#N canvas 669 55 500 546 12;
#X declare -path else;
#X obj 142 440 out~;
#X obj 142 397 sine~;
#X obj 142 359 +~;
#X obj 141 241 f2s~ 10;
#X obj 189 330 sine~;
#X obj 189 363 *~;
#X obj 251 341 nbx 5 14 -1e+37 1e+37 0 0 empty \$0-index empty 0 -8
0 10 #dcdcdc #000000 #000000 0 256;
#X text 308 339 Index;
#X obj 189 278 *~;
#X obj 207 247 f2s~ 10 1;
#X obj 251 366 f2s~ 10;
#X obj 207 224 nbx 5 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10
#dcdcdc #000000 #000000 0 256;
#X obj 141 218 nbx 5 14 -1e+37 1e+37 0 0 empty \$0-carrier empty 0
-8 0 10 #dcdcdc #000000 #000000 0 256;
#X obj 286 427 initmess \; \$0-carrier 300 \; \$0-ratio 0.5 \; \$0-index
100;
#X obj 210 201 hsl 128 15 0.5 2 0 0 empty \$0-ratio empty -2 -8 0 10
#dcdcdc #000000 #000000 0 1;
#X text 154 194 Hz;
#X text 58 312 carrier =>;
#X text 201 301 <= modulator;
#X text 267 220 Ratio;
#X text 30 59 It is common to set the modulator frequency as a ratio
of the carrier frequency. By doing so \, you only have one frequency
input. This structure also keeps the same sonority for different picthes
as the ratio relationship is intact. After all \, it is this ratio
that determines how the extra partials are spaced in the spectrum.
Note that harmonic ratios (such as 0.5) produce harmonic sounds as
a result.;
#X obj 304 19 declare -path else;
#X connect 1 0 0 0;
#X connect 2 0 1 0;
#X connect 3 0 2 0;
#X connect 3 0 8 0;
#X connect 4 0 5 0;
#X connect 5 0 2 1;
#X connect 6 0 10 0;
#X connect 8 0 4 0;
#X connect 9 0 8 1;
#X connect 10 0 5 1;
#X connect 11 0 9 0;
#X connect 12 0 3 0;
#X connect 14 0 11 0;
