So far, no changes to our schedule have been made nor new risks have been posed. Because the audio output system interface was set up with a square wave (or noise, it’ll be properly tested this following week), there is now a bridge into getting different signals outputted (and proper testing of waveform/filters). Right now, getting the CODEC functioning properly is the main priority and risk, but at the current pace we’re at it does not seem to pose too much of a challenge. Apart from working on the design report as a team, that is the main progress of the week. The video for the FPGA outputting audio can be seen in Jose’s status report.
How will our project meet the specific needs with regard to the following?
NOTE: A was written by Jose, B was written by Mihail, and C was written by Jose.
A (global factors):
In contrast to software synthesizers, hardware synthesizers are meant to be used without external computers or software. This means that FPGSZR can become much more accessible globally, since anyone can use it if they have a computer, no computer, or a variety of musical equipment. In other words, this means that people of all backgrounds can create music on a global scale (no matter the background, anyone can use the tool). Thanks to the product’s ease of use and low cost, classrooms can integrate them into their coursework and have students learn about the fundamentals of digital synthesis. Moreover, FPGSRZ’s standalone nature avoids any stalling thanks to external tools or instruments. That means that the system is reliable in many sorts of situations in which constant operation is required (live performances, classrooms, etc.). Altogether, these factors identify how FPGSRZ can affect the entire world in a positive manner, not just being limited to the city of Pittsburgh or one cultural group.
B (cultural factors):
This project carries significant cultural impact due to the fact that it is meant to be a cheaper alternative to a musical instrument. Music is a key part of cultural expression, and access to instruments can affect who is able to participate in music production and creative communities. Traditional hardware synthesizers can cost hundreds of dollars, which may limit access for students, hobbyists, or musicians, especially those from lower income backgrounds. By designing a lower-cost FPGA synthesizer that still supports standard MIDI keyboards, polyphonic playback, and a wide range of effects such as filtering, reverb, distortion, and multi-band compression, our system helps lower the barrier to entry for electronic music creation. This accessibility allows individuals from diverse cultural and economic backgrounds to experiment with music creation and express their own musical traditions or styles. Additionally, because the system is modular and based on widely used standards such as MIDI, it can integrate with a variety of instruments and musical workflows used across different communities, supporting a more inclusive range of musical practices.
C (environmental factors):
This project carries a significant benefit to the environment thanks to the fact that we are using an FPGA as the center of computation. Traditional hardware synthesizers carry a multitude of specially made components that cannot be reused elsewhere (think integrated circuits and the like). When the devices serve their purpose, people are inclined to then throw it out and create technological waste. If disposed of improperly (which can occur often), toxic substances like lead and cadmium can be released. Because of FPGA’s reprogrammable nature, the user can reprogram its internals to serve other uses when they do not need to use a synthesizer anymore. Essentially, they can reuse the component and avoid the need of throwing anything out and creating e-waste. To us, this is the most significant environmental benefit that comes about from our project.