#N canvas 569 28 554 581 12;
#X declare -path else;
#X obj 210 487 out~;
#X obj 210 444 sine~;
#X obj 210 406 +~;
#X obj 160 248 f2s~ 10;
#X obj 228 337 sine~;
#X obj 228 370 *~;
#X obj 294 357 nbx 5 14 -1e+37 1e+37 0 0 empty \$0-index empty 0 -8
0 10 -228856 -1 -1 100 256;
#X text 351 355 Index;
#X obj 228 285 *~;
#X obj 246 254 f2s~ 10 1;
#X obj 294 382 f2s~ 10;
#X obj 246 231 nbx 5 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10
-228856 -1 -1 0.5 256;
#X obj 160 225 nbx 5 14 -1e+37 1e+37 0 0 empty \$0-carrier empty 0
-8 0 10 -228856 -1 -1 300 256;
#X obj 352 445 initmess \; \$0-carrier 300 \; \$0-ratio 0.5 \; \$0-index
100;
#X obj 249 208 hsl 128 15 0.5 2 0 0 empty \$0-ratio empty -2 -8 0 10
-228856 -1 -1 0 1;
#X text 163 202 Hz;
#X text 107 336 carrier =>;
#X text 240 308 <= modulator;
#X text 306 227 Ratio;
#X text 62 67 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 353 20 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;
