#N canvas 529 75 521 679 12;
#X declare -stdpath ./;
#X obj 125 493 output~;
#X obj 125 456 clip~ 0 1;
#X obj 125 210 mtof;
#X floatatom 125 184 5 20 100 0 - \$0-pitch - 0;
#X obj 125 402 *~ 20;
#X obj 125 428 -~ 19;
#X obj 125 270 phasor~;
#X obj 186 360 output~;
#X text 168 183 <-- pitch;
#X obj 86 17 cnv 5 5 25 empty empty Foldvoer\ in\ Sawtooth\ Waves 15 13 0 16 #dfdfdf #202020 0;
#N canvas 698 337 346 274 init 0;
#X obj 125 81 loadbang;
#X obj 92 204 declare -stdpath ./;
#X obj 125 144 s \$0-pitch;
#X text 57 23 This subpatch initializes the patch (and sets the pitch to 61)., f 29;
#X msg 125 113 72;
#X connect 0 0 4 0;
#X connect 4 0 2 0;
#X restore 338 200 pd init;
#X text 248 512 <-- pulse train;
#X text 85 590 * We'll explain more about making pulses later on... this example is mostly intended as ear training., f 52;
#X floatatom 125 240 9 20 100 0 - - - 0;
#X text 39 64 In more ordinary kinds of waveforms \, foldover comes across as a "cheap synth" sound. You can hear the foldover clearly in the pulse train here \, and less clearly (but still audibly) in the [phasor~] output (which has a sawtooth like shape). The foldover is more proeminent at higher pitches (set pitch to other values and try it)., f 61;
#X obj 186 309 *~ 2;
#X obj 186 333 -~ 1;
#X text 302 381 <-- sawtooth;
#X text 207 432 turn [phasor~] into a pulse train *, f 20;
#X text 238 302 turn [phasor~] into a more proper sawtooth like waveform (from -1 to 1), f 25;
#X connect 1 0 0 0;
#X connect 2 0 13 0;
#X connect 3 0 2 0;
#X connect 4 0 5 0;
#X connect 5 0 1 0;
#X connect 6 0 4 0;
#X connect 6 0 15 0;
#X connect 13 0 6 0;
#X connect 15 0 16 0;
#X connect 16 0 7 0;
