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DIGITAL HARDWARE 635 plementers on the waveform memory, while the other two are the most significant waveform memory address bits. The other six waveform memory address bits are taken directly from the postdivider. Although the exact ROM contents will depend on personal preference, Table 17-2 shows one possibility that works well. The chosen combinations of waveform size, symmetry, etc., are simply arranged sequentially and assigned mode numbers from 0 to 31, which corresponds to the 5-bit mode control input. The only omitted waveform combinations are odd, even-{)dd, and odd-even symmetry with 256-point waveforms. Final values from the waveform memory are sent directly to an inexpensive 8-bit DAC. From this point forward, the tone will be processed by the voltage-controlled analog circuitry in Fig. 17-26. The four control voltages required are generated by a 10 bit DAC that is multiplexed four ways using sample-and-hold circuits. Note that writing into the waveform memory will generate intolerable noise and therefore must be done while the amplitude is set to zero. This is one reason for multiple-waveform capability. One problem with all variable-sample-rate techniques is the need for a rracking antialias filter. Without the filter, low-frequency waveforms with little harmonic content will exhibit a "chime-like" effect due to the high alias frequencies that are unmasked by the absence of strong high-frequency harmonics (remember that with variable sample rate, the alias frequencies themselves are harmonic). The filtering requirement is simplified considerably by using one channel of the lO-bit multiplexed DAC to drive a 2050 VCF IC connected as a two-section Butterworth filter. Although the filter control could be slaved to the frequency control word, the latter's floating point format complicates matters. Thus, for simplicity and maximum flexibility (one may want to under- or over-filter the waveform for special functions), the antialias filter is independently controlled. Utilization of the exponential tuning feature of the 2050 allows a 1,000-to-l tuning range with a step size so small (0.7%) it is inaudible. The dynamic waveshaping filter can take on many forms, but here the simple state-variable type is used. Two channels of the lO-bit multiplexed DAC are used to control center frequency and Qfactor of the filter. Exponential tuning of both parameters at the rate of 100 steps/octave retains better than 0.7% resolution over a 1,000-to-l range. A 2-bit word and some analog switches select the filter's operating mode. A VCA built with a 3080 gain control element uses the remaining lO-bit DAC channel to control amplitude in steps of 1/10 dB with a theoretical range of 100 dB. Note that any nonlinear distortion in the VCA results in pure harmonic distortion of the waveform, since only one tone is being handled. Interfacing to the control computer is not explicitly shown because of wide variations in computer types, word lengths, and personal bias. When updating the frequency control words, however, it is important that all 15 bits change simultaneously. When using an 8-bit host, this requirement is
OAC MCI408L8 MS8 1081T OAC OATA CHANNEL UPDATE V 500 JUt( CHALLEL { ADDRESS +10 V '= 20 til 24 kfi -IOv~-'i=4;pF ~ Fig. 17-26. Analog portion of hybrid voice module FILTER FUNCTIQIj SELECT ENA8 74LS13. 100 kJl 10 kJl 10 kJl 10ka 10 kJl 51 kJl CD4016 -5V I,:> • O~~~~T 0'\ \j.) 0\ ~ C(fJ n:> t-< :g > c:: n ~ 5z (fJ ~ ~ n~ "C b nt!1 (fJ (fJ o ~
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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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SOURCE-SIGNAL ANALYSIS 583 PULSE PE
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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 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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