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t:J Table 12-2. Design Data for Elliptical Filters (l ~ Passband Stopband Cutoff L1A L2A L3A L4A C1A C2A C3A C4A CSA C6A C7A CBA C9A t""' Order Ripple Attenuation Ratio C1B C2B C3B C4B L1B L2B L3B L4B LSB L6B L7B LBB L9B >4 0 I 5 0.28 40 1.325 1.106 0.7859 1.275 0.2288 1.752 0.6786 0.9789 > 5 0.28 50 1.556 1.177 0.9543 1.340 0.1430 1.923 0.4008 1.139 Z 5 0.28 60 1.887 1.225 1.079 1.383 0.0879 2.050 0.2390 1.253 ~ 5 0.28 70 2.281 1.253 1.155 1.408 0.0567 2.128 0.1519 1.322 5 1.25 40 1.206 0.8304 0.5469 2.001 0.3992 2.248 1.189 1.538 5 1.25 50 1.390 0.9030 0.6993 2.114 0.2467 2.551 0.6900 1.790 >- Z 5 1.25 60 1.624 0.9471 0.8031 2.183 0.1603 2.754 0.4359 1.956 ti 5 1.25 70 2.000 0.9812 0.8891 2.236 0.0964 2.922 0.2577 2.092 > Z 7 0.28 50 1.155 1.158 0.7013 0.7893 1.323 0.2000 1.618 1.044 1.366 0.7233 0.9741 ~ 7 0.28 60 1.252 1.207 0.8560 0.9143 1.367 0.1449 1.785 0;7231 1.579 0.5055 1.096 0 7 0.28 70 1.390 1.245 0.9960 1.022 1.401 0.1033 1.931 0.5017 1.771 0.3516 1.197 Q 7 0.28 80 1.556 1.271 1.103 1.101 1.424 0.0753 2.041 0.3603 1.917 0.2525 1.270 .!, 7 1.25 60 1.167 0.9254 0.5843 0.6739 2.153 0.2315 2.327 1.199 1.990 0.8004 1.746 7 1.25 70 1.287 0.9591 0.6964 0.7622 2.206 0.1675 2.543 0.8404 2.276 0.5669 1.891 7 1.25 80 1.440 0.9858 0.7972 0.8378 2.248 0.1186 2.733 0.5837 2.530 0.3956 2.012 0 I t:J § 9 0.28 60 1.086 >! t""' 9 0.28 70 1.143 n 9 0.28 80 1.221 0 9 0.28 90 1.305 9 1.25 60 1.052 ~ tTl 9 1.25 70 1.095 i>:I 9 9 [fJ 1.25 80 1.167 6 1.25 90 1.236 Z 0 C) ~ 0 V.J
404 MUSICAL ApPLICATIONS OF MICROPROCESSORS and stopband attenuations of 50 to 90 dB are given. These should covet the range of application for audio filters from minimum cost experimental units to very sharp professional application units. The element values are given in henties and farads for a cutoff frequency of 0.159 Hz and impedance level of 1 ohm. To compute actual practical component values, use the formulas below: L' = 0.159RL F c' = 0.159C RF where L' and C' are the practical component values, Land C are from the table, R is the source and termination impedance, and F is the cutoff frequency. Figure 12-25C shows a practical seventh order parallel resonant filter design having 0.28 dB ripple, 60 dB attenuation, a cutofffrequency of 10 kHz (25 ks/s sample rate), and an impedance of 5,000 ohms. Figure 12-25D shows a fifth order series resonant filter with 1.25 dB ripple, 40 dB attenuation, 5,180 Hz cutoff (12.5 ks/s sample rate), and lK impedance. Even considering the advantages of small size, inexpensive components, etc., of active implementation, actual passive implementation of the filter, just as shown in Fig. 12-25, does have some advantages. For one, there are only two amplifiers in the signal path to contribute noise and distortion, and these can often be part of surrounding circuitry and not specifically "charged" to the filter. The L-C networks can be easy to tune, which may be necessary with the higher-order filters. Finally, the component values tend to be similar in magnitude unlike the active Chebyshev filter described earlier. On the minus side, the inductors are susceptible to hum pickup from stray magnetic fields and therefore should be of torroid or pot core construction and kept away from power transformers. Also, it is conceivable that nonlinearities in the magnetic core could contribute a slight amount of distortion, so relatively wide air gaps within the core should be used. lnductor size and Q are not much of a problem because the section resonant frequencies will be in the high audio range. In actually building such a filter, accurate element values are crucial; 2.5% for fifth order, 1% for seventh order, and O. 5% or better for ninth order. This is normally accomplished with an impedance bridge, a bunch of polystyrene capacitors, and a supply offerrite pot cores and magnet wire. The pot cores usually have tuning slugs that simplify the task of getting exactly the right inductance, and appropriate parallel combinations of two or three capacitors can usually be determined easily. Typically, the parallel resonant form will be preferred since it has fewer inductors. An active implementation of the filter using only op-amps, resistors, and capacitors is also possible and straightforward to derive from the passive L-C circuit. Whereas the Sallen and Key circuit studied earlier is a contrived form that just happens to have the same response as a resonant R-L-C low-
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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 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 35 ever,
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MUSIC SYNTHESIS PRINCIPLES 39 No li
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44 MUSICAL ApPLICATIONS 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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Table 5-1. 6502 Instruction Set Lis
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Coding Table 5-3. 68000 Addressing
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Table 5-4. 68000 Instruction Set Su
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6 BasicAnalogModules Probably the m
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BASIC ANALOG MODULES 179 tage remai
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BASIC ANALOG MODULES 181 Op-amps ma
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BASIC ANALOG MODULES 183 '0: :? u
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BASIC ANALOG MODULES 185 with an id
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BASIC ANALOG MODULES 187 EXPONENTIA
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BASIC ANALOG MODULES 189 (or 0.9766
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BASIC ANALOG MODULES 191 4R Vr'o'M
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BASIC ANALOG MODULES 193 tooth with
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BASIC ANALOG MODULES 195 +IOVrel PU
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BASIC ANALOG MODULES 197 Table 6-1.
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BASIC ANALOG MODULES 199 constants
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BASIC ANALOG MODULES 201 12 ~ E 1-
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BASIC ANALOG MODULES 203 R2 R3 100
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BASIC ANALOG MODULES 205 fore, must
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BASIC ANALOG MODULES 207 For peak p
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BASIC ANALOG MODULES 209 22 pF RI S
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BASIC ANALOG MODULES 211 INPUT~OUTP
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BASIC ANALOG MODULES 213 Voltage-Tu
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BASIC ANALOG MODULES 215 +20 +15 +1
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BASIC ANALOG MODULES 217 100 ko. BA
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BASIC ANALOG MODULES 219 +15 V0----
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Digital-to-Analog and tlnalog-to-Di
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DIGITAL-TO-ANALOG AND ANALOG-TO-DIG
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11 CORtrolSequeRce Display andEditi
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Page 411 and 412: Table 12·1. Design Data for Chebys
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DIGITAL TONE GENERATION TECHNIQUES
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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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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 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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