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1. 1▶ECE4450 L4.2: 3080 vs 13700 (Operational Transconductance Amplifiers)ECE4450 Analog Circuits for Music SynthesisNotes
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2. 2▶ECE4450 L3: The Importance of ECE Design Fundamentals (Analog Circuits for Music Synthesis, GA Tech)ECE4450 Analog Circuits for Music SynthesisNotes
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3. 3▶ECE4450 L10: Sawtooth-to-Triangle Waveshaping (Analog Circuits for Music Synthesis, Georgia Tech)ECE4450 Analog Circuits for Music SynthesisNotes
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4. 4▶ECE4450 L9: Scaling and Shifting Waveforms (Analog Circuits for Music Synthesis, Georgia Tech)ECE4450 Analog Circuits for Music SynthesisNotes
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5. 5▶ECE4450 L8: Voltage Controlled Oscillators: Sawtooth Cores (Analog Circuits for Music Synthesis)ECE4450 Analog Circuits for Music SynthesisNotes
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6. 6▶ECE4450 L7: Serge VCA Analysis (Analog Circuits for Music Synthesis, Georgia Tech course)ECE4450 Analog Circuits for Music SynthesisNotes
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7. 7▶ECE4450 L6: Roland 130 VCA Analysis (Analog Circuits for Music Synthesis, Georgia Tech course)ECE4450 Analog Circuits for Music SynthesisNotes
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8. 8▶ECE4450 L2.5: 50 Years of Music Synthesis: The Synthularity is Here! (Analog Circuits for Music)ECE4450 Analog Circuits for Music SynthesisNotes
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9. 9▶ECE4450 L2.4: 50 Years of Music Synthesis: The Synthularity is Near (Analog Circuits for Music)ECE4450 Analog Circuits for Music SynthesisNotes
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10. 10▶ECE4450 L2.3: 50 Years of Music Synthesis, Pt 3: The Sound of Sampling (Analog Circuits for Music)ECE4450 Analog Circuits for Music SynthesisNotes
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