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LOW-COST SYNTHESIS TECHNIQUES 763 0001 0000 0002 0000 0003 0000 0004 0000 0005 0000 0006 0000 0007 0000 0008 BFFI 0009 0000 0010 0000 0011 0000 0000 0012 0002 0000 0013 0004 0000 0014 0006 0000 0015 0008 00 0016 0009 00 0017 OOOA 0000 0018 OOOC 00 0019 0000 0000 0020 OOOF 00 0021 0010 0000 0022 0012 00 0023 0013 0000 0024 0015 00 0025 0016 0026 0016 0027 0700 AOOO 0028 0702 A608 0029 0704 BlOC 0030 0706 8DFlBF 0031 0709 A50A 0032 070B 6500 0033 0700 850A 0034 070F ASOB 0035 0711 6501 0036 0713 850B 0037 Oll5 BI0F 0038 0717 8DFIBF 0039 OllA ASOD 0040 onc 6502 0041 071E 8500 0042 0720 A50E 0043 0722 6503 0044 0724 850E 0045 0726 B1l2 0046 0728 8DFIBF 0047 072B A510 0048 0720 6504 0049 072F 8510 0050 0731 A511 0051 0733 6505 0052 0735 8511 0053 0737 B1l5 0054 0739 8DFIBF 0055 073C A513 0056 073E 6506 0057 0740 8513 0058 0742 A514 0059 0744 6507 0060 0746 8514 4-VOICE WAVEFORM TABLE SCAN SYNTHESIS SUBROUTINE FOR 6502 CALL WITH 4 FREQUENCY PARAMETERS IN FREQI-FREQ4 TONE FREQUENCY = (FREQ PARM)*.12715 HZ CALL ALSO WITH TEMPO AND OUR SET; OUR IS ZEROED ON RETURN CHORD DURATION = TEMPO*DUR*.00012 SECONDS SAMPLE PERIOD = 120US = 8.33KS/S FOR IMHZ PROCESSOR CLOCK PORT FREQI FREQ2 FREQ3 FREQ4 TEMPO OUR VIPT VITAB nPT nTAB V3PT V3TAB V4PT V4TAB CHORD CHORDO CHORDI *= 0 . WORD 0 .WORD 0 .WORD 0 .WORD 0 . BYTE 0 .BYTE 0 .WORD 0 . BYTE 0 •WORD 0 .BYTE 0 .WORD 0 .BYTE 0 .WORD 0 .BYTE 0 $BFFI *= $700 LOY flo LOX TEMPO LOA (VITAB),Y STA PORT LOA VIPT ADC FREQI STA VIPT LDA VIPT+l ADC FREQl+l STA VIPT+l LDA (V2TAB),Y STA PORT LOA V2PT ADC FREQ2 STA V2PT LOA V2PT+l ADC FREQ2+l STA V2PT+l LOA (V3TAB),Y STA PORT LOA V3PT ADC FREQ3 STA V3PT LOA V3PT+l ADC FREQ3+l STA V3PT+l LOA (V4TAB),Y STA PORT LOA V4PT ADC FREQ4 STA V4PT LOA V4PT+l ADC FREQ4+l STA V4PT+l OUTPUT PORT BITS TO D-TO-A CONVERTER STORAGE MUST BE IN PAGE 0 FOR SPEED FREQUENCY PARAMETER FOR VOICE 1 FREQUENCY PARAMETER FOR VOICE 2 FREQUENCY PARAMETER FOR VOICE 3 FREQUENCY PARAMETER FOR VOICE 4 CONTROLS TEMPO, NORMALLY STATIC CONTROLS CHORD DURATION VOICE 1 WAVE TABLE POINTER VOICE 1 WAVEFORM TABLE PAGE ADDRESS VOICE 2 VOICE 3 VOICE 4 KEEP Y=O FOR INDIRECT ADDRESSING SET X TO TEMPO COUNT GET SAMPLE FROM VOICE 1 WAVE TABLE OUTPUT TO THE DAC ADD THE VOICE 1 FREQUENCY PARAMETER TO THE VOICE 1 WAVE TABLE POINTER LOWER BYTE UPPER BYTE REPEAT FOR VOICE 2 USE TIME-DIVISON MULTIPLEXING TO MIX THE 4 VOICES REPEAT FOR VOICE 3 CARRY NOT CLEARED PRIOR TO ADDING FREQUENCY TO POINTER TO SAVE TIME ALSO INTRODUCES SLIGHT RANDOM FREQUENCY ERROR WHICH LIVENS UP THE SOUND REPEAT FOR VOICE 4 VOICE 4 IS SOMEWHAT LOUDER SINCE ITS SAMPLE "DWELLS" IN THE DAC LONGER Fig. 20-2. Simplified four-voice waveform table scan for 6502
764 MUSICAL "ApPLICATIONS OF MICROPROCESSORS 0061 0748 CA DEX DECREMENT AND CHECK TEMPO COUNT 0062 0749 D005 BNE CHORD2 BRANCH TO TIME WASTE IF NOT RUN OUT 0063 074B C609 DEC DUR DECREMENT AND CHECK DURATION COUNTER 0064 074D DOB3 BNE CHORDO GO RELOAD TEMPO AND CONTINUE IF 0 0065 074F 60 RTS ELSE RETURN IF DURATION RAN OUT 0066 0750 EA CHORD2 NOP EQUALIZE LOOP TIME BETWEEN RELOAD 0067 0751 EA NOP TEMPO AND NOT RELAOD TEMPO 0068 0752 4C0407 JMP CHORD1 Fig. 20-2. Simplified four-voice waveform table scan for 6502 (cant.) R-C filter or a judiciously selected woofer-type speaker can usually provide sufficient low-pass filtering. Once an audio DAC is present, whether it be in a game or a personal computer, the sounds producible are limited only by the imagination and skill of the programmer. The most straightforward synthesis algorithm to use is waveform table scanning. Typically, the waveform table will be 256 entries with 8 bits per entry and no interpolation. For 6502 and similar microprocessors, the general scheme illustrated in Fig. 13-4 can be used to scan the waveform table. In fact, a complete routine capable of producing four simultaneous tones at a sample rate of8.33 ks/s (for a I-MHz 6502) requires only 85 bytes. Such a routine is listed in Fig. 20-2. It is called with the 16-bit frequency parameters for the four voices (zero is used for silence) stored in FREQI-FREQ4, a duration parameter stored in DUR, and a tempo parameter stored in TEMPO. The number of samples produced before returning is the product of TEMPO and DUR. Note that the four voice samples are mixed by presenting them successively to the D-to-A converter rather than adding them up. This avoids scaling and as written makes the fourth voice somewhat louder than the other three due to its increased dwell time. In effect, the low-pass filter performs the mixing function. With a smooth waveform stored in the table (to avoid aliasing of high harmonics), the routine is very effective in producing four-part organ music with just a hint of roughness due to the short table and programming shortcuts taken. In fact, including a Fourier series routine to compute the waveform table (perhaps from random harmonic amplitudes) requires just a couple of hundred additional bytes. Other synthesis techniques have also been used in a similar context. Most 8-bit microprocessors are capable of producing one or two FM or nonlinear waveshaping voices. The VOSIM alogrithm has even been used to produce remarkably good synthesized speech, in real time, with nothing more than the audio DAC and some exceptionally clever programming. The increasing use of 16-bit internal architecture microprocessors with multiply instructions in even cost-sensitive products will extend further what can be done with two to three dollars worth of sound generation hardware.
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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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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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DIGITAL HARDWARE 611 8-BIT PORT I M
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FREOUENCY CONTROL IN I I 20 FREOUEN
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DIGITAL HARDWARE 615 TO MULTIPLEXED
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FREQ. :a.-8 CNTL. WRITE FREQ. I 20
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DIGITAL HARDWARE 619 effective freq
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DIGITAL HARDWARE 621 The signal mem
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DIGITAL HARDWARE 623 into a filter
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DIGITAL HARDWARE 625 made using con
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DIGITAL HARDWARE 627 A Hybrid Voice
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DIGITAL HARDWARE 629 o -5 -10 -15 ~
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DIGITAL HARDWARE 631 o -5 -10 -15 ~
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DIGITAL HARDWARE 633 D3 02 01 10 00
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DIGITAL HARDWARE 635 plementers on
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DIGITAL HARDWARE 637 taken care of
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SECTIONIV ProductApplications andth
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Page 725 and 726: 712 MUSICAL ApPLICATIONS OF MICROPR
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Page 804 and 805: Bibliography The following publicat
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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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