22.09.2015 Views

of Microprocessors

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

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

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

DIGITAL-TO-ANALOG AND ANALOG-TO-DIGITAL CONVERSION 385<br />

INPUT<br />

OUTPUT<br />

(A)<br />

INPUT<br />

OUTPUT<br />

(8)<br />

Fig. 12-13. Methods <strong>of</strong> filter section combination. (A) Parallel method. (B)<br />

Cascade method.<br />

kHz, the interval from 5 kHz to 7 kHz is just short <strong>of</strong> one-half an octave<br />

using the formula: Octaves = 1. 443LN(Fh/Ff), where Fh and PI are the<br />

uppet and lower frequencies, respectively. Thus, the cut<strong>of</strong>f slope would have<br />

to be 95 dB to 100 dB/octave, a very high figure indeed. If the sample rate<br />

were raised 25% to 15 ks/s, the filter could go all the way to 10 kHz before it<br />

must attenuate 50 dB. This gives a cut<strong>of</strong>f slope <strong>of</strong> only 50 dB/octave, a<br />

much, much easier filter to implement. In most cases, these requirements<br />

could be relaxed somewhat. It is unlikely that one would want to shatter<br />

glass with a maximum-amplitude, maximum-frequency tone and then worry<br />

about small fractions <strong>of</strong> a percent <strong>of</strong> alias distortion.<br />

Both <strong>of</strong> the preceding examples assumed that the digital synthesis<br />

system never tried to generate frequencies higher than 5 kHz. As will be seen<br />

later, it may be difficult to meet that constraint and still make good use <strong>of</strong><br />

frequencies close to 5 kHz. If a 6-kHz tone was actually synthesized in the<br />

15-ks/s system, the simple filter would pass its alias at 8 kHz with an<br />

attenuation <strong>of</strong> only 33 dB. On the other hand, if one used the filter designed<br />

for a 12-ks/s system with a 15-ks/s sample rate, it would be permissible to<br />

synthesize frequencies as high as 8 kHz without exceeding the - 50-dB alias<br />

rejection requirement. Note that 8 kHz is actually above one-half the sample<br />

rate. Its alias frequency is therefore lower than the signal frequency, but since<br />

that is 7 kHz, the filter attenuates it adequately. The conclusion, then, is<br />

that a good filter can either reduce the required sample rate, simplify the<br />

synthesis computations, or some <strong>of</strong> both.<br />

Sharp Low-Pass Filter Design<br />

Sharp low-pass filter design is itself an interesting topic that has filled<br />

many books, usually with quite a bit <strong>of</strong> mathematics. Here we will just

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!