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

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DIGITAL FILTERING<br />

495<br />

OUTPUT<br />

Fig. 14-9. Cannonical second order digital filter<br />

amplitude response curve, while the feedforward paths cause response dips or<br />

zeroes. Note that the same design equations for the filters given earlier can be<br />

applied to the cannonical form with any unused constants set to zero. Because<br />

<strong>of</strong> its generality, this structure is ideal for use in a genetal-purpose filtering<br />

subroutine or hardware implementation as a digital filter module.<br />

All-Pass Digital Filter<br />

One important type <strong>of</strong> filter that has not yet been discussed is the<br />

all-pass filter. As its name implies, it is not a frequency-discriminating filter<br />

and in fact passes all frequencies equally well with unity gain. Instead, its<br />

purpose is frequency-sensitive phase shift. All filters shift phase in varying<br />

amounts as a natural consequence <strong>of</strong> frequency discrimination, but the allpass<br />

filter exhibits phase shift alone. Consequently, an all-pass network can<br />

be used to correct for the phase shift <strong>of</strong> a regular filter without disturbing its<br />

amplitude response. In synthesis applications, however, it is used to introduce<br />

a time-varying, frequency-sensitive phase shift to otherwise stationary<br />

sounds, thereby imparting added richness to the sound.<br />

Before looking at the filter itself, the relation between phase shift and<br />

time delay should be understood. Either parameter can be plotted as a<br />

function <strong>of</strong> frequency as in Fig. 14-10. One type <strong>of</strong> all-pass filter is a simple<br />

delay line. As shown in Fig. 14-lOA, an ideal delay line has constant delay<br />

independent <strong>of</strong> frequency. Its phase shift, however, is a linear function <strong>of</strong><br />

frequency as shown in Fig. 14-lOB. This can be explained by noting that at<br />

very low frequencies the 500-1LSec delay is only a small fraction <strong>of</strong>a cycle. At<br />

500 Hz, which is a 2,000-J.Lsec period, the 500-J.Lsec delay becomes a quarter<br />

cycle phase lag or -90°. At 1 kHz, the delay becomes a half cycle and so on.<br />

At higher frequencies, the phase-shift magnitude continues to increase, but<br />

it is customary to plot the principal value <strong>of</strong> the shift. Thus, the curve shifts<br />

up to 180° leading and continues its decline from there.<br />

In mathematical terms, the delay curve is the derivative (proportional<br />

to slope) <strong>of</strong> the phase curve or, conversely, the phase curve is the integral

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