#N canvas 616 23 514 591 12;
#X declare -path else;
#X obj 270 467 hsl 128 15 3 10 0 0 empty empty empty -2 -8 0 10 #dcdcdc
#000000 #000000 0 1;
#X text 319 490 Q;
#X text 244 345 dB;
#X obj 152 520 out~;
#X obj 152 478 lowpass~ 0 5;
#X obj 267 489 nbx 4 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10
#dcdcdc #000000 #000000 0 256;
#X floatatom 243 397 5 0 0 0 - - - 0;
#X floatatom 295 397 5 0 0 0 - - - 0;
#X floatatom 347 397 5 0 0 0 - - - 0;
#X floatatom 399 397 5 0 0 0 - - - 0;
#X obj 344 22 declare -path else;
#X obj 192 342 display~ 6;
#X obj 152 262 play.file~ pointy-pick.aif 1 1;
#X text 34 68 We can adapt the wha wha patch to have an amplitude analysis
controlling the cutoff filter instead of a LFO. This is much like the
"Envelope Filter" example from Subtractive Synthesis as applied to
audio \, and known as "Auto Wah" (used a lot in funk music \, by the
way) because the wha wha control is automatically set by the input
amplitude., f 61;
#X text 34 164 The [mov.rms~] object is used then as an envelope follower.
We get this amplitude average in dB and rescale to a frequency range
with [rescale~]. In the example below we rescale the input from -40
to -5 dB into the range of 100 to 4000 Hz., f 61;
#X obj 192 307 mov.rms~ -db 256;
#X obj 192 426 rescale~ -clip -40 -5 100 4000;
#X connect 0 0 5 0;
#X connect 4 0 3 0;
#X connect 5 0 4 2;
#X connect 6 0 16 1;
#X connect 7 0 16 2;
#X connect 8 0 16 3;
#X connect 9 0 16 4;
#X connect 11 0 16 0;
#X connect 12 0 4 0;
#X connect 12 0 15 0;
#X connect 15 0 11 0;
#X connect 16 0 4 1;
