#N canvas 473 38 542 639 12;
#X declare -stdpath ./;
#X obj 76 257 output~;
#X obj 76 221 +~;
#X obj 76 153 +~;
#X obj 201 148 +~;
#X obj 201 90 osc~ 440;
#X obj 76 90 osc~ 330;
#X obj 94 121 osc~ 330.2;
#X obj 219 121 osc~ 440.33;
#X obj 336 145 +~;
#X obj 336 90 osc~ 587;
#X obj 354 121 osc~ 587.25;
#X obj 76 190 +~;
#X text 55 539 In contrast to the previous example \, the oscillators are not tuned to the overtone series (ratios 1:2:3:4...) and so the frequencies 330 \, 440 \, and 587 are heard separately.;
#X obj 244 274 declare -stdpath ./;
#X text 56 472 They are all summed using [+~] objects. They could have been summed in any order ([+~] is commutative for practical purposes) but here they are added in pairs to emphasize the relationships between them.;
#X obj 64 23 cnv 5 5 25 empty empty Beating\ between\ closely\ tuned\ sinusoids 15 13 0 16 #dfdfdf #202020 0;
#X text 58 345 In each of the three pairs of oscillators above \, the two frequencies are within 1/3 Hz or closer (for example \, the leftmost ones are close to 330 Hz but separated by 1/5 Hz). The result is a gradual change in amplitude as the phases of the two slip against each other. This is called beating. More complex beating patterns may be made by using three or more oscillators. Also their amplitudes need not be equal (as they are here).;
#X connect 1 0 0 0;
#X connect 2 0 11 0;
#X connect 3 0 11 1;
#X connect 4 0 3 0;
#X connect 5 0 2 0;
#X connect 6 0 2 1;
#X connect 7 0 3 1;
#X connect 8 0 1 1;
#X connect 9 0 8 0;
#X connect 10 0 8 1;
#X connect 11 0 1 0;
