SAM2695 Datasheet
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FW-1804 Firewire Audio-MIDI Interface
» D00846700A FW-1804 FireWire Audio-MIDI Interface SETUP GUIDE Contents Introduction ...............................2 About the FW-1804 .......................2 Monitor Mixing ...........................2 The IEEE 1394 Standard ...................2 Before Installing the Software ...............3 Installation (Windows 2000 and Windows XP) .....4 Installation (Mac OS X 10.2.8 and above).........6 Installation (Mac OS 9.2)......................7 Connections ...............................8 MIDI Connections ........................8 Analog Audio Connections .................8 Status Indicators .........................9 Clock Source Setting ......................9 Introduction About the FW-1804 • COMPUTER selects the signals from the DAW passed through the FireWire connection. The level of the signals from the computer is set using the master output control The FW-1804 provides your computer with high-quality of the DAW software and the two analog outputs may be audio facilities: eight channels of analog input and two of selected (using the software Control Panel) for output of output, with two channels of digital audio I/O through these signals. coaxial connections and eight channels of digital I/O through optical connections—at up to 96 kHz 24-bit. There • INPUTS selects the stereo mix of the analog, optical and are also two physical MIDI input and four physical output coaxial signals for monitoring. ports. • BOTH allows the computer signals to be monitored It is connected to the host computer using a single 6-pin to mixed with the input signals. 6-pin IEEE 1394 cable (supplied) that carries audio and Individual channels can be set to unity gain by pressing and MIDI information back and forth between the FW-1804 holding the computer's [Shift] key while clicking on the and the computer. -
United States Patent (19) 11 Patent Number: 6,157,976 Tien Et Al
USOO6157976A United States Patent (19) 11 Patent Number: 6,157,976 Tien et al. (45) Date of Patent: Dec. 5, 2000 54 PCI-PCI BRIDGE AND PCI-BUS AUDIO OTHER PUBLICATIONS ACCELERATOR INTEGRATED CIRCUIT PCI System Architecture, Tom Shanley/Don Anderson, 75 Inventors: Paul Tien, Fremont; Cheng-Yeuan 1995, pp. 381-382. Tsay, Pleasanton; Rsong-Hsiang Shiao, Fremont, all of Calif. Primary Examiner Ayaz R. Sheikh Assistant Examiner Rupal D. Dharia 73 Assignee: ESS Technology, Fremont, Calif. Attorney, Agent, or Firm-Gray Cary Ware & Freidenrich 57 ABSTRACT 21 Appl. No.: 09/074,657 A semiconductor device with an embedded PCI 2.1 com 22 Filed: May 6, 1998 pliant bridge provides expanded functionality as System 51511 Int. Cl. ............................. GO6F13FOO700; GO6F 13/38/ level implementationsp of a PCI-to-PCI bridge,9. and enhances 52 U.S. Cl. ............................ 710/129, 710/127, 710/64; the level of integration possible. The embedded PCI-to-PCI 345/435; 84/604; 84/621; 84/622; 84/647 bridge allows the creation of multi-function, multimedia 58) Field of Search 345/435: 710/127 add-on cards Supporting multiple devices. Multi-function, 710129,6484/602,604 621 622 647. multimedia Subsystems that provide audio, graphics, MPEG, s w is s s 454. 70425s etc., are mapped into a bridged-to PCI-bus that keeps Such s traffic off the main PCI-bus. The advantage for the system or 56) References Cited add-in card Vendor is that the various multimedia chips that are combined can come from different Sources, providing an U.S. PATENT DOCUMENTS optimized and highly customized combination of functions. -
Profire Lightbridge User Guide | 2 Introduction 1
34-in/36-out FireWire Lightpipe Interface User Guide English Table of Contents English . 2 Introduction . 2 What’s in the Box . 2 About ProFire Lightbridge . 3 ProFire Lightbridge Features . 4 System Requirements . 5 Controls and Connectors . 6 Front Panel . 6 Rear Panel . 7 Driver Installation . 8 Hardware Connections . 8 Audio . 8 MIDI . 9 Word Clock . 9 Using ProFire Lightbridge . 9 The Software Control Panel . 10 Hardware Page . 10 About Page . 13 Word Clock Synchronization . 14 Understanding Word Clock . 14 Specifications . 18 Warranty . 19 Warranty Terms . 19 Warranty Registration . 19 M-Audio ProFire Lightbridge User Guide | 2 Introduction 1 hank you for purchasing M-Audio’s ProFire Lightbridge interface. ProFire Lightbridge uses the ADAT optical T I/O standard to bring extensive digital connectivity to your studio. With its four ADAT optical inputs, four ADAT optical outputs, S/PDIF coaxial input and output, and stereo analog outputs, ProFire Lightbridge lets you connect a variety of devices to your FireWire-equipped digital audio workstation. Using the high-bandwidth, industry-standard FireWire (IEEE1394) protocol, ProFire Lightbridge gives your DAW up to 34 audio inputs and 36 outputs while connecting to your computer via a single cable. This makes it perfect for multi-channel transfers to and from external multitrack recorders. ProFire Lightbridge is also ideal for linking your DAW to an external digital mixer, or for connecting to another computer hosting soft synths and signal processors. This manual will explain the features and operation of ProFire Lightbridge. Even if you are an experienced recording enthusiast, please take a moment to read this guide and familiarize yourself with all of the unique features of your ProFire Lightbridge. -
US-16X08 Reference Manual
D01247020B US-16x08USB2.0 Audio Interface/Mic Preamp Reference Manual Before connecting this unit to a computer, you must download and install a dedicated driver. Contents 1 – Introduction ..............................................3 Windows 8 ....................................................................23 Features ..................................................................................3 Windows 7 ....................................................................23 Conventions used in this manual ..................................3 Mac OS X and iTunes ........................................................24 iOS ..........................................................................................24 2 – Names and functions of parts ..................4 Front panel ............................................................................4 9 – MIDI Implementation Chart ...................25 Rear panel ..............................................................................5 10 – Troubleshooting ...................................26 3 – Installation ................................................6 Troubleshooting ................................................................26 System requirements.........................................................6 11 – Specifications ........................................28 Windows ..........................................................................6 Specifications .....................................................................28 Mac OS X..........................................................................6 -
General MIDI 2 February 6, 2007
General MIDI 2 February 6, 2007 Version 1.2a Including PAN Formula, MIDI Tuning Changes and Mod Depth Range Recommendation Published By: The MIDI Manufacturers Association Los Angeles, CA PREFACE Abstract: General MIDI 2 is a group of extensions made to General MIDI (Level 1) allowing for expanded standardized control of MIDI devices. This increased functionality includes extended sounds sets and additional performance and control parameters. New MIDI Messages: Numerous new MIDI messages were defined specifically to support the desired performance features of General MIDI 2. The message syntax and details are published in the Complete MIDI 1.0 Detailed Specification version 1999 (and later): MIDI Tuning Bank/Dump Extensions (C/A-020) Scale/Octave Tuning (C/A-021) Controller Destination Setting (C/A-022) Key-Based Instrument Controll SysEx Messages (C/A-023) Global Parameter Control SysEx Message (C/A-024) Master Fine/Course Tuning SysEx Messages (C/A-025) Modulation Depth Range RPN (C/A-026) General MIDI 2 Message: Universal Non-Realtime System Exclusive sub-ID #2 under General MIDI sub-ID #1 is reserved for General MIDI 2 system messages (see page 21 herein). Changes from version 1.0 to version 1.1: o Section 3.3.5: changed PAN formula per RP-036 o Section 4.7: Added new recommendations per RP-037 Changes from version 1.1 to version 1.2: o Section 3.4.4: added recommendation for Mod Depth Range Response per RP-045 o V 1.2a is reformatted for PDF distribution General MIDI 2 Specification (Recommended Practice) RP-024 (incorporating changes per RP-036, RP-037, and RP-045) Copyright ©1999, 2003, and 2007 MIDI Manufacturers Association Incorporated ALL RIGHTS RESERVED. -
3.4.1 SPI - Serial Peripheral Interface
DIPLOMARBEIT Herr Axel Schneider Entwicklung einer updatefähigen Embedded-Linux-Hardwareplattform zum Einsatz in einer speziellen Gerätesteuerung Mittweida, 2012 Fakultät Elektro- und Informationstechnik DIPLOMARBEIT Entwicklung einer updatefähigen Embedded-Linux-Hardwareplattform zum Einsatz in einer speziellen Gerätesteuerung Autor: Herr Axel Schneider Studiengang: Elektrotechnik Schwerpunkt Energiesystemtechnik Seminargruppe: ET07wE-D Erstprüfer: Prof. Dr.-Ing. Thomas Beierlein Zweitprüfer: Dipl.-Ing. (FH) Jan Färber Einreichung: Mittweida, 17.08.2012 Bibliografische Angaben: Schneider, Axel: Entwicklung einer updatefähigen Embedded-Linux-Hardwareplatt- form für den Einsatz in einer speziellen Gerätesteuerung - 2012 – 74 Seiten, 43 Abbildungen, 13 Tabellen, 3 Anlagen , Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Elektro- und Informationstechnik Diplomarbeit, 2012 Referat: Das Projekt „Pfeifen-Orgel mit dynamischer Stimmung“ ist ein Steuerungssystem zur Verbesserung der Klangqualität einer Orgel. Das System besteht aus dezentralen Elementen und einer zentralen Steuerung. Diese Arbeit befasst sich mit der Entwicklung der zentralen Einheit, der Zentralen Ak- tor-Steuerung. Ihre Aufgabe umfasst grundlegend die Mikrocontroller gestützte Da- tenverarbeitung und Kommunikation über spezielle, im Projekt benötigte Peripherie. Für die an diese Arbeit angrenzende Entwicklung der Steuerungssoftware, verfügt die Hardwareplattform über ein angepasstes Embedded Linux. Inhaltsverzeichnis Inhaltsverzeichnis...............................................................................................I -
Apogee Ensemble Thunderbolt Audio Interface
Apogee Ensemble Thunderbolt Audio Interface User’s Guide Fall 2014 Contents Overview!...........................................................................................................5 Introduction!................................................................................................................5 Features!.......................................................................................................................5 Package Contents!......................................................................................................6 Ensemble Thunderbolt Panel Tour!...........................................................................7 Front Panel!.................................................................................................................7 Rear Panel!..................................................................................................................8 Display!........................................................................................................................9 Input Settings Display Screen!..................................................................................9 Getting Started!...............................................................................................10 Precautions when powering Ensemble On/Off!......................................................10 Thunderbolt Notes!....................................................................................................10 Ensemble Software!..................................................................................................11 -
User's Guide M-Audio Ozone
M-Audio Ozone version: MA-Ozone_052803 User’s Guide Introduction . .2 M-Audio Ozone Features . .2 M-Audio Ozone Overview . .2 What’s in the Box . .3 Guide to Getting Started . .4 M-Audio Ozone Panel Features . .4 Top Panel . .4 Rear Panel . .6 M-Audio Ozone Driver Installation . .7 Driver Installation for Windows . .7 Windows XP: . .8 Windows 2000: . .12 Windows ME: . .16 Windows 98SE: . .18 M-Audio Ozone and the Windows Sound System . .23 Macintosh Driver Installation . .23 OMS Installation . .24 M-Audio Ozone Driver Installation . .24 OMS Configuration (Mac OS9 only) . .25 M-Audio Ozone and the Mac OS 9 Sound Manager . .27 M-Audio Ozone and Mac OS X . .27 The M-Audio Ozone Control Panel . .28 Application Software Setup . .30 M-Audio Ozone Hardware Installation . .31 M-Audio Ozone Audio Setup and Control . .31 Using the Mic and Instrument Inputs . .33 Setting Input Gain . .34 Phantom Power . .34 Using the Aux Inputs . .35 Using Direct Monitor . .36 M-Audio Ozone MIDI Setup and Control . .37 MIDI Functions In Standalone Mode . .39 Utilizing the Programming Assignment Keys . .39 Technical Support & Contact Information . .44 M-Audio Ozone Warranty Information . .45 M-Audio Ozone Technical Specifications . .46 Appendix A - MIDI Controller Information . .47 Appendix B - M-Audio Ozone Block Diagram . .48 Introduction Congratulations on your purchase of the M-Audio Ozone. The M-Audio Ozone is an innovative product—a powerful combination of MIDI controller and audio interface with microphone and instrument preamps that will turn your computer into a virtual music production studio. You may use your M-Audio Ozone in conjunction with a USB-equipped PC or Macintosh computer and appropriate music software to enter a full range of MIDI note and controller information, as well as record and play back your voice, guitar, or external sound modules. -
Serial Communication Buses
Computer Architecture 10 Serial Communication Buses Made wi th OpenOffi ce.org 1 Serial Communication SendingSending datadata oneone bitbit atat oneone time,time, sequentiallysequentially SerialSerial vsvs parallelparallel communicationcommunication cable cost (or PCB space), synchronization, distance ! speed ? ImprovedImproved serialserial communicationcommunication technologytechnology allowsallows forfor transfertransfer atat higherhigher speedsspeeds andand isis dominatingdominating thethe modernmodern digitaldigital technology:technology: RS232, RS-485, I2C, SPI, 1-Wire, USB, FireWire, Ethernet, Fibre Channel, MIDI, Serial Attached SCSI, Serial ATA, PCI Express, etc. Made wi th OpenOffi ce.org 2 RS232, EIA232 TheThe ElectronicElectronic IndustriesIndustries AllianceAlliance (EIA)(EIA) standardstandard RS-232-CRS-232-C (1969)(1969) definition of physical layer (electrical signal characteristics: voltage levels, signaling rate, timing, short-circuit behavior, cable length, etc.) 25 or (more often) 9-pin connector serial transmission (bit-by-bit) asynchronous operation (no clock signal) truly bi-directional transfer (full-duplex) only limited power can be supplied to another device numerous handshake lines (seldom used) many protocols use RS232 (e.g. Modbus) Made wi th OpenOffi ce.org 3 Voltage Levels RS-232RS-232 standardstandard convertconvert TTL/CMOS-levelTTL/CMOS-level signalssignals intointo bipolarbipolar voltagevoltage levelslevels toto improveimprove noisenoise immunityimmunity andand supportsupport longlong cablecable lengthslengths TTL/CMOS → RS232: 0V = logic zero → +3V…+12V (SPACE) +5V (+3.3V) = logic one → −3V…−12V (MARK) Some equipment ignores the negative level and accepts a zero voltage level as the "OFF" state The "dead area" between +3V and -3V may vary, many receivers are sensitive to differentials of 1V or less Made wi th OpenOffi ce.org 4 Data frame CompleteComplete one-byteone-byte frameframe consistsconsists of:of: start-bit (SPACE), data bits (7, 8), stop-bits (MARK) e.g. -
General Midi Specifications
General MIDI 11/5/03 8:28 AM GENERAL MIDI Not everyone becomes involved with MIDI and electronic instruments because they want to create all kinds of new sounds. Some of us are just musicians who want a palette of good sounds with which to compose and perform. A need arose in the computer world for better sounds in games and multimedia. Those needs were recognized, and a new part of the MIDI standard was born. Welcome to General MIDI. No, not a high ranking musical military officer, General MIDI (GM) is an unusual part of the MIDI specification called a recommended practice. It isn't a MIDI message or command. Instead, it is a description of a class of musical instruments that all share a consistent set of feature and capabilities. This means that music created for playback on a GM instrument will sound musically consistent on any GM instrument. A typical MIDI system is very personalized. You choose the instruments you want to use and the sounds that are in each instrument. Manufacturers developing new synthesizers are free to put any kind of sounds in teh machine as they wish, in any order. Sequences you record in your studio with your equipment will not automatically fit into other MIDI systems. You will need to put some amount of effort in to redirecting channels and changing pitch change messages to fit the new gear you are using. SPECIFICATIONS All of this extra noodling disappears with GM. Any instrument that bears the mighty GM logo must adhere to a predetermined list of feature and patch assignments. -
Creative® Sound Blaster® Audiopci TM
® ® TM Creative Sound Blaster AudioPCI 128 MODEL CT5801 Creative’s Industry-Standard 1373-Based Sound Card Delivers High Quality Digital Audio The model CT5801 Sound Blaster® AudioPCITM 128 for Hewlett-Packard, is an outstanding sound card solution that delivers excellent audio quality and features at an affordable price. The Sound Blaster AudioPCI 128 is driven by Creative’s industry-standard ES1373 DSP engine, coupled with AC97 version 2.1 CODEC, providing the next generation of audio performance while maintaining full Sound Blaster 16 legacy compatibility. Audio - Primary Features The Sound Blaster AudioPCI 128 is a complete digital audio recording and playback system, capable of 16- bit/48KHz fidelity. The Sound Blaster AudioPCI 128 delivers 128-voice polyphony for wavetable audio, real- time DSP effects including reverb, chorus and spatialization, plus real-time bass and treble equalization control. In addition, the Sound Blaster AudioPCI 128 supports 3D Positional Audio, Microsoft’s DirectSound, DirectSound 3D, Environmental Audio Extensions (EAX) for DirectSound3D, and support for the Aureal A3D API, which allows applications written to the A3D API to run on the Sound Blaster AudioPCI 128. A stereo 2w/channel amplifier is also included. Compatibility The Sound Blaster AudioPCI 128 is fully Plug and Play compliant for ease of use in either genuine DOS, DOS Box, Windows Millenium, Windows 95/98/98SE, Windows NT, and Windows 2000 applications, and is fully Sound Blaster 16 compatible in MS-DOS utilizing a patented method of Sound Blaster emulation developed by Creative. In addition, the AudioPCI 128 offers full General MIDI capability, and also supports Microsoft’s PC98, PC99, and Multimedia PC Level II and III specifications. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games.