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			170 lines
		
	
	
		
			6.3 KiB
		
	
	
	
		
			HTML
		
	
	
	
	
	
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| <H2><A ID="SECTION001452000000000000000">
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| Strategies for band-limiting sawtooth waves</A>
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| </H2>
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| 
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| <P>
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| 
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| <DIV ALIGN="CENTER"><A ID="fig10.14"></A><A ID="14512"></A>
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| <TABLE>
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| <CAPTION ALIGN="BOTTOM"><STRONG>Figure 10.14:</STRONG>
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| Alternative techniques for making waveforms with corners: (a) a 
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| triangle wave as the minimum of two line segments; (b) clipping a triangle wave to
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| make an "envelope".</CAPTION>
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| <TR><TD><IMG
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|  ALT="\begin{figure}\psfig{file=figs/fig10.14.ps}\end{figure}"></TD></TR>
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| </TABLE>
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| </DIV>
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| 
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| <P>
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| Example J05.triangle.pd (Figure <A HREF="#fig10.14">10.14</A>, part a) shows a simple way to make a
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| triangle wave, in which only the slope of the rising and falling segment are
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| specified.  A phasor supplies the rising shape (its amplitude being the slope),
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| and the same phasor, subtracted from one, gives the decaying shape.  The
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| minimum of the two linear functions follows the rising phasor up to the
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| intersection of the two, and then follows the falling phasor back down to zero
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| at the end of the cycle.
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| 
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| <P>
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| A triangle wave can be clipped above and below to make a trapezoidal wave,
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| which can be used either as an audio-frequency pulse or, at a lower fundamental
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| frequency, as a repeating ASR (attack/sustain/release) envelope.  Patch
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| J06.enveloping.pd (Figure <A HREF="#fig10.14">10.14</A> part b) demonstrates this.  The same rising
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| shape is used as in the previous example, and the falling shape differs only
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| in that its phase is set so that it falls to zero at a controllable point (not
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| necessarily at the end of the cycle as before).  The <TT>clip~</TT> object prevents
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| it from rising above 1 (so that, if the intersection of the two segments is
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| higher than one, we get a horizontal "sustain" segment), and also from falling
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| below zero, so that once the falling shape reaches zero, the output is zero for
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| the rest of the cycle.
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| 
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| <P>
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| Example J07.oversampling.pd shows how to use up-sampling to reduce foldover when using a
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| <TT>phasor~</TT> object as an audio sawtooth wave.  A subpatch, running at 16
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| times the base sample rate, contains the <TT>phasor~</TT> object and a
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| three-pole, three-zero Butterworth filter to reduce the amplitudes of partials
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| above the Nyquist frequency of the parent patch (running at the original sample
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| rate) so that the output won't fold over when it is down-sampled at the
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| <TT>outlet~</TT> object.  Example J08.classicsynth.pd demonstrates using up-sampled
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| phasors as signal generators to make an imitation of a classic synthesizer
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| doing subtractive synthesis.
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| 
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| <P>
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| Example J09.bandlimited.pd shows how to use transition splicing as an alternative way to
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| generate a sawtooth wave with controllable foldover.  This has the advantage of
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| being more direct (and usually less compute-intensive) than the up-sampling
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| method. On the other hand, this technique depends on using the reciprocal of
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| the fundamental frequency as an audio signal in its own right (to control the
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| amplitude of the sweeping signal that reads the transition table) and, in the
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| same way as for the PAF technique of Chapter <A HREF="node89.html#chapter-paf">6</A>, care must be
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| taken to avoid clicks if the fundamental frequency changes discontinuously.
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| <ADDRESS>
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| Miller Puckette
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| 2006-12-30
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