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Lucas Cordiviola
2022-04-12 23:17:03 -03:00
parent 1ca5c25706
commit 19822c017f
89 changed files with 282 additions and 282 deletions
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@@ -82,7 +82,7 @@ the software package specifies the network, sometimes called a
which essentially corresponds to the synthesis algorithm to be used, and then
worries about how to control the various unit generators in time. In this
section, we'll use abstract block diagrams to describe patches, but in the
``examples" section (Page <A HREF="node18.html#sect1.examples"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
"examples" section (Page <A HREF="node18.html#sect1.examples"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="crossref.png"></A>), we'll choose a
specific implementation environment and show some of the software-dependent
details.
@@ -158,13 +158,13 @@ Parts (c) and (d) show a more gently-varying possibility for <IMG
ALT="$y[n]$"> and the
result. Intuition suggests that the result shown in (b) won't sound like an
amplitude-varying sinusoid, but instead like a sinusoid interrupted by
an audible ``pop" after which it continues more quietly. In general, for
an audible "pop" after which it continues more quietly. In general, for
reasons that can't be explained in this chapter, amplitude control signals
<IMG
WIDTH="30" HEIGHT="32" ALIGN="MIDDLE" BORDER="0"
SRC="img2.png"
ALT="$y[n]$"> which ramp smoothly from one value to another are less likely to give
rise to parasitic results (such as that ``pop") than are abruptly changing
rise to parasitic results (such as that "pop") than are abruptly changing
ones.
<P>
@@ -173,7 +173,7 @@ sinusoids are the signals most sensitive to the parasitic effects of
quick amplitude change. So when you want to test an amplitude transition, if
it works for sinusoids it will probably work for other signals as well.
Second, depending on the signal whose amplitude you are changing, the amplitude
control will need between 0 and 30 milliseconds of ``ramp" time--zero for the
control will need between 0 and 30 milliseconds of "ramp" time--zero for the
most forgiving signals (such as white noise), and 30 for the least (such as a
sinusoid). All this also depends in a complicated way on listening levels and
the acoustic context.