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Musical-Applications-of-Microprocessors-2ed-Chamberlin-H-1987

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VOLTAGE-CONTROL METHODS 87<br />

The last waveform is a sine wave whose characteristics need not be<br />

reiterated. Generally, the actual oscillator portion <strong>of</strong> a VCO generates one <strong>of</strong><br />

these waveforms and the others are derived from it by use <strong>of</strong> simple nonlinear<br />

circuits. The most popular type <strong>of</strong> oscil1ator inherently produces a very<br />

precise sawtooth wave with the ramp portion linear to within a fraction <strong>of</strong> a<br />

percent and a very shorr "flyback" period on the order <strong>of</strong> a microsecond or<br />

less. A triangle wave is obtained by taking the absolute value <strong>of</strong> the sawtooth<br />

voltage with a full-wave rectifier circuit. Actually, the resulting triangle has<br />

a little notch during the sawtooth flyback period, but it is usually inaudible.<br />

The rectangle wave may be derived either from the sawtooth or the triangle<br />

by use <strong>of</strong> an infinite clipper circuit. Variations in the duty cycle are accomplished<br />

by shifting the clipping threshold away from the zero voltage point.<br />

The sine wave is, oddly enough, created by passing the triangle wave<br />

through a "s<strong>of</strong>t clipping" drcuit. The- circuit rounds the peaks <strong>of</strong> the triangle<br />

and produces a sine wave with 0.2 to 2% total harmonic content, quite low<br />

enough to get the sugary sweet timbre characteristic <strong>of</strong> sine waves. The<br />

waveforms are usually sent out at fixed amplitudes such as 10 V positive and<br />

negative, although it is conceivable that output level controls might be<br />

provided.<br />

Voltage-Controlled Amplifier<br />

A voltage-controlled amplifier, abbreviated VCA, in many respects<br />

resembles the VCO in the way that control inputs are handled. However,<br />

since it is a modifier module, it has signal inputs. Usually, several signal<br />

inputs are provided. Depending on the sophistication (and expense) <strong>of</strong> the<br />

module, the signals may either be added together in equal proportions, have<br />

a mechanical gain control to determine the contribution <strong>of</strong> each input, or<br />

really be equivalent to several yeAs and have a control voltage determine the<br />

gain <strong>of</strong> each signal input. The second-mentioned case with front panel gain<br />

controls is probably the most common. Occasionally, one <strong>of</strong> the signal inputs<br />

may be equipped with a phase inversion switch, which allows harmonic<br />

cancelling when synchronized, but differently shaped waves are fed in or<br />

special effects when processing control voltages. [n any case, the VCA also<br />

functions as a mixer, since several signals may be combined into one. Mixing<br />

is the same as algebraic summation so if control voltages are processed with<br />

the VCA, they will add up just like the control voltage input circuitry <strong>of</strong> the<br />

VCO.<br />

The control input arrangement is similar to that <strong>of</strong> the VCO. Often<br />

fewer control inputs are summed together, since elaborate multisource modulation<br />

<strong>of</strong>amplitude is less common. A decibels per volt panel control can be<br />

expected as well as an overall gain control. The latter is <strong>of</strong>ten inserted in the<br />

signal path after the signal inputs have been mixed together but before the<br />

actual VCA circuit. This is done to minimize distortion in the VCA circuit if<br />

the input levels are unusually high. The VCA signal output is quite

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