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DIGITAL HARDWARE 593 (~OCK[ L _ LSB 00 00 M-BIT SYNCHRONOUS COUNTER L-----I--~o--- TO MORE L---+---
594 MUSICAL ApPLICATIONS OF MICROPROCESSORS RATE MULT OUT I II I III III III III III III III III III III III III + 2 FILTER OUT ..L1--'_"--..1--'_"------'----'------'---'---'--------'_"----..L-L..-L.-...I.-----'----'----'----'--'-_.L-..L.- + 4 FILTER OUT ..11~-"---------'-----'-----'------'----.L--"-------'--- __--'-----'----'-- + 8 FILTER OUT --'- --'- ---' ---L- ----L --'-- _ Fig. 17-4. Operation of jitter filter for rate multiplier M bits that just continuously counts through its 2M possible states. The gating network compares the content of the counter with the frequency control word and based on the comparison either allows a clock pulse through or blocks it. The average output frequency is equal to FN/2 M , where F is the clock frequency and M and N are as before. Note that unlike the divide-by-N approach, the rate multiplier produces an output frequency directly proportional to N rather than inversely proportional. Note also that by increasing the number of counter bits that the frequency resolution may be made as high as desired without altering the clock frequency. So far this sounds ideal but there is a catch. Examining the gating structure and truth table for N = 11, it is seen that the output pulses are erratically spaced, although there are indeed 11 of them per 16 input pulses. A little further study of the effect of different Ns reveals that the instantaneous output frequency never varies over a range greater than two to one, although it is never less than that either unless N is a power of two, in which case it does not vary at all. The audible effect of such frequency jitter is a very rough sound to say the least. Thus, it is clear that a rate multiplier alone is unsuitable as an audio tone source. One can, however, "digitally filter" the jittery output with a simple binary counter and reduce the percentage of frequency modulation. Figure 17-4 shows how a divide-by-8 counter smooths the frequency jitter substantially from 100% to about 12%. Unfortunately, the clock frequency must be increased by a factor of8 to compensate for the frequency division of the jitter filter. By adding stages to the filter counter, the jitter may be made as small as desired, subject only to the clock-frequency limit of the rate-multiplier counter. A divide-by-256 filter counter, which leaves only a trace of roughness in the sound, is probably adequate in most cases. Thus, if the rate multiplier is to be used to produce frequencies up to 20 kHz, the clock frequency must be 5.12 MHz, about what it was with the divide-by-N approach. With an overall output frequency relation of FN/2 M +], where} is the number of bits in the jitter filter, it is seen that frequency is a linear function of the digital word, N. Thus, frequency resolurion is poorest at low frequencies rather than at high frequencies. If one wishes to experiment with rate multipliers, the 7497 is a 6-bit cascadable unit that functions up to 20 MHz. Four of these, an 8-bit filter counter (74393), and a 5-MHz crystal oscillator are sufficient to build a frequency soutce with good resolution at all but the very lowest audio frequencies (1. 5% at 20 Hz).
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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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44 MUSICAL ApPLICATIONS OF MICROPRO
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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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84 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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102 MUSICAL ApPLICATIONS OF MICROPR
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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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DIGITAL FILTERING 483 Input Samples
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DIGITAL FILTERING 485 the input wav
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DIGITAL FILTERING 487 where 0 is no
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DIGITAL FILTERING 489 BAND REJECT >
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DIGITAL FILTERING 491 Next the inpu
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DIGITAL. FILTERING 493 circuits mak
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DIGITAL FILTERING 495 OUTPUT Fig. 1
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DIGITAL FILTERING 497 INPUT ~8~~~~~
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DIGITAL FILTERING 499 the turnover
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DIGITAL FILTERING 501 frequency is
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+ 3 1 oL-_-...l__---l__---L__---r-_
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DIGITAL FILTERING 505 When programm
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DIGITAL FILTERING 507 lowest freque
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DIGITAL FILTERING 509 Even with a p
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DIGITAL FILTERING 511 OUTPUT Fig. 1
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DIGITAL FILTERING 513 INPUT VARIABL
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DIGITAL FILTERING 515 INPUT (C) -(.
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DIGITAL FILTERING 517 NOTE: Xl, Y,
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DIGITAL FILTERING 519 AMPLITUDE, (d
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DIGITAL FILTERING 521 o ~ -10 ~ -20
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DIGITAL FILTERING 523 1.0 0.8 0.6
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DIGITAL FILTERING 525 When the outp
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Page 608 and 609: DIGITAL HARDWARE 595 FREQUENCY CONT
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Page 648 and 649: DIGITAL HARDWARE 635 plementers on
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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 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 783 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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Musical Applications of Microproces
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