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#X text 458 408 modulus;
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#X text 458 425 of control;
#X text 456 442 amplitude;
#X text 196 248 reciprocal;
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#X text 195 287 filter input;
#X text 196 306 amplitude;
#X msg 599 76 \; pd dsp 1 \; window-size 1024 \; squelch 30 \; squelch-set
set 30;
#X text 115 159 filter input;
#X text 438 282 control source;
#X text 434 332 Fourier transform;
#X text 28 17 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 145 422 multiply the two amplitude;
#X text 143 439 factors (for compression;
#X text 145 455 and to apply new timbre);
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#X text 137 12 CORT&ZACK's SECRET;
#X text 27 422 filter;
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#X text 255 231 change input sounds;
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#X text 21 28 test signal: looped sample playback;
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#X text 104 393 <- record ->;
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#X text 15 8 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).;
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#X text 509 412 sample lengths \,;
#X text 510 427 msec;
#X text 27 35 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.;
#X text 402 498 updated for Pd version 0.39;
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