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FREOUENCY CONTROL IN I I 20 FREOUENCY CONTROL REGISTER HARMONIC NUMBER PHASE CONTROL IN AMPLlTUOE CONTROL IN Fig. 17-16. Block diagram of a single-harmonic channel N-I ~TONE ~OUTPUT t) § ~t-< SS b~~ 0\ >-' V.J
614 MUSICAL ApPLICATIONS OF MICROPROCESSORS phases can be stored in two 64-bit by lO-bit memories. The throughput rate is 64 X 62.5 kHz=4 MHz or 250 nsec minor clock cycle, which means that bipolar or fast MOS memories will be needed. U nfoftunately, 64 words is a somewhat nonstandard size for memory ICs and using the 16- X 4-bit type 7489 memory means that 20 packages would be required. Other possibilities are the 2101A-1, which has a 200 nsec cycle time, and the 93422, which is a 50 nsec bipolar device. The latter is fast enough to be used directly, whereas the MOS 210lA-1 would have to be pipelined. Both of these have identical pin connections and are organized as 256 words of4 bits; thus, three-quarters of their capacity will not be utilized. When considering 64 channels, each with harmonically related frequencies,2 the leftmost four blocks in Fig. 17-16 seem to be redundant. In particular, it would be nice to eliminate the harmonic multiplier as well as individual frequency generation accumulators. In order to see how this might be done, consider the case in which the frequency control word has a value of 1 and the entire module had just been reset, that is, all 64 frequency generation accumulators set to O. After one sample period (16 f.Lsec), the fundamental accumulatot has a value of 1, second harmonic 2, third 3, etc. After a second sample period cycle, they are 2, 4, 6, etc., and after a third cycle they are 3, 6, 9, etc. After a number of sample periods, overflow of the highest harmonic is inevitable. This is merely an indication that it has completed a full cycle and can be ignored. In fact, all of the harmonics will overflow as they complete full cycles. These same relationships hold regardless of the value of the frequency control word. Thus, the content of the fundamental's accumulator can be multiplied by the harmonic number to obtain what would be in the harmonics' accumulators if they had their own accumulators and adders! This then eliminates 63 frequency generation subsystems. Only the low 20 bits of the 26-bit product should be retained to properly implement the overflow phenomenon mentioned earlier. Now that the redundant frequency generators are eliminated, let's see about getting rid of the multiplier as well. If the multiplexing is done in order of increasing harmonic numbers, then multiplication by 2, 3, 4, etc., can be accomplished by successive addition of the fundamental's frequency generation accumulator into a second indexing accumulator. Thus, the harmonic multiplier is replaced by an adder and accumulator. The substructure that accomplishes this is shown in Fig. 17-17. Note that this substructure is not multiplexed, but it does provide multiplexed data to the 64 sine generators, which, of course, are multiplexed. The frequency-control register 2If one wishes to generate decidedly nonharmonic tones, the 64 frequency generation subsystems may be retained. The ftequency control words would then come from a 64-word X 20-bit memory rather than a harmonic multiplier. Thus, one has essentially 64 independent sine wave generarors and a 64-channel mixer with independent gain control for each channel. The phase control adders are useless in such an application and therefore can be omitted.
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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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16 Source-SignalAnalys,is One of th
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SOURCE-SIGNAL ANALYSIS 545 nOdB T I
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--------, I I ! II i I I I I , , i"
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SOURCE-SIGNAL ANALYSIS 549 3 IN -"
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SOURCE-SIGNAL ANALYSIS 551 Data Rep
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SOURCE-SIGNAL ANALYSIS 553 SIGNAL B
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SOURCE-SIGNAL ANALYSIS 555 -5° FH
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SOURCE-SIGNAL ANALYSIS 557 -5 -10 ~
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SOURCE-SIGNAL ANALYSIS 559 Since th
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SOURCE-SIGNAL ANALYSIS 561 o -5 -10
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Page 608 and 609: DIGITAL HARDWARE 595 FREQUENCY CONT
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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 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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