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PERCUSSIVE SOUND GENERATION 533 Word length 8 12 16 24 32 Sequence length 256 4096 65536 16777216 4294967296 A 77 1485 13709 732573 196314165 B 55 865 13849 3545443 907633515 Shift Register Method Another method that is superior to the linear congruential method in some respects can be called the feedback shift register random bit generator. As the name implies, the method generates random bits that are grouped to form random numbers. A feedback shift register similar to that discussed in Chapter 10 is used. By proper selection of the taps to be exclusive or-ed and fed back, the register can generate a sequence of 2N - 1 bits before repeating. To form an N-bit random integer, where N is equal to or less than the register length, one simply iterates the register at least N times and then reads the result directly from the register. One advantage of the method is that all of the bits are random and therefore can be used indiscriminately for random control functions. Another advantage is that only logical operations are needed. On the other hand, the method as presently formulated is not as efficient at generating numbers with large N compared with the previous method even if the computer does not have a multiply instruction. Also, when set up for iterating N times to get an N-bit number, it fails some statistical randomness tests. This fault may be minimized by iterating somewhat more than N times. On the other hand, quite satisfactory white noise samples are generated with only a few iterations, such as five, for full 16-bit noise samples. The shift register method is ideally suited for hardware implementation. With very little logic (three IC packages costing less than three dollars), one can set up a random number peripheral that will pass anyone's test for randomness including nonrepeatability of results. The circuit in Fig. 15-3 shows a 26-stage shift register with feedback logic that would be iterated by the microcomputer's clock. Up to 14 '(8 are shown) of the register bits are available for connection to an input port. If the clock phase used to trigger the register is chosen properly, there is no danger of the register changing while the computer is reading it. The 2 26 sequence length would run over 30 sec alone, but variations in program execution time make it highly unlikely that any repetition could ever be detected. Skeptics can substitute a type 4031 64-bit register for the type 4006 18-bitter and have a period of nearly 150 million years at 1 MHz. Digressing for a moment, such a circuit makes an excellent analog noise generator as well. One simply clocks it at 400 kHz or more (an R-C oscillator
534 MUSICAL ApPLICATIONS OF MICROPROCESSORS > '" + ,Gr ll '" >- CD ~ 0 -' « ;;; '" '" a 0 '" « ". 0 N ~ 0 « u -' "" "" "'I «'" 0 !'- ~r:::- OJ d I ~~ « ". 0 L., uo --' :O;u HH' ~~ "'''' - '" U .s:: 0. .~ 0. 0> .0 E:J c: Eo "0 c: t1:l a: e? .b is fine) and runs one of the register bits through an R-C low-pass filter with a cutoff around 20 kHz. The output sound and waveform are indistinguishable from diode noise sources and are much less susceptible to hum pickup. Also, the output amplitude is repeatable and stable, a virtue not shared by diodes.
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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 PRINCIPLES 13 The w
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MUSIC SYNTHESIS PRlNCIPLES 15 was c
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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 33 from
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MUSIC SYNTHESIS PRINCIPLES 35 ever,
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MUSIC SYNTHESIS PRINCIPLES 37 have
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MUSIC SYNTHESIS PRINCIPLES 39 No li
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MUSIC SYNTHESIS PRINCIPLES 41 cropr
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60 MUSICAL ApPLICATrONS OF MICROPRO
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68 MUSICAL ApPLICAnONS OF MICROPROC
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82 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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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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300 MUSICAl ApPLICATIONS OF MICROPR
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11 CORtrolSequeRce Display andEditi
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CONTROL SEQUENCE DISPLAY AND EDITIN
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SECTIONIII DigitalSynthesis antl So
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Table 12·1. Design Data for Chebys
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~ o Table 12·1. (Cont.) Ripple = 1
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13 Digital Tone Generation Teehniqu
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DIGITAL TONE GENERATION TECHNIQUES
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Sample Number Harm. No. o 2 3 4 5 6
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Sample Spectrum Number 0 1 2 3 4 5
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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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Page 556 and 557: 16 Source-SignalAnalys,is One of th
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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 761 i
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LOW-COST SYNTHESIS TECHNIQUES 763 0
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LOW-COST SYNTHESIS TECHNIQUES 765 S
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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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