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BASIC ANALOG MODULES 195 +IOVrel PULSE WIDTH MODULATION INPUT 100 kfi~+--=-I +IDV n n -IOV -.J LI L 10 k 1% RAW SAWTOOTH FROM o--'V'8=---~>------------og~~~8$TH I 03 IN914 10 k 18 pF 20 k -10 V reI -15V "ADJUST FOR MINIMUM "GLITCH" TRIANGLE SINE INPUT ~SHAPE FROM TRIM ABOYE 10 kfi -T--~-t------, IMn 4.7 kD. 04 1500. IN914 03 2N3819 IMn 100 kn -= SINE SYMMETRY TRIM 05 IN914 1500. 100kn >-~o---------o 6~fpUT +IOV" " -lOY' V V -lOY ref +IOV ref Fig. 6-11. Practical veo output waveshapers using a thermistor in the feedback network to cancel out the remammg exponential converter temperature coefficient. At room temperature, this coefficient is about - 3,300 parts per million (ppm) per DC; thus, a resistor with a +3,300 ppm temperature coefficient is required. Note that the compensation is exact only at 27 D C because the exponential converter temperature dependence goes as liT rather than as KT, which the resistor provides. Nevertheless, temperature drift due to the exponential converter is
196 MUSICAL ApPLICATIONS OF MICROPROCESSORS reduced to the same order of magnitude as other circuit drifts in the typical studio environment. Two other minor errors are corrected by modifying the reference current regulator for the exponential converter. One of these is due to the finite "bulk" resistance in the converter transistors. The other is due to finite discharge time in the sawtooth oscillator. Both effects cause high frequencies to be lower than they should be. The magnitude of both errors is directly proportional to the magnitude of the control current from the converter. The addition of Oland R5 couples a voltage that is directly proportional to the control current back into the control input summer. This voltage is developed across the 10K protective resistor in series with the reference current regulator. The diode cancels a o.6-v offset that exists at low values of control current. In use, R5 is adjusted for optimum high-frequency tracking. The sawtooth oscillator proper uses a high-speed, very-Iow-inputcurrent op-amp as the integrator. The odd power supply hookup for A3 is necessary because it cannot stand total supply voltages beyond 15 V. Note that the type 311 comparator has an open-collector output so that when its pullup resistor is tied to ground its output voltage swings between -15 V and a V, the range needed by Q4. Figure 6-11 shows the waveform standardizers and shapers with all adjustments and parts values. The sawtooth output is taken from the second inverter rather than the first shown earlier so that a positive going ramp is produced. The negative ramp at the output of A4 could also be brought out if desired. The glitch in the triangle wave mentioned earlier is largely cancelled by injecting an opposite polarity pulse derived from the rapid retrace of the negative ramp. The rectangular-wave amplitude is standardized by the saturating complementary emitter follower, Q5 and Q6. Using this circuit, voltage levels of the rectangle will equal the ± 10-V system reference voltages to within a couple of millivolts. Adjustment Adjustment of the circuit is straightforward and need not require a lot of test equipment, although a frequency counter, accurate digital voltmeter, and oscilloscope are' helpful. For use in a precalibrated computer-controlled system, the adjustments should be made to the values listed in Table 6-1. These values offer the most logical control relationship and widest possible range in a precalibrated system. Ideally, they should be set as accurately as possible and then rechecked every few months of operation. This will allow programming of the system to proceed with minimal concern over analog errors in the system. Also shown in the calibration table are performance parameters obtained from a breadboard of the circuit. As can be seen, the performance is excellent in nearly all respects and certainly much better than could be obtained just a few years ago at 10 times the cost.
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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 39 No li
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60 MUSICAL ApPLICATrONS OF MICROPRO
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68 MUSICAL ApPLICAnONS OF MICROPROC
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82 MUSICAL ApPUCATIONS OF MICROPROC
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84 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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102 MUSICAL ApPLICATIONS OF MICROPR
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Page 224 and 225: BASIC ANALOG MODULES 211 INPUT~OUTP
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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 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 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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