By Alexandros Drymonitis
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Extra resources for Digital Electronics for Musicians
So, the patch in Figure 1-37 changes slightly and becomes the patch in the Figure 1-38. Figure 1-38. An amplitude modulation patch Give a high enough frequency to the left oscillator (depending on your speakers; if you use laptop speakers, you should give at least 200) and a very low one (like 1) to the right oscillator, which is the modulator. You should hear the tone of the left oscillator come in and out smoothly. The higher you bring the modulator’s frequency, the faster these changes will happen.
Click and drag (both up and down, as well as right and left) and you’ll see that the line follows the mouse. This way is not very useful because you generally want to store certain patterns in arrays that are actually impossible to draw by hand. Another way to store values is by using [tabwrite], where “tab” stands for table. This object has two inlets and no outlet. The right inlet sets the index and the left sets the value. It also takes an argument, which is the name of the array to write to.
One feature of delay lines is feedback. What was not desired in the previous section, where we introduced [adc~], is desired when it comes to delay. If we send the audio read by [delread~] back to its corresponding [delwrite~], along with the audio that comes in from the built-in microphone, all audio stored in the delay line will be stored again, but delayed by 500 milliseconds. If we simply connect these two objects, we won’t have any control over it, and the delay line will keep on writing its own audio back to itself along with the audio that comes in through the computer’s microphone.