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#X text 282 385 ------ 4 seconds ------;
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#X msg 411 237 read ../sound/bell.aiff sample1 \, read ../sound/voice2.wav
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#X text 19 49 ARGUMENTS FOR NOTES:;
#X text 19 71 pitch in halftones;
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#X text 47 10 POLYPHONIC SAMPLER;
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#X text 336 207 allocate sampler voice;
#X text 359 232 drop note off again;
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#X text 732 445 sailors to untie him...;
#X text 735 395 Lashed to the mast of his boat \, Ulysses;
#X text 735 420 hears beautiful singing. He begs his;
#X text 19 271 Here we take the previous patch and make it polyphonic
\, with 8 voices. The single voice which we had before has been made
into an abstraction \, "sampvoice.pd" \, which we instantiate in 8
copies. Earlier we used sends and receives to pass messages to "cutoff"
\, etc \, but here if we did that the copies of sampvoice would be
sending messages to each other \, so we combine the control and the
audio computation in the sampvoice abstraction without using send and
receive. Click on one to see how.;
#X text 20 421 The "poly" object essentially repeats pitch and velocity
pairs to its output \, but also sending a voice number from its left
outlet. To use it \, we unpack the 7 parameters \, calculate the voice
number \, repack the message as 8 parameters with voice number first
\, and use "route" to send it to one of the 8 voices.;
#X msg 736 486 read 24.qlist.txt \, rewind \, tempo 1 \, bang;
#X text 20 523 There's some bother because poly expects to track note
on and note off messages separately as they would come from a MIDI
keyboard. So we assign each note a unique fake "pitch" \, use makenote
to generate the note-off messages \, and run poly on the resulting
stream. We then discard both pitch and velocity (using the velocity
only to strip note-offs) and rebuild the original message adding the
voice number we just scored.;
#X text 854 639 updated for Pd version 0.33;
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