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

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576 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

UJ<br />

a =><br />

I-<br />

::::;<br />

0-<br />

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..<br />

UJ<br />

><br />

;:::<br />

«<br />

...J<br />

UJ<br />

a:<br />

1.0<br />

0<br />

~~<br />

20 Hz 5 kHz<br />

FREQUENCY<br />

(Al<br />

~ I<br />

=> -<br />

~ 10dB<br />

0-<br />

~ r<br />

'"9<br />

20':-'H,.,-z--------------~~-~~~~-~~~~-~<br />

FREQUENCY<br />

(B)<br />

Fig. 16--16. Homomorphic spectral analysis. (A) Conventional linear scale<br />

spectrum. (B) Log scale spectrum.<br />

spectrum shape is due to multiplication <strong>of</strong> the excitation function spectrum<br />

and the system function response curve. Our goal is to separate the two<br />

spectra based on differences in their variability or "frequency content" (remember<br />

the spectral curve is being considered as a time sequence) by filtering.<br />

A filter, however, can only separate components that have been added,<br />

not multiplied, together. Thus, directly filtering the raw spectrum can lead<br />

to incorrect, though not necessarily useless, results.<br />

The problem is solved by remembering from high school math that the<br />

product <strong>of</strong> two numbers is equal to the antilog <strong>of</strong> the sum <strong>of</strong> their logarithms.<br />

Thus, if the amplitude spectrum is converted to decibels as in Fig. 16-16B,<br />

then the resultant shape is the sum <strong>of</strong> the excitation decibel spectrum and the<br />

filter response curve in decibels. The two curves may now be separated by<br />

filtering using a high-pass to recover the excitation spectrum and a low-pass<br />

to obtain a clean system function response shape. In music synthesis, the

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