#N canvas 375 149 795 442 10; #X obj 55 276 dac~; #N canvas 0 22 450 300 (subpatch) 0; #X array voice 88200 float 2; #X coords 0 1 88199 -1 200 140 1; #X restore 515 32 graph; #X obj 537 274 adc~; #X obj 538 327 tabwrite~ voice; #X obj 484 277 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144 -1 -1; #X msg 504 209 \; voice normalize; #X obj 52 141 vline~; #X obj 52 176 tabread4~ voice; #X obj 55 62 hsl 200 45 2 88197 0 0 empty empty empty -2 -8 0 10 -262144 -1 -1 0 1; #X obj 52 112 pack f 20; #X text 39 9 manual control of audio parameters decoupling controls with vline; #X obj 90 228 dbtorms; #X obj 53 225 *~; #X obj 92 205 hsl 128 15 0 100 0 0 empty empty empty -2 -8 0 10 -262144 -1 -1 0 1; #X text 510 380 modified from Tom Erbe's exercise; #X text 486 395 Sound Design and Ineractive Music course 2012; #X text 7 318 Although direct synthesis of sound is an important area of computer music \, it can be equally interesting to take existing sounds (recorded or synthesized) and transform \, mutate \, deconstruct—in general \, mess around with them. There are as many basic sound transformation techniques as there are synthesis techniques \, we will separate them into time-domain and frequency-domain techniques.; #X connect 2 0 3 0; #X connect 4 0 3 0; #X connect 6 0 7 0; #X connect 7 0 12 0; #X connect 8 0 9 0; #X connect 9 0 6 0; #X connect 11 0 12 1; #X connect 12 0 0 0; #X connect 12 0 0 1; #X connect 13 0 11 0;