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Musical-Applications-of-Microprocessors-2ed-Chamberlin-H-1987

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BASIC ANALOG MODULES 211<br />

INPUT~OUTPUT~ -~t------<br />

..L C z -10 ~!,<br />

I ~-20 : ~<br />

-= -30 ..<br />

FC = 2"I RC<br />

LOG FREOUENCY<br />

(A)<br />

R2<br />

RI<br />

INPUT o-~VV'v--+-i<br />

C<br />

>--+--0 OUTPUT<br />

FC= 2"~2C<br />

PASSBAND GAIN = ~<br />

lBI<br />

R2<br />

C<br />

RI<br />

INPUT o-J\M~"""-I<br />

(C)<br />

'----------~OUTPUT<br />

~ c<br />

TUNE +<br />

~A -<br />

INPUTO>---- t OUTPUT<br />

(D)<br />

Fig. 6-21. Steps toward a voltage-controlled low-pass filter. (A) Single-pole<br />

R-C low-pass filter. (8) Active version <strong>of</strong> A. (C) Tunable version <strong>of</strong> 8<br />

using a VCA. (D) Improved version <strong>of</strong> C with constant gain.<br />

VCA in Fig. 6-21C has a constant passband gain because the previous<br />

expression is multiplied by G, which then cancels the G in the denominator,<br />

leaving Ao = R2/Rl. It would seem that the problem is solved, but closer<br />

analysis reveals that at low cut<strong>of</strong>f frequencies the input signal level to the<br />

VCA may become extremely large to <strong>of</strong>fset its corresponding low gain and<br />

therefore will be subject to severe distortion.<br />

In Fig. 6-21D, the same elements have been rearranged to overcome<br />

the signal level problem. Essentially, both the input signal and the feedback<br />

signal go through the VCA. The tendency for the op-amp output amplitude

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