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114 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

Minimum System<br />

Figure 4-5 shows the minimum hardware complement necessary for<br />

direct computer synthesis. Note, however, that the only device limiting the<br />

quality and complexity <strong>of</strong> the sound is the DAC and audio tape recorder for<br />

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AUDIO TAPE<br />

RECORDER<br />

Fig. 4-5. Minimum system for direct computer synthesis.<br />

recording the results. Otherwise thefltll power <strong>of</strong> the technique is available on<br />

this system. More elaborate setups can materially improve speed and convenience<br />

<strong>of</strong> use but do not directly improve the sound itself.<br />

The program entry and editing facility is probably the most crucial in<br />

providing an easy to use system. Music <strong>of</strong> significant complexity requires<br />

dozens and even up to hundreds <strong>of</strong> pages <strong>of</strong> typed sound specifications, music<br />

notation adapted for computer use, and other instructions. The ability to<br />

easily enter and edit this information is <strong>of</strong>great importance. Perhaps the least<br />

desirable medium for this task is the old punch-card and printer listing<br />

approach. Use <strong>of</strong> a CRT terminal is probably the most desirable <strong>of</strong> all<br />

standard computer input techniques. Dedicated and personal installations<br />

may use any technique that is appropriate or affordable, although the CRT<br />

terminal approach is still the most likely.<br />

The computer itself is not really very important. If one <strong>of</strong> the "canned"<br />

direct synthesis programs is to be used, the computer must be able to accept<br />

the language it was written in and have sufficient memory to hold the<br />

program. Speed is important, since it directly affects the running time <strong>of</strong> a<br />

synthesis program. The computer also should have "automatic multiply and<br />

divide," a feature that increases the effective speed <strong>of</strong> most synthesis programs<br />

by a factor <strong>of</strong> five or more.<br />

Storage <strong>of</strong> Samples<br />

It is safe to say that any serious direct synthesis program computing<br />

nontrivial music will not run in real time. This means that the 10,000 to<br />

50,000 samples needed for each and every second <strong>of</strong> sound simply cannot be<br />

computed as fast as they are used. Also, without a great deal <strong>of</strong> difficulty and<br />

loss <strong>of</strong> efficiency, the rate that can be computed varies erratically according to

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