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BASIC ANALOG MODULES 193 tooth with an op-amp connected as a comparator. The sawtooth is fed into one side of the comparator and a dc width control voltage is fed into the other side. The comparator output will be high whenever the instantaneous sawtooth voltage is higher than the dc comparison voltage and low otherwise. Thus, the duty cycle of the output varies between 100% and 0% as the dc comparison voltage varies between - 10 V and + 10 V. A small amount of positive feedback gives a Schmidt trigger action to the comparator, which maintains fast rise and fall times even though the sawtooth frequency may only be a fraction of a hertz. The amplitude of the rectangular wave is set by the saturation voltage of the op-amp's output in the circuit shown, although precise standard voltage levels may be easily obtained if desired. Deriving a triangle waveform from a sawtooth is interesting but relatively simple. The basic idea is to full-wave rectify the sawtooth, which gives the required shape, and then remove the de component and rescale it back to standard levels. The first step is to obtain a standardized sawtooth opposite in phase to the one already generated with a simple unity gain inverter. The two out-of-phase sawtooths are then fed into a classic two-diode full-wave center-tap rectifier. A resistor to the negative power supply keeps some current flowing through one of the diodes at all times. This simple, openloop rectifier is far superior to the usual closed-loop rectifier found in op-amp application notes at the higher audio frequencies. Finally, the triangle output amplifier removes the dc (a portion of which is the rectifier diode's forward voltage) and scales the triangle to standard levels. Although the shaping is essentially perfect, there is a small glitch in the triangle when the sawtooth is resetting. This may be minimized by injecting a pulse of opposing polarity at this time or by using a low-pass filter to smooth over the glitch. A good sine wave may be obtained from the triangle wave by distorting it with a nonlinear circuit. Figure 6-9E shows how a sine-shaped transfer function can round the pointed peaks of a triangle wave into an approximate sine shape. Although several types of nonlinear circuits can be used, the FET-based circuit in Fig. 6-9F works well and is inexpensive. Note that the amplitude of the triangle input must be very carefully matched to the nonlinear transfer function for minimum sine wave distortion. This would normally be accomplished with two trim adjustments, one for amplitude, and the other to compensate for asymmetry. Total harmonic distortion can usually be trimmed to less than 1% with this circuit. Lower distortion is possible by following the sine shaper with a tracking low-pass filter. Practical Schematic A complete, practical schematic of the veo is given in Figs. 6-10 and 6-11. All input structures are resistive (lOOK) to an op-amp summing junction and can be expanded to fit individual needs. Trimming adjustments are provided so that input sensitivities and output amplitudes can be ad-
194 MUSICAL ApPLICATIONS OF MICROPROCESSORS justed to precisely match the system standards for use in a precalibrated computer-controlled system. The existence of + 10 and -10 system reference voltages is assumed. Also, several refinements beyond the basic circuit blocks just described have been incorporated. The input circuit for exponential control voltages has been refined by EXPONENTIAL { FREQUENCY CONTROL : INPUTS • ALL 100 k 0.1% ZERO INPUT FREQUENCY -10 V ref 50 k +IOV ref 30 pF CLOSE THERMAL CONTACT / 6 ------",-------', AD818 "-"----"' " " MATCHED loon" " PAIR " , 390n DI I MIl 47k 10 k [ref = 10)JA LINEAR FREQUENCY 1 MIl CONTROL o--.--JVI,'v_-O---=-j INPUT 10%IVOLT 110 k ..-0.33%/ O C TEMPERATURE COMPENSATING Q81 FROM TEL LABS OR EQUIVALENT +15 V 0.1 ,.,F 470 n 18 pF I +IS V IS k o 100 -15v.lti- r'lsec ~~~--o 6~~~0T 3.9 V = O.I)JF 39 pF I k 10 k 10 k 1% 1% -IS V 2.2 k +10 V ref RAW L- ~O SAWTOOTH +SV 0/1./t- OUTPUT .. HIGH PINCHOFF LOW-ON-RESISTANCE JFET Fig. 6-10. Practical veo input processor and oscillator
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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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82 MUSICAL ApPUCATIONS OF MICROPROC
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vvv·(B) 86 MUSICAL ApPLICATIONS OF
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100 MUSICAL ApPLICAnONS OF MICROPRO
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Page 171 and 172: Table 5-1. 6502 Instruction Set Lis
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DIGITAL-TO-ANALOG AND ANALOG-TO-DIG
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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 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 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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