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78 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

depression <strong>of</strong> a key. Its primary function is ro mark the beginning <strong>of</strong> a note.<br />

The other signal is called a gate and is used to mark the duration <strong>of</strong> the note.<br />

The gate signal is present as long as a key is pressed. Thus) these two timing<br />

signals qualify the control voltage output from the keyboard.<br />

Generators are similar to transducers but generally produce a predefined<br />

type <strong>of</strong> output signal that can be influenced with mechanical and control<br />

inputs but not completely determined in detail as with a transducer. A good<br />

example <strong>of</strong> an audio signal generaror is a voltage-controlled oscillator. Typically,<br />

several outputs are provided, each one supplying a different but fixed<br />

waveform at a fixed amplitude. The voltage level at the control input directly<br />

affects thefrequency <strong>of</strong>the multiple waveform outputs, but the waveshape and<br />

amplitude, which are fixed by design, remain constant. A good example <strong>of</strong> a<br />

control voltage generator is the envelope generator. This device supplies a<br />

predetermined voltage contour in response to the trigger and gate signals<br />

mentioned earlier. Mechanical controls generally specify details about the<br />

conrour generated, although rarely a control voltage might be able to specify<br />

some <strong>of</strong> these.<br />

Modifiers typically accept signal inputs and control inputs and produce<br />

a signal output. Modification <strong>of</strong> one or more parameters <strong>of</strong> the input signal is<br />

performed in accordance with the voltage levels at the control inputs. A<br />

voltage-controlled amplifier is a good example <strong>of</strong> a modifier. Typically, the<br />

signal input is <strong>of</strong> constant amplitude, but the amplitude <strong>of</strong> the output is<br />

determined by the control input.<br />

Interconnections<br />

In order to perform a useful funerion, the synthesizer modules must be<br />

interconnected. A true general-purpose synthesizer provides only mechanical<br />

mounting and operating power to the modules; otherwise they are completely<br />

independent. Probably the most popular connection method involves<br />

the use <strong>of</strong> patch cords similar to those found in old telephone switchboards<br />

but with both ends free. The cords and standard 1/4-inch phone plugs are<br />

quite flexible and rugged and allow fully shielded connections that minimize<br />

noise pickup. A particular arrangement <strong>of</strong> patch cords is called a patch. A<br />

complex patch may involve so many cords that a ratts-nest appearance results<br />

that may even obscure the front panel <strong>of</strong> the synthesizer. In such a situation,<br />

it may become difficult to follow a particular cord through the maze without<br />

pulling on one end <strong>of</strong> it. Even so, most users love the patch cord concept and<br />

on occasion can be seen to point proudly at the "jungle" that represents the<br />

creation <strong>of</strong> a new sound.<br />

Another popular interconnection technique uses a pinboard matrix.<br />

The matrix is divided into rows representing module outputs and columns<br />

representing module inputs. Each row and column is clearly labeled with<br />

module number, type, and signal name. A connection from an output to an<br />

input is made by inserting a pin at their point <strong>of</strong> intersection. An output may

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