of Microprocessors

Recommendations

Info

CONTROL SEQUENCE DISPLAY AND EDITING 357 Most personal computers, however, don't have the luxury of a separate function keyboard, but many do have from 4 to 10 function keys added to the standard layout. These are typically placed in a single- or dual-column to the left or a single row above the main key array. The latter arrangement allows for displaying legends at the very bottom of the screen that line up with the function keys when the keyboard is positioned right. The interactive graphics program (or text editor or just about any kind of interactive program) can then dynamically change the legends as the program changes modes. This has proven very effective in the Micro Technology Unlimited line of computers and others. A similar option that works well with a light pen, mouse, or other pointing device, is to display a menu of function options that the user then "points" to. In a complex program, only a few such soft keys may normally appear in a dedicated area of the display, but, when more are temporarily needed to qualify an earlier selection, part of the screen image can be saved and overwritten with the temporary menu. These are often called pull-down menus because of their appearance when the normal menu is at the top of the screen. In systems with sufficient display resolution, interactive programs designed for first-time users may even dispense with words for the legends and substitute little pictures called icons. Extensive use of such conventions was first popularized by the Apple McIntosh computer and has since become relatively common. Composition by Editing Now that the tools used in interactive graphics have been described, let's look at how these can be used to communicate musical and acoustical ideas to a computer-based synthesis system. First, consider a case in which direct control of several sound parameters simultaneously is desired. Further assume that the exact shape of the variatioh contours and their interrelation is critically important in creating the desired audible result. To make matters more difficult, the shape of the required contours is only roughly known. Finally, the rapidity of the variations is such that real-time manual control is out of the question. What has been described is a perfect example of synthesizing a realistic singing voice, although the concepts apply to any complex, rapidly changing sound. Composition by editing is best done if one starts with some approximation, no matter how coarse, of the desired results. In realistic speech synthesis one might start by analyzing natural speech into the parameters of interest. Even if the goal is a female singing voice and the input is a gravel-throated male voice, the set of parameter variations that results is close enough to the final result so that the necessary editing changes are somewhat apparent. One might also use a "speech synthesis by rule" program, which accepts a phonetic spelling and produces a first cut at the values needed.
358 MUSICAL ApPLICATIONS OF MICROPROCESSORS SAWTOOTH ~~. "PITCH" PARAMETER "VOICE" AMPLITUDE PARAMETER WHITE NOISE SOURCE MIX "HISS AMPLITUDE" ...~"'" 8-- I VCF FORMANT 4 VCF MIX OUT FORMANT 3 VCF FORMANT 2 VCF FORMANT I Fig. 11-6. Singing voice synthesis patch Again, even though the initial values are crude, a starting point is established from which improvements may be made. With an interactive graphics editing system, the task of determining magnitude and direction of necessary changes and then actually accomplishing the changes is considerably simplified. An editing function is distinguished from an input function by the fact that its action depends on what is already there. Some editing functions may be reversible. This means that two functions with opposite effect are available and that anything done by one can be undone by applying the other. Nonreversible functions can only be undone by retrieving a copy of the data made prior to execution of the nonreversible function. Examples of both types of functions will be given later in this discussion. Figure 11-6 shows the configuration of analog-synthesizing equipment used in this example. The application is speech (singing) synthesis, and seven
Page 4:
Musical Applications of Microproces
Page 7 and 8:
© 19B5 by Hayden Books A Division
Page 9 and 10:
serve to acquaint the general reade
Page 11 and 12:
SECfrON II. Computer-Controlled Ana
Page 13 and 14:
17. Digital Hardware 589 AnalogModu
Page 16 and 17:
1 Music Synthesis Principles Creati
Page 18 and 19:
MUSIC SYNTHESIS PRINCIPLES 5 own ar
Page 20 and 21:
MusIC SYNTHESIS PRINCIPLES 7 Increa
Page 22 and 23:
MUSIC SYNTHESIS PRINGPLES 9 VERY SM
Page 24 and 25:
MUSIC SYNTHESIS PRINOPLES 11 repres
Page 26 and 27:
MUSIC SYNTHESIS PRINCIPLES 13 The w
Page 28 and 29:
MUSIC SYNTHESIS PRlNCIPLES 15 was c
Page 30 and 31:
MUSIC SYNTHESIS PRlNOPlES 17 In act
Page 32 and 33:
MUSIC SYNTHESIS PRINCIPLES 19 SIN (
Page 34 and 35:
MUSIC SYNTHESIS PRINCIPLES 21 lILt!
Page 36 and 37:
MUSIC SYNTHESIS PRINCIPLES 23 - ,--
Page 38 and 39:
MUSIC SYNTHESIS PRINOPLES 25 + or--
Page 40 and 41:
MUSIC SYNTHESIS PRINCIPLES 27 Human
Page 42 and 43:
MUSIC SYNTHESIS PRINOPLES 29 fundam
Page 44 and 45:
MUSIC SYNTHESIS PRINCIPLES 31 frequ
Page 46 and 47:
MUSIC SYNTHESIS PRINCIPLES 33 from
Page 48 and 49:
MUSIC SYNTHESIS PRINCIPLES 35 ever,
Page 50 and 51:
MUSIC SYNTHESIS PRINCIPLES 37 have
Page 52 and 53:
MUSIC SYNTHESIS PRINCIPLES 39 No li
Page 54:
MUSIC SYNTHESIS PRINCIPLES 41 cropr
Page 57 and 58:
44 MUSICAL ApPLICATIONS OF MICROPRO
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
60 MUSICAL ApPLICATrONS OF MICROPRO
Page 75 and 76:
Page 77 and 78:
Page 79 and 80:
Page 81 and 82:
68 MUSICAL ApPLICAnONS OF MICROPROC
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
82 MUSICAL ApPUCATIONS OF MICROPROC
Page 97 and 98:
84 MUSICAL ApPUCATIONS OF MICROPROC
Page 99 and 100:
vvv·(B) 86 MUSICAL ApPLICATIONS OF
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
100 MUSICAL ApPLICAnONS OF MICROPRO
Page 115 and 116:
102 MUSICAL ApPLICATIONS OF MICROPR
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Page 161 and 162:
Page 163 and 164:
Page 165 and 166:
Page 167 and 168:
Page 169 and 170:
Page 171 and 172:
Table 5-1. 6502 Instruction Set Lis
Page 173 and 174:
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Coding Table 5-3. 68000 Addressing
Page 183 and 184:
Table 5-4. 68000 Instruction Set Su
Page 185 and 186:
Table 5-4. 68000 Instruction Set Su
Page 187 and 188:
Page 190 and 191:
6 BasicAnalogModules Probably the m
Page 192 and 193:
BASIC ANALOG MODULES 179 tage remai
Page 194 and 195:
BASIC ANALOG MODULES 181 Op-amps ma
Page 196 and 197:
BASIC ANALOG MODULES 183 '0: :? u
Page 198 and 199:
BASIC ANALOG MODULES 185 with an id
Page 200 and 201:
BASIC ANALOG MODULES 187 EXPONENTIA
Page 202 and 203:
BASIC ANALOG MODULES 189 (or 0.9766
Page 204 and 205:
BASIC ANALOG MODULES 191 4R Vr'o'M
Page 206 and 207:
BASIC ANALOG MODULES 193 tooth with
Page 208 and 209:
BASIC ANALOG MODULES 195 +IOVrel PU
Page 210 and 211:
BASIC ANALOG MODULES 197 Table 6-1.
Page 212 and 213:
BASIC ANALOG MODULES 199 constants
Page 214 and 215:
BASIC ANALOG MODULES 201 12 ~ E 1-
Page 216 and 217:
BASIC ANALOG MODULES 203 R2 R3 100
Page 218 and 219:
BASIC ANALOG MODULES 205 fore, must
Page 220 and 221:
BASIC ANALOG MODULES 207 For peak p
Page 222 and 223:
BASIC ANALOG MODULES 209 22 pF RI S
Page 224 and 225:
BASIC ANALOG MODULES 211 INPUT~OUTP
Page 226 and 227:
BASIC ANALOG MODULES 213 Voltage-Tu
Page 228 and 229:
BASIC ANALOG MODULES 215 +20 +15 +1
Page 230 and 231:
BASIC ANALOG MODULES 217 100 ko. BA
Page 232 and 233:
BASIC ANALOG MODULES 219 +15 V0----
Page 234 and 235:
Digital-to-Analog and tlnalog-to-Di
Page 236 and 237:
DIGITAL-TO-ANALOG AND ANALOG-TO-DIG
Page 238 and 239:
Page 240 and 241:
Page 242 and 243:
Page 244 and 245:
Page 246 and 247:
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
Page 274 and 275:
Page 276 and 277:
Page 278 and 279:
Page 280 and 281:
Page 282:
Page 285 and 286:
Page 287 and 288:
Page 289 and 290:
Page 291 and 292:
Page 293 and 294:
Page 295 and 296:
Page 297 and 298:
Page 299 and 300:
Page 301 and 302:
Page 303 and 304:
Page 305 and 306:
Page 307 and 308:
Page 309 and 310:
Page 311 and 312:
Page 313 and 314:
300 MUSICAl ApPLICATIONS OF MICROPR
Page 315 and 316:
Page 317 and 318:
Page 319 and 320: 306 MUSICAL ApPLICATIONS OF MICROPR
Page 352 and 353: 11 CORtrolSequeRce Display andEditi
Page 354 and 355: CONTROL SEQUENCE DISPLAY AND EDITIN
Page 378: SECTIONIII DigitalSynthesis antl So
Page 411 and 412: Table 12·1. Design Data for Chebys
Page 413 and 414: ~ o Table 12·1. (Cont.) Ripple = 1
Page 421 and 422:
Page 423 and 424:
Page 425 and 426:
Page 427 and 428:
Page 430 and 431:
13 Digital Tone Generation Teehniqu
Page 432 and 433:
DIGITAL TONE GENERATION TECHNIQUES
Page 434 and 435:
Page 436 and 437:
Page 438 and 439:
Page 440 and 441:
Page 442 and 443:
Page 444 and 445:
Page 446 and 447:
Page 448 and 449:
Page 450 and 451:
Page 452 and 453:
Page 454 and 455:
Page 456 and 457:
Sample Number Harm. No. o 2 3 4 5 6
Page 458 and 459:
Sample Spectrum Number 0 1 2 3 4 5
Page 460 and 461:
Page 462 and 463:
Page 464 and 465:
Page 466 and 467:
Page 468 and 469:
Page 470 and 471:
Page 472 and 473:
Page 474 and 475:
Page 476 and 477:
Page 478 and 479:
Page 480 and 481:
Page 482 and 483:
1,0 0,8 0,6 0.4 0,2 °0 10 12 14 16
Page 484 and 485:
Page 486 and 487:
Page 488 and 489:
1,o,-----------,----------" Y Ol---
Page 490 and 491:
Page 492 and 493:
Page 494 and 495:
14 DigitalFiltering In analog synth
Page 496 and 497:
DIGITAL FILTERING 483 Input Samples
Page 498 and 499:
DIGITAL FILTERING 485 the input wav
Page 500 and 501:
DIGITAL FILTERING 487 where 0 is no
Page 502 and 503:
DIGITAL FILTERING 489 BAND REJECT >
Page 504 and 505:
DIGITAL FILTERING 491 Next the inpu
Page 506 and 507:
DIGITAL. FILTERING 493 circuits mak
Page 508 and 509:
DIGITAL FILTERING 495 OUTPUT Fig. 1
Page 510 and 511:
DIGITAL FILTERING 497 INPUT ~8~~~~~
Page 512 and 513:
DIGITAL FILTERING 499 the turnover
Page 514 and 515:
DIGITAL FILTERING 501 frequency is
Page 516 and 517:
+ 3 1 oL-_-...l__---l__---L__---r-_
Page 518 and 519:
DIGITAL FILTERING 505 When programm
Page 520 and 521:
DIGITAL FILTERING 507 lowest freque
Page 522 and 523:
DIGITAL FILTERING 509 Even with a p
Page 524 and 525:
DIGITAL FILTERING 511 OUTPUT Fig. 1
Page 526 and 527:
DIGITAL FILTERING 513 INPUT VARIABL
Page 528 and 529:
DIGITAL FILTERING 515 INPUT (C) -(.
Page 530 and 531:
DIGITAL FILTERING 517 NOTE: Xl, Y,
Page 532 and 533:
DIGITAL FILTERING 519 AMPLITUDE, (d
Page 534 and 535:
DIGITAL FILTERING 521 o ~ -10 ~ -20
Page 536 and 537:
DIGITAL FILTERING 523 1.0 0.8 0.6
Page 538:
DIGITAL FILTERING 525 When the outp
Page 541 and 542:
Page 543 and 544:
Page 545 and 546:
Page 547 and 548:
Page 549 and 550:
Page 551 and 552:
Page 553 and 554:
Page 556 and 557:
16 Source-SignalAnalys,is One of th
Page 558 and 559:
SOURCE-SIGNAL ANALYSIS 545 nOdB T I
Page 560 and 561:
--------, I I ! II i I I I I , , i"
Page 562 and 563:
SOURCE-SIGNAL ANALYSIS 549 3 IN -"
Page 564 and 565:
SOURCE-SIGNAL ANALYSIS 551 Data Rep
Page 566 and 567:
SOURCE-SIGNAL ANALYSIS 553 SIGNAL B
Page 568 and 569:
SOURCE-SIGNAL ANALYSIS 555 -5° FH
Page 570 and 571:
SOURCE-SIGNAL ANALYSIS 557 -5 -10 ~
Page 572 and 573:
SOURCE-SIGNAL ANALYSIS 559 Since th
Page 574 and 575:
SOURCE-SIGNAL ANALYSIS 561 o -5 -10
Page 576 and 577:
SOURCE-SIGNAL ANALYSIS 563 o -5 -10
Page 578 and 579:
SOURCE-SIGNAL ANALYSIS 565 overlapp
Page 580 and 581:
SOURCE-SIGNAL ANALYSIS 567 • ....
Page 582 and 583:
SOURCE-SIGNAL ANALYSIS 569 from an
Page 584 and 585:
SOURCE-SIGNAL ANALYSIS 571 componen
Page 586 and 587:
SOURCE-SIGNAL ANALYSIS 573 and some
Page 588 and 589:
SOURCE-SIGNAL ANALYSIS 575 185491 A
Page 590 and 591:
SOURCE-SIGNAL ANALYSIS 577 SYSTEM F
Page 592 and 593:
SOURCE-SIGNAL ANALYSIS 579 (AI (BI
Page 594 and 595:
SOURCE-SIGNAL ANALYSIS 581 (Gl II'
Page 596 and 597:
SOURCE-SIGNAL ANALYSIS 583 PULSE PE
Page 598 and 599:
SOURCE-SIGNAL ANALYSIS 585 again, t
Page 600 and 601:
SOURCE-SIGNAL ANALYSIS 587 Quite ob
Page 602 and 603:
17 DigitalHardware At this point, w
Page 604 and 605:
DIGITAL HARDWARE 591 Lsa I N+I DIVI
Page 606 and 607:
DIGITAL HARDWARE 593 (~OCK[ L _ LSB
Page 608 and 609:
DIGITAL HARDWARE 595 FREQUENCY CONT
Page 610 and 611:
DIGITAL HARDWARE 597 Fig. 17-7. Pha
Page 612 and 613:
DIGITAL HARDWARE 599 MOST SIGNIFICA
Page 614 and 615:
DIGITAL HARDWARE 601 waveform chang
Page 616 and 617:
DIGITAL HARDWARE 603 As an example,
Page 618 and 619:
DIGITAL HARDWARE 605 1. Sixteen ind
Page 620 and 621:
DIGITAL HARDWARE 607 discussed, the
Page 622 and 623:
DIGITAL HARDWARE 609 between the 41
Page 624 and 625:
DIGITAL HARDWARE 611 8-BIT PORT I M
Page 626 and 627:
FREOUENCY CONTROL IN I I 20 FREOUEN
Page 628 and 629:
DIGITAL HARDWARE 615 TO MULTIPLEXED
Page 630 and 631:
FREQ. :a.-8 CNTL. WRITE FREQ. I 20
Page 632 and 633:
DIGITAL HARDWARE 619 effective freq
Page 634 and 635:
DIGITAL HARDWARE 621 The signal mem
Page 636 and 637:
DIGITAL HARDWARE 623 into a filter
Page 638 and 639:
DIGITAL HARDWARE 625 made using con
Page 640 and 641:
DIGITAL HARDWARE 627 A Hybrid Voice
Page 642 and 643:
DIGITAL HARDWARE 629 o -5 -10 -15 ~
Page 644 and 645:
DIGITAL HARDWARE 631 o -5 -10 -15 ~
Page 646 and 647:
DIGITAL HARDWARE 633 D3 02 01 10 00
Page 648 and 649:
DIGITAL HARDWARE 635 plementers on
Page 650:
DIGITAL HARDWARE 637 taken care of
Page 653 and 654:
Page 655 and 656:
Page 657 and 658:
Page 659 and 660:
Page 661 and 662:
Page 663 and 664:
Page 665 and 666:
Page 667 and 668:
Page 669 and 670:
Page 671 and 672:
Page 673 and 674:
Page 675 and 676:
Page 677 and 678:
Page 679 and 680:
Page 681 and 682:
Page 683 and 684:
Page 685 and 686:
Page 687 and 688:
Page 689 and 690:
Page 691 and 692:
Page 693 and 694:
Page 695 and 696:
Page 697 and 698:
Page 699 and 700:
Page 701 and 702:
Page 703 and 704:
Page 705 and 706:
Page 707 and 708:
Page 709 and 710:
Page 711 and 712:
Page 713 and 714:
Page 715 and 716:
Page 718:
SECTIONIV ProductApplications andth
Page 721 and 722:
Page 723 and 724:
Page 725 and 726:
Page 727 and 728:
Page 729 and 730:
716 MUSICAL ApPLICATIONS OF MJCROPR
Page 731 and 732:
RING MOD VCD A PITCHo--+lcNTL OUT A
Page 733 and 734:
Page 735 and 736:
Page 737 and 738:
Page 739 and 740:
Page 741 and 742:
Page 743 and 744:
Page 745 and 746:
Page 747 and 748:
Page 749 and 750:
Page 751 and 752:
Page 753 and 754:
Page 755 and 756:
Page 757 and 758:
Page 759 and 760:
Page 761 and 762:
Page 763 and 764:
Page 765 and 766:
Page 767 and 768:
Page 770 and 771:
20 Low-CostSYllthesis Techniques Wh
Page 772 and 773:
LOW-COST SYNTHESIS TECHNIQUES 759 g
Page 774 and 775:
LOW-COST SYNTHESIS TECHNIQUES 761 i
Page 776 and 777:
LOW-COST SYNTHESIS TECHNIQUES 763 0
Page 778 and 779:
LOW-COST SYNTHESIS TECHNIQUES 765 S
Page 780 and 781:
LOW-COST SYNTHESIS TECHNIQUES 767 c
Page 782 and 783:
LOW-COST SYNTHESIS TECHNIQUES 769 O
Page 784 and 785:
LOW-COST SYNTHESIS TECHNIQUES 771 +
Page 786 and 787:
LOW-COST SYNTHESIS TECHNIQUES 773 F
Page 788 and 789:
LOW-COST SYNTHESIS TECHNIQUES 775 F
Page 790 and 791:
LOW-COST SYNTHESIS TECHNIQUES 777 f
Page 792 and 793:
21 Future Frequently, when glvmg ta
Page 794 and 795:
LOW-COST SYNTHESIS TECHNIQUES 781 T
Page 796 and 797:
LOW-COST SYNTHESIS TECHNIQUES 783 t
Page 798 and 799:
LOW-COST SYNTHESIS TECHNIQUES 785 "
Page 800 and 801:
LOW-COST SYNTHESIS TECHNIQUES 787 m
Page 802 and 803:
LOW-COST SYNTHESIS TECHNIQUES 789 a
Page 804 and 805:
Bibliography The following publicat
Page 806:
BIBLIOGRAPHY 793 DMA DOS FET FFT FI
Page 809 and 810:
Page 811 and 812:
Page 813 and 814:
Page 815 and 816:
Page 817 and 818:
(Communication) Minor - Computer Sc
Page 819 and 820:
newsletter, writing numerous articl
Page 821 and 822:
conversion subsystem, especially if
Page 823 and 824:
In the beginning the company was su
Page 825 and 826:
HAL : I really haven't kept up with
Page 827 and 828:
was clear he was serious, I named m
Page 829 and 830:
influences too like interrupts from
Page 831 and 832:
SONIK : What activities do you do o
Page 833 and 834:
as a homework assignment. So much o
Page 835:
Musical Applications of Microproces
show all

of Microprocessors

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?