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RATIO CONTROL VOLTAGE-CONTROL METHODS veD I OUT SINE- EXP I [XP 2 LIN • TO FURTHER PROCESSING 99 MAIN FREQUENCY CONTROL VOLTAGE TRIGGER GATE .... .. veo 2 ~~ir- VCA r- EXP • ENVELOPE GEN EXP Fig. ~9. Patch for dynamic depth FM Patch for Dynamic Depth FM Figure 3-9 shows a possible patch for dynamic depth FM. VCO 1 is the primary VCO) which provides the modulated signal. veo 2 supplies the modulating signal. veo 1 is modulated by veo 2 through an auxiliary linear control input. This is necessary for the preceding analysis to be valid. Note that the main frequency control voltage is connected to both veos. Since these control inputs are exponential, the "ratio" voltage level determines the ratio between the modulated signal's cerreer frequency and the modulating frequency. If, for example, it was set to 2 V, then veo 1 (unmodulated) would track veo 2) but two octaves higher. The modulation depth is set by a VCA controlled by an envelope generator. Thus) if this setup were connected to a keyboard) for example, the keyboard output voltage would control the frequency of both oscillators) but veo 1 would always be four times higher in frequency than veo 2. The apparent pitch of the generated tones would be equal to the frequency of veo 2. The trigger and gate signals from the keyboard would be connected ro the envelope generator, which, in turn, produces the control voltage that determines the modulation index, and thus the spectrum of the rone. For producing actual notes, the output of veo 1 would at the very least pass through another VeA controlled by the same or another envelope generator in order to apply an amplitude envelope. Changing the ratio voltage also affects the modulation index and, if not set for a simple ratio) results in inharmonic spectra. This voltage could even be set so that the modulated signal's center frequency is less than the modulating frequency. One point should be kept in mind as the parameters in the system are varied. With the linear input to VCO 1, it is possible to specify a negative instantaneous frequency. The most popular veo designs
100 MUSICAL ApPLICAnONS OF MICROPROCESSORS will simply cease oscillating under this condition and thus invalidate the analysis as well as creating a suddenly harsh sound. Designs are possible, however, that will oscillate in oppoJite phase if the instantaneous frequency is negative. With this type of oscillator, the analysis holds and there need be no concern about negative frequencies.
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Musical Applications of Microproces
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© 19B5 by Hayden Books A Division
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serve to acquaint the general reade
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SECfrON II. Computer-Controlled Ana
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17. Digital Hardware 589 AnalogModu
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1 Music Synthesis Principles Creati
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MUSIC SYNTHESIS PRINCIPLES 5 own ar
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MusIC SYNTHESIS PRINCIPLES 7 Increa
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MUSIC SYNTHESIS PRINGPLES 9 VERY SM
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MUSIC SYNTHESIS PRINOPLES 11 repres
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MUSIC SYNTHESIS PRINCIPLES 13 The w
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MUSIC SYNTHESIS PRlNCIPLES 15 was c
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MUSIC SYNTHESIS PRlNOPlES 17 In act
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MUSIC SYNTHESIS PRINCIPLES 19 SIN (
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MUSIC SYNTHESIS PRINCIPLES 21 lILt!
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MUSIC SYNTHESIS PRINCIPLES 23 - ,--
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MUSIC SYNTHESIS PRINOPLES 25 + or--
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MUSIC SYNTHESIS PRINCIPLES 27 Human
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MUSIC SYNTHESIS PRINOPLES 29 fundam
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MUSIC SYNTHESIS PRINCIPLES 31 frequ
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MUSIC SYNTHESIS PRINCIPLES 33 from
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MUSIC SYNTHESIS PRINCIPLES 35 ever,
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MUSIC SYNTHESIS PRINCIPLES 37 have
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MUSIC SYNTHESIS PRINCIPLES 39 No li
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MUSIC SYNTHESIS PRINCIPLES 41 cropr
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44 MUSICAL ApPLICATIONS OF MICROPRO
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46 MUSICAL ApPLICATIONS OF MICROPRO
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150 MUSICAL ApPLICATIONS OF MICROPR
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Table 5-1. 6502 Instruction Set Lis
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Coding Table 5-3. 68000 Addressing
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Table 5-4. 68000 Instruction Set Su
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Table 5-4. 68000 Instruction Set Su
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6 BasicAnalogModules Probably the m
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BASIC ANALOG MODULES 179 tage remai
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BASIC ANALOG MODULES 181 Op-amps ma
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BASIC ANALOG MODULES 183 '0: :? u
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BASIC ANALOG MODULES 185 with an id
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BASIC ANALOG MODULES 187 EXPONENTIA
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BASIC ANALOG MODULES 189 (or 0.9766
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BASIC ANALOG MODULES 191 4R Vr'o'M
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BASIC ANALOG MODULES 193 tooth with
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BASIC ANALOG MODULES 195 +IOVrel PU
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BASIC ANALOG MODULES 197 Table 6-1.
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BASIC ANALOG MODULES 199 constants
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BASIC ANALOG MODULES 201 12 ~ E 1-
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BASIC ANALOG MODULES 203 R2 R3 100
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BASIC ANALOG MODULES 205 fore, must
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BASIC ANALOG MODULES 207 For peak p
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BASIC ANALOG MODULES 209 22 pF RI S
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BASIC ANALOG MODULES 211 INPUT~OUTP
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BASIC ANALOG MODULES 213 Voltage-Tu
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BASIC ANALOG MODULES 215 +20 +15 +1
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BASIC ANALOG MODULES 217 100 ko. BA
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BASIC ANALOG MODULES 219 +15 V0----
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Digital-to-Analog and tlnalog-to-Di
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DIGITAL-TO-ANALOG AND ANALOG-TO-DIG
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300 MUSICAl ApPLICATIONS OF MICROPR
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11 CORtrolSequeRce Display andEditi
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CONTROL SEQUENCE DISPLAY AND EDITIN
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SECTIONIII DigitalSynthesis antl So
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Table 12·1. Design Data for Chebys
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~ o Table 12·1. (Cont.) Ripple = 1
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13 Digital Tone Generation Teehniqu
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DIGITAL TONE GENERATION TECHNIQUES
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Sample Number Harm. No. o 2 3 4 5 6
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Sample Spectrum Number 0 1 2 3 4 5
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1,0 0,8 0,6 0.4 0,2 °0 10 12 14 16
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1,o,-----------,----------" Y Ol---
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14 DigitalFiltering In analog synth
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DIGITAL FILTERING 483 Input Samples
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DIGITAL FILTERING 485 the input wav
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DIGITAL FILTERING 487 where 0 is no
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DIGITAL FILTERING 489 BAND REJECT >
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DIGITAL FILTERING 491 Next the inpu
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DIGITAL. FILTERING 493 circuits mak
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DIGITAL FILTERING 495 OUTPUT Fig. 1
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DIGITAL FILTERING 497 INPUT ~8~~~~~
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DIGITAL FILTERING 499 the turnover
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DIGITAL FILTERING 501 frequency is
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+ 3 1 oL-_-...l__---l__---L__---r-_
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DIGITAL FILTERING 505 When programm
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DIGITAL FILTERING 507 lowest freque
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DIGITAL FILTERING 509 Even with a p
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DIGITAL FILTERING 511 OUTPUT Fig. 1
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DIGITAL FILTERING 513 INPUT VARIABL
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DIGITAL FILTERING 515 INPUT (C) -(.
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DIGITAL FILTERING 517 NOTE: Xl, Y,
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DIGITAL FILTERING 519 AMPLITUDE, (d
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DIGITAL FILTERING 521 o ~ -10 ~ -20
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DIGITAL FILTERING 523 1.0 0.8 0.6
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DIGITAL FILTERING 525 When the outp
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16 Source-SignalAnalys,is One of th
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SOURCE-SIGNAL ANALYSIS 545 nOdB T I
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--------, I I ! II i I I I I , , i"
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SOURCE-SIGNAL ANALYSIS 549 3 IN -"
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SOURCE-SIGNAL ANALYSIS 551 Data Rep
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SOURCE-SIGNAL ANALYSIS 553 SIGNAL B
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SOURCE-SIGNAL ANALYSIS 555 -5° FH
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SOURCE-SIGNAL ANALYSIS 557 -5 -10 ~
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SOURCE-SIGNAL ANALYSIS 559 Since th
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SOURCE-SIGNAL ANALYSIS 561 o -5 -10
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SOURCE-SIGNAL ANALYSIS 563 o -5 -10
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SOURCE-SIGNAL ANALYSIS 565 overlapp
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SOURCE-SIGNAL ANALYSIS 567 • ....
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SOURCE-SIGNAL ANALYSIS 569 from an
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SOURCE-SIGNAL ANALYSIS 571 componen
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SOURCE-SIGNAL ANALYSIS 573 and some
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SOURCE-SIGNAL ANALYSIS 575 185491 A
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SOURCE-SIGNAL ANALYSIS 577 SYSTEM F
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SOURCE-SIGNAL ANALYSIS 579 (AI (BI
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SOURCE-SIGNAL ANALYSIS 581 (Gl II'
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SOURCE-SIGNAL ANALYSIS 583 PULSE PE
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SOURCE-SIGNAL ANALYSIS 585 again, t
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SOURCE-SIGNAL ANALYSIS 587 Quite ob
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17 DigitalHardware At this point, w
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DIGITAL HARDWARE 591 Lsa I N+I DIVI
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DIGITAL HARDWARE 593 (~OCK[ L _ LSB
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DIGITAL HARDWARE 595 FREQUENCY CONT
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DIGITAL HARDWARE 597 Fig. 17-7. Pha
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DIGITAL HARDWARE 599 MOST SIGNIFICA
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DIGITAL HARDWARE 601 waveform chang
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DIGITAL HARDWARE 603 As an example,
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DIGITAL HARDWARE 605 1. Sixteen ind
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DIGITAL HARDWARE 607 discussed, the
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DIGITAL HARDWARE 609 between the 41
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DIGITAL HARDWARE 611 8-BIT PORT I M
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FREOUENCY CONTROL IN I I 20 FREOUEN
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DIGITAL HARDWARE 615 TO MULTIPLEXED
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FREQ. :a.-8 CNTL. WRITE FREQ. I 20
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DIGITAL HARDWARE 619 effective freq
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DIGITAL HARDWARE 621 The signal mem
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DIGITAL HARDWARE 623 into a filter
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DIGITAL HARDWARE 625 made using con
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DIGITAL HARDWARE 627 A Hybrid Voice
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DIGITAL HARDWARE 629 o -5 -10 -15 ~
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DIGITAL HARDWARE 631 o -5 -10 -15 ~
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DIGITAL HARDWARE 633 D3 02 01 10 00
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DIGITAL HARDWARE 635 plementers on
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DIGITAL HARDWARE 637 taken care of
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SECTIONIV ProductApplications andth
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716 MUSICAL ApPLICATIONS OF MJCROPR
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RING MOD VCD A PITCHo--+lcNTL OUT A
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20 Low-CostSYllthesis Techniques Wh
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LOW-COST SYNTHESIS TECHNIQUES 759 g
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LOW-COST SYNTHESIS TECHNIQUES 761 i
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LOW-COST SYNTHESIS TECHNIQUES 763 0
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LOW-COST SYNTHESIS TECHNIQUES 765 S
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LOW-COST SYNTHESIS TECHNIQUES 767 c
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LOW-COST SYNTHESIS TECHNIQUES 769 O
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LOW-COST SYNTHESIS TECHNIQUES 771 +
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LOW-COST SYNTHESIS TECHNIQUES 773 F
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LOW-COST SYNTHESIS TECHNIQUES 775 F
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LOW-COST SYNTHESIS TECHNIQUES 777 f
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21 Future Frequently, when glvmg ta
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LOW-COST SYNTHESIS TECHNIQUES 781 T
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LOW-COST SYNTHESIS TECHNIQUES 783 t
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LOW-COST SYNTHESIS TECHNIQUES 785 "
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LOW-COST SYNTHESIS TECHNIQUES 787 m
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LOW-COST SYNTHESIS TECHNIQUES 789 a
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Bibliography The following publicat
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BIBLIOGRAPHY 793 DMA DOS FET FFT FI
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(Communication) Minor - Computer Sc
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newsletter, writing numerous articl
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conversion subsystem, especially if
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In the beginning the company was su
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HAL : I really haven't kept up with
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was clear he was serious, I named m
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influences too like interrupts from
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SONIK : What activities do you do o
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as a homework assignment. So much o
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Musical Applications of Microproces
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