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By Tadashi Kitamura

A consultant to 2 forms of transcendence of educational borders essential to the knowledge and modeling of mind functionality: Technical transcendence had to make clever machines, and transcendence of cross-disciplinary limitations to include much less technical and extra summary, cognitive elements of mind functionality into modeling.

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Extra info for What should be computed to understand and model brain function?: from robotics, soft computing, biology and neuroscience to cognitive philosophy

Sample text

Table 4-1. ATTACK/DECAY Values Voice 1 High Medium Low Setting Attack Attack Attack 54277 128 64 32 Lowest Attack 16 High Medium low Decay Decay Decay lowest Decay 4 1 8 2 To get an Attach / Decay setting, simply add an attack rate to a decay rate. For high attack and medium decay: 128 + 4 = 132; therefore, the entire setting would be POKE 54277,132. To get the highest attack rate possible, add all the attack values together (128 + 64 + 32 + 16 = 240). For the highest attack rate and medium decay, the setting should be POKE 54277,244.

You can learn to "play" the Commodore 64 with a minimum of practice. In this chapter, we will show you how to make beautiful music with your " 64" and how to use sound subroutines to add some piz zazz to your future programs. Let's get started POKEing around with sound. POKEing SOUND You can play the three voices by using POKE statements. You access the sound-related memory locations by POKEing . For the rest of the steps in playing sound, let's consider only Voice 1 as the example. Later in this chapter, you will learn the POKE settings for Voices 2 and 3.

POKE54286,198 lee POKE54276, 17 :POKE54283, 17 . 16 · POKE54283,16·POKE542ge , 16 Three notes (c, E, and F) are played in the fifth octave at the same time. All these have the same AttacklDecay, Sustain/Release, and Waveform variables. Think of the sound variation you can produce with c hanges in each vo ice. - Lines 20 through 80 set the AttacklDecay, Sustain/Release, and Note frequenc ies for Voices 1, 2, and 3. - Line 100 turns the triangle waveform on for all three voice s. - Lin e 120 stops the trian gle waveform for each of the voices.

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