[PD-cvs] pd/extra complex-mod~-help.pd, NONE, 1.1.6.1 hilbert~-help.pd, NONE, 1.1.6.1 rev1~-help.pd, NONE, 1.1.6.1 rev2~-help.pd, NONE, 1.1.6.1 rev3~-help.pd, NONE, 1.1.6.1 hilbert~.pd, 1.2, 1.2.2.1

Hans-Christoph Steiner eighthave at users.sourceforge.net
Fri Apr 20 05:33:46 CEST 2007


Update of /cvsroot/pure-data/pd/extra
In directory sc8-pr-cvs1.sourceforge.net:/tmp/cvs-serv2352

Modified Files:
      Tag: branch-v0-39-2-extended
	hilbert~.pd 
Added Files:
      Tag: branch-v0-39-2-extended
	complex-mod~-help.pd hilbert~-help.pd rev1~-help.pd 
	rev2~-help.pd rev3~-help.pd 
Log Message:
merged in pd/extra changes from MAIN/HEAD since the help files were missing in 0.39-2

--- NEW FILE: rev2~-help.pd ---
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#X msg 52 115 500;
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#X text 136 96 tone;
#X text 135 112 pitch;
#X text 114 185 level \, dB;
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#X text 158 209 liveness \, 0-100;
#X text 505 330 modified for Pd version 0.37;
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#X text 192 235 crossover frequency \, Hz.;
#X text 238 260 HF damping \, percent;
#X obj 30 290 rev2~ 100 90 3000 20;
#X text 141 324 output level \, dB;
#X text 281 8 REV2~ - a simple 1-in \, 4-out reverberator;
#X text 95 35 tone;
#X text 96 52 bursts;
#X text 231 37 The creation arguments (level \, liveness \, crossover
frequency \, HF damping) may also be supplied in four inlets as shown.
The "liveness" (actually the internal feedback percentage) should be
100 for infinite reverb \, 90 for longish \, and 80 for short. The
crossover frequency and HF damping work together: at frequencies above
crossover \, the feedback is diminished by the "damping" as a percentage.
So zero HF damping means equal reverb time at all frequencies \, and
100% damping means almost nothing above the crossover frequency gets
through.;
#X text 132 130 (60 for;
#X text 115 150 middle C);
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--- NEW FILE: hilbert~-help.pd ---
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#X obj 66 85 osc~ 440;
#X graph graph1 0 -1 882 1 279 209 579 39;
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#X pop;
#X obj 67 274 tabwrite~ out-left;
#X obj 118 248 tabwrite~ out-right;
#X msg 137 188 bang \; pd dsp 1;
#X floatatom 66 57;
#X text 71 319 The Hilbert transform (the name is abused here according to computer music tradition) puts out a phase quadrature version of the input signal suitable for signal sideband modulation via complex-mod~.;
#X connect 0 0 3 0;
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Index: hilbert~.pd
===================================================================
RCS file: /cvsroot/pure-data/pd/extra/hilbert~.pd,v
retrieving revision 1.2
retrieving revision 1.2.2.1
diff -C2 -d -r1.2 -r1.2.2.1
*** hilbert~.pd	18 May 2005 04:28:32 -0000	1.2
--- hilbert~.pd	20 Apr 2007 03:33:44 -0000	1.2.2.1
***************
*** 1,14 ****
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! #X obj 94 178 outlet~;
! #X text 32 210 This is a pair of 4th-order all-pass filters whose outputs
  somehow manage to be about 90 degrees out of phase from each other.
  Both have different phases from the original. Adapted from a 4X patch
  by Emmanuel Favreau \, circa 1982;
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--- 1,18 ----
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! #X text 34 232 This is a pair of 4th-order all-pass filters whose outputs
  somehow manage to be about 90 degrees out of phase from each other.
  Both have different phases from the original. Adapted from a 4X patch
  by Emmanuel Favreau \, circa 1982;
+ #X obj 502 39 inlet;
+ #X text 461 13 bang to clear;
+ #X text 80 16 signal in;
+ #X msg 502 112 clear;
  #X connect 0 0 5 0;
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***************
*** 17,18 ****
--- 21,27 ----
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--- NEW FILE: complex-mod~-help.pd ---
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#X text 93 351 The complex modulator takes two signals in which it considers to be the real and imaginary part of a complex-valued signal. It then does a complex multiplication by a sinusoud to shift all frequencies up or down by any frequency shift in Hz. See also hilbert~.;
#X obj 69 298 tabwrite~ mod-output;
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#X text 151 220 gives the other;
#X text 149 236 sideband;
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--- NEW FILE: rev3~-help.pd ---
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#X text 240 283 HF damping \, percent;
#X text 140 341 output level \, dB;
#X text 94 52 tone;
#X text 95 69 bursts;
#X text 131 147 (60 for;
#X text 114 167 middle C);
#X obj 29 307 rev3~ 100 90 3000 20;
#X text 263 4 REV3~ - hard-core \, 2-in \, 4-out reverberator;
#X text 236 56 The creation arguments (level \, liveness \, crossover
frequency \, HF damping) may also be supplied in four inlets as shown.
The "liveness" (actually the internal feedback percentage) should be
100 for infinite reverb \, 90 for longish \, and 80 for short. The
crossover frequency and HF damping work together: at frequencies above
crossover \, the feedback is diminished by the "damping" as a percentage.
So zero HF damping means equal reverb time at all frequencies \, and
100% damping means almost nothing above the crossover frequency gets
through.;
#X text 236 29 (A more expensive \, presumably better \, one than rev2~.)
;
#X text 470 352 modified for Pd version 0.37-1;
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--- NEW FILE: rev1~-help.pd ---
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#X text 166 244 1 sec;
#X text 143 226 dB after;
#X text 220 245 clear;
#X text 1 51 impulse;
#X text 362 7 tone;
#X text 484 31 beeps;
#X text 428 167 This is an experimental reverberator design composed
of a series of allpass filters with exponentially growing delay times.
Each allpass filter has a gain of 0.7. The reverb time is adjusted
by adjusting the input gains of the allpass filters. The last unit
is modified so that its first two "echos" mimic those of an allpass
but its loop gain depends on reverb time.;
#X text 430 299 Reverb time is controlled by specifying the dB gain
(100 normal) after one second \, so that 100 corresponds to infinite
reverb time \, 70 to two seconds \, 40 to one second \, and 0 to 0
;
#X text 671 499 modified for Pd version 0.30.;
#X msg 560 34 \; pd dsp 1;
#X text 427 475 The rev1~ module eats about 18% of my 300mHz P2 machine.
;
#X obj 148 289 rev1~;
#X text 428 381 The "clear" button impolitely clears out all the delay
lines \, You may immediately resume pumping the reverberator \, but
the input signal should be cleanly enveloped. The output \, too \,
must be enveloped and may not be opened until 5 msec after the "clear"
message is sent.;
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