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DIRECT COMPUTER SYNTHESIS METHODS 123<br />

the user can actually think in terms <strong>of</strong> standard voltage-controlled modules<br />

but with functions, accuracy, range, and quantity impossible to achieve<br />

with real modules.<br />

The actual music language associated with MUSIC V is quite different<br />

from that <strong>of</strong> NOTRAN. In particular there is no parallel with standard<br />

music notation. Instead, all <strong>of</strong> the information is in terms <strong>of</strong> physical sound<br />

parameters such as frequency in hertz, amplitude in volts or decibels, time in<br />

milliseconds, etc. Often tables <strong>of</strong> values are used to specify how each <strong>of</strong> these<br />

parameters are to change with time during an event.<br />

The MUSIC V processor is actually configured into threepasses or scans<br />

<strong>of</strong> the input data. During pass one, the services <strong>of</strong> a macroprocessor program<br />

are available to allow certain repetitive statements to be generated under the<br />

control <strong>of</strong> higher-level parameters. Also done during pass one is instrument<br />

definition as a combination <strong>of</strong> predefined modules called unit generators.<br />

Integration <strong>of</strong> parameters in graphic form into the score is also possible. One<br />

unique feature <strong>of</strong> the MUSIC V system is that during pass one the statements<br />

describing instruments and notes do not have to be in time order. This<br />

feature makes the macroprocessor more flexible and easily applied.<br />

Pass two is a sorting program that sequences the output from pass one<br />

into strict time sequence. At this point, some additional processing <strong>of</strong><br />

parameters that influence a number <strong>of</strong> sequential notes can be performed,<br />

since the statements are in time sequence. For example, time scale shifts for<br />

retards or fine frequency ratio control among simultaneous notes would<br />

normally be done during pass two.<br />

Pass three is the actual language interpreter and sound generation<br />

program. It works much like the NOTRAN interpreter just described except<br />

that it is much more sophisticated. One or two streams <strong>of</strong> samples may be<br />

produced for monophonic and stereophonic sound, respectively.<br />

Extending the MUSIC V system is much less restriered than with<br />

NOTRAN. Most desirable expansions amount to writing additional processing<br />

programs for pass one. For example, it would be possible to write a<br />

processor that would convert a NOTRAN score into equivalent MUSIC V<br />

complete with equivalent voices constructed from available unit generators.<br />

Additional unit generators or even entire instruments that are not conveniently<br />

described in terms <strong>of</strong> unit generators could also be added to pass three.<br />

Loosely Structured Systems<br />

Looking again at loosely structured systems, the data base is seen to be<br />

the most important component <strong>of</strong> the system, in fact, the only link (hat<br />

holds it all together. Several different kinds <strong>of</strong> data can be kept in the data<br />

base. Using a hypothetical system as an example, it is obvious that sample<br />

data representing a previously computed piece or sampled natural sounds<br />

would be present. Curves <strong>of</strong> all sorts such as amplitude envelopes, spectrum

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