#N canvas 453 38 655 869 12;
#X declare -stdpath ./;
#X obj 145 580 bp~;
#X obj 122 541 bp~;
#X obj 154 452 mtof;
#X floatatom 154 479 7 0 0 0 - - - 0;
#X floatatom 163 505 4 0 999 0 - \$0-q - 0;
#X floatatom 154 430 7 0 150 0 - \$0-pitch - 0;
#X obj 61 623 env~ 4096;
#X text 35 60 In this example we use two cascaded band-pass filters to troll for partials in Jonathan Harvey's famous bell sample., f 82;
#X text 35 207 You can hear partials around 48 \, 51.3 \, 55 (faint!) \, 57 (fainter!) \, 60 \, two beating partials around 65 \, 67 \, 69 \, 70.9 \, 71.75 \, 72.6 \, 74 \, 74.65 \, 75.6 \, 77 \, 81.2 \, 84.6 \, 86.5 \, and probably many more. There's also one down at 36 \, but it's easier to see it on the meter than hear it., f 82;
#X text 189 454 (shift-drag to fine tune);
#X obj 145 720 output~;
#N canvas 0 0 450 300 (subpatch) 0;
#X array \$0-array 155944 float 2;
#X coords 0 1 155944 -1 300 127 1;
#X restore 308 285 graph;
#N canvas 717 163 406 381 init 0;
#X obj 81 239 soundfiler;
#X obj 81 33 loadbang;
#X obj 81 59 bng 19 250 50 0 empty empty empty 0 -6 0 8 #dfdfdf #000000 #000000;
#X obj 101 90 f \$0;
#X msg 81 208 read -resize ../sound/bell.aiff \$1;
#X obj 129 305 declare -stdpath ./;
#X obj 81 178 symbol \$0-array;
#X msg 101 117 \; \$1-pitch 69 \; \$1-q 0;
#X text 221 78 This subpatch initializes the patch \, loads the sample and values into number boxes, f 17;
#X connect 1 0 2 0;
#X connect 2 0 3 0;
#X connect 2 0 6 0;
#X connect 3 0 7 0;
#X connect 4 0 0 0;
#X connect 6 0 4 0;
#X restore 540 440 pd init;
#X text 198 505 <-- Q (filter selectivity);
#X text 210 480 <-- center frequency;
#X text 210 429 <-- center pitch;
#X floatatom 193 542 5 0 20 0 - - - 0;
#X text 234 541 <-- add up to 20 dB;
#X text 35 98 Note that filters can give unexpected level changes. The [bp~] object is designed to have roughly unit gain at the pass band \, so the higher you set "Q" the more amplitude is lost. You can correct for this by pushing the output amplitude \, but be sure to remember to reset the output amplitude before you reduce Q again. I set the Q to 100 and add an amplitude gain of 10 or 20 (with the [output~] volume way down!) Then holding the shift key \, slowly drag the center pitch upward listening for modes., f 82;
#X obj 193 640 dbtorms~;
#X obj 193 565 pack f 20;
#X obj 193 589 line~;
#X obj 193 614 +~ 100;
#X obj 145 679 *~;
#X obj 62 688 vu 21 160 empty empty -1 -10 0 12 #404040 #000000 1 0;
#X obj 61 654 - 100;
#X text 130 808 <-- the [vu] object is used to display values in dBFS, f 27;
#X text 263 636 convert to amplitude values (up to 10), f 21;
#X obj 89 15 cnv 5 5 25 empty empty Measuring\ Spectra\ Using\ Band-Pass\ Filters 15 13 0 16 #dfdfdf #202020 0;
#X obj 122 363 tabplay~ \$0-array;
#X obj 238 392 bng 19 250 50 0 empty empty empty 0 -10 0 12 #dfdfdf #000000 #000000;
#X obj 122 334 loadbang;
#X connect 0 0 6 0;
#X connect 0 0 23 0;
#X connect 1 0 0 0;
#X connect 2 0 3 0;
#X connect 3 0 1 1;
#X connect 3 0 0 1;
#X connect 4 0 1 2;
#X connect 4 0 0 2;
#X connect 5 0 2 0;
#X connect 6 0 25 0;
#X connect 16 0 20 0;
#X connect 19 0 23 1;
#X connect 20 0 21 0;
#X connect 21 0 22 0;
#X connect 22 0 19 0;
#X connect 23 0 10 0;
#X connect 25 0 24 0;
#X connect 29 0 1 0;
#X connect 29 1 30 0;
#X connect 30 0 29 0;
#X connect 31 0 29 0;
