#N canvas 392 23 708 715 12;
#X obj 251 572 *~;
#X obj 251 682 outlet~;
#X obj 94 489 makefilename sample%d;
#X msg 94 512 set \$1;
#X obj 329 515 dbtorms;
#X obj 329 538 sqrt;
#X obj 329 561 sqrt;
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#X obj 251 620 *~;
#X obj 329 607 *~;
#X obj 329 630 *~;
#X msg 92 179 bang;
#X obj 104 206 delay 5;
#X obj 405 273 f;
#X obj 370 273 f;
#X obj 296 273 f;
#X obj 257 273 f;
#X obj 226 273 f;
#X obj 127 265 f;
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#X obj 127 334 * 4.41e+08;
#X obj 127 365 +;
#X obj 104 229 t b b b;
#X obj 296 319 + 1;
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#X msg 92 437 0 5;
#X msg 269 437 1 5;
#X msg 329 437 0 \, \$1 \$2;
#X msg 128 437 \$3 \, \$4 1e+07;
#X msg 227 437 \$5;
#X msg 405 437 0 \$1;
#X obj 254 108 inlet;
#X text 474 232 pitch in halftones;
#X text 475 209 amplitude (dB);
#X text 475 257 sample number;
#X text 475 281 start location (msec);
#X text 475 305 rise time (msec);
#X text 475 329 decay time (msec);
#X text 474 184 ARGUMENTS FOR NOTE ON:;
#X text 436 368 (Zero amplitude means note off \;;
#X text 457 389 other parameters are ignored.);
#X obj 254 141 route 0;
#X text 37 15 This is an abstraction used by the polyphonic sampler
\, version 2 \, which takes separate note-on and note-off messages.
Unlike "sampvoice" (the first version) \, there is no "duration" field
\, and the amplitude and pitch fields are reversed to make it easy
to separate note-on from note-off messages (which have amplitude zero.)
, f 71;
#X text 323 152 note-on;
#X text 187 152 note-off;
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