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

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DIGITAL TONE GENERATION TECHNIQUES 435<br />

while there is a great variety <strong>of</strong> possible tranSItiOnS, the technique is not<br />

general enough so that any arbitrary transition can be realized. One could<br />

piecewise approximate an arbitrary transition by using a sequence <strong>of</strong> tables,<br />

however.<br />

Another method <strong>of</strong> dynamic spectrum variation using the table lookup<br />

method actually amounts to a continuous Fourier series evaluation. One<br />

would have a single table, which is actually a sine table, and program several<br />

table pointers with pointer increments that are integer multiples <strong>of</strong> the<br />

smallest increment. Then, using each pointer in sequence, the corresponding<br />

samples would be fetched from the table, multiplied by a corresponding<br />

amplitude factor, and the products added together to produce the output<br />

sample. This is equivalent to treating each harmonic as a separate tone and<br />

controlling its amplitude independently. Relative phase can be controlled by<br />

temporarily adding a phase parameter to the pointer when table access is<br />

performed but using the original pointer value when the increment is added.<br />

The technique is not limited to exact harmonic frequencies either, since<br />

the set <strong>of</strong> pointer increments need not be integer multiples. Most stringed<br />

musical instruments in which the string is plucked or struck have upper<br />

harmonics that are somewhat sharp with respect to the fundamental. Bells<br />

and chimes have spectra that are decidedly inharmonic. For these and other<br />

similar sounds, this is the only general technique available. Although<br />

dynamic depth FM can also produce inharmonic spectra, only gross control is<br />

possible; the details <strong>of</strong> the spectrum are pretty much left to chance.<br />

While this technique can be time consuming for a large number <strong>of</strong><br />

harmonics, it is quite effective for a small number. Its primary strength over<br />

faster Fourier techniques to be discussed is that amplitudes and phases <strong>of</strong> the<br />

harmonics may be changed at any time and as rapidly as desired without<br />

glitches and discontinuities in the composite waveform. In particular, a<br />

hardware implementation <strong>of</strong> the technique can be extremely flexible and<br />

effective as well as adequately fast for real-time tone generation.<br />

Fourier Transformation<br />

Fourier transforms are the cornerstone <strong>of</strong> many modern signalprocessing<br />

techniques. They have a list <strong>of</strong> desirable mathematical properties<br />

that seems never to end as well as many useful physical properties for synthesis<br />

and analysis work. The main attractive feature about any kind <strong>of</strong> Fourier<br />

operation is that it is a bridge between the time domain, which is concerned<br />

with waveforms and sample values, and the frequency domain, which is concerned<br />

with the amplitudes and phases <strong>of</strong> frequency components. The primary<br />

need for such a bridge is that the human ear hears in the frequency<br />

domain, while sound waves are stored, synthesized, and observed (via an<br />

oscilloscope) in the time domain.

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