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<H2><A ID="SECTION00953000000000000000">
Waveshaping and difference tones</A>
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<P>
Example E04.difference.tone.pd (Figure <A HREF="#fig05.11">5.11</A>) introduces waveshaping, demonstrating
the nonlinearity of the process. Two sinusoids (300 and 225 Hertz, or a ratio of
4 to 3) are summed and then clipped, using a new object class:
<P>
<DIV ALIGN="CENTER"><A ID="fig05.11"></A><A ID="5817"></A>
<TABLE>
<CAPTION ALIGN="BOTTOM"><STRONG>Figure 5.11:</STRONG>
Nonlinear distortion of a sum of two sinusoids to create a
difference tone.</CAPTION>
<TR><TD><IMG
WIDTH="394" HEIGHT="276" BORDER="0"
SRC="img490.png"
ALT="\begin{figure}\psfig{file=figs/fig05.11.ps}\end{figure}"></TD></TR>
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<BR><!-- MATH
$\fbox{ \texttt{clip\~}}$
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<IMG
WIDTH="61" HEIGHT="39" ALIGN="MIDDLE" BORDER="0"
SRC="img491.png"
ALT="\fbox{ \texttt{clip\~}}">:
<A ID="5956"></A>signal clipper. When the signal lies between the limits specified by the
arguments to the <TT>clip~</TT> object, it is passed through unchanged; but
when it falls below the lower limit or rises above the upper limit, it is
replaced by the limit. The effect of
clipping a sinusoidal signal was shown graphically in Figure <A HREF="node78.html#fig05.06">5.6</A>.
<P>
As long as the amplitude of the sum of sinusoids is less than 50 percent, the
sum can't exceed one in absolute value and the <TT>clip~</TT> object passes the
pair of sinusoids through unchanged to the output. As soon as the amplitude
exceeds 50 percent, however, the nonlinearity of the <TT>clip~</TT> object
brings forth distortion products (at frequencies <IMG
WIDTH="94" HEIGHT="29" ALIGN="MIDDLE" BORDER="0"
SRC="img493.png"
ALT="$300m+225n$"> for integers <IMG
WIDTH="17" HEIGHT="13" ALIGN="BOTTOM" BORDER="0"
SRC="img111.png"
ALT="$m$">
and <IMG
WIDTH="13" HEIGHT="13" ALIGN="BOTTOM" BORDER="0"
SRC="img75.png"
ALT="$n$">), all of which happening to be multiples of 75, which is thus the
fundamental of the resulting tone. Seen another way, the shortest common
period of the two sinusoids is 1/75 second (which is four periods of the 300
Hertz, tone and three periods of the 225 Hertz tone), so the result repeats
75 times per second.
<P>
The frequency of the 225 Hertz tone in the patch may be varied. If it is moved
slightly away from 225, a beating sound results. Other values find other
common subharmonics, and still others give rise to rich, inharmonic tones.
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<ADDRESS>
Miller Puckette
2006-12-30
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