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To sync an LFO to the onset of a note, drive it with a phasor~ object. Send a phase value of "0" into the right inlet of phasor~ when the note starts, as seen in this example.

Some interesting effects can be obtained by feeding the output of a delay line back into itself and adding that to whatever new sound is coming in. The result is delays of delays, echoes of echoes, etc. As was shown in the discussion of Comb filtering, short delays fed back at a specific rate will have a strong resonance effect on the timbre of a sound.

Will need to download the pan~ abstraction found here.

For this example to work properly, you must first download "Abstraction for mixing or crossfading two audio signals" and save it with the name xfade~.maxpat. Then you must ensure that your xfade~.maxpat file is in the Max search path, or you must save this example patch in the same folder as the xfade~.maxpat file and reopen it, so that this patch can find the xfade~ object.

An exponential amplitude fade is usually more subjectively natural-sounding than a linear amplitude fade. This patch allows you to compare the two.

The idea of “sample and hold” is to capture the amplitude of a signal at a particular instant in time, and hold it constant for a while. In MSP, the sah~ object allows you to do just that.

Whenever the time interval of a metro object is specified using tempo-relative time units such as note values, the operation of that metro will be governed by the transport.

When sound waves are mixed together, be it mathematically within the computer or physically in the air, they “interfere” with each other.