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INDEX 797 Digitizer, graphic, 324, 355 Direct memory access (DMA), 154-155, 164, 346, 351, 368, 701-702 Disk fixed media, 142-143, 700 floppy, 140-142, 700, 702 hard, 142-143, 700-744 Winchester, 142-143 Dispersion. See Phase response Display alphanumeric, 145 bit-mapped, 352-353 color, 353 computer graphic, 340-354 list editing. See Editing, display list format, 343-344 raster, 349-353 vector, 341-349 Distortion alias, 418, 423-424, 426, 430, 467, 601-604 DAC glitching, 377-379 harmonic, 601-603, 635 intermodulation, 601-602 slew limiting, 379-382 Division, software, 651-652, 658-660 Disk operating system (DOS), 148. See also Operating system Echo. See Reverberation Editing display list, 344, 354 functions, graphic display, 360-364 sound using tape recorder, 44-45 text, 149 Envelope amplitude, 32-33, 642 generation, analog, 90-91 speerral, 28, 471-472, 476, 571-477 tracking, 71 Equalizer, 61 Exponential converter, 184-187, 194-196 DAC. See Digital-to-analog converter, exponential function, 82-83 truncared, 682-683 Fast Fourier transform. See Fourier transform, fast Feedback shifr register. See Sequence generation, digital FFT. See Fourier transform, fast Filter active, 213-217, 396-401, 404-406 all-pass, 495-499 bandpass, 212, 286, 494,551-558 FFT equivalent, 559-564 band-reject, 57, 213,499-500 cascade implementation, 60-62, 386 comb, 63-64, 499-500 constant bandwidth, 89-90 Q, 89-90, 217-218 curaff frequency, 56, 384 definition, 54-60 design data, 396-400, 403 design program, 395 digital, 119. See also Digital filters dispersive, 495-499, 568 hetrodyne, 557-558 high-pass, 56, 213 interpolation, 407, 518-525 jitter, 594, 628 low-pass, 56, 109, 115,212, 383-411 audio reconstruction, 383-411 Butrerworth, 388-390, 398, 393 Cauer. See Filter, low-pass, elliptical Chebyshev, 390-391, 393, 397-400 elliptical, 391-392, 401-406 iterative R-C, 386-387 iterative R-L-C, 387-388 vector generator, 348·349 4-pole, 219-220 negative impedance converter, 405-406 notch. See Filter, band reject parallel implementation, 386 passive, 387-388, 401-404 ringing, 528-530 R-L-C, 212-213, 387-388, 402 spectrum analysis, 551-558 state-variable, 214-217 stare-variable, digital. See Digital filter, state variable tracking, 635 transversal. See Digital filter, arbitrary response voltage controlled, 88-90, 210-220 IIF. See Noise, pink Filterbank analyzer, 551-558 Flanging. See Filter, comb Floating point, 373-375, 628, 645 FM. See Frequency modulation Formant definition, 63 tracking, 72, 571-577. See also Spectrum tracking
798 MUSICAL ApPLICATIONS OF MICROPROCESSORS Formant (continued) usage, 359-360, 571-573 Fourier series, 117,430-433,435, 610-619 Fourier rhnsform, 435-464 computer, 624-625 discrete, 436-439 fast, 441-458 fast, complex-real conversion, 455-458 forward, 439-458 inverse, 439-440, 455, 664-665 program, BASIC, 440, 441, 453-458 6502 assembly, 664-665 68000 assembly, 667-672 slow, 439-441, 444-445, 610-612, 664-665 in spectral analysis, 558-565 Frequency fundamental, 22 generation, digital, 590-598 genetator, harmonic, 612-613 hatmonic, 22-26 modularion, 32, 91-100, 465-467, 471 complex, 467, 471 patch, 99-100 negative, 99-100, 188, 420 parameter, 13-15 response. See Amplitude response Future predictions, 779-789 Fuzz effect, 48 Gate, music keyboard, 292-294 Gilbett multiplier, 207 Glitch, DAC, 225, 231, 377-379,410 Graphics bit-mapped, 132 vector, 341-349 Handshake protocol, 258, 300, 725-726 Harmonic definition of, 22-26 Fourier transform, 437-439, 459-465 inexact, 618-619 Nyquist frequency, 439 tracking, 558 History microprocessor, 127-138, 782-783 memory, 136-137, 781-782 sound synthesis, 34-41 Hold droop, 253, 413 step, 413 1mpulse response of concert hall, 510 offilter, 500-507, 518-522 Input-output, memory-mapped, 150 Instruction set arithmetic, 652-653 6502, 155-158 68000, 169-17 3 Integrator, digital. See Digital integrator analog, 189-190, 214-217 Interlace, raster scan display, 350-351 Interpolation between waveforms, 433-435, 460, 679-681 in curve editing, 361-362 linear, 421-423 noise. See Noise, interpolation polynomial, 515-517 segmented DAC, 233 sinc function, 407, 519-524 Interrupts application of, 294-295, 302, 311-312, 316, 368, 772 6502, 155 68000, 164-166 Interval timer. See Clock, real-time Jetsound ellen. See Filter, comb Jitter in audio DAC, 367-368 in digital oscillator, 594-598 Joystick, 323-324, 355 Keyboard function, 356-357 music, 91-92, 291-320 assignment problem, 296-297 polyphonic, 297-312 pressure sensitive, 317-318 three-dimensional, 319-320 two note, 295-297 velocity sensitive, 298-299 text, 144 Ladder, R-2R, 231-232 Language APL, 644 assembly, 149-150, 643, 645 6502, 264, 418-420, 654-657, 662-666 68000, 265, 669-671
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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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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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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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716 MUSICAL ApPLICATIONS OF MJCROPR
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RING MOD VCD A PITCHo--+lcNTL OUT A
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Page 804 and 805: Bibliography The following publicat
Page 806: BIBLIOGRAPHY 793 DMA DOS FET FFT FI
Page 809: 796 MUSICAL ApPLICATIONS OF MICROPR
Page 817 and 818: (Communication) Minor - Computer Sc
Page 819 and 820: newsletter, writing numerous articl
Page 821 and 822: conversion subsystem, especially if
Page 823 and 824: In the beginning the company was su
Page 825 and 826: HAL : I really haven't kept up with
Page 827 and 828: was clear he was serious, I named m
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Page 831 and 832: SONIK : What activities do you do o
Page 833 and 834: as a homework assignment. So much o
Page 835: Musical Applications of Microproces
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