#N canvas 407 54 626 729 12;
#X floatatom 145 654 5 0 0 0 - - -;
#X obj 44 565 bp~;
#X obj 44 536 bp~;
#X obj 55 467 mtof;
#X floatatom 55 490 7 0 0 0 - - -;
#X floatatom 98 520 3 0 999 0 - #0-q -;
#X floatatom 55 447 7 0 150 0 - #0-pitch -;
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#X text 12 41 In this example we use two cascaded bandpass filters
to troll for partials in Jonathan Harvey's famous bell sample.;
#X text 16 233 You can hear partials around 48 \, 51.3 \, 55 (faint!)
\, 57 (fainter!) \, 60 \, two beating partials around 65 \, 67 \, 69
\, 70.9 \, 71.75 \, 72.6 \, 74 \, 74.65 \, 75.6 \, 77 \, 81.2 \, 84.6
\, 86.5 \, and probably many more. There's also one down at 36 \, but
it's easier to see it on the meter than hear it.;
#X text 124 447 <-- center pitch;
#X text 120 463 (shift-drag to fine tune);
#X text 131 491 <-- center frequency;
#X text 138 520 <-- Q (filter selectivity);
#X obj 44 614 output~;
#X text 341 680 updated for Pd version 0.39;
#X text 14 82 Note that filters can give unexpected level changes.
The bp~ object is designed to have roughly unit gain at the pass band
\, so the higher you set "Q" the more amplitude is lost. You can correct
for this by pushing the output amplitude \, but be sure to remember
to reset the output amplitude before you reduce Q again. I set the
Q to 100 and the output amplitude to 110 or 120 (with the room gain
way down.) Then holding the shift key \, slowly drag the center pitch
upward listening for modes.;
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#X obj 53 388 soundfiler;
#X obj 59 23 loadbang;
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#X obj 59 70 f \$0;
#X obj 60 271 /;
#X msg 60 248 44100;
#X obj 60 223 t b f;
#X obj 60 199 r \$0-totsamps;
#X obj 60 294 s \$0-loopf;
#X msg 59 102 \; readfile symbol \$1-array \; \$1-totsamps 143718 \;
\$1-pitch 69 \; \$1-q 0;
#X msg 53 361 read -resize ../sound/bell.aiff \$1;
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#X connect 5 0 9 0;
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#X restore 456 625 pd startup;
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#X restore 396 322 graph;
#X obj 45 322 r \$0-loopf;
#X obj 45 346 phasor~;
#X obj 44 419 tabread4~ \$0-array;
#X obj 89 370 r \$0-totsamps;
#X text 109 12 MEASURING SPECTRA USING BANDPASS FILTERS;
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