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MUSIC SYNTHESIS SOFTWARE 661 ,------------------------_--.. HP + ~NOTCH + INPUT J-G'---1>--_-- LP A INPUT, HP, SP, LP, NOTCH Q,FREQUENCY A,C s.xxxxxxx X.XXXXXXX S. XXXXXXXXXXXXXXX SEQUENCE OF CALCULATIONS STEP OPERATION BINARY REPRESENTATION E S 'S.x X X X X X XiX X X X X X X X FREQ x.x X X X X X X F SX,XXXXXXXXXXXXXX ~H Sx,xxxxxxxxxxxxxx G ~xXXXXXX"X X X X X -LP OUTPUT E X a A S'S.XXXXXXX'XXXXXXx X.X x S X.X x x x x x xxx xx x x X -A SX.xxxxxxxxxxxxxx -G SS.XXXXXXXXXXXXXX + Input S.X X X X X X X 0 0 0 0 a 0 a ------e- s ,s.x x x x x x X,X x x x x x X --HP OUTPUI B s~.XXXXXXX'XXXXXXX X FREQ X. X xx xxxx c s X.X x x x x x x x x x x x x x s s.x x x x x x x x x x x x x x s,s.xxxxxxx,xxxxxxx ---SP OUTPUT S,X x x xx x x SoX X X X X X X S.X xxxxxx ----- NOTCH OUTPUT Fig. 18-6. Signal flow diagram <strong>of</strong> fixed-point arithmetic digital filter synthesis system is considered. It can be a viable technique in dedicated filter applications such as a spectrum analyzer, however. Of course, with 8-bit samples and arithmetic, the programmer constantly walks a tightrope in keeping signal levels high to maximize SiN ratio, while keeping them low
662 MUSICAL ApPLICATIONS OF MICROPROCESSORS 0223 llOA 0224 llOA 0225 110A 0226 llOA 0227 110A 0228 110A 0229 1l0A 0230 1l0A 0231 1l0A 0232 1l0A 0233 OOAO DELAYl 0234 00A2 DELAY2 0235 OOM TEMP 0236 00A6 FREQ 0237 00A7 Q 0238 00A8 LOPAS 0239 00A9 BNDPAS 0240 OOAA HIPAS 0241 OOAB BNDREJ 0242 OOAC 0243 OOAC 0244 2000 48 SVDFLT 0245 2001 A2AO 0246 2003 200010 0247 2006 203CI0 0248 2009 A5BO 0249 200B B5Bl 0250 2000 A5A6 0251 200F 209210 0252 2012 A2A2 0253 2014 201210 0254 2017 200910 0255 201A 203CI0 0256 2010 A5BO 0257 201F B5A8 0258 2021 A2AO 0259 2023 200010 0260 2026 203CI0 0261 2029 A5BO 0262 202B 85Bl 0263 2020 A5A7 0264 202F 209210 0265 2032 A2A2 0266 2034 201210 0267 2037 A2A4 0268 2039 200910 0269 203C 68 0270 2030 85BO 0271 203F A900 0272 2041 85Bl 0273 2043 204610 0274 2046 202010 0275 2049 200910 0?76 204C 203CI0 0277 204F A5BO 0278 2051 85AA 0279 2053 85Bl 0280 2055 A5A6 0281 2057 209210 0282 205A A2AO 0283 205C 201210 0284 205F 200910 02B5 2062 203CI0 0286 2065 A5BO 0287 2067 85A9 0288 2069 A2A4 STATE VARIABLE DIGITAL FILTER ENTER WITH 8 BIT INPUT SAMPLE IN THE ACCUMULATOR EXIT WITH 8 BIT OUTPUT SAMPLES IN LOPAS, BNDPAS, HIPAS, AND NOTCH. CENTER FREQUENCY PARAMETER IS IN FREO AND Q PARAMETER IS IN Q. INPUT AND OUTPUT SAMPLES ARE SIGNED FRACTIONS. FREQUENCY AND Q PARAMETERS ARE UNSIGNED NUMBERS WITH A RANGE OF 2.0 AND A RESOLUTION OF 1/128. *= $AO *=*+ 2 *=*+ 2 *=*+ 2 *=*+ 1 *=*+ 1 *=*+ I *=*+ 1 *=*+ I *=*+ I *= $2000 PHA LOX I/DELAYl JSR OLD JSR DSHL LOA ACCH STA ACCL LOA FREQ JSR MULT2Q LOX I/DELAY2 JSR DADO JSR DST JSR DSHL LOA ACCH STA LOPAS LOX I/DELAYl JSR OLD JSR DSHL LDA ACCH STA ACCL LOA Q JSR MULT2Q LDX I/DELAY2 JSR DADO LOX HEMP JSR DST PLA STA ACCH LOA I/O STA ACCL JSR DSHRS JSR DSUB JSR DST JSR DSHL LOA ACCH STA HIPAS STA ACCL LOA FREQ JSR MULT2Q LOX I/DELAYl JSR DADO JSR DST JSR DSHL LOA ACCH STA BNDPAS LOX HEMP STORAGE IN PAGE ZERO STORAGE REGISTER FOR DELAY I STORAGE REGISTER FOR DELAY 2 TEMPORARY STORAGE FOR A 16 BIT VALUE CENTER FREOUENCY PARAMETER Q FACTOR PARAMETER LOWPASS FILTERED OUTPUT SAMPLE BANDPASS FILTERED OUTPUT SAMPLE HIGHPASS FILTERED OUTPUT SAMPLE BAND REJECT FILTERED OUTPUT SAMPLE ORIGIN FOR PROGRAM SAVE INPUT SAMPLE ON THE STACK LOAD OUTPUT OF DELAY 1 INTO THE PSEUDO ACCUMULATOR SHIFT IT RIGHT 7 BIT POSITIONS FOR USE AS THE MULTIPLIER MULTIPLICAND IS FREOUENCY PARAMETER TWO QUADRANT MULTIPLY ADD OUTPUT OF DELAY 2 TO PRODUCT PUT SUM BACK INTO DELAY 2 SHIFT LEFT ONE TO FORM LOWPASS OUTPUT LOAD OUTPUT OF DELAY I INTO THE PSEUDO ACCUMULATOR SHIFT IT RIGHT 7 BIT POSITIONS FOR USE AS THE MULTI PLI ER MULTIPLICAND IS 0 PARAMETER TWO QUADRANT MULTIPLY ADD RESULT TO SAVED LOWPASS OUTPUT SAVE IN TEMPI RESTORE INPUT SAMPLE PUT INTO PSEUDO ACCUMULATOR AND SHIFT RIGHT ONE SUBTRACT SAVED SUM FROM INPUT SAMPLE TO SAVE RESULT FOR LATER USE IN NOTCH OUTPUT FORM HIGHPASS OUTPUT IS ALSO MULTIPLIER MULTIPLY BY FREQ ADO OUTPUT OF DELAY 1 TO THE PRODUCT PUT SUM BACK INTO DELAY I SHIFT LEFT ONE BIT HIGH BYTE IS BANDPASS OUTPUT BAND REJECT OUTPUT IS DELAY2 PLUS TEMPI
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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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SOURCE-SIGNAL ANALYSIS 585 again, t
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SOURCE-SIGNAL ANALYSIS 587 Quite ob
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17 DigitalHardware At this point, w
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DIGITAL HARDWARE 591 Lsa I N+I DIVI
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DIGITAL HARDWARE 593 (~OCK[ L _ LSB
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DIGITAL HARDWARE 595 FREQUENCY CONT
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DIGITAL HARDWARE 597 Fig. 17-7. Pha
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DIGITAL HARDWARE 599 MOST SIGNIFICA
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DIGITAL HARDWARE 601 waveform chang
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DIGITAL HARDWARE 603 As an example,
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DIGITAL HARDWARE 605 1. Sixteen ind
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DIGITAL HARDWARE 607 discussed, the
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DIGITAL HARDWARE 609 between the 41
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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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