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DIGITAL HARDWARE 633 D3 02 01 10 00 >----1~I>_-I.SO CI IC OC 01 10 00 C AI 74157 IA OA 00 A7 0 CO OAC MCl408L8 BO : 2101 AO SEL AO CONTROL fREQUENCY {==~=~ WORD HIGH 3 BITS LOAD MODE AND FREO. CHIlo HIGH 01 10 00 CI IC OC 01 10 00 AI C IA OA 74157 00 A7 0 CO 00 : 2101 AO SEL A0 I>-LSO ,. 7486 FREQUENCY CONTROL WORD LOW 12 BITS .50 WRITE SELECT WRITE ADORESS WRITE DATA ADDRESS V FOR WRITING TO WAVEFORM MEMORY II 10 9 o 7 6 LSB *745287 OR EQUIVALENT PROGRAMMED ACCORDING TO TABLE 17-2. o 17.145893 MHz FUNDAMENTAL AT Fig. 17-25. Digital portion of hybrid voice module
634 MUSICAL ApPLICATIONS OF MICROPROCESSORS are also clocked by the prescaler output. This prevents its content from changing at inopportune times and glitching the adders or waveform generator. Since the 74173 is a synchronous load register, it must be enabled by the control computer long enough to be loaded by the next clock pulse. Even with the largest prescaler division rario selected, the load delay is never more than 15 J.Lsec. Symmetry logic and waveform partitioning logic has been incorporated into a single 256-word X 4-bit programmable read-only memory. Three of the ROM address bits are the three most significant bits of the postdivider, whereas the remaining five address bits are the waveform mode control bits. Thus, one of 32 different waveform memory operating modes can be selected. This allows near!y all combinations of waveform table size (64, 128, or 256), waveform selection when the smaller sizes are used, and symmetry to be specified. Two of the ROM output bits control conditional com- Table 17-2. Waveform Memory Scan Control PROM Pattern Mode Most significant accumulator bits 2 Mode Number' 0 1 2 3 4 5 6 7 description 0 0 3 0 0 0 0 0 0 0 64 points, wave 1, no symmetry 1 0 4 0 4 0 4 0 4 even symmetry 2 0 8 0 8 0 8 0 8 odd symmetry 3 0 C 8 4 0 C 8 4 odd-even symmetry 4 0 4 8 C 0 4 8 C even-odd symmetry 5 1 1 1 1 1 1 1 1 wave 2, no symmetry 6 1 5 1 5 1 5 1 5 even symmetry 7 1 9 1 9 1 9 1 9 odd symmetry 8 1 D 9 5 1 D 9 5 odd-even symmetry 9 1 5 9 D 1 5 9 D even-odd symmetry 10 2 2 2 2 2 2 2 2 wave 3, no symmetry 11 2 6 2 6 2 6 2 6 even symmetry 12 2 A 2 A 2 A 2 A odd symmetry 13 2 E A 6 2 E A 6 odd-even symmetry 14 2 6 A E 2 6 A E even-odd symmetry 15 3 3 3 3 3 3 3 3 wave 4, no symmetry 16 3 7 3 7 3 7 3 7 even symmetry 17 3 B 3 B 3 B 3 B odd symmetry 18 3 F B 7 3 F B 7 odd-even symmetry 19 3 7 B F 3 7 B F even-odd symmetry 20 0 1 0 1 0 1 0 1 128 points, wave 1, no symmetry 21 0 1 4 5 0 1 4 5 even symmetry 22 0 1 8 9 0 1 8 9 odd symmetry 23 0 1 C D 8 9 4 5 odd-even symmetry 24 0 1 4 5 8 9 C D even-odd symmetry 25 2 3 2 3 2 3 2 3 wave 2, no symmetry 26 2 3 6 7 2 3 6 7 even symmetry 27 2 3 A B 2 3 A B odd symmetry 28 2 3 E F A B 6 7 odd-even symmetry 29 2 5 6 7 A B E F even-odd symmetry 30 0 1 2 3 0 1 2 3 256 points, wave 1, no symmetry 31 0 1 2 3 4 5 6 7 even symmetry Notes: 'Most significant 5 PROM address bits expressed in decimal. 2Least significant 3 PROM address bits expressed in decimal. 'PROM contents expressed in hexadecimal.
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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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SOURCE-SIGNAL ANALYSIS 563 o -5 -10
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SOURCE-SIGNAL ANALYSIS 565 overlapp
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SOURCE-SIGNAL ANALYSIS 567 • ....
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SOURCE-SIGNAL ANALYSIS 569 from an
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SOURCE-SIGNAL ANALYSIS 571 componen
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SOURCE-SIGNAL ANALYSIS 573 and some
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SOURCE-SIGNAL ANALYSIS 575 185491 A
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SOURCE-SIGNAL ANALYSIS 577 SYSTEM F
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SOURCE-SIGNAL ANALYSIS 579 (AI (BI
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SOURCE-SIGNAL ANALYSIS 581 (Gl II'
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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 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 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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