DOCSLIB.ORG

Analog-Digital Hybrid Synthesizer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analog-Digital Hybrid Synthesizer Analog-Digital Hybrid Synthesizer Final Paper Group 28 members: Clapp, David Computer Engineering Herr, Matt Electrical Engineering Morcombe, Kevin Electrical Engineering Thatcher, Kyle Electrical Engineering Table of Contents 1. Executive Summary ....................................................................................................... 4 2. Project Description ........................................................................................................ 6 2.1 Project Inspiration .................................................................................................... 6 2.2 Project Goals ........................................................................................................... 7 2.3 History of Synthesizers ............................................................................................12 2.4 Requirements and Specifications ...............................................................................14 2.5 Quality of House Analysis ........................................................................................16 3. Project Related Research ...............................................................................................21 3.1 Current Marketed Products .......................................................................................21 3.2 Relevant Technologies .............................................................................................25 3.3 Evolution of Methodology/Part Selections .................................................................27 3.3.1 Voltage Controlled Oscillator .............................................................................27 3.3.2 Signal Mixer ....................................................................................................33 3.3.3 Low Frequency Oscillator Research ...................................................................36 3.3.4 Voltage Controlled Filter ...................................................................................39 3.3.5 Attack Release Envelope Generator.....................................................................46 3.3.6 Voltage Controlled Amplifier .............................................................................51 3.3.7 Microcontroller .................................................................................................56 3.3.8 Human Interface Devices ...................................................................................58 3.3.9 MIDI Transmit Port...........................................................................................59 3.3.10 Power Supply .................................................................................................59 3.4 Part Selection Summary ...........................................................................................62 4. Related Standards and Design Constraints .......................................................................66 4.1 Related Standards....................................................................................................66 4.2 Realistic Design Constraints .....................................................................................67 4.2.1 Economic and Time Constraints .........................................................................67 4.2.2 Health and Safety Constraints .............................................................................68 4.2.3 Manufacturability and Sustainability Constraints ..................................................70 5. Project Design Details ...................................................................................................71 5.1 Voltage Controlled Oscillator ...................................................................................71 5.2 Signal Mixer ...........................................................................................................78 5.3 Low Frequency Oscillator Hardware Design ..............................................................79 2 5.4 Voltage Controlled Low Pass Filter ...........................................................................83 5.5 Attack Release Envelope Generator ...........................................................................84 5.6 Voltage Controlled Amplifier ...................................................................................86 5.7 Microcontroller and Peripherals ................................................................................88 5.8 Software Design .....................................................................................................95 5.9 Power Supply ....................................................................................................... 105 5.10 Summary of Design ............................................................................................. 106 6. Project Prototype Construction and Coding ................................................................... 108 6.1 Final Coding Plan ................................................................................................. 108 6.2 Printed Circuit Board ............................................................................................. 112 7. Project Prototype Testing Plan ..................................................................................... 114 7.1 Hardware Test Environment ................................................................................... 114 7.2 Hardware Specific Testing ..................................................................................... 115 7.3 Software Test Environment .................................................................................... 118 7.4 Software Specific Testing ...................................................................................... 118 8. Project Operations Manual .......................................................................................... 122 9. Administrative Content ............................................................................................... 125 9.1 Budget and Finance Discussion............................................................................... 125 8.2 Milestones Discussion ........................................................................................... 125 8.3 Conclusions .......................................................................................................... 130 Appendices ................................................................................................................... 131 Appendix A - Copyright Permissions ............................................................................ 131 Works Cited .............................................................................................................. 132 3 1. Executive Summary Throughout the years musicians have strived to find originality and artistry in the music they produce. One of the primary ways of a musician revealing their true talent is choosing an instrument that allows their creativity to flow consistently. In modern society, the most versatile and quickest instrument to begin expressing one’s self is through use of the electronic synthesizer. These devices are capable of producing a wide variety of sounds, from futuristic space sound effects, to the replication of a classical piano or even a full orchestra. It’s no wonder that the largest trending musical style of today is the electronic genre. Saying that the electronic instruments of today are far and plenty is an understatement. The industry has been booming since the creation of the first electronic instrument a century ago. In recent years however most producers of electronic instruments are unfortunately following the trend of creating completely digital sound production devices. The pursuit for consistency, compact setups and affordability is driving the world of music creation towards a sterilized, completely digital means of audio replication and synthesis. An industry which once contained dynamic and expressive devices with human characteristics is slowly being waned out by devices which generate perfect pitch, and nearly expressionless, almost robotic qualities. This is where the revitalization of the analog synthesizer comes into play. By using physical components and classical circuit design, the possibility of maintaining natural worldly and (in some cases) outer-worldly sounds are still within the modern grasp. These devices create sound through oscillation of electricity, similar to how a string on a guitar produces sound once plucked. Natural oscillations using physical properties tend to have imperfections that are generally perceived as more fluid and rich in tone. However, analog synthesizers typically come with a cost: they are large, bulky, modular devices that require a substantial financial backing to support their expansion of versatility. The question then arises as to how might one acquire the smooth natural sounding qualities of an analog synthesizer, while keeping the package size and cost relatively small, as well as having a large variety of producible sounds to keep up with the ever growing popularity of fully digital synthesizers. The answer to that question is simple: create versatility through digital control methods, while maintaining the natural oscillations and audio production of analog circuits. The use of a digital microcontroller as the brain and control center will greatly expand the versatility of the machine, allowing control of many modular
Load more

Recommended publications
  • Minimoog Model D Manual
    3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to part 15 of the FCC rules.
    [Show full text]
  • Analog Synthesizer So There Is No Need for Soldering.)
    Assembly time: Approximately 20 minutes (The electric circuit comes pre-assembled, Analog Synthesizer so there is no need for soldering.) How to Assemble and Use the Supplement Things you will need Parts in the Kit Phillips screwdriver (No. 1) AA alkaline batteries (4 new) Knobs (5) * Please note that rechargeable NiCd batteries and non-rechargeable Oxyride and nickel-based batteries should not be Washer head screws (7) used due to a high risk of components melting or fire breaking out with these batteries because of accidental short-circuiting or the like. Additionally, because this supplement was designed based on operation at 6 V, it may not operate in the desired way due to an excess of or a deficiency in voltage with the above batteries. Incidentally, most rechargeable batteries provide 1.2 V and Screws (3) Oxyride batteries, 1.7 V. Main unit Cellophane tape Notes for tightening screws The types of screws used for the supplement are those that carve grooves into the plastic as they are inserted (self-threading). The screwdriver most suited to tightening the screws is the #1 JIS screwdriver. When tightening screws, Circuit board firmly press the provided screwdriver straight against the screws and turn. It is said that 70 percent of the force applied is used for pushing against the screw and 30 percent for turning it. Precision screwdrivers are hard to turn, so use a small screwdriver with a grip diameter of about 2 cm. Electrode Slider panel Speaker Cut out the cardboard (Wrapped in cardboard.) case to use as a back cover.
    [Show full text]
  • Imagine Your Art As the New Face of Moog Music's
    IMAGINE YOUR ART AS THE NEW FACE OF MOOG MUSIC’S HEADQUARTERS! WELCOME ALL CREATIVES We are excited to be accepting artist submissions for a design that will be the new face of the Moog factory in downtown Asheville, NC. Locals and visitors of our vibrant city have come to know our factory by the iconic synthesizer mural that has adorned the buildingʼs exterior for more than eight years. Now, weʼre ready to breathe new life into the public artwork that represents who we are and the instruments that our employee-owners build inside these four walls. This is where you come in! 1st PLACE WINNER TOP 5 RUNNERS-UP • Moog One 16-Voice Analog Synthesizer ($8,500 value) • Your Choice: Moog Mother-32, DFAM, or Subharmonicon • Your Artwork Displayed on the Moog Factory • Moog Merch Package HOW IT WORKS 1. Synthesize your best ideas of what represents Moog and our creative community. 2. Download the asset pack for artwork templates and specifications on file type and dimension requirements. 3. Submit your custom artwork at www.moogmusic.com/mural by February 19, 2021. Upload your artwork as a high resolution thumbnail that does not exceed 9MB, print files will be requested if you are selected as the winner. You may submit up to three pieces for consideration. 4. Online voting will be open to the public at www.moogmusic.com/mural from January 11 – February 28, 2021. 5. Weʼll select one grand prize winner and five runners-up, and will announce the winners via our email newsletter. The popular public vote will count toward our teamʼs consideration; make sure to share the voting link to your artwork on your website, social media accounts, etc.
    [Show full text]
  • A Symphony of Noises: Revisiting Oskar Sala's 'Geräuschmontage'
    Journal of Sound, Silence, Image and Technology 7 Número 2 | Desembre 2019 | 7-23 ISSN 2604-451X A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) Julin Lee Ludwig-Maximilians-Universität München, Germany [email protected] Date received:10-10-2019 Date of acceptance: 30-11-2019 KEY WORDS: FILM MUSIC | SOUND DESIGN | SOUND STUDIES | MATERIAL CULTURE STUDIES | ORGANOLOGY Journal of Sound, Silence, Image and Technology | Número 2 | Desembre 2019 8 A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) ABSTRACT accompanying the title sequence has a The soundtrack of Alfred Hitchcock’s The formal structure which resembles a classical Birds (1963) is particularly remarkable, not Hollywood film overture, and takes on only because of the absence of a conven- several expositional roles conventionally tional orchestral underscore, but also assigned to a film’s opening musical pas- because the terrifying sounds of the sage. Furthermore, the gull cries adopt the aberrant birds were actually synthesized by function of a leitmotif, while the stylized bird Oskar Sala using the mixturtrautonium, an sounds perform emotive functions usually electronic musical instrument of his own ascribed to film music. In addition, the design. This paper explores the extent to hostile birds are characterized by electroni- which these electronically synthesized bird cally synthesized bird sounds – a representa- sounds go beyond their diegetic placement tion which can be understood within the as sound effects and take on the dramaturgi- broader context of mankind’s ambivalence cal roles usually ascribed to non-diegetic towards machines and technological film music.
    [Show full text]
  • Computer Music
    THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself.
    [Show full text]
  • USING MICROPHONE ARRAYS to RECONSTRUCT MOVING SOUND SOURCES for AURALIZATION 1 Introduction
    USING MICROPHONE ARRAYS TO RECONSTRUCT MOVING SOUND SOURCES FOR AURALIZATION Fanyu Meng, Michael Vorlaender Institute of Technical Acoustics, RWTH Aachen University, Germany {[email protected]) Abstract Microphone arrays are widely used for sound source characterization as well as for moving sound sources. Beamforming is one of the post processing methods to localize sound sources based on microphone array in order to create a color map (the so-called “acoustic camera”). The beamformer response lies on the array pattern, which is influenced by the array shape. Irregular arrays are able to avoid the spatial aliasing which causes grating lobes and degrades array performance to find the spatial positions of sources. With precise characteristics from the beamformer output, the sources can be reconstructed regarding not only spatial distribution but also spectra. Therefore, spectral modeling methods, e.g. spectral modeling synthesis (SMS) can be combined to the previous results to obtain source signals for auralization. In this paper, we design a spiral microphone array to obtain a specific frequency range and resolution. Besides, an unequal-spacing rectangular array is developed as well to compare the performance with the spiral array. Since the second array is separable, Kronecker Array Transform (KAT) can be used to accelerate the beamforming calculation. The beamforming output can be optimized by using deconvolution approach to remove the array response function which is convolved with source signals. With the reconstructed source spectrum generated from the deconvolved beamforming output, the source signal is synthesized separately from tonal and broadband components. Keywords: auralization, synthesizer, microphone arrays, beamforming, SMS PACS no.
    [Show full text]
  • Digital Developments 70'S
    Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth.
    [Show full text]
  • Télécharger Le Livre-Programme Du Festival Présences 2019
    FESTIVAL PRÉSENCES 2019 DU 12 AU 17 FÉVRIER WOLFGANG RIHM UN PORTRAIT FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE 29e ÉDITION FESTIVAL PRÉSENCES 2019 DU 12 AU 17 FÉVRIER WOLFGANG RIHM UN PORTRAIT FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE 29e ÉDITION 2 ÉDITORIAL LA VOLONTÉ ET L’OUTIL La création musicale est inscrite dans les missions du service public de la radio. Elle fait partie intégrante de l’activité de Radio France, notamment de celle de ses quatre formations musicales qui, saison après saison, font vivre avec ardeur la musique d’aujourd’hui. Je sais l’attachement de l’Orchestre National de France, de l’Orchestre Philharmonique, du Chœur et de la Maîtrise de Radio France à révéler des partitions nouvelles, mais « C’est aussi l’occasion pour aussi à faire vivre le patrimoine de la musique qu’on nos antennes, et au premier appelle contemporaine. Cette aspiration se traduit chef France Musique, de faire notamment par le festival Présences qui invite chaque rayonner la musique à travers année une grande figure de notre temps. le monde. » C’est l’occasion pour les salles de la Maison de la radio, en particulier l’Auditorium et le Studio 104, de se mettre au diapason d'aujourd'hui, de déployer également le splendide équipement technique dont elles sont pourvues et de mettre en valeur notre magnifique orgue. C’est aussi l’occasion pour nos antennes, et au premier chef France Musique, de faire rayonner la musique à travers le monde. On sait en effet que le téléchargement et l’enregistrement vidéo, entre autres innovations, ont considérablement enrichi l’offre de France Musique qui, en outre, propose une webradio entièrement consacrée à la musique de notre temps.
    [Show full text]
  • The Definitive Guide to Evolver by Anu Kirk the Definitive Guide to Evolver
    The Definitive Guide To Evolver By Anu Kirk The Definitive Guide to Evolver Table of Contents Introduction................................................................................................................................................................................ 3 Before We Start........................................................................................................................................................................... 5 A Brief Overview ......................................................................................................................................................................... 6 The Basic Patch........................................................................................................................................................................... 7 The Oscillators ............................................................................................................................................................................ 9 Analog Oscillators....................................................................................................................................................................... 9 Frequency ............................................................................................................................................................................ 10 Fine ......................................................................................................................................................................................
    [Show full text]
  • NCRC Award Brian Docs
    NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
    [Show full text]
  • Acoustic Instrument Amplifier
    ���������� Acoustic Instrument Amplifi er Caution: To reduce the hazard of electrical shock, do not remove cover or back. No user serviceable parts inside. Please refer all servic- ing to qualified personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture. The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of un-insulated "dangerous voltage" within the products enclosure that may be of sufficient magni- tude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Important Safety Instructions 1. Please read all instructions before operating the unit. 2. Keep these instructions for future reference. 3. Please heed all safety warnings. 4. Follow manufacturers instructions. 5. Do not use this unit near water or moisture. 6. Clean only with a damp cloth. 7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (includ- ing amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or third prong is provided for your safety. When the provided plug does not fit your outlet, consult an electrician for replacement of the obsolete outlet.
    [Show full text]