of Microprocessors

Recommendations

Info

SOURCE-SIGNAL ANALYSIS 545 nOdB T I ME (psec) FREQ.(kHz) (A) ~ ----------------------- ~/-----~~------------ ~.r- ~ AMPLITUDE t FREOUENCYt ~"- ~v~ /", ~~/~ ~/,.~ ~ -, ~-~/~ -------------- ~ ~'----- ---.--/.~ ~--------- ~--~-~-~.~ ~ .~ -------~~ .~ -----------------~ TIME-- (B) J Fig. 16-1. Methods of representing three-dimensional spectral data in two dimensions. (A) Isometric projection. Source: Audio Engineering Society Preprint No. 1139, "Three-Dimensional Displays for Demonstrating Transient Characteristics of Loudspeakers," 1976. (8) Stack of two-dimensional curves.
546 MUSICAL ApPLICATIONS OF MICROPROCESSORS ",111111111111111111111111111111111"", '1""""'I"""Il'H""IIIII'" .",111111111111111111111111111111111111111111"" . . ,11111111111"'111111'1'111l111111l1111111111111l111l',,, ,'11111111111111111",. ""1111111,, ... 111111111111,. ,.111111111111,., 'dlllllllllllllllllllllll"'"'' .11"111,,, ,,,"'11111111111111111111''',, .",1111111111111111111"""" ",11111"",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ,,,,,,1111,,,,,,,,,,,,, ."11,,,. "111111111111111111111"'1'''"""",,,, AMPLITUDEt ""'111"1'11'1'1"'1'11"'1""11"1'111111"" ,', "'""11111111111"'11111111111111111""'''"",,,,, ",,,,,1111111111111111111111111111111 11111" ,,111111 11111111111111111111111111"'1'''""" """"11111111111111111111111111111111111111",, ,1111'"" ,,,11,'11111111111111'11''',,,,, FREQUENCYt ""ll1lll!llllllllIllllllllll,,,,,,'IIIII!lI'. ",," """,,,,,,,,,11111, ",1111111111111111111"". ""111111111111111111111111111111111." ,'1I11l11l1l11111l1l1I1l1l111l1l111 .",IlIII!IlII""". "",'1111111111111111111111111 11111111111"". ,,,,,","1111111111111",,,, .. ,,,,11111111111111111111111111111111111111111111111',,, .... ""11""'""""', .",1111111111111111111111I11111111111111t111111!1111I1111, .,dllll,,,,, '''''111111111111111111111111111111'''''''''''''' 11111'"""" ,'IIIIIIIIIIIl'ItIlIJIIIIII, ,011111111111111111111111111111111",,,. ,,1111111111111111111, ""1111111111111111111"",,, ",,,1111111111,,, ,11111111111111111'"""" .Idillllllllllllll"" T1ME- {el f1ME-- , , II I' J 1 il11 J I t J I I I 11111111 I I I I I 11111111 111111 I 1 I I I I J I I I I I 111111 I I I 111111111 I I' 1111111111111 I 1111111111111 , I 1'1111111 I '1'1 I I , ,, , , , " , (01 :~- .::- -:~ -"- -!, -!~ -:c (El Fig. 16-1. Methods 01 representing three-dimensional spectral data in two dimensions (cont.) (C) True 3-D using bar lines lor Z axis. (D) Gray scale (Kay sonagram). (E) Gray scale (line printer),
Page 4:
Musical Applications of Microproces
Page 7 and 8:
© 19B5 by Hayden Books A Division
Page 9 and 10:
serve to acquaint the general reade
Page 11 and 12:
SECfrON II. Computer-Controlled Ana
Page 13 and 14:
17. Digital Hardware 589 AnalogModu
Page 16 and 17:
1 Music Synthesis Principles Creati
Page 18 and 19:
MUSIC SYNTHESIS PRINCIPLES 5 own ar
Page 20 and 21:
MusIC SYNTHESIS PRINCIPLES 7 Increa
Page 22 and 23:
MUSIC SYNTHESIS PRINGPLES 9 VERY SM
Page 24 and 25:
MUSIC SYNTHESIS PRINOPLES 11 repres
Page 26 and 27:
MUSIC SYNTHESIS PRINCIPLES 13 The w
Page 28 and 29:
MUSIC SYNTHESIS PRlNCIPLES 15 was c
Page 30 and 31:
MUSIC SYNTHESIS PRlNOPlES 17 In act
Page 32 and 33:
MUSIC SYNTHESIS PRINCIPLES 19 SIN (
Page 34 and 35:
MUSIC SYNTHESIS PRINCIPLES 21 lILt!
Page 36 and 37:
MUSIC SYNTHESIS PRINCIPLES 23 - ,--
Page 38 and 39:
MUSIC SYNTHESIS PRINOPLES 25 + or--
Page 40 and 41:
MUSIC SYNTHESIS PRINCIPLES 27 Human
Page 42 and 43:
MUSIC SYNTHESIS PRINOPLES 29 fundam
Page 44 and 45:
MUSIC SYNTHESIS PRINCIPLES 31 frequ
Page 46 and 47:
MUSIC SYNTHESIS PRINCIPLES 33 from
Page 48 and 49:
MUSIC SYNTHESIS PRINCIPLES 35 ever,
Page 50 and 51:
MUSIC SYNTHESIS PRINCIPLES 37 have
Page 52 and 53:
MUSIC SYNTHESIS PRINCIPLES 39 No li
Page 54:
MUSIC SYNTHESIS PRINCIPLES 41 cropr
Page 57 and 58:
44 MUSICAL ApPLICATIONS OF MICROPRO
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
60 MUSICAL ApPLICATrONS OF MICROPRO
Page 75 and 76:
Page 77 and 78:
Page 79 and 80:
Page 81 and 82:
68 MUSICAL ApPLICAnONS OF MICROPROC
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
82 MUSICAL ApPUCATIONS OF MICROPROC
Page 97 and 98:
84 MUSICAL ApPUCATIONS OF MICROPROC
Page 99 and 100:
vvv·(B) 86 MUSICAL ApPLICATIONS OF
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
100 MUSICAL ApPLICAnONS OF MICROPRO
Page 115 and 116:
102 MUSICAL ApPLICATIONS OF MICROPR
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Page 161 and 162:
Page 163 and 164:
Page 165 and 166:
Page 167 and 168:
Page 169 and 170:
Page 171 and 172:
Table 5-1. 6502 Instruction Set Lis
Page 173 and 174:
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Coding Table 5-3. 68000 Addressing
Page 183 and 184:
Table 5-4. 68000 Instruction Set Su
Page 185 and 186:
Table 5-4. 68000 Instruction Set Su
Page 187 and 188:
Page 190 and 191:
6 BasicAnalogModules Probably the m
Page 192 and 193:
BASIC ANALOG MODULES 179 tage remai
Page 194 and 195:
BASIC ANALOG MODULES 181 Op-amps ma
Page 196 and 197:
BASIC ANALOG MODULES 183 '0: :? u
Page 198 and 199:
BASIC ANALOG MODULES 185 with an id
Page 200 and 201:
BASIC ANALOG MODULES 187 EXPONENTIA
Page 202 and 203:
BASIC ANALOG MODULES 189 (or 0.9766
Page 204 and 205:
BASIC ANALOG MODULES 191 4R Vr'o'M
Page 206 and 207:
BASIC ANALOG MODULES 193 tooth with
Page 208 and 209:
BASIC ANALOG MODULES 195 +IOVrel PU
Page 210 and 211:
BASIC ANALOG MODULES 197 Table 6-1.
Page 212 and 213:
BASIC ANALOG MODULES 199 constants
Page 214 and 215:
BASIC ANALOG MODULES 201 12 ~ E 1-
Page 216 and 217:
BASIC ANALOG MODULES 203 R2 R3 100
Page 218 and 219:
BASIC ANALOG MODULES 205 fore, must
Page 220 and 221:
BASIC ANALOG MODULES 207 For peak p
Page 222 and 223:
BASIC ANALOG MODULES 209 22 pF RI S
Page 224 and 225:
BASIC ANALOG MODULES 211 INPUT~OUTP
Page 226 and 227:
BASIC ANALOG MODULES 213 Voltage-Tu
Page 228 and 229:
BASIC ANALOG MODULES 215 +20 +15 +1
Page 230 and 231:
BASIC ANALOG MODULES 217 100 ko. BA
Page 232 and 233:
BASIC ANALOG MODULES 219 +15 V0----
Page 234 and 235:
Digital-to-Analog and tlnalog-to-Di
Page 236 and 237:
DIGITAL-TO-ANALOG AND ANALOG-TO-DIG
Page 238 and 239:
Page 240 and 241:
Page 242 and 243:
Page 244 and 245:
Page 246 and 247:
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
Page 274 and 275:
Page 276 and 277:
Page 278 and 279:
Page 280 and 281:
Page 282:
Page 285 and 286:
Page 287 and 288:
Page 289 and 290:
Page 291 and 292:
Page 293 and 294:
Page 295 and 296:
Page 297 and 298:
Page 299 and 300:
Page 301 and 302:
Page 303 and 304:
Page 305 and 306:
Page 307 and 308:
Page 309 and 310:
Page 311 and 312:
Page 313 and 314:
300 MUSICAl ApPLICATIONS OF MICROPR
Page 315 and 316:
Page 317 and 318:
Page 319 and 320:
Page 321 and 322:
Page 323 and 324:
Page 325 and 326:
Page 327 and 328:
Page 329 and 330:
Page 331 and 332:
Page 333 and 334:
Page 335 and 336:
Page 337 and 338:
Page 339 and 340:
Page 341 and 342:
Page 343 and 344:
Page 345 and 346:
Page 347 and 348:
Page 349 and 350:
Page 352 and 353:
11 CORtrolSequeRce Display andEditi
Page 354 and 355:
CONTROL SEQUENCE DISPLAY AND EDITIN
Page 356 and 357:
Page 358 and 359:
Page 360 and 361:
Page 362 and 363:
Page 364 and 365:
Page 366 and 367:
Page 368 and 369:
Page 370 and 371:
Page 372 and 373:
Page 374 and 375:
Page 376 and 377:
Page 378:
SECTIONIII DigitalSynthesis antl So
Page 381 and 382:
Page 383 and 384:
Page 385 and 386:
Page 387 and 388:
Page 389 and 390:
Page 391 and 392:
Page 393 and 394:
Page 395 and 396:
Page 397 and 398:
Page 399 and 400:
Page 401 and 402:
Page 403 and 404:
Page 405 and 406:
Page 407 and 408:
Page 409 and 410:
Page 411 and 412:
Table 12·1. Design Data for Chebys
Page 413 and 414:
~ o Table 12·1. (Cont.) Ripple = 1
Page 415 and 416:
Page 417 and 418:
Page 419 and 420:
Page 421 and 422:
Page 423 and 424:
Page 425 and 426:
Page 427 and 428:
Page 430 and 431:
13 Digital Tone Generation Teehniqu
Page 432 and 433:
DIGITAL TONE GENERATION TECHNIQUES
Page 434 and 435:
Page 436 and 437:
Page 438 and 439:
Page 440 and 441:
Page 442 and 443:
Page 444 and 445:
Page 446 and 447:
Page 448 and 449:
Page 450 and 451:
Page 452 and 453:
Page 454 and 455:
Page 456 and 457:
Sample Number Harm. No. o 2 3 4 5 6
Page 458 and 459:
Sample Spectrum Number 0 1 2 3 4 5
Page 460 and 461:
Page 462 and 463:
Page 464 and 465:
Page 466 and 467:
Page 468 and 469:
Page 470 and 471:
Page 472 and 473:
Page 474 and 475:
Page 476 and 477:
Page 478 and 479:
Page 480 and 481:
Page 482 and 483:
1,0 0,8 0,6 0.4 0,2 °0 10 12 14 16
Page 484 and 485:
Page 486 and 487:
Page 488 and 489:
1,o,-----------,----------" Y Ol---
Page 490 and 491:
Page 492 and 493:
Page 494 and 495:
14 DigitalFiltering In analog synth
Page 496 and 497:
DIGITAL FILTERING 483 Input Samples
Page 498 and 499:
DIGITAL FILTERING 485 the input wav
Page 500 and 501:
DIGITAL FILTERING 487 where 0 is no
Page 502 and 503:
DIGITAL FILTERING 489 BAND REJECT >
Page 504 and 505:
DIGITAL FILTERING 491 Next the inpu
Page 506 and 507:
DIGITAL. FILTERING 493 circuits mak
Page 508 and 509: DIGITAL FILTERING 495 OUTPUT Fig. 1
Page 510 and 511: DIGITAL FILTERING 497 INPUT ~8~~~~~
Page 512 and 513: DIGITAL FILTERING 499 the turnover
Page 514 and 515: DIGITAL FILTERING 501 frequency is
Page 516 and 517: + 3 1 oL-_-...l__---l__---L__---r-_
Page 518 and 519: DIGITAL FILTERING 505 When programm
Page 520 and 521: DIGITAL FILTERING 507 lowest freque
Page 522 and 523: DIGITAL FILTERING 509 Even with a p
Page 524 and 525: DIGITAL FILTERING 511 OUTPUT Fig. 1
Page 526 and 527: DIGITAL FILTERING 513 INPUT VARIABL
Page 528 and 529: DIGITAL FILTERING 515 INPUT (C) -(.
Page 530 and 531: DIGITAL FILTERING 517 NOTE: Xl, Y,
Page 532 and 533: DIGITAL FILTERING 519 AMPLITUDE, (d
Page 534 and 535: DIGITAL FILTERING 521 o ~ -10 ~ -20
Page 536 and 537: DIGITAL FILTERING 523 1.0 0.8 0.6
Page 538: DIGITAL FILTERING 525 When the outp
Page 541 and 542: 528 MUSICAL ApPLICATIONS OF MICROPR
Page 556 and 557: 16 Source-SignalAnalys,is One of th
Page 560 and 561: --------, I I ! II i I I I I , , i"
Page 562 and 563: SOURCE-SIGNAL ANALYSIS 549 3 IN -"
Page 564 and 565: SOURCE-SIGNAL ANALYSIS 551 Data Rep
Page 566 and 567: SOURCE-SIGNAL ANALYSIS 553 SIGNAL B
Page 568 and 569: SOURCE-SIGNAL ANALYSIS 555 -5° FH
Page 570 and 571: SOURCE-SIGNAL ANALYSIS 557 -5 -10 ~
Page 572 and 573: SOURCE-SIGNAL ANALYSIS 559 Since th
Page 574 and 575: SOURCE-SIGNAL ANALYSIS 561 o -5 -10
Page 576 and 577: SOURCE-SIGNAL ANALYSIS 563 o -5 -10
Page 578 and 579: SOURCE-SIGNAL ANALYSIS 565 overlapp
Page 580 and 581: SOURCE-SIGNAL ANALYSIS 567 • ....
Page 582 and 583: SOURCE-SIGNAL ANALYSIS 569 from an
Page 584 and 585: SOURCE-SIGNAL ANALYSIS 571 componen
Page 586 and 587: SOURCE-SIGNAL ANALYSIS 573 and some
Page 588 and 589: SOURCE-SIGNAL ANALYSIS 575 185491 A
Page 590 and 591: SOURCE-SIGNAL ANALYSIS 577 SYSTEM F
Page 592 and 593: SOURCE-SIGNAL ANALYSIS 579 (AI (BI
Page 594 and 595: SOURCE-SIGNAL ANALYSIS 581 (Gl II'
Page 596 and 597: SOURCE-SIGNAL ANALYSIS 583 PULSE PE
Page 598 and 599: SOURCE-SIGNAL ANALYSIS 585 again, t
Page 600 and 601: SOURCE-SIGNAL ANALYSIS 587 Quite ob
Page 602 and 603: 17 DigitalHardware At this point, w
Page 604 and 605: DIGITAL HARDWARE 591 Lsa I N+I DIVI
Page 606 and 607: DIGITAL HARDWARE 593 (~OCK[ L _ LSB
Page 608 and 609:
DIGITAL HARDWARE 595 FREQUENCY CONT
Page 610 and 611:
DIGITAL HARDWARE 597 Fig. 17-7. Pha
Page 612 and 613:
DIGITAL HARDWARE 599 MOST SIGNIFICA
Page 614 and 615:
DIGITAL HARDWARE 601 waveform chang
Page 616 and 617:
DIGITAL HARDWARE 603 As an example,
Page 618 and 619:
DIGITAL HARDWARE 605 1. Sixteen ind
Page 620 and 621:
DIGITAL HARDWARE 607 discussed, the
Page 622 and 623:
DIGITAL HARDWARE 609 between the 41
Page 624 and 625:
DIGITAL HARDWARE 611 8-BIT PORT I M
Page 626 and 627:
FREOUENCY CONTROL IN I I 20 FREOUEN
Page 628 and 629:
DIGITAL HARDWARE 615 TO MULTIPLEXED
Page 630 and 631:
FREQ. :a.-8 CNTL. WRITE FREQ. I 20
Page 632 and 633:
DIGITAL HARDWARE 619 effective freq
Page 634 and 635:
DIGITAL HARDWARE 621 The signal mem
Page 636 and 637:
DIGITAL HARDWARE 623 into a filter
Page 638 and 639:
DIGITAL HARDWARE 625 made using con
Page 640 and 641:
DIGITAL HARDWARE 627 A Hybrid Voice
Page 642 and 643:
DIGITAL HARDWARE 629 o -5 -10 -15 ~
Page 644 and 645:
DIGITAL HARDWARE 631 o -5 -10 -15 ~
Page 646 and 647:
DIGITAL HARDWARE 633 D3 02 01 10 00
Page 648 and 649:
DIGITAL HARDWARE 635 plementers on
Page 650:
DIGITAL HARDWARE 637 taken care of
Page 653 and 654:
Page 655 and 656:
Page 657 and 658:
Page 659 and 660:
Page 661 and 662:
Page 663 and 664:
Page 665 and 666:
Page 667 and 668:
Page 669 and 670:
Page 671 and 672:
Page 673 and 674:
Page 675 and 676:
Page 677 and 678:
Page 679 and 680:
Page 681 and 682:
Page 683 and 684:
Page 685 and 686:
Page 687 and 688:
Page 689 and 690:
Page 691 and 692:
Page 693 and 694:
Page 695 and 696:
Page 697 and 698:
Page 699 and 700:
Page 701 and 702:
Page 703 and 704:
Page 705 and 706:
Page 707 and 708:
Page 709 and 710:
Page 711 and 712:
Page 713 and 714:
Page 715 and 716:
Page 718:
SECTIONIV ProductApplications andth
Page 721 and 722:
Page 723 and 724:
Page 725 and 726:
Page 727 and 728:
Page 729 and 730:
716 MUSICAL ApPLICATIONS OF MJCROPR
Page 731 and 732:
RING MOD VCD A PITCHo--+lcNTL OUT A
Page 733 and 734:
Page 735 and 736:
Page 737 and 738:
Page 739 and 740:
Page 741 and 742:
Page 743 and 744:
Page 745 and 746:
Page 747 and 748:
Page 749 and 750:
Page 751 and 752:
Page 753 and 754:
Page 755 and 756:
Page 757 and 758:
Page 759 and 760:
Page 761 and 762:
Page 763 and 764:
Page 765 and 766:
Page 767 and 768:
Page 770 and 771:
20 Low-CostSYllthesis Techniques Wh
Page 772 and 773:
LOW-COST SYNTHESIS TECHNIQUES 759 g
Page 774 and 775:
LOW-COST SYNTHESIS TECHNIQUES 761 i
Page 776 and 777:
LOW-COST SYNTHESIS TECHNIQUES 763 0
Page 778 and 779:
LOW-COST SYNTHESIS TECHNIQUES 765 S
Page 780 and 781:
LOW-COST SYNTHESIS TECHNIQUES 767 c
Page 782 and 783:
LOW-COST SYNTHESIS TECHNIQUES 769 O
Page 784 and 785:
LOW-COST SYNTHESIS TECHNIQUES 771 +
Page 786 and 787:
LOW-COST SYNTHESIS TECHNIQUES 773 F
Page 788 and 789:
LOW-COST SYNTHESIS TECHNIQUES 775 F
Page 790 and 791:
LOW-COST SYNTHESIS TECHNIQUES 777 f
Page 792 and 793:
21 Future Frequently, when glvmg ta
Page 794 and 795:
LOW-COST SYNTHESIS TECHNIQUES 781 T
Page 796 and 797:
LOW-COST SYNTHESIS TECHNIQUES 783 t
Page 798 and 799:
LOW-COST SYNTHESIS TECHNIQUES 785 "
Page 800 and 801:
LOW-COST SYNTHESIS TECHNIQUES 787 m
Page 802 and 803:
LOW-COST SYNTHESIS TECHNIQUES 789 a
Page 804 and 805:
Bibliography The following publicat
Page 806:
BIBLIOGRAPHY 793 DMA DOS FET FFT FI
Page 809 and 810:
Page 811 and 812:
Page 813 and 814:
Page 815 and 816:
Page 817 and 818:
(Communication) Minor - Computer Sc
Page 819 and 820:
newsletter, writing numerous articl
Page 821 and 822:
conversion subsystem, especially if
Page 823 and 824:
In the beginning the company was su
Page 825 and 826:
HAL : I really haven't kept up with
Page 827 and 828:
was clear he was serious, I named m
Page 829 and 830:
influences too like interrupts from
Page 831 and 832:
SONIK : What activities do you do o
Page 833 and 834:
as a homework assignment. So much o
Page 835:
Musical Applications of Microproces
show all

of Microprocessors

Create successful ePaper yourself

Delete template?

Save as template?