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#X text 379 355 modulus;
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#X text 379 372 of control;
#X text 377 389 amplitude;
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#X text 187 281 filter input;
#X text 188 300 amplitude;
#X msg 356 522 \; pd dsp 1 \; window-size 1024 \; squelch 30 \; squelch-set
set 30;
#X text 114 152 filter input;
#X text 363 239 control source;
#X text 360 296 Fourier transform;
#X text 43 19 Internal workings of the timbre stamping algorithm. First
the "filter input" is treated as in the compressor patch \, multiplying
each channel amplitude by one over its modulus (but limited by the
"squelch" parameter.) It is then multiplied by the modulus of the channel
amplitude for the control source (which is Fourier analyzed in parallel
with the filter input.);
#X text 148 440 multiply the two amplitude;
#X text 146 457 factors (for compression;
#X text 148 473 and to apply new timbre);
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#X text 88 17 CORT&ZACK's SECRET;
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#X text 61 26 test signal: looped sample playback;
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#X text 56 20 calculate Hann window table (variable window size) and
constants window-hz (fundamental frequency of analysis) \, window-sec
and window-msec (analysis window size in seconds and msec)., f 56
;
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#X text 488 386 sample lengths \,;
#X text 489 401 msec;
#X text 61 54 This is a Fourier-based "vocoder" (perhaps better called
a "timbre stamp") like the one the Convolution brothers use. The "control
source" is analyzed to get its spectral envelope \, which is then stamped
onto the "filter input" by adjusting the amplitudes of its Fourier
transform. The "filter input" is first whitened by the compression
algorithm from the previous patch in this series. The best value of
"squelch" to use depends critically on what kind of sounds are used
for the filter input and the control source., f 67;
#X text 381 472 updated for Pd version 0.39;
#X text 118 370 <= record =>;
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