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

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OrHER INPUT METHODS<br />

333<br />

INPUT<br />

SEQUENCE<br />

MAIN FEEDBACK PATH<br />

AUXILIARY FEEDBACK PATH<br />

r-----------------------------------------,<br />

I :<br />

MIX<br />

AMP<br />

~<br />

I<br />

OUT<br />

Fig. 10-8. SAH module feedback sequence generator<br />

late the same sequence. If the SAH modules were perfect, the sequence<br />

would repeat indefinitely, but in reality analog errors would accumulate and<br />

the sequence would evolve in perhaps interesting ways. If, instead <strong>of</strong> removing<br />

the external input, it were fed a constant 1/12 V, the sequence would<br />

shift upward a halfstep on each interaction. If the feedback gain were greater<br />

or lesser than unity, the pitch intervals in the sequence would progressively<br />

increase or decrease, respectively. Enabling a second feedback path would<br />

create such complex patterns that they may be difficult to predict beyond the<br />

first repetition. The use <strong>of</strong> slew-limited SAH modules adds yet another<br />

dimension <strong>of</strong> possibilities.<br />

Digital Feedback Techniques<br />

A digital feedback system can be set up using flip-flops connected as a<br />

shift register. Figure 10-9 shows such a system. The input summer that<br />

drives the register is a parity generator that actually computes the "modulus<br />

2 sum" <strong>of</strong> all its inputs. The switches enable a particular feedback path if<br />

closed. A low-frequency veo provides trigger pulses to drive the system.<br />

Fig. 10-9. Feedback shift register sequence generator

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