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#X obj 295 139 tabwrite~ \$0-noise;
#X obj 126 431 tabread4~ \$0-noise;
#X obj 126 358 phasor~ 1;
#X floatatom 203 390 4 0 0 0 - - -;
#X obj 126 392 *~;
#X obj 203 358 expr sr / $f1;
#X obj 295 111 noise~;
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0;
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#X coords 0 1 44099 -1 400 100 1 0 0;
#X restore 28 169 graph;
#X obj 607 276 v sr;
#X msg 491 320 0 \$1;
#X obj 491 347 tabplay~ \$0-noise, f 8;
#X obj 477 280 expr sr / $f1 \; 1000 / $f1;
#X text 516 252 Freq;
#X floatatom 572 324 5 0 0 0 - - -;
#X text 551 323 ms;
#X obj 722 335 noise~;
#X obj 742 377 *~;
#X text 784 231 Freq;
#X obj 817 258 expr 1000 / $f1;
#X text 797 283 ms;
#X msg 817 230 110;
#X obj 203 313 nbx 5 16 -1e+37 1e+37 0 0 empty freq empty 0 -8 0 11
-228856 -1 -1 60 256;
#X obj 126 473 out~;
#X obj 535 436 out~;
#X obj 742 441 out~;
#X obj 263 111 lb;
#X text 132 311 Frequency;
#X text 240 390 Period in samples;
#X obj 607 253 sr~;
#X obj 288 433 initmess \; freq 60;
#X text 20 14 The Karplus Strong technique repeats a noise periodically
\, which forces a pitch into the signal even in this case. To test
it \, let's populate an array with noise and read from it with [phasor~]
at a certain frequency (which also defines a period to read from the
buffer).;
#X obj 477 200 tempo 60 100 -on;
#X floatatom 477 252 5 0 0 0 - - -;
#X text 473 40 Now [tabplay~] plays a grain whose period in samples
depends on a frequency and sends it to a feedback delay line with the
same period as the delay time. This grain gets then looped and a feedback
parameter sets the decay time.;
#X obj 817 201 tempo 60 100 -on;
#X obj 817 284 display 6;
#X obj 777 324 t b f;
#X obj 777 349 timed.gate~;
#X obj 742 406 fbdelay~ 10 0.98 -gain;
#X obj 535 391 fbdelay~ 25 0.98 -gain, f 11;
#X text 628 332 feedback;
#X msg 609 355 0.995;
#X msg 656 355 0.98;
#X msg 578 355 0.8;
#X text 474 110 But instead of working with a fixed buffer \, we can
work with a live noise input. There are subtle differences because
the same grain doesn't get repeated anymore \, which makes it more
dynamic. See both below.;
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