EE 1010 Intro to ECE DSP Module, weeks 1 + 2

Instructor/TA/Equipment notes
- Data sheets for the DSP daughterboards are available on the EE 1010 CD
(instructor should have a copy).

- To prepare for week 1, make sure a copy of the various sound files under Week
1 Files on the EE 1010 CD are available somewhere (like on a network drive).

- In WinDSK6 under the DSK & Host Configuration (lower right), be sure LPT1,
the TMS320C6711, and eDSP PCM 3006 are selected (these settings will retain).

- To prepare for week 2, copy files to the following locations:

Copy Theforceniose.wav to the desktop or somewhere easy to
find.
Copy the project folders to a convenient place such as C:\Temp or
similar.

- To properly interface with the DSK boards, the parallel port needs to be set to
ECP in the computers BIOS.

- When turning on the DSK or resetting it, it will perform a power on self test
(POST routine). The end of this sequence is highlighted by all three of the status
LEDs near the switches (on the same side of the board as the onboard audio ports)
blinking 4 times in a row in unison. Do not load WinDSK6 or Code Composer
Studio until this sequence has completed.

- If during week 1 the DSK appears to lock up, quit WinDSK6 and reload it. If
necessary quit WinDSK6, turn the DSK off and then back on (let it POST), and
then run WinDSK6 again. If worse comes to worse, reset the computer as well.

- If during week 2 the DSK stops responding or otherwise produces undesired

outputs: 1. Turn off the DSK, 2. Reset the computer, 3. Turn the DSK back on
(let it POST), and then 4. Reload Code Composer Studio. Be sure to check the
program and make sure it is not causing the DSK to become unstable.

- For both weeks, to interface with the oscilloscopes use the BNC => headphone
plug cables made by the shop to plug the output of the DSK directly to the
oscilloscope.

- To connect the DSK to the soundcard, use the double ended dubbing cables to go
directly from the soundcard to the input of the DSK daughtercard.
 - For week 1 to determine how the DTMF Generator works, certain oscilloscope
settings provide the best display.
Turn on the oscilloscopes FFT function. Set it up so:
o Span 5.0 kHz
o Center 2.5 kHz
o Scale 20 dB/
o Offset 0.0 dB
Set the oscilloscopes time function to:
o 2 V/div
o 20 ms/div
Turn on the infinite persist feature of the oscilloscope. This will
make it so previous triggers of data (previous waveforms) are
displayed on the screen as half bright traces. Turn it on by going
to Display => persist
Clear the infinite persist values between rows/columns of the
DTMF keypad

Below is an excerpt from the help file for WinDSK6 that explains each effect

Audio Effects
The audio effects application demonstrates a variety of signal manipulations commonly
used in music production. This includes echo, chorusing, flanging and phasing, tremelo
(amplitude modulation), noise, frequency translation, subharmonic synthesis, and others.
Many of the audio effect parameters can be varied well beyond the customary values
used with music to produce overstated and unusual effects. With multichannel CODECs,
the effect is created independently on all channels.
The individual effects are described below.

Echo

The echo generator uses a delay line of variable length. The sample arriving at the end of
the delay loop is multiplied by the reflection coefficient and added to the current sample
from the AIC. This sum is sent to the other effects, as shown above, and is also sent back
to the beginning of the delay line. In this way, a sound is repeatedly echoed, while it
fades at a rate determined by the reflection coefficient.
Chorus

The chorus effect makes a single instrument or voice seem like there are more than one.
The effect is produced by adding delayed versions of the original signal to the original
signal. The delays vary between 20~100 milliseconds at different rates to achieve the
desired effect. The amplitude of each delayed signal is also slightly different.

Flanger

The flanging effect was originally created by running audio through two reel-to-reel tape
recorders simultaneously, while the recording engineer used finger pressure on the flange
of one tape reel to cause it to run slightly slower than the other. (Hence the name
'flanging'.) To recreate the effect digitally, the original signal is summed with a delayed
version of itself. The delay is made to vary continuously. By selecting the Wow
checlbox, the direct signal path is interrupted. If the delay is increased, an audible 'wow'
can be heard in the output.
Tremelo

In technical terms, tremelo is amplitude modulation of the signal. (Although vibrato is

often mistakenly used to describe the tremelo effect, vibrato is in fact frequency
modulation.) Tremelo results when the amplitude of the an audio signal is repetitiously
varied.

Frequency Translation

Frequency translation is shifting of the frequency spectrum up or down. The effect is

accomplished digitally by implementing single-sideband modulation. Frequency
translation has a profound effect on voice and music because it affects the harmonic
relationships in the signal.
Noise

The noise effect operates on the total output of the other effects, by multiplying each
sample of the signal by a pseudo-random number between -1 and +1.

Subharmonic Synthesis

Subharmonic synthesis is the process of creating signal one octave lower than an input
signal. This is accomplished by first bandpass filtering the frequencies from
approximately 100 to 200 Hz. The zero crossings of the output of that filter are used to
toggle the output signal between positive and negative so that output is a square wave at
half the frequency of the input. The amplitude of the output signal is equal to the peak
amplitude. The output signal is then bandpass filtered to 50 to 100 Hz and combined
with the delayed original input signal to compensate for the group delay of the two filters.