b/node114.html
index a582b15..d152c1e 100644
--- a/node114.html
+++ b/node114.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Fidelity of interpolating delay lines
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pitch shifting
@@ -78,7 +82,7 @@ Section 2.5 apply. To use them, w
delay line input can be broken down into sinusoids and consider separately what
happens to each individual sinusoid. We can use Table 2.1
(Page ) to predict
+ SRC="crossref.png">) to predict
the RMS level of the combined distortion products for an interpolated
variable delay line.
@@ -220,23 +224,23 @@ the way up to 20000 Hertz.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pitch shifting
diff --git a/node115.html b/node115.html
index 84bb568..fbf4127 100644
--- a/node115.html
+++ b/node115.html
@@ -1,4 +1,4 @@
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+
Pitch shifting
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -129,7 +133,7 @@ the average delay, and is an angular frequency. The Momentary
Transposition (Page ), is approximately
+ SRC="crossref.png">), is approximately
+
+
+
+
Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Fixed, noninterpolating delay line
diff --git a/node117.html b/node117.html
index ff2d3a2..a3018d0 100644
--- a/node117.html
+++ b/node117.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Fixed, noninterpolating delay line
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Recirculating comb filter
@@ -129,23 +133,23 @@ possible when the delay time changes.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Recirculating comb filter
diff --git a/node118.html b/node118.html
index 15db682..f93df04 100644
--- a/node118.html
+++ b/node118.html
@@ -1,4 +1,4 @@
-
+
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Recirculating comb filter
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Variable delay line
diff --git a/node119.html b/node119.html
index 0eb139a..9f7a948 100644
--- a/node119.html
+++ b/node119.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Variable delay line
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Order of execution and
@@ -135,23 +139,23 @@ characteristic way.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Order of execution and
diff --git a/node12.html b/node12.html
index 975fe71..e5fbf39 100644
--- a/node12.html
+++ b/node12.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Synthesizing a sinusoid
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Superposing Signals
@@ -79,7 +83,7 @@ which essentially corresponds to the synthesis algorithm to be used, and then
worries about how to control the various unit generators in time. In this
section, we'll use abstract block diagrams to describe patches, but in the
``examples" section (Page ), we'll choose a
+ SRC="crossref.png">), we'll choose a
specific implementation environment and show some of the software-dependent
details.
@@ -265,23 +269,23 @@ Using an envelope generator to control amplitude.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Superposing Signals
diff --git a/node120.html b/node120.html
index fec86db..f90d575 100644
--- a/node120.html
+++ b/node120.html
@@ -1,4 +1,4 @@
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+
+
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+
Order of execution and lower limits on delay times
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Order of execution in
@@ -306,23 +310,23 @@ seems to be older. It shows up for example in Paul Lansky's 1979 piece,
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Order of execution in
diff --git a/node121.html b/node121.html
index 489d7ff..4831907 100644
--- a/node121.html
+++ b/node121.html
@@ -1,4 +1,4 @@
-
+
+
+
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+
Order of execution in non-recirculating delay lines
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Non-recirculating comb filter as
@@ -124,23 +128,23 @@ delays below the 64 sample block size.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Non-recirculating comb filter as
diff --git a/node122.html b/node122.html
index 8ee7b86..51d4d98 100644
--- a/node122.html
+++ b/node122.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Non-recirculating comb filter as octave doubler
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Time-varying complex comb filter:
@@ -164,23 +168,23 @@ up-shifting for best results.)
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Time-varying complex comb filter:
diff --git a/node123.html b/node123.html
index bd556e1..cb628fe 100644
--- a/node123.html
+++ b/node123.html
@@ -1,4 +1,4 @@
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+
+
+
+
+
Time-varying complex comb filter: shakers
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Reverberator
@@ -134,23 +138,23 @@ subject of Chapter 8).
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Reverberator
diff --git a/node124.html b/node124.html
index 19e74bb..5b5b756 100644
--- a/node124.html
+++ b/node124.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Reverberator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pitch shifter
@@ -140,23 +144,23 @@ sonic qualities described as ``presence", ``warmth", ``clarity", and so on.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pitch shifter
diff --git a/node125.html b/node125.html
index da271df..db95044 100644
--- a/node125.html
+++ b/node125.html
@@ -1,4 +1,4 @@
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+
Pitch shifter
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -114,7 +118,7 @@ head rotation speed" is the same as the formula for given on Page
. Here the positive interval (seven half-steps)
+ SRC="crossref.png">. Here the positive interval (seven half-steps)
gives rise to a transposition factor greater than one, and therefore to a
negative value for ). The minimum delay
+ SRC="crossref.png">). The minimum delay
is added to each of the two sawtooth signals to make delay inputs for the
vd~ objects, whose outputs are multiplied by the corresponding
envelopes and summed.
@@ -140,23 +144,23 @@ envelopes and summed.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node126.html b/node126.html
index c2f01fc..17810a6 100644
--- a/node126.html
+++ b/node126.html
@@ -1,4 +1,4 @@
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+
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+
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+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Filters
@@ -173,23 +177,23 @@ function of angular frequency
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Filters
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--- a/node127.html
+++ b/node127.html
@@ -1,4 +1,4 @@
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+
Filters
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Taxonomy of filters
@@ -259,23 +263,23 @@ when its parameters change quickly with time.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Taxonomy of filters
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+++ b/node128.html
@@ -1,4 +1,4 @@
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+
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+
Taxonomy of filters
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
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Next:Low-pass and high-pass filters
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Low-pass and high-pass filters
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Next:Band-pass and stop-band filters
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Next:Band-pass and stop-band filters
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Superposing Signals
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Next:Periodic Signals
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Next:Periodic Signals
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Band-pass and stop-band filters
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Next:Equalizing filters
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Next:Equalizing filters
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Equalizing filters
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Next:Elementary filters
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Next:Elementary filters
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Elementary filters
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Next:Elementary non-recirculating filter
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Next:Elementary non-recirculating filter
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Elementary non-recirculating filter
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Next:Non-recirculating filter, second form
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Next:Non-recirculating filter, second form
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Non-recirculating filter, second form
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Next:Elementary recirculating filter
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Next:Elementary recirculating filter
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Elementary recirculating filter
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Next:Compound filters
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Next:Compound filters
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Compound filters
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Next:Real outputs from complex
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Real outputs from complex filters
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Next:Two recirculating filters for
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Next:Two recirculating filters for
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Two recirculating filters for the price of one
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Next:Designing filters
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Next:Designing filters
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Designing filters
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Next:One-pole low-pass filter
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Next:One-pole low-pass filter
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Periodic Signals
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Next:About the Software Examples
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Next:About the Software Examples
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One-pole low-pass filter
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Next:One-pole, one-zero high-pass filter
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Next:One-pole, one-zero high-pass filter
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One-pole, one-zero high-pass filter
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Next:Shelving filter
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Next:Shelving filter
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Shelving filter
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Next:Band-pass filter
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Next:Band-pass filter
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Band-pass filter
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Next:Peaking and stop-band filter
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Next:Peaking and stop-band filter
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Peaking and stop-band filter
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Next:Butterworth filters
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Butterworth filters
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Next:Stretching the unit circle
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Next:Stretching the unit circle
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Stretching the unit circle with rational functions
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Next:Butterworth band-pass filter
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Next:Butterworth band-pass filter
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Butterworth band-pass filter
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Next:Time-varying coefficients
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Next:Time-varying coefficients
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Time-varying coefficients
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Next:Impulse responses of recirculating
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Next:Impulse responses of recirculating
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Impulse responses of recirculating filters
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Next:All-pass filters
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Next:All-pass filters
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About the Software Examples
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Next:Quick Introduction to Pd
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Next:Quick Introduction to Pd
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All-pass filters
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Next:Applications
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Next:Applications
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Applications
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Next:Subtractive synthesis
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Subtractive synthesis
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Next:Envelope following
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Next:Envelope following
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Envelope following
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Next:Single Sideband Modulation
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Next:Single Sideband Modulation
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Single Sideband Modulation
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Next:Examples
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Next:Examples
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Examples
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Next:Prefabricated low-, high-, and
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Prefabricated low-, high-, and band-pass filters
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Next:Prefabricated time-varying band-pass filter
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Next:Prefabricated time-varying band-pass filter
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Prefabricated time-varying band-pass filter
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Next:Envelope followers
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Next:Envelope followers
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Envelope followers
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Next:Single sideband modulation
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Next:Single sideband modulation
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Single sideband modulation
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Next:Using elementary filters directly:
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Quick Introduction to Pd
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Next:How to find and
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+ SRC="next.png">
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Next:How to find and
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Using elementary filters directly: shelving and peaking
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Next:Making and using all-pass
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Next:Making and using all-pass
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Making and using all-pass filters
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Next:Exercises
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Exercises
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Next:Fourier analysis and resynthesis
@@ -121,23 +125,23 @@ Hertz). Where would you place the pole? What is the value of ``q"?
+ SRC="next.png">
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Next:Fourier analysis and resynthesis
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Fourier analysis and resynthesis
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Next:Fourier analysis of periodic
@@ -72,7 +76,7 @@ Among the applications of filters discussed in Chapter ). In this chapter we will refine this technique
+ SRC="crossref.png">). In this chapter we will refine this technique
into what is called
Fourier analysis.
In its simplest form, Fourier analysis takes as input any periodic
diff --git a/node164.html b/node164.html
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Fourier analysis of periodic signals
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Next:Periodicity of the Fourier
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Next:Periodicity of the Fourier
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Periodicity of the Fourier transform
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Next:Fourier transform as additive
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Fourier transform as additive synthesis
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Next:Properties of Fourier transforms
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Next:Properties of Fourier transforms
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Properties of Fourier transforms
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Next:Fourier transform of DC
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Fourier transform of DC
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Next:Shifts and phase changes
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Next:Shifts and phase changes
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Shifts and phase changes
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Next:Fourier transform of a
@@ -453,23 +457,23 @@ We therefore get the Phase Shift Formula for Fourier Transforms:
+ SRC="next.png">
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Next:Fourier transform of a
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How to find and run the examples
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Next:Examples
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Next:Examples
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Fourier transform of a sinusoid
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Next:Fourier analysis of non-periodic
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Next:Fourier analysis of non-periodic
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Fourier analysis of non-periodic signals
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Next:Fourier analysis and reconstruction
@@ -88,7 +92,7 @@ sinusoid were better localized around the corresponding value of . We
can accomplish this using the enveloping technique first introduced in Figure
2.7 (Page ). Applying this technique to Fourier
+ SRC="crossref.png">). Applying this technique to Fourier
analysis will not only improve our analyses, but will also shed new light on
the enveloping looping sampler of Chapter 2.
@@ -506,23 +510,23 @@ four-period rule may be relaxed to three or even slightly less.
+ SRC="next.png">
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Next:Fourier analysis and reconstruction
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Fourier analysis and reconstruction of audio signals
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Next:Narrow-band companding
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Next:Narrow-band companding
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Narrow-band companding
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Next:Timbre stamping (classical vocoder)
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+ SRC="next.png">
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Next:Timbre stamping (classical vocoder)
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Timbre stamping (classical vocoder)
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Next:Phase
@@ -135,23 +139,23 @@ suitable limiting function is applied to the gain before using it.
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Next:Phase
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Phase
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Next:Phase relationships between channels
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Next:Phase relationships between channels
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Phase relationships between channels
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Next:Phase bashing
@@ -373,23 +377,23 @@ same phase, as long as the phase relationships between the measured spectra
+ SRC="next.png">
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Next:Phase bashing
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Phase bashing
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Next:Examples
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Next:Examples
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Examples
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Next:Fourier analysis and resynthesis
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Fourier analysis and resynthesis in Pd
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Next:Narrow-band companding: noise suppression
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+ SRC="next.png">
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Next:Narrow-band companding: noise suppression
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Examples
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Next:Constant amplitude scaler
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Narrow-band companding: noise suppression
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+ SRC="contents.png">
+ SRC="index.png">
Next:Timbre stamp (``vocoder")
@@ -228,23 +232,23 @@ from any other one.)
+ SRC="next.png">
+ SRC="up.png">
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Next:Timbre stamp (``vocoder")
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Timbre stamp (``vocoder")
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Next:Phase vocoder time bender
@@ -131,23 +135,23 @@ unchanged, and values in between give a smooth interpolation between the two.
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Next:Phase vocoder time bender
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Phase vocoder time bender
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Next:Exercises
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Page .
+ SRC="crossref.png">.
Next, depending on the value of the parameter ``lock", the computed value of
+ SRC="next.png">
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Next:Exercises
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Exercises
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Next:Classical waveforms
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Next:Classical waveforms
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Classical waveforms
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Next:Symmetries and Fourier series
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Next:Symmetries and Fourier series
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Symmetries and Fourier series
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Next:Sawtooth waves and symmetry
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Next:Sawtooth waves and symmetry
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Sawtooth waves and symmetry
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Next:Dissecting classical waveforms
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Next:Dissecting classical waveforms
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Dissecting classical waveforms
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Next:Fourier series of the
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Next:Fourier series of the
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Fourier series of the elementary waveforms
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Next:Sawtooth wave
@@ -149,7 +153,7 @@ negligible.
We start from the Time Shift Formula for Fourier Transforms
(Page ) setting the time shift to one sample:
+ SRC="crossref.png">) setting the time shift to one sample:
+
+
+
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Sawtooth wave
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Parabolic wave
@@ -304,23 +308,23 @@ s[n] \approx {1 \over \pi} \left [
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Parabolic wave
diff --git a/node19.html b/node19.html
index 8340d7c..8f04692 100644
--- a/node19.html
+++ b/node19.html
@@ -1,4 +1,4 @@
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+
+
Constant amplitude scaler
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Amplitude control in decibels
@@ -164,23 +168,23 @@ book.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Amplitude control in decibels
diff --git a/node190.html b/node190.html
index d1997af..5eb71fe 100644
--- a/node190.html
+++ b/node190.html
@@ -1,4 +1,4 @@
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Parabolic wave
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Square and symmetric triangle
diff --git a/node191.html b/node191.html
index 6664533..0bc1c15 100644
--- a/node191.html
+++ b/node191.html
@@ -1,4 +1,4 @@
-
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Square and symmetric triangle waves
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:General (non-symmetric) triangle wave
diff --git a/node192.html b/node192.html
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--- a/node192.html
+++ b/node192.html
@@ -1,4 +1,4 @@
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General (non-symmetric) triangle wave
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Predicting and controlling foldover
@@ -400,23 +404,23 @@ since the corners are opposite in sign they cancel each other.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Predicting and controlling foldover
diff --git a/node193.html b/node193.html
index 12e6a41..b3ea86d 100644
--- a/node193.html
+++ b/node193.html
@@ -1,4 +1,4 @@
-
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+
Predicting and controlling foldover
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Over-sampling
@@ -111,23 +115,23 @@ present in an audio signal.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Over-sampling
diff --git a/node194.html b/node194.html
index 57957c7..bf5f0dc 100644
--- a/node194.html
+++ b/node194.html
@@ -1,4 +1,4 @@
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+
Over-sampling
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sneaky triangle waves
@@ -134,23 +138,23 @@ to a sample rate of about 11 million Hertz.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sneaky triangle waves
diff --git a/node195.html b/node195.html
index ffca295..036e284 100644
--- a/node195.html
+++ b/node195.html
@@ -1,4 +1,4 @@
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Sneaky triangle waves
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Transition splicing
@@ -117,23 +121,23 @@ segment of length
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Transition splicing
diff --git a/node196.html b/node196.html
index f99a7a2..9bbe261 100644
--- a/node196.html
+++ b/node196.html
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Transition splicing
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -202,23 +206,23 @@ a straight line segment.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
diff --git a/node197.html b/node197.html
index 13f53b3..e9f302d 100644
--- a/node197.html
+++ b/node197.html
@@ -1,4 +1,4 @@
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Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Combining sawtooth waves
diff --git a/node198.html b/node198.html
index cc9ae5f..78162db 100644
--- a/node198.html
+++ b/node198.html
@@ -1,4 +1,4 @@
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Combining sawtooth waves
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Strategies for band-limiting sawtooth
@@ -125,23 +129,23 @@ slope changes according to the three amplitudes.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Strategies for band-limiting sawtooth
diff --git a/node199.html b/node199.html
index fbc38f0..9d161f9 100644
--- a/node199.html
+++ b/node199.html
@@ -1,4 +1,4 @@
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Strategies for band-limiting sawtooth waves
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -128,23 +132,23 @@ taken to avoid clicks if the fundamental frequency changes discontinuously.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node2.html b/node2.html
index dfe2c3a..26fb260 100644
--- a/node2.html
+++ b/node2.html
@@ -1,74 +1,12 @@
-
+
-
-
-
-#1
-
-
-
-
+
+ Book
-
-
+
+
+
-
-
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-
-
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-
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- Next:#1
- Up:#1
- Previous:#1
- Contents
- Index
-
-
-
-
-
-
-1]
-
-
-Miller Puckette
-2006-12-30
-
-
-
+
+Book
+
\ No newline at end of file
diff --git a/node20.html b/node20.html
index ed327e7..db04861 100644
--- a/node20.html
+++ b/node20.html
@@ -1,4 +1,4 @@
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+
Amplitude control in decibels
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Smoothed amplitude control with
@@ -130,23 +134,23 @@ or both, although if you're using it as both there may be some extra work to do.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Smoothed amplitude control with
diff --git a/node200.html b/node200.html
index e74ed8f..c93a227 100644
--- a/node200.html
+++ b/node200.html
@@ -1,4 +1,4 @@
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+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Index
diff --git a/node201.html b/node201.html
index b5b07f2..4968374 100644
--- a/node201.html
+++ b/node201.html
@@ -1,4 +1,4 @@
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Index
@@ -29,19 +33,19 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
Next:Bibliography
diff --git a/node202.html b/node202.html
index b9cb20b..5aa4df4 100644
--- a/node202.html
+++ b/node202.html
@@ -1,4 +1,4 @@
-
+
+
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+
Bibliography
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:About this document ...
diff --git a/node203.html b/node203.html
index e731e59..8c02d14 100644
--- a/node203.html
+++ b/node203.html
@@ -1,4 +1,4 @@
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About this document ...
@@ -25,23 +29,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next_g.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Up:book
diff --git a/node21.html b/node21.html
index 290d00d..057e12d 100644
--- a/node21.html
+++ b/node21.html
@@ -1,4 +1,4 @@
-
+
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+
Smoothed amplitude control with an envelope generator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Major triad
@@ -131,23 +135,23 @@ the various message boxes, you can recreate the effects shown in Figure
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Major triad
diff --git a/node22.html b/node22.html
index e0c82a3..ea16c8f 100644
--- a/node22.html
+++ b/node22.html
@@ -1,4 +1,4 @@
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+
Major triad
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Conversion between frequency and
@@ -92,23 +96,23 @@ embedding one Pd patch as an object box inside another is discussed in Section
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Conversion between frequency and
diff --git a/node23.html b/node23.html
index d743653..e364f7b 100644
--- a/node23.html
+++ b/node23.html
@@ -1,4 +1,4 @@
-
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Conversion between frequency and pitch
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:More additive synthesis
@@ -100,7 +104,7 @@ Conversion between pitch and frequency in A06.frequency.pd.
ALT="\fbox{ $ \mathrm{ftom} $}">:
convert MIDI pitch to frequency units according to the
Pitch/Frequency Conversion Formulas (Page ). Inputs
+ SRC="crossref.png">). Inputs
and outputs are messages (``tilde" equivalents of the two also exist,
although like dbtorms~ they're expensive in CPU time).
The ftom object's output is -1500
@@ -167,23 +171,23 @@ forever, or at least until something broke.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:More additive synthesis
diff --git a/node24.html b/node24.html
index 98e1dcb..d120664 100644
--- a/node24.html
+++ b/node24.html
@@ -1,4 +1,4 @@
-
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+
More additive synthesis
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -66,7 +70,7 @@ More additive synthesis
The major triad (Example A06.frequency.pd, Page )
+ SRC="crossref.png">)
shows one way to combine several sinusoids together by summing.
There are many other possible ways to organize collections of
sinusoids, of which we'll show two. Example A07.fusion.pd (Figure 1.14) shows four oscillators,
@@ -138,23 +142,23 @@ controls another's frequency. This will be more fully described in Chapter
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node25.html b/node25.html
index 697547a..e796983 100644
--- a/node25.html
+++ b/node25.html
@@ -1,4 +1,4 @@
-
+
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+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Wavetables and samplers
@@ -68,7 +72,7 @@ Exercises
A sinusoid (Page ) has initial phase ) has initial phase and
@@ -137,23 +141,23 @@ is the minimum possible RMS amplitude? What is the maximum possible?
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Wavetables and samplers
diff --git a/node26.html b/node26.html
index 20e1a65..be47b78 100644
--- a/node26.html
+++ b/node26.html
@@ -1,4 +1,4 @@
-
+
+
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+
Wavetables and samplers
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:The Wavetable Oscillator
@@ -379,23 +383,23 @@ the speed of precession while the output's amplitudes are those of the wavetable
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:The Wavetable Oscillator
diff --git a/node27.html b/node27.html
index 07f4be5..a319598 100644
--- a/node27.html
+++ b/node27.html
@@ -1,4 +1,4 @@
-
+
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+
The Wavetable Oscillator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sampling
@@ -84,7 +88,7 @@ block (introduced in Figure 2.1), resulting i
Figure 2.3 (part b) adds an envelope generator and a multiplier to control
the output amplitude in the same way as for the sinusoidal oscillator shown in
Figure 1.7 (Page ). Often, one uses a wavetable with (RMS or peak) amplitude 1, so that
+ SRC="crossref.png">). Often, one uses a wavetable with (RMS or peak) amplitude 1, so that
the amplitude of the output is just the magnitude of the envelope generator's
output.
@@ -116,7 +120,7 @@ of period ) by adding up the elements of the
Fourier Series (Page ). The computation involved in
+ SRC="crossref.png">). The computation involved in
setting up the wavetable at first might be significant, but this may be done
in advance of the synthesis process, which might take place in real time.
@@ -226,23 +230,23 @@ of the output dynamic you want.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sampling
diff --git a/node28.html b/node28.html
index 2b6927c..28dcffb 100644
--- a/node28.html
+++ b/node28.html
@@ -1,4 +1,4 @@
-
+
+
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+
Sampling
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Enveloping samplers
@@ -546,23 +550,23 @@ in
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Enveloping samplers
diff --git a/node29.html b/node29.html
index b44904d..7e0be62 100644
--- a/node29.html
+++ b/node29.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Enveloping samplers
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Timbre stretching
@@ -184,23 +188,23 @@ part of its input.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Timbre stretching
diff --git a/node3.html b/node3.html
index 46a0c9d..0720647 100644
--- a/node3.html
+++ b/node3.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
#1
@@ -29,23 +33,25 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+
+ HREF="book.html">
+
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Contents
diff --git a/node30.html b/node30.html
index 25d90c4..e052be1 100644
--- a/node30.html
+++ b/node30.html
@@ -1,4 +1,4 @@
-
+
+
+
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+
Timbre stretching
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Interpolation
@@ -504,23 +508,23 @@ reinterpret
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Interpolation
diff --git a/node31.html b/node31.html
index d46e44d..6dfc43e 100644
--- a/node31.html
+++ b/node31.html
@@ -1,4 +1,4 @@
-
+
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Interpolation
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -81,7 +85,7 @@ is the difference between the result of the wavetable lookup and the ``ideal"
value of the function at that point. The most revealing study of wavetable
lookup error assumes that the underlying function is a sinusoid (Page
). We can then understand what happens to other wavetables by
+ SRC="crossref.png">). We can then understand what happens to other wavetables by
considering them as superpositions (sums) of sinusoids.
+
+
+
+
Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Wavetable oscillator
diff --git a/node33.html b/node33.html
index 90c11c2..5d6b2f7 100644
--- a/node33.html
+++ b/node33.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Wavetable oscillator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Wavetable lookup in general
@@ -124,23 +128,23 @@ controls its frequency which changes periodically in time.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Wavetable lookup in general
diff --git a/node34.html b/node34.html
index 1489e1a..5347c52 100644
--- a/node34.html
+++ b/node34.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Wavetable lookup in general
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Using a wavetable as
@@ -182,23 +186,23 @@ using a slightly more complicated arrangement: subtract 1/2 from the
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Using a wavetable as
diff --git a/node35.html b/node35.html
index fb505c5..e31bc85 100644
--- a/node35.html
+++ b/node35.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Using a wavetable as a sampler
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Looping samplers
@@ -121,23 +125,23 @@ it to find out what that sounds like!)
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Looping samplers
diff --git a/node36.html b/node36.html
index d2c9cb1..1355c36 100644
--- a/node36.html
+++ b/node36.html
@@ -1,4 +1,4 @@
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+
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+
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+
Looping samplers
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Overlapping sample looper
@@ -149,7 +153,7 @@ the first sampler example (Figure 2.14).
This raises an important, though subtle, issue. The Momentary
Transposition Formula (Page ) predicts that, as
+ SRC="crossref.png">) predicts that, as
long as the chunk size and read point aren't changing in time, the
transposition is just the frequency times the chunk size (as always, using
appropriate units; Hertz and seconds, for example, so that the product is
@@ -191,23 +195,23 @@ chunk size, and transposition. This is demonstrated in Example B09.sampler.tran
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Overlapping sample looper
diff --git a/node37.html b/node37.html
index ce3a563..386d485 100644
--- a/node37.html
+++ b/node37.html
@@ -1,4 +1,4 @@
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+
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+
Overlapping sample looper
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Automatic read point precession
@@ -182,23 +186,23 @@ results of the two copies are added for output.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Automatic read point precession
diff --git a/node38.html b/node38.html
index 5973910..d514316 100644
--- a/node38.html
+++ b/node38.html
@@ -1,4 +1,4 @@
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Automatic read point precession
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -171,23 +175,23 @@ used in the expr object.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node39.html b/node39.html
index 8669e08..7e7fc3e 100644
--- a/node39.html
+++ b/node39.html
@@ -1,4 +1,4 @@
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+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Audio and control computations
@@ -92,7 +96,7 @@ original sound upward one half-step?
ALT="$R=44100$">), looping ten times
per second, so that the original sound stored in the wavetable is transposed up
a perfect fifth (see Page ). How large a segment of the
+ SRC="crossref.png">). How large a segment of the
wavetable, in samples, should be played back?
@@ -128,23 +132,23 @@ range of possible outputs of wavetable lookup using 4-point interpolation?
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Audio and control computations
diff --git a/node4.html b/node4.html
index 571ce2f..cc0897e 100644
--- a/node4.html
+++ b/node4.html
@@ -1,4 +1,4 @@
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+
+
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+
+
Contents
@@ -29,19 +33,19 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="index.png">
Next:Foreword
diff --git a/node40.html b/node40.html
index 2b5cc2e..1d7598e 100644
--- a/node40.html
+++ b/node40.html
@@ -1,4 +1,4 @@
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+
Audio and control computations
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:The sampling theorem
diff --git a/node41.html b/node41.html
index 88363c9..6fba870 100644
--- a/node41.html
+++ b/node41.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
The sampling theorem
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control
@@ -282,7 +286,7 @@ distinguish between the two.
We conclude that when, for instance, we're computing values of a
Fourier series (Page ),
+ SRC="crossref.png">),
either as a wavetable or as a real-time signal, we had better leave out any
sinusoid
in the sum whose frequency exceeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control
diff --git a/node42.html b/node42.html
index f48154c..814c6a0 100644
--- a/node42.html
+++ b/node42.html
@@ -1,4 +1,4 @@
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Control
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control streams
@@ -189,23 +193,23 @@ overhead is only some 30%.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control streams
diff --git a/node43.html b/node43.html
index b47ee88..3eabb27 100644
--- a/node43.html
+++ b/node43.html
@@ -1,4 +1,4 @@
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+
Control streams
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Converting from audio signals
@@ -444,23 +448,23 @@ situation would call for sub-sample accuracy in sporadic-to-audio conversion.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Converting from audio signals
diff --git a/node44.html b/node44.html
index 958efd3..2fccefa 100644
--- a/node44.html
+++ b/node44.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Converting from audio signals to numeric control streams
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control streams in block
@@ -77,7 +81,7 @@ part of a control computation.
For example, we might be controlling the amplitude of a signal using a
line~ object as in Example A03.line.pd (Page
). Suppose we wish to turn off the sound at a fixed rate
+ SRC="crossref.png">). Suppose we wish to turn off the sound at a fixed rate
of speed instead of in a fixed amount of time. For instance, we might want to
re-use the network for another sound and wish to mute it as quickly as possible
without audible artifacts; we probably can ramp it off in less time if the
@@ -140,23 +144,23 @@ simplest solution is the best, but occasionally we have to do extra work.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control streams in block
diff --git a/node45.html b/node45.html
index c89645f..aa8b90d 100644
--- a/node45.html
+++ b/node45.html
@@ -1,4 +1,4 @@
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Control streams in block diagrams
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Event detection
diff --git a/node46.html b/node46.html
index d69c4cb..37f4f32 100644
--- a/node46.html
+++ b/node46.html
@@ -1,4 +1,4 @@
-
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+
+
Event detection
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Audio signals as control
@@ -158,23 +162,23 @@ figure in an improvisation.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Audio signals as control
diff --git a/node47.html b/node47.html
index 12c8fc9..8ac6cda 100644
--- a/node47.html
+++ b/node47.html
@@ -1,4 +1,4 @@
-
+
+
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+
+
Audio signals as control
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Operations on control streams
@@ -158,7 +162,7 @@ use with a sawtooth trigger, when we wish to sample signals in
synchrony with an oscillator-driven process. Pd's sample and hold object
was previously introduced in the context of sampling
(Example B08.sampler.nodoppler.pd, Page ).
+ SRC="crossref.png">).
@@ -166,23 +170,23 @@ was previously introduced in the context of sampling
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Operations on control streams
diff --git a/node48.html b/node48.html
index 14c368b..af47d78 100644
--- a/node48.html
+++ b/node48.html
@@ -1,4 +1,4 @@
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+
Operations on control streams
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control operations in Pd
@@ -169,23 +173,23 @@ Pd it is controlled explicitly by the user.)
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Control operations in Pd
diff --git a/node49.html b/node49.html
index 3a79c44..e9fd73b 100644
--- a/node49.html
+++ b/node49.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Control operations in Pd
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -204,23 +208,23 @@ recent number float has received beforehand.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
diff --git a/node5.html b/node5.html
index 87b147a..0d2fdfe 100644
--- a/node5.html
+++ b/node5.html
@@ -1,4 +1,4 @@
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Foreword
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Preface
@@ -121,23 +125,23 @@ Max Mathews
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Preface
diff --git a/node50.html b/node50.html
index b3cb9ef..c98849f 100644
--- a/node50.html
+++ b/node50.html
@@ -1,4 +1,4 @@
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+
Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sampling and foldover
diff --git a/node51.html b/node51.html
index 5fae84d..2a4d503 100644
--- a/node51.html
+++ b/node51.html
@@ -1,4 +1,4 @@
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+
Sampling and foldover
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Converting controls to signals
@@ -112,23 +116,23 @@ and the interpolation algorithm.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Converting controls to signals
diff --git a/node52.html b/node52.html
index 118a9bc..13dd8eb 100644
--- a/node52.html
+++ b/node52.html
@@ -1,4 +1,4 @@
-
+
+
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+
Converting controls to signals
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Non-looping wavetable player
@@ -142,23 +146,23 @@ one sample (0.0227 msec if the sample rate is 44100 Hertz).
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Non-looping wavetable player
diff --git a/node53.html b/node53.html
index be8099a..1b02f3a 100644
--- a/node53.html
+++ b/node53.html
@@ -1,4 +1,4 @@
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+
+
+
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+
Non-looping wavetable player
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Signals to controls
@@ -84,7 +88,7 @@ signal processing network for playback. One vline~ object
generates a phase signal (actually just a table lookup index) to the
tabread4~ object; this replaces the phasor~ of
Example B03.tabread4.pd (Page ) and its derivatives.
+ SRC="crossref.png">) and its derivatives.
+
+
+
+
Signals to controls
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Analog-style sequencer
diff --git a/node55.html b/node55.html
index cc0497a..58b7c81 100644
--- a/node55.html
+++ b/node55.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Analog-style sequencer
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:MIDI-style synthesizer
@@ -104,23 +108,23 @@ useful device for doing control tasks in the audio signal domain.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:MIDI-style synthesizer
diff --git a/node56.html b/node56.html
index 79e92a0..2d15f01 100644
--- a/node56.html
+++ b/node56.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
MIDI-style synthesizer
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -163,23 +167,23 @@ left-hand-side outlet of select) does the message ``0 1000" go to the
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node57.html b/node57.html
index e6c6ef4..d4ed484 100644
--- a/node57.html
+++ b/node57.html
@@ -1,4 +1,4 @@
-
+
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+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Automation and voice management
@@ -90,7 +94,7 @@ repeating a fixed waveform every N samples. What value of should we
choose, and how many cents (Page ) are we off from the
+ SRC="crossref.png">) are we off from the
``true" middle C?
@@ -137,23 +141,23 @@ detect and filter out feedback from speakers to microphones.)
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Automation and voice management
diff --git a/node58.html b/node58.html
index 2fd79c3..c4411dc 100644
--- a/node58.html
+++ b/node58.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Automation and voice management
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Envelope Generators
diff --git a/node59.html b/node59.html
index ab88815..3681bc0 100644
--- a/node59.html
+++ b/node59.html
@@ -1,4 +1,4 @@
-
+
+
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+
Envelope Generators
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Linear and Curved Amplitude
@@ -158,23 +162,23 @@ naturally over the course of each note.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Linear and Curved Amplitude
diff --git a/node6.html b/node6.html
index c2ea0f2..59246c8 100644
--- a/node6.html
+++ b/node6.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Preface
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sinusoids, amplitude and frequency
@@ -154,23 +158,23 @@ you.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sinusoids, amplitude and frequency
diff --git a/node60.html b/node60.html
index ad10a9d..8b725f0 100644
--- a/node60.html
+++ b/node60.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Linear and Curved Amplitude Shapes
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Continuous and discontinuous control
@@ -280,23 +284,23 @@ Using a transfer function to alter the shape of amplitude curves.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Continuous and discontinuous control
diff --git a/node61.html b/node61.html
index f9cf23a..66eecd4 100644
--- a/node61.html
+++ b/node61.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Continuous and discontinuous control changes
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Muting
@@ -123,23 +127,23 @@ cleanly:
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Muting
diff --git a/node62.html b/node62.html
index c7fb920..ae23004 100644
--- a/node62.html
+++ b/node62.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Muting
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Switch-and-ramp
@@ -110,7 +114,7 @@ should be small (so as to disrupt the previous sound as little as possible)
but not so small as to cause audible artifacts in the output.
A working example of this type of muting was already shown on Page
; there we allowed 5 msec for ramping down.
+ SRC="crossref.png">; there we allowed 5 msec for ramping down.
The muting signal is multiplied by the output of the process to be de-clicked.
@@ -136,23 +140,23 @@ is much better than one that varies, even if it is smaller on average.)
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Switch-and-ramp
diff --git a/node63.html b/node63.html
index 0f14078..d0e1ad8 100644
--- a/node63.html
+++ b/node63.html
@@ -1,4 +1,4 @@
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+
+
+
+
+
Switch-and-ramp
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Polyphony
@@ -136,23 +140,23 @@ signal) is the de-clicked signal.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Polyphony
diff --git a/node64.html b/node64.html
index 3ff5750..b8d0c7e 100644
--- a/node64.html
+++ b/node64.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Polyphony
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Voice allocation
@@ -120,23 +124,23 @@ sends so that each may have its own send level.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Voice allocation
diff --git a/node65.html b/node65.html
index a428ef0..23c33d6 100644
--- a/node65.html
+++ b/node65.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Voice allocation
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Voice tags
@@ -188,23 +192,23 @@ made, and in some (live keyboard input, for example) it will not.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Voice tags
diff --git a/node66.html b/node66.html
index 4bf3bf6..35901d9 100644
--- a/node66.html
+++ b/node66.html
@@ -1,4 +1,4 @@
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+
Voice tags
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Encapsulation in Pd
@@ -181,23 +185,23 @@ operations.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Encapsulation in Pd
diff --git a/node67.html b/node67.html
index 391701d..1b3c80e 100644
--- a/node67.html
+++ b/node67.html
@@ -1,4 +1,4 @@
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+
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+
Encapsulation in Pd
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -179,7 +183,7 @@ the plusminus object. The two ``$1" arguments (to the
We have already seen one abstraction in the examples: the output~ object introduced in Figure 1.10 (Page ). That
+ SRC="crossref.png">). That
example also shows that an abstraction may display controls as part of its box
on the parent patch; see the Pd documentation for a description of this
feature.
@@ -190,23 +194,23 @@ feature.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
diff --git a/node68.html b/node68.html
index d7d9ef9..dec9aa9 100644
--- a/node68.html
+++ b/node68.html
@@ -1,4 +1,4 @@
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+
Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:ADSR envelope generator
diff --git a/node69.html b/node69.html
index 46ce3c8..80b7269 100644
--- a/node69.html
+++ b/node69.html
@@ -1,4 +1,4 @@
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+
ADSR envelope generator
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Transfer functions for amplitude
@@ -166,23 +170,23 @@ trigger (which also generates an onset).
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Transfer functions for amplitude
diff --git a/node7.html b/node7.html
index b7912b2..367d91a 100644
--- a/node7.html
+++ b/node7.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Sinusoids, amplitude and frequency
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Measures of Amplitude
@@ -301,23 +305,23 @@ audio output is within the hardware's range [
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Measures of Amplitude
diff --git a/node70.html b/node70.html
index b87ab09..9875ab3 100644
--- a/node70.html
+++ b/node70.html
@@ -1,4 +1,4 @@
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+
+
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+
+
Transfer functions for amplitude control
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Additive synthesis: Risset's bell
@@ -116,7 +120,7 @@ separate the target and time interval, the target's fourth root is taken
outlets. As usual the outputs appear in right-to-left order. The number of
outlets and their types are determined by the creation arguments. (See also
pack, Page ).
+ SRC="crossref.png">).
The next two patches, D05.envelope.pitch.pd and D06.envelope.portamento.pd, use an ADSR envelope generator
@@ -130,23 +134,23 @@ and they are calculated using table lookup.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Additive synthesis: Risset's bell
diff --git a/node71.html b/node71.html
index 29b136a..d48000c 100644
--- a/node71.html
+++ b/node71.html
@@ -1,4 +1,4 @@
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+
+
+
+
+
Additive synthesis: Risset's bell
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Additive synthesis: spectral envelope
@@ -211,23 +215,23 @@ partial, and
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Additive synthesis: spectral envelope
diff --git a/node72.html b/node72.html
index faf98be..9c6d5a0 100644
--- a/node72.html
+++ b/node72.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Additive synthesis: spectral envelope control
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Polyphonic synthesis: sampler
@@ -128,23 +132,23 @@ to name a few possibilities.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Polyphonic synthesis: sampler
diff --git a/node73.html b/node73.html
index 3727430..24c41fd 100644
--- a/node73.html
+++ b/node73.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Polyphonic synthesis: sampler
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -219,7 +223,7 @@ parameters). This is done using the six f objects, plus the
right inlet of the rightmost delay object. These values are used after
the delay of 5 msec. This is done in tandem with the muting
mechanism described on Page , using another
+ SRC="crossref.png">, using another
vline~ object.
@@ -263,23 +267,23 @@ sent on to the next voice via the outlet~ object.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node74.html b/node74.html
index f3493d8..ac374a5 100644
--- a/node74.html
+++ b/node74.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Modulation
@@ -122,23 +126,23 @@ technique. What is the maximum output?
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Modulation
diff --git a/node75.html b/node75.html
index f255e76..c80864d 100644
--- a/node75.html
+++ b/node75.html
@@ -1,4 +1,4 @@
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+
Modulation
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Taxonomy of spectra
diff --git a/node76.html b/node76.html
index 194cd4d..318692c 100644
--- a/node76.html
+++ b/node76.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Taxonomy of spectra
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Multiplying audio signals
@@ -95,7 +99,7 @@ Part (a) of the figure shows the spectrum of a
which is a periodic signal whose fundamental frequency is in the range of
perceptible pitches, roughly between 50 and 4000 Hertz.
The Fourier series (Page ) gives a description of
+ SRC="crossref.png">) gives a description of
a periodic signal as a sum of sinusoids. The frequencies of the sinusoids
are in the ratio
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Multiplying audio signals
diff --git a/node77.html b/node77.html
index ca7c7b9..f43c612 100644
--- a/node77.html
+++ b/node77.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Multiplying audio signals
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping
@@ -125,7 +129,7 @@ simplifies to the left hand side.
We can use this formula to see what happens when we multiply two sinusoids
(Page ):
+ SRC="crossref.png">):
+
+
+
+
Waveshaping
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Frequency and phase modulation
@@ -834,23 +838,23 @@ are developed in detail in Chapter 6.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Frequency and phase modulation
diff --git a/node79.html b/node79.html
index 1ead22d..fb9c622 100644
--- a/node79.html
+++ b/node79.html
@@ -1,4 +1,4 @@
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+
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+
Frequency and phase modulation
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
@@ -451,23 +455,23 @@ possibilities are shown in the following examples.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Examples
diff --git a/node8.html b/node8.html
index 0638862..5119fea 100644
--- a/node8.html
+++ b/node8.html
@@ -1,4 +1,4 @@
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Measures of Amplitude
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Units of Amplitude
@@ -214,7 +218,7 @@ For a sinusoid (part a), the peak amplitude is higher than RMS by a factor of
Under reasonable conditions--if the window contains at least several periods and
if the angular frequency is well under one radian per sample--the peak
amplitude of the sinusoid of Page
+ SRC="crossref.png">
is approximately
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Units of Amplitude
diff --git a/node80.html b/node80.html
index f5aba28..b238a09 100644
--- a/node80.html
+++ b/node80.html
@@ -1,4 +1,4 @@
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+
+
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+
+
Examples
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Ring modulation and spectra
diff --git a/node81.html b/node81.html
index 4a5e04d..635245a 100644
--- a/node81.html
+++ b/node81.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Ring modulation and spectra
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Octave divider and formant
@@ -117,23 +121,23 @@ the figure (taking the absolute value of its negative frequency).
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Octave divider and formant
diff --git a/node82.html b/node82.html
index d0b0967..e409441 100644
--- a/node82.html
+++ b/node82.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Octave divider and formant adder
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping and difference tones
@@ -135,23 +139,23 @@ that deform the vowels.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping and difference tones
diff --git a/node83.html b/node83.html
index 79adc18..7f138b6 100644
--- a/node83.html
+++ b/node83.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Waveshaping and difference tones
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping using Chebychev polynomials
@@ -130,23 +134,23 @@ common subharmonics, and still others give rise to rich, inharmonic tones.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping using Chebychev polynomials
diff --git a/node84.html b/node84.html
index e7ff2ae..e70558f 100644
--- a/node84.html
+++ b/node84.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Waveshaping using Chebychev polynomials
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping using an exponential
@@ -127,7 +131,7 @@ the formula for the waveshaping function
(Page ), which gives first,
+ SRC="crossref.png">), which gives first,
third and fifth harmonics:
@@ -268,23 +272,23 @@ not addressed, at least directly, in the Chebychev picture.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Waveshaping using an exponential
diff --git a/node85.html b/node85.html
index b634ec5..d6fe73b 100644
--- a/node85.html
+++ b/node85.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Waveshaping using an exponential function
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sinusoidal waveshaping: evenness and
@@ -67,7 +71,7 @@ Waveshaping using an exponential function
We return again to the spectra computed on Page ,
+ SRC="crossref.png">,
corresponding to waveshaping functions of the form
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Sinusoidal waveshaping: evenness and
diff --git a/node86.html b/node86.html
index 31bb30d..9f3c1f3 100644
--- a/node86.html
+++ b/node86.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Sinusoidal waveshaping: evenness and oddness
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Phase modulation and FM
@@ -198,23 +202,23 @@ to the phase. Smaller offsets give a mixture of even and odd.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Phase modulation and FM
diff --git a/node87.html b/node87.html
index aa4886e..7115cbf 100644
--- a/node87.html
+++ b/node87.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Phase modulation and FM
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
@@ -135,7 +139,7 @@ x[t] = \cos( \omega_c n ) \cos (a \cos(\omega_m n))
Plugging in the expansions from Page and simplifying
+ SRC="crossref.png"> and simplifying
yields:
@@ -364,23 +368,23 @@ synthesizers.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Exercises
diff --git a/node88.html b/node88.html
index d16e900..765441d 100644
--- a/node88.html
+++ b/node88.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Exercises
@@ -28,23 +32,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Designer spectra
@@ -133,23 +137,23 @@ DC component of the result disappear?
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Designer spectra
diff --git a/node89.html b/node89.html
index 79e1977..9a68e60 100644
--- a/node89.html
+++ b/node89.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Designer spectra
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Carrier/modulator model
@@ -193,23 +197,23 @@ harmonic spectra with desired, possibly time-varying, formants.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Carrier/modulator model
diff --git a/node9.html b/node9.html
index a40249b..390c97d 100644
--- a/node9.html
+++ b/node9.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Units of Amplitude
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Controlling Amplitude
@@ -200,23 +204,23 @@ of a signal than does loudness [
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Controlling Amplitude
diff --git a/node90.html b/node90.html
index 391a76d..4dc201a 100644
--- a/node90.html
+++ b/node90.html
@@ -1,4 +1,4 @@
-
+
+
+
+
+
Carrier/modulator model
@@ -29,23 +33,23 @@ original version by: Nikos Drakos, CBLU, University of Leeds
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pulse trains
@@ -73,7 +77,7 @@ use ring modulation
to modify the spectrum of a periodic signal, placing spectral peaks in
specified locations (see Figure
5.4, Page ). To do
+ SRC="crossref.png">). To do
so we need to be able to generate periodic signals whose spectra have maxima
at DC and fall off monotonically with increasing frequency.
If we can make a signal with a formant at frequency zero--and no other
@@ -278,23 +282,23 @@ look more closely at the carrier signal.
+ SRC="next.png">
+ SRC="up.png">
+ SRC="prev.png">
+ SRC="contents.png">
+ SRC="index.png">
Next:Pulse trains
diff --git a/node91.html b/node91.html
index 5cedd2a..c9df4b9 100644
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Pulse trains
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Next:Pulse trains via waveshaping
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Pulse trains via waveshaping
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Next:Pulse trains via wavetable
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gives well-behaved, simple and predictable results. After normalizing suitably,
we got the spectra shown in Figure 5.13. A slight rewriting of the
waveshaping modulator for this choice of
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Next:Pulse trains via wavetable
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Pulse trains via wavetable stretching
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Next:Resulting spectra
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Next:Resulting spectra
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Resulting spectra
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Next:Movable ring modulation
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Next:Movable ring modulation
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Movable ring modulation
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Next:Phase-aligned formant (PAF) generator
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Next:Phase-aligned formant (PAF) generator
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Phase-aligned formant (PAF) generator
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Next:Examples
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Examples
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Next:Wavetable pulse train
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Wavetable pulse train
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Next:Simple formant generator
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Simple formant generator
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Next:Two-cosine carrier signal
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Next:Two-cosine carrier signal
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