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BASIC ANALOG MODULES 197 Table 6-1. Adjustment of Voltage-Controlled Oscillator Oscillator adjustment 1. Set "zero input frequency" pot for 60 Hz (use power line sync on oscilloscope) with no control voltages applied 2. Apply 1.000 V to an exponential control input and adjust "ocVv adjust pot" for 120 Hz output 3. Remove the control voltage and adjust the "zero input frequency" pot for 16.3525 Hz 4. Apply +10 V to a control input and adjust "high-frequency track" pot for 16745 Hz Waveshaper adjustment 1. Using a moderate frequency (1 kHz) adjust "triangle balance" pot for best triangle waveshape 2. Adjust "triangle offset" pot for equal positive and negative peaks 3. Vary the capacitance across 02 for minimum "glitch" on the positive peak of the triangle 4. Alternately adjust "sine shape trim" and "sine symmetry trim" for lowest harmonic distortion 5. Adjust sine amplitude for 20 V pop output. Sine symmetry may have to be touched up for equal positive and negative peaks Performance of breadboarded unit Control voltage 0.000 1.000 2.000 3.000 4.000 5.000 6.000 7.000 8.000 9.000 10.000 Frequency (Hz) 16.35 32.71 65.44 131.1 261.9 524.3 1048.0 2096.0 4190.0 8379.0 16745.0 Error (%) o o +0.05 +0.21 +0.10 +0.19 +0.14 +0.13 +0.09 +0.08 o Average temperature coefficient at 1 kHz from +25°C to +35°C is 0.11 %/ °C. Voltage-Controned Amplifier The VCA is the second of the "basic three" modules. For many applications, its performance is not nearly as critical as the VCO just described. This is because VCAs are normally utilized to control the amplitude of an audio signal, and the human ear is much less sensitive to inaccuracies in amplitude control than it is to imperfect frequency control. The typical VCA module used in a "manual" synthesis system, therefore, is seldom very precise or carefully calibrated. For a critical application, the user is expected to calibrate the VCA using the several panel controls that are normally available. In the precalibrated computer-controlled system, however, the use of VCAs to process control signals, which may eventually control a VCO, is more likely. For example, the control inputs to a precalibrated VCO will
198 MUSICAL ApPLICATIONS OF MICROPROCESSORS have a fixed but precisely known octave/volt control sensitivity. If one wishes a variable (by the computer) control sensitivity, then a VCA with the control input driven by the computer is inserted in the control path to the VCO. Depending on the design, a VCA may be used as a multichannel mixer with the gain of each channel set by an individual control voltage. When used to mix control voltages, its accuracy again becomes important. Thus, it is apparent that for maximum usefulness attention should be given to accuracy and temperature drift in the design of the VCA. Controlled Gain Block The heart of the VCA is the controlled gain block. Actually, a multiplication of one signal (the signal voltage) by another (the control voltage or a function thereof) is being performed. Full four-quadrant multiplication where the output is the true algebraic product of the instantaneous voltages, either positive or negative, at the control and signal inputs is certainly acceptable if not desirable. Note that if this were true, there would be no distinction between control and signal inputs to the block. Actually fourquadrant circuits are fairly difficult and less accurate than two-quadrant circuits. The two-quadrant circuit restricts the control voltage to positive values, while both positive and negative signal voltages are acceptable. In the past, virtually any scheme that would electrically vary the gain of a circuit was a candidate for the controlled-gain block. Really ancient methods include the use of a photoresistive cell (cadmium sulfide type) illuminated by a neon lamp and remote cutoff pentode vacuum tubes that were designed for variable-gain applications. Even servo motor-driven potentiometers were used when cost was no object. More modern methods include the use of a junction FET as a voltage-variable resistor or recognition of the fact that the dynamic resistance of a diode decreases with increasing forward current. Variation in the gain of a transistor amplifier with bias-current variation was another popular method. The two standards of comparison that have been used in the past for gain-control techniques are control-to-signal isolation and signal distortion. Control feedthrough into the signal generally results in high-amplitude, low-frequency thumping noises whenever the gain is rapidly changed. Even a moderate amount of such feedthrough is completely unacceptable in modern voltage-controlled equipment usage. Signal distortion, if present, is usually worst at low-gain settings wI,ere it is least likely to be noticed. Besides these, speed and accuracy of response are now of great importance also. Using the first two performance standards, the lamp-photocell approach is essentially perfect. The FET voltage-variable resistor has no control feedthrough but does distort the signal some unless its amplitude is quite small. All other methods (except servo pots) suffer from both maladies to some extent. Unfortunately, a lamp-photocell variable-gain block is impractical for an electronic music VeA because it is very slow, having time
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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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44 MUSICAL ApPLICATIONS OF MICROPRO
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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 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 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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