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masheen/hamilr4.pd
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| #X text 298 93 MIDI note values (0-127); | |
| #X obj 267 292 tabwrite~ square; | |
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| #X obj 94 172 expr~ $v1 > 0.5; | |
| #X text 91 5 Create a square wave by checking to see if the output | |
| of the Sawtooth Wave object [phasor~] is greater than 0.5. If it is | |
| \, the Expression object [expr~] outputs a 1 \, otherwise it outputs | |
| a zero. This creates the "high" (1) and "low" (0) states of the square | |
| wave \, as you can see in the graph.; | |
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| #X text 211 172 O or a 1; | |
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| #X restore 70 183 pd square-oscillator; | |
| #X text 55 99 Basic Synthesis Examples; | |
| #N canvas 140 23 1359 853 karplus_strong 0; | |
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| #X text 290 37 strum speed inlet and default value; | |
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| #X obj 249 52 random 4; | |
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| #X text 348 50 randomly choose one of four chords \, and output the | |
| midi pitches for each of the six strings.; | |
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| #X restore 28 320 pd chords; | |
| #X text 152 162 Generate a simple 8 note strum pattern; | |
| #X text 209 220 Every 8 notes \, randomly change chords; | |
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| #X restore 334 153 pd strummer; | |
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| #X obj 92 60 inlet; | |
| #X obj 175 60 inlet; | |
| #X obj 241 59 inlet; | |
| #X obj 311 60 inlet; | |
| #X obj 374 63 inlet; | |
| #X obj 473 65 inlet; | |
| #X obj 515 65 inlet; | |
| #X obj 557 65 inlet; | |
| #X text 17 16 6 inlets representing the six strings of our instrument. | |
| A midi note integer message to any inlet excites that particular string | |
| at the specified pitch.; | |
| #X text 469 46 Width \, decay \, and cutoff inlets; | |
| #X obj 21 165 karpluck~; | |
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| #X obj 473 128 s \$0-width; | |
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| #X obj 106 87 r \$0-width; | |
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| #X obj 92 181 karpluck~; | |
| #X obj 175 203 karpluck~; | |
| #X obj 241 224 karpluck~; | |
| #X obj 309 233 karpluck~; | |
| #X obj 374 264 karpluck~; | |
| #X text 334 112 comment; | |
| #X text 73 343 scale the output down by approx 12dB to avoid clipping | |
| ; | |
| #X text 509 273 Karplus-Strong; | |
| #X text 510 312 Synthesis Toolkit (STK); | |
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| #X restore 329 281 pd plucked_instrument; | |
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| #X obj 786 117 loadbang; | |
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| #X text 83 112 Click here to start strummer -->; | |
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| #X text 94 426 Karplus-Strong algorithm - physical model of a string | |
| ; | |
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| #X text 359 267 "Guitar" String model; | |
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| #X restore 70 286 pd tremolo; | |
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| #X obj 88 168 *~; | |
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| #X text 65 21 microphone input; | |
| #X obj 166 227 tabwrite~ ringmod; | |
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| #X obj 103 107 mtof; | |
| #X obj 103 139 osc~; | |
| #X text 192 113 Modulate one audio signal (input from the microphone) | |
| by a second audio signal (output from the osc~ object); | |
| #X obj 85 269 output~; | |
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| #X restore 70 306 pd ring-modulation; | |
| #N canvas 355 23 1734 1062 fm-synthesis 0; | |
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| #X obj 171 296 metro 100; | |
| #X text 78 36 Carrier Frequency; | |
| #X obj 82 83 mtof~; | |
| #X text 91 462 * NOTE here we're using "mtof~" not "mtof". The output | |
| from this object is an audio signal not just a float.; | |
| #X obj 171 322 tabwrite~ fm; | |
| #X obj 82 283 osc~; | |
| #X obj 82 231 +~; | |
| #X obj 97 145 osc~; | |
| #X text 136 118 Modulation frequency in Hz; | |
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| #X text 151 178 Modulation amount in Hz; | |
| #X obj 79 332 output~; | |
| #X text 425 30 The Synthesis of Complex Audio Spectra by Means of Frequency | |
| Modulation; | |
| #X text 423 73 JOHN M. CHOWNING (first published: J. M. Chowning. The | |
| Synthesis of Complex Audio Spectra by Means of Frequency Modulation. | |
| J. Audio Eng. Soc. 21 \, 7 \, 1973.); | |
| #X text 422 143 https://ccrma.stanford.edu/sites/default/files/user/jc/fm_synthesispaper-2.pdf | |
| ; | |
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| #X restore 70 223 pd fm-synthesis; | |
| #N canvas 0 23 1920 1129 reverb 0; | |
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| #X obj 67 33 inlet; | |
| #X obj 309 189 inlet; | |
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| #X obj 235 68 loadbang; | |
| #X msg 235 91 -0.25; | |
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| #X msg 279 150 -0.25 \, 0.25 \$1; | |
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| #X restore 117 189 pd tests; | |
| #X msg 156 70 10; | |
| #X msg 154 97 20; | |
| #X msg 153 125 100; | |
| #X msg 152 150 500; | |
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| #X text 137 44 impulse; | |
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| #X text 236 131 tone; | |
| #X text 235 147 pitch; | |
| #X text 241 230 level \, dB; | |
| #X floatatom 235 252 0 0 100 0 - - -; | |
| #X text 276 252 liveness \, 0-100; | |
| #X floatatom 270 276 4 0 5000 0 - - -; | |
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| #X text 318 274 crossover frequency \, Hz.; | |
| #X text 341 301 HF damping \, percent; | |
| #X text 195 70 tone; | |
| #X text 196 87 bursts; | |
| #X text 232 165 (60 for; | |
| #X text 215 185 middle C); | |
| #X obj 130 325 rev3~ 100 90 3000 20; | |
| #X text 364 22 REV3~ - hard-core \, 2-in \, 4-out reverberator; | |
| #X text 337 74 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 337 47 (A more expensive \, presumably better \, one than rev2~.) | |
| ; | |
| #X obj 39 191 inlet~; | |
| #X obj 115 393 output~; | |
| #X obj 55 149 adc~; | |
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| #X restore 70 326 pd reverb; | |
| #N canvas 287 23 1131 785 delay 0; | |
| #X text 328 88 DELAYS; | |
| #X text 327 175 The delwrite~ object creates the delay line \; you | |
| give it a name and a size in milliseconds. Each delwrite~ should have | |
| a different name.; | |
| #N canvas 678 444 548 248 sample 0; | |
| #N canvas 0 22 450 300 (subpatch) 0; | |
| #X array delay-tab 62079 float 0; | |
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| #X restore 100 20 graph; | |
| #X obj 61 176 loadbang; | |
| #X obj 60 221 soundfiler; | |
| #X msg 61 198 read -resize voice.wav delay-tab; | |
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| #X restore 332 433 pd sample; | |
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| #X text 160 291 <-- delay time; | |
| #X text 125 326 read from delay line; | |
| #X obj 117 345 delread~ delay1; | |
| #X obj 93 159 metro 1000; | |
| #X text 119 242 write to delay line; | |
| #X obj 94 371 +~; | |
| #X obj 103 261 delwrite~ delay1 1000; | |
| #X text 327 120 You can delay a signal using the delwrite~ and delread~ | |
| objects. In this example \, a sample loops continuously and is added | |
| to a delayed copy of itself.; | |
| #X text 326 311 The delread~ object always delays the signal an integer | |
| number of samples and does no interpolation.; | |
| #X text 107 203 test signal to delay; | |
| #X text 327 226 Delread~'s arguments are the name of a delwrite (of | |
| which there should be exactly one) and an optional delay time in milliseconds | |
| between 0 and the length of the delay line. Each delwrite~ may have | |
| as many delread~s as you wish \, which can then function as multiple | |
| delay taps.; | |
| #X text 193 305 (msec); | |
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| #X text 130 52 nonzero number or "bang" to start; | |
| #X msg 94 53 bang; | |
| #X msg 105 83 stop; | |
| #X text 142 83 zero or "stop" to stop; | |
| #X obj 95 399 output~; | |
| #X msg 55 156 bang; | |
| #X obj 93 183 tabplay~ delay-tab; | |
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| #X restore 70 346 pd delay; | |
| #X text 45 262 Processing; | |
| #N canvas 0 23 1920 1129 file-playback-scratcher 0; | |
| #X obj 62 225 hip~ 5; | |
| #X text 121 227 high pass filter to cut DC; | |
| #N canvas 0 22 450 300 (subpatch) 0; | |
| #X array scratcher-table 44104 float 0; | |
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| #X obj 62 109 * 441; | |
| #X floatatom 62 55 0 0 100 0 - - -; | |
| #X obj 62 133 pack 0 100; | |
| #X text 97 56 <-- read point in 100ths of a second; | |
| #X text 119 109 convert to SAMPLES (441 samples in 0.01 sec); | |
| #X obj 283 318 loadbang; | |
| #X text 271 182 read from the table; | |
| #X text 262 200 (the input is the index in samples); | |
| #X text 555 243 (one second plus three extra; | |
| #X text 557 262 for 4-point interpolation); | |
| #X text 263 387 message to read a soundfile into the table (automatically | |
| sent when you load this patch by the "loadbang" object.); | |
| #X text 109 158 convert smoothly to audio signal; | |
| #X text 109 70 (range is 0-100.) YOU ONLY HEAR OUTPUT; | |
| #X text 110 86 WHEN THIS IS 0-100 AND ACTIVELY CHANGING.; | |
| #X text 548 221 --- 44103 samples ---; | |
| #X obj 283 367 soundfiler; | |
| #X obj 55 342 output~; | |
| #X msg 283 342 read voice.wav scratcher-table; | |
| #X obj 62 193 tabread4~ scratcher-table; | |
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| #X restore 58 453 pd file-playback-scratcher; | |
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| #X text 15 97 White noise; | |
| #X text 170 188 Low-pass filter; | |
| #X obj 121 7 metro 200; | |
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| ; | |
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| #X restore 368 128 pd drums-horrible-snare; | |
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| #X text 71 54 comment; | |
| #X obj 61 320 output~; | |
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| #X restore 368 148 pd drums-horrible-kick; | |
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| #X obj 427 347 *~; | |
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| #X text 293 19 Velocity (volume); | |
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| #X restore 368 168 pd horrible-marimba; | |
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| #X text -979 10 Velocity (volume); | |
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| #X obj 254 252 *~ 0.5; | |
| #X msg 311 75 1 \, 0 44; | |
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| #X connect 6 0 7 0; | |
| #X connect 7 0 2 0; | |
| #X connect 8 0 4 0; | |
| #X restore -920 477 pd noise-component; | |
| #N canvas 161 521 450 300 harmonic-osc 0; | |
| #X obj -981 91 line~; | |
| #X obj -1038 92 osc~; | |
| #X msg -981 61 1 \, 0 100; | |
| #X obj -1038 141 *~; | |
| #X obj -1038 61 * 3; | |
| #X obj -1038 174 *~ 1; | |
| #X obj -1039 8 inlet; | |
| #X obj -981 9 inlet; | |
| #X obj -834 14 inlet; | |
| #X obj -1038 210 outlet~; | |
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| #X connect 6 0 4 0; | |
| #X connect 7 0 2 0; | |
| #X connect 8 0 5 1; | |
| #X restore -1213 458 pd harmonic-osc; | |
| #N canvas 193 491 450 300 fundamental 0; | |
| #X obj -250 32 inlet; | |
| #X obj -232 141 line~; | |
| #X obj -247 168 *~; | |
| #X obj -249 80 osc~; | |
| #X msg -232 112 1 \, 0 400; | |
| #X obj -247 194 *~ 0.4; | |
| #X obj -144 39 inlet; | |
| #X obj -94 40 inlet; | |
| #X obj -247 249 outlet~; | |
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| #X connect 4 0 1 0; | |
| #X connect 5 0 8 0; | |
| #X connect 6 0 4 0; | |
| #X connect 7 0 5 1; | |
| #X restore -1037 414 pd fundamental; | |
| #X obj -971 158 s play-bang; | |
| #X obj -1170 389 r play-bang; | |
| #X obj -1035 272 s play-freq; | |
| #X obj -1213 358 r play-freq; | |
| #X obj -997 359 r play-bang; | |
| #X obj -920 437 r play-bang; | |
| #X obj -1036 335 r play-freq; | |
| #X obj -815 436 r play-vol; | |
| #X obj -1003 251 s play-vol; | |
| #X obj -956 384 r play-vol; | |
| #X obj -1126 419 r play-vol; | |
| #X obj -1048 578 output~; | |
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| #X connect 7 0 0 0; | |
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| #X connect 12 0 24 0; | |
| #X connect 12 0 24 1; | |
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| #X connect 16 0 11 0; | |
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| #X connect 19 0 12 0; | |
| #X connect 20 0 10 1; | |
| #X connect 22 0 12 2; | |
| #X connect 23 0 11 2; | |
| #X restore 368 188 pd cleaner-horrible-marimba; | |
| #X text 357 102 "Horrible" Instruments; | |
| #N canvas 422 160 927 717 bells 0; | |
| #X obj 47 459 catch~ sum; | |
| #X obj 359 284 s frequency; | |
| #X obj 473 284 s duration; | |
| #X floatatom 473 234 0 0 0 0 - - -; | |
| #X obj 473 259 * 100; | |
| #X obj 359 259 mtof; | |
| #X floatatom 359 234 0 0 0 0 - - -; | |
| #X text 92 17 ADDITIVE SYNTHESIS; | |
| #X text 511 224 duration in tenths; | |
| #X text 513 240 of a second; | |
| #X text 397 233 pitch; | |
| #X text 443 528 updated for Pd version 0.37; | |
| #X text 36 93 Partial takes as arguments an amplitude \, a relative | |
| frequency \, a detuning frequency \, and a relative duration. You set | |
| absolute duration and pitch using the controls below. Hit the trigger | |
| to make sound.; | |
| #X obj 46 174 partial 1 1 0.56 0; | |
| #X text 37 41 This patch demonstrates using an abstraction \, "partial" | |
| \, to make a simple additive synthesis instrument originally from Jean-Claude | |
| Risset.; | |
| #X obj 359 179 loadbang; | |
| #X msg 359 202 72; | |
| #X msg 473 204 40; | |
| #X obj 362 332 bng 25 250 50 0 empty empty empty 0 -6 0 8 -262144 -1 | |
| -1; | |
| #X text 395 334 <-- click to play a note; | |
| #X obj 362 368 s trigger; | |
| #X obj 46 199 partial 0.67 0.9 0.56 1; | |
| #X obj 46 224 partial 1 0.65 0.92 0; | |
| #X obj 46 249 partial 1.8 0.55 0.92 1.7; | |
| #X obj 46 274 partial 2.67 0.325 1.19 0; | |
| #X obj 46 299 partial 1.67 0.35 1.7 0; | |
| #X obj 46 324 partial 1.46 0.25 2 0; | |
| #X obj 46 349 partial 1.33 0.2 2.74 0; | |
| #X obj 46 374 partial 1.33 0.15 3 0; | |
| #X obj 46 399 partial 1 0.1 3.76 0; | |
| #X obj 46 424 partial 1.33 0.075 4.07 0; | |
| #X obj 456 138 inlet; | |
| #X obj 529 140 inlet; | |
| #X obj 308 309 inlet; | |
| #X text 445 118 Midi Pitch; | |
| #X text 525 105 duration in tenths; | |
| #X text 527 121 of a second; | |
| #X obj 47 498 output~; | |
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| #X connect 16 0 6 0; | |
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| #X connect 18 0 20 0; | |
| #X connect 31 0 6 0; | |
| #X connect 32 0 3 0; | |
| #X connect 33 0 18 0; | |
| #X restore 388 362 pd bells; | |
| #X text 370 341 Risset "Bells" model; | |
| #N canvas 586 95 567 604 play_soundfile 0; | |
| #X obj 13 22 loadbang; | |
| #X obj 13 71 soundfiler; | |
| #N canvas 0 22 450 300 (subpatch) 0; | |
| #X array player-table-1 44104 float 0; | |
| #X coords 0 1.02 44103 -1.02 200 130 1 0 0; | |
| #X restore 328 22 graph; | |
| #X text 334 175 (one second plus three extra; | |
| #X text 336 194 for 4-point interpolation); | |
| #X text 327 153 --- 44103 samples ---; | |
| #X obj 15 379 dac~ 1; | |
| #X obj 15 335 *~; | |
| #X obj 33 307 line~; | |
| #X msg 47 283 0 100; | |
| #X text 64 380 audio output; | |
| #X obj 15 357 hip~ 5; | |
| #X obj 13 134 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144 -1 | |
| -1; | |
| #X msg 35 133 0; | |
| #X msg 69 133 0 22500; | |
| #X msg 129 133 22500; | |
| #X msg 33 261 0.5 100; | |
| #X obj 33 239 loadbang; | |
| #X msg 176 133 22500 10000; | |
| #X obj 47 512 readsf~; | |
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| -1; | |
| #X msg 47 445 1; | |
| #X msg 17 445 0; | |
| #X obj 47 536 dac~; | |
| #X text 35 419 Play file from disk; | |
| #X obj 15 177 tabplay~ player-table-1; | |
| #X msg 13 46 read voice.wav player-table-1; | |
| #X msg 57 479 open voice.wav; | |
| #X obj 215 176 r playme; | |
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| #X connect 28 0 12 0; | |
| #X restore 58 433 pd play_soundfile; | |
| #X text 40 400 File Playback; | |
| #X obj 939 672 dac~; | |
| #X text 847 194 microphone; | |
| #X obj 940 245 channel; | |
| #N canvas 0 23 914 497 stuff 0; | |
| #X text 868 46 WELCOME TO THE MASHEEN; | |
| #X text 822 104 Today we're going to learn some techniques to make | |
| more interesting sounds; | |
| #X text 822 167 Not that our; | |
| #X obj 916 167 osc~ 440; | |
| #X text 989 167 isn't super interesting...; | |
| #X text 1186 168 (even spelled correctly); | |
| #X text 825 237 But we need a few more skillz to fall back on if our | |
| goal is to make some good music \, no?; | |
| #X text 823 309 I thought so; | |
| #X text 824 465 That aside...; | |
| #X text 824 507 I should probably get started now... thanks Pink Floyd | |
| for the dramatic intro.; | |
| #X text 828 578 https://www.youtube.com/watch?v=lt-udg9zQSE; | |
| #X text 826 369 On our left we see a bunch of pd modules \; these are | |
| actually all in the MASHEEN project \, available in the hamilr4.pd | |
| patch; | |
| #X text 927 404 comment; | |
| #X restore 1857 1102 pd stuff; | |
| #X text 75 367 "Run Like Hell" - Pink Floyd; | |
| #X obj 939 193 adc~; | |
| #X obj 539 336 throw~ hamilr4_audio_1; | |
| #X connect 5 0 30 0; | |
| #X connect 26 0 24 0; | |
| #X connect 26 1 24 1; | |
| #X restore 228 234 pd more_sounds; | |
| #N canvas 502 23 1418 980 more_control 0; | |
| #N canvas 545 23 1259 1129 keyboard-input 0; | |
| #X obj 121 157 key; | |
| #X floatatom 121 185 3 0 0 0 - - -; | |
| #X floatatom 160 183 3 0 0 0 - - -; | |
| #X obj 160 157 keyup; | |
| #X floatatom 211 183 3 0 0 0 - - -; | |
| #X obj 211 157 keyname; | |
| #X symbolatom 257 184 10 0 0 0 - - -; | |
| #X text 48 20 Key and keyup report the (system dependent) numbers of | |
| "printing" keys of the keyboard. Keyname gives the symbolic name of | |
| the key \, with a 1 or 0 if it's up or down \, and works with non-printing | |
| keys like shift or "F1".; | |
| #X text 40 87 Caveat -- this only works if Pd actually gets the key | |
| events which can depend on the stacking order of windows and/or the | |
| pointer location \, depending on the system.; | |
| #X obj 52 318 select 97; | |
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| #X obj 121 318 select 115; | |
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| #X obj 273 318 select 119; | |
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| -1 -1; | |
| #X obj 197 318 select 100; | |
| #X text 49 400 ASCII - different on different operating systems; | |
| #X obj 53 379 s playme; | |
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| #X text 337 185 symbol; | |
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| #X connect 13 0 14 0; | |
| #X connect 16 0 15 0; | |
| #X restore 69 65 pd keyboard-input; | |
| #N canvas 753 45 981 884 sequences 0; | |
| #X obj 79 59 tgl 15 0 empty empty empty 17 7 0 10 -262144 -1 -1 0 1 | |
| ; | |
| #X obj 79 87 metro 250; | |
| #X obj 79 115 f; | |
| #X obj 106 114 + 1; | |
| #X obj 79 142 mod 16; | |
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| -262144 -1 -1 0 256; | |
| #X obj 79 368 phasor~; | |
| #X obj 79 195 tabread melody; | |
| #N canvas 0 22 1652 1321 (subpatch) 0; | |
| #X array melody 16 float 1; | |
| #A 0 74 76 77 76 74 77 79 81 88 88 0 82 0 62 0 72; | |
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| #X restore 213 68 graph; | |
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| -262144 -1 -1 0 256; | |
| #X msg 213 231 \; melody 0 60 62 64 65 67 69 71 72 72 72 67 69 71 72 | |
| 72 72; | |
| #X msg 213 271 \; melody 0 74 76 77 76 74 77 79 81 88 88 0 82 0 62 | |
| 0; | |
| #X obj 79 408 output~; | |
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| #X connect 10 0 16 1; | |
| #X connect 11 0 6 0; | |
| #X connect 11 0 13 0; | |
| #X restore 70 32 pd sequences; | |
| #X obj 68 175 receive hamilr4_control; | |
| #X obj 68 238 list trim; | |
| #X obj 68 217 list prepend set; | |
| #X obj 66 392 mouse_osx; | |
| #X text 36 102 KEYBOARD CONTROLLER; | |
| #X obj 366 216 route hamilr4 obamab; | |
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| -1 -1; | |
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| #X obj 366 193 list trim; | |
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| -1 -1; | |
| #X obj 366 239 route key; | |
| #X obj 366 285 unpack f s f; | |
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| #X floatatom 447 394 5 0 0 0 - - -; | |
| #X obj 447 420 osc~; | |
| #X obj 447 453 throw~ hamilr4_audio_1; | |
| #X msg 219 895 poll; | |
| #X obj 209 932 cyclone/mousestate, f 39; | |
| #X msg 209 867 nopoll; | |
| #X obj 177 890 bng 18 250 50 0 empty empty empty 17 7 0 10 -228856 | |
| -1 -1; | |
| #X text 437 975 delta y; | |
| #X obj 440 957 nbx 4 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10 | |
| -228856 -1 -1 0 256; | |
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| -228856 -1 -1 0 256; | |
| #X text 379 974 delta x; | |
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| -228856 -1 -1 0 256; | |
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| -228856 -1 -1 0 256; | |
| #X text 267 974 x pos; | |
| #X text 327 974 y pos; | |
| #X obj 209 955 tgl 18 0 empty empty empty 17 7 0 10 -228856 -1 -1 0 | |
| 1; | |
| #X text 200 974 click; | |
| #X obj 272 877 tgl 15 0 empty empty empty 17 7 0 10 -228856 -1 -1 0 | |
| 1; | |
| #X text 290 877 polling on/off with [metro]; | |
| #X msg 137 892 zero; | |
| #X msg 95 892 reset; | |
| #X text 41 573 CYCLONE LIBRARY MOUSESTATE - WINDOWS AND OSX VERSION | |
| ; | |
| #X obj 271 900 metro 50; | |
| #X text 78 668 Mode 0 (default) uses "screen-relative coordinates" | |
| \, where (0 \, 0) is the top left corner of the primary display.; | |
| #X msg 144 866 mode \$1; | |
| #X obj 144 810 vradio 15 1 0 3 empty empty empty 0 -8 0 10 -228856 | |
| -1 -1 1; | |
| #X text 167 809 mode 0: screen relative; | |
| #X text 167 824 mode 1: patch relative; | |
| #X text 167 839 mode 2: front-most patch relative; | |
| #X text 76 621 There are 3 different modes in [mousestate] that define | |
| what the coordinate (0 \, 0) of the (x \, y) position point is in relation | |
| to.; | |
| #X text 78 704 Mode 1 uses "patch-relative coordinates" \, where (0 | |
| \, 0) is the top left corner of the patch area where the object is. | |
| ; | |
| #X text 78 743 Mode 2 uses "front-most patch-relative coordinates" | |
| \, where (0 \, 0) is the top left corner of the front patch - try by | |
| selectring the parent patch for example.; | |
| #X obj 1035 664 vradio 15 1 0 3 empty empty empty 0 -8 0 10 -228856 | |
| -1 -1 0; | |
| #X text 1058 663 mode 0: screen relative; | |
| #X text 1058 678 mode 1: patch relative; | |
| #X text 1058 693 mode 2: front-most patch relative; | |
| #X obj 933 699 tgl 15 0 empty empty empty 17 7 0 10 -228856 -1 -1 0 | |
| 1; | |
| #X text 731 697 polling on/off with [metro]; | |
| #X floatatom 984 666 5 0 0 0 - - -; | |
| #X text 777 666 Polling speed (50ms default); | |
| #X text 732 849 outputs list of all values; | |
| #X msg 933 849 username mouse 0 683 2 0 0; | |
| #X obj 933 761 mouser username; | |
| #X obj 932 904 r username_control; | |
| #X msg 933 976 username mouse 0 683 2 0 0; | |
| #X text 33 363 MOUSE CONTROLLER - SIMPLE OSX VERSION; | |
| #X obj 933 728 tgl 15 0 empty empty empty 17 7 0 10 -228856 -1 -1 0 | |
| 1; | |
| #X text 772 726 polling on/off toggle; | |
| #X text 600 760 open inlet for messages to cyclone/mousestate; | |
| #X obj 933 788 list prepend set; | |
| #X obj 932 928 list prepend set; | |
| #X obj 933 812 list trim; | |
| #X obj 933 952 list trim; | |
| #X obj 937 221 list prepend set; | |
| #X obj 937 245 list trim; | |
| #X msg 937 269 hamilr4 key 1 Meta_L 0; | |
| #X obj 800 100 r hamilr4_control; | |
| #X text 753 61 Listen for user on/off keyboard output control messages | |
| / prefixed with "onoff"; | |
| #X obj 779 163 route onoff; | |
| #X obj 779 187 print; | |
| #X obj 69 121 keycontrol _hamilr4; | |
| #X text 493 422 connect to hear; | |
| #X text 215 117 Put your username here to send all keystroke messages | |
| to your [r username_control] receive - remove "_" to see messages sent | |
| to "hamilr4_control"; | |
| #X msg 68 259 hamilr4 key 1 Meta_L 0; | |
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| #X restore 221 278 pd more_control; | |
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| #X obj 28 50 hamilr4_etude_1 one 2 three; | |
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| 1; | |
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| 1; | |
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| -1 -1; | |
| #N canvas 185 454 450 300 solo_mute 0; | |
| #X obj 196 106 print; | |
| #X obj 197 31 inlet; | |
| #X obj 252 71 f \$1; | |
| #X connect 1 0 2 0; | |
| #X connect 2 0 0 0; | |
| #X restore 228 153 pd solo_mute 1 2 3; | |
| #X obj 93 133 s hamilr4_solo; | |
| #X obj 83 156 s hamilr4_mute; | |
| #X connect 1 0 5 0; | |
| #X connect 2 0 6 0; | |
| #X connect 3 0 4 0; | |
| #X restore 207 320 pd more_structure; | |
| #X obj 738 278 hamilr4_etude_1; | |
| #X obj 1628 429 channel; | |
| #X obj 737 321 throw~ hamilr4_audio_1; | |
| #X obj 1333 271 catch~ monkey; | |
| #X obj 1332 234 throw~ monkey; | |
| #X text 1320 198 AUDIO DATA (~); | |
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| #X obj 1099 234 send hippo; | |
| #X obj 1099 267 receive hippo; | |
| #X text 1151 198 CONTROL DATA; | |
| #X obj 1242 466 receive bilgeh_control; | |
| #X obj 1239 503 print; | |
| #X obj 277 443 class_3; | |
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