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#X text 282 385 ------ 4 seconds ------;
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#X msg 26 117 set \$1 \, bang;
#X msg 348 140 stop;
#X msg 302 140 bang;
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#X msg 514 85 bang;
#X text 556 84 <-- browse for samples;
#X text 482 209 v-- re-read original samples;
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#X msg 411 237 read ../sound/bell.aiff sample1 \, read ../sound/voice2.wav
sample2;
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#X text 19 49 ARGUMENTS FOR NOTES:;
#X text 19 71 pitch in halftones;
#X text 19 95 amplitude (dB);
#X text 19 143 sample number;
#X text 19 119 duration (msec);
#X text 19 167 start location (msec);
#X text 19 191 rise time (msec);
#X text 19 215 decay time (msec);
#X msg 931 229 reload;
#X msg 931 257 browse;
#X text 47 10 POLYPHONIC SAMPLER;
#X obj 547 329 sampvoice;
#X obj 631 17 r note;
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#X obj 544 109 f;
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#X obj 544 230 stripnote;
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#X text 929 124 record \, etc.;
#X text 335 203 allocate sampler voice;
#X text 361 228 drop note off again;
#X obj 704 516 qlist;
#X obj 870 520 r comment;
#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 7 263 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 8 413 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 text 8 515 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;
#X msg 704 486 read qlist-sampler.txt \, rewind \, tempo 1 \, bang
;
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#X text 249 108 increment mod 1e+06 to make tag;
#X text 276 127 (acts like a MIDI pitch to;
#X text 277 146 identify the note to "poly");
#X text 258 175 supply delayed note-off message;
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#X obj 547 356 sampvoice;
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