Musical apparatus using multiple light beams to control musical tone signals
2010-03-25 00:00:00
the detection values.Claims

What is claimed is:

1. An electronic sound generating system which responds to the motion of an object in a space exterior to the electronic musical system in order to control a sound function, the system comprising:

at least one radiation source that emits radiation into a space outside the electronic sound generating system where the emitted radiation hits an object in the space;

at least one detector that detects radiation reflected along at least two paths from the object in the space outside the electronic sound generating system to detect motions of the object;

a controller for generating a control signal for controlling the sound function dependent on the motions of the object; and

a tone generator for generating a sound that is at least partially dependent upon the sound function.

2. The system of claim 1, wherein the radiation source that emits radiation comprises a light source that emits at least one light beam and wherein the detector that detects radiation comprises a light detector that detects light reflected along at least two paths from the object.

3. The system of claim 1, wherein the sound function is an audio signal.

4. The system of claim 1, Wherein the sound function is a tone signal.

5. The system of claim 1, wherein the sound function is an electronic audio control signal.

6. The system of claim 5, wherein the electronic audio control signal comprises a MIDI signal.

7. An electronic audio control system which responds to the motion of an object in a space exterior to the electronic musical system in order to control a sound function, the system comprising:

at least one radiation source that emits radiation into a space outside the electronic musical system where the emitted radiation hits an object moving in the space;

at least one detector that detects radiation reflected from the object in the space outside die electronic audio control system and produces at least two detection values therefrom, the detection values being dependent upon the motion of the object; and

a controller for generating a control signal for controlling the sound function dependent on the motions of the object.

8. The system of claim 7, wherein the radiation source that emits radiation comprises a light source that emits at least one light beam and wherein the detector that detects radiation comprises a light detector that detects light reflected along at least one path from the object.

9. The system of claim 7, wherein the sound function is an audio signal.

10. The system of claim 7, wherein the sound function is a tone signal.

11. The system of claim 7, wherein the sound function is an electronic audio control signal.

12. The system of claim 11, wherein the electronic audio control signal comprises a MIDI signal.Description

FIELD OF THE INVENTION

The field of the invention is electronic musical apparatuses such as electronic musical instruments, music-related sound generation devices, music-related sound modification devices, and their controllers, including, for example, synthesizers, keyboards, drum machines, effects processors, effects pedals, sequencers and sound modules. More specifically, the electronic musical apparatus embodying the invention is controlled by detecting the location and/or movement of an object (e.g., a hand) within a space by using a plurality of light beams, including infrared light beams.

BACKGROUND OF THE INVENTION

An electronic musical apparatus which detects reflected light to control the musical tone signal is known. Such a device was disclosed in Japanese Laid-Open Utility Model Application Publication Number SHO 58-195296.

Japanese Laid-Open Utility Model Application Publication Number SHO 58-195296 discloses attaching a light quantity detection apparatus in order to detect and sense the amount of ambient light outside an electronic musical apparatus. It reacts to the amount of light that has been sensed by the light quantity detection apparatus and controls parameters that are related to the musical tone (hereinafter, simply referred to as "parameters") such as the musical interval, timbre and volume.

However, in the device disclosed in Japanese Laid-Open Utility Model Application Publication Number SHO 58-195296, the amount of light is detected by a single light quantity detection apparatus, and there is no disclosure in Japanese Laid-Open Utility Model Application Publication Number SHO 58-195296 of the detection of a plurality of light quantities.

In addition, U.S. Pat. No. 5,045,687 discloses that a space is irradiated with light such as infrared light, mutually different sound pitches are assigned in advance to the multiple number of light beams reflected from the specified objects in the space, said multiple number of reflected light beams are detected and musical tone signals are produced that possess pitches which conform to the reflected light beams that have been detected.

However, in the system disclosed in U.S. Pat. No. 5,045,687, if a plurality of reflected light beams are detected, the device controls the musical tone signal based only on one of the reflected light beams, the one that is detected first. U.S. Pat. No. 5,045,687 does not disclose that controlling musical tone signals by means of the joint action of a multiple number of reflected light beams.

SUMMARY OF THE INVENTION

A first, separate aspect of the present invention is a new control mode for musical tone signals where the musical tone signal is controlled by means of the joint action of a plurality of reflected light beams.

A second, separate aspect of the present invention is a musical apparatus which has a plurality of light sources to radiate light into a space and a single light detector which detects light reflected off an object in space.

A third, separate ...

Low profile keyboard device and system for recording and scoring music
2010-03-23 00:00:00
AbstractA portable modular music recording device which simply and unobtrusively attaches to a keyboard instrument for purposes of recording live musical performances; and an efficient music microcomputing system in which the captured musical data is digitized and further analyzed to determine note and note expression information when a key has been played. In the modular keyboard device, key and key expression data is captured by means of reflective couplers mounted in the keyboard device, and the information is transmitted to the processing unit. Microcomputer instructions refine the data to a format suitable for serial transmission via a computer-compatible link for ultimate scoring and recording.ClaimsI claim:<br /><br />1. A portable, modular apparatus for acquiring data representative of a live musical performance on a selected keyboard instrument, said apparatus being removable positionable atop aback portion of the keyboard of the instrument, said apparatus comprising:<br /><br />a housing designed with slots to fit atop a predetermined span of black and white keys on the keyboard of the selected keyboard instrument, said housing being structured for disposition atop the back portion of the keyboard and to operativelycover the predetermined span of keys on the keyboard;<br /><br />reflective coupler means disposed within said housing, said reflective coupler means comprising light emitting means disposed to impinge light onto each key on the keyboard covered by said predetermined span means for receiving said lightreflected by each of the keys in accordance with the amount the key is depressed, and means for providing an electrical analog output signal corresponding to the amount of reflected light received from the key, and<br /><br />means operatively connected to said reflective coupler means for monitoring the electrical analog output signal from said electrical analog output signal providing means to acquire data representative of the live musical performance.<br /><br />2. The apparatus of claim 1 wherein said electrical analog output signal monitoring means comprises means for enabling each said analog output signal providing means at preselected time intervals.<br /><br />3. The apparatus of claim 2 wherein said electrical analog output signal monitoring means comprises means for enabling said electrical analog output signal providing means in a preselected sequence.<br /><br />4. The apparatus of claim 3 wherein said monitoring means comprises means for clocking said electrical analog output signal providing means to acquire data representative of key strike and release velocity.<br /><br />5. The apparatus of claim 4 wherein said electrical analog output signal clocking means comprises means for clocking said electrical analog output signal sufficiently fast to provide data accurately representative of key strike and releasevelocities.<br /><br />6. The apparatus of claim 4 wherein said monitoring means comprises means for comparing consecutive electrical analog output signals from a key's electrical analog output signal providing means to determine if the amount of key depression haschanged and means for generating note expression data representative of key strike and release velocity for such key in response to changes in consecutive electrical analog output signals from its associated electrical analog output signal providingmeans. <br /><br />7. The apparatus of claim 4 further comprising means for converting said data representative of the live musical performance to a form transferable to a computer compatible link.<br /><br />8. The apparatus of claim 1 wherein said light emitting means comprises a light emitting diode for each covered key.<br /><br />9. The apparatus of claim 8 wherein said electrical analog output signal providing means comprises, for each covered key, a phototransistor.<br /><br />10. The invention of claim 1 in combination with at least a second said modular apparatus and means for operatively connecting said modular apparatuses.<br /><br />11. The invention of claim 10 wherein each said modular apparatus comprises an encodable module identifying means.<br /><br />12. The invention of claim 10 wherein each said modular apparatus is an octave module comprising a housing operatively covering twelve keys.<br /><br />13. The apparatus of claim 1 comprising means for varying the light intensity to each light emitting means to compensate for differences in reflectivity for individual keys on said keyboard.<br /><br />14. A method for acquiring data representative of a performance on a keyboard instrument comprising:<br /><br />for each key within a selected group of keys on the keyboard instrument,<br /><br />(a) emitting light from a source,<br /><br />(b) impinging the light onto the key,<br /><br />(c) reflecting the light from the key onto a photodetector in accordance with the amount the key is depressed to generate an electrical analog output signal indicative of the amount of key depression,<br /><br />using steps (a), (b), and (c), in accordance with a clock signal, sequentially initiating the electrical analog ouput signal for each key within the group of keys sufficiently frequently to provide a series of electrical analog output signalsrepresentative of key depression as a function of time, comprising key striking and release velocities.<br /><br />monitoring the series of electrical analog output signals for each key to acquire data representative of the performance, and<br /><br />comparing the strengths of consecutive electrical analog output signals within the series from each key within the group of keys to determine if a change in the amount of depression for each key has occurred and generating note expression datarepresentative of key strike and release velocity when the signal strength comparison step indicates a change in key depression has occurred for a key.<br /><br />15. The method of claim 14 further comprising adjusting the amount of light impinging on each key to compensate for differences in reflectivity for each key.<br /><br />16. The method of claim 14 wherein the clock signal is sufficiently fast to provide accurate data for key strike and release velocities.<br /><br />17. The method of claim 14 further comprising converting the acquired data into a form transferable to a computer compatible link.DescriptionBACKGROUND OF THE INVENTION<br /><br />This invention relates to a convenient, low cost modular device to be unobtrusively attached to any keyboard instrument which electronically captures musical note and note expression data; and a processing system to convert and transmit the datato computer-compatible interfaces thereby recording live musical performances.<br /><br />Various inventions have been devised to assist musicians in performing, arranging, recording and composing music. An historically early method of recording music which is still in use today is the player piano. Holes, corresponding toparticular notes, are punched in paper which is rotated as the player piano is played. Recording music with this technique requires an entirely different instrument than the piano or substantial adjustments to a conventional piano. U.S. Pat. No.1,194,302, entitled "MUSIC RECORDER," to Liefield, discloses an extremely bulky electrical attachment which is capable of recording musical notes on a rotating sheet of paper to be applied to a conventional keyboard instrument. The device of thisinvention which attaches to the keyboard, however, covers more than half of the keyboard and thus interferes with a musician's efforts at the keyboard. U.S. Pat. No. 4,351,221, entitled, "PLAYER PIANO RECORDING SYSTEM," to Starnes et al, teaches amore modern recording system in which player piano tapes are prepared. This system requires the elaborate and delicate installation of photosensors to the underside of the piano keys. While the invention does not interfere with the musician's use ofthe keyboard, such installation of the apparatus to the keyboard is expensive and requires the services of a skilled piano tuner or electronics technician. This invention is furthermore limited in its application because the purpose of the invention isto create player piano tapes and not a musical score for immediate viewing by the musician. Another example of a musical recording system is given in U.S. Pat. No. 3,798,719, entitled "TAPE ACTIVATED PIANO AND ORGAN PLAYER," to Maillet, which againrequires the elaborate installation of sensitive electronics to the underside of a keyboard, with the accompanying disadvantages of being costly and requiring skilled persons to render the invention useful. U.S. Pat. No. 3,905,267, entitled"ELECTRONIC PLAYER PIANO WITH RECORD AND PLAYBACK FEATURE," to Vincent, teaches an electronic data storage system including a magnetic type recorder/replayer for recording spontaneous musical presentations for replay through a similar instrument. Tocapture the musical data, the invention also requires extensive and expensive modifications to the underside of each key in the instrument. See also U.S. Pat. No. 4,023,456, entitled "MUSIC ENCODING AND DECODING APPARATUS," to Groeschel, for yetanother example of how electronic switching to monitor keyboard action requires bulky circuitry and modification of the keyboard from within the instrument.<br /><br />The sequencer is a viable alternative method of recording music which has been developed in the prior art, although early in its development, the sequencer was a massive network of electronics, often covering walls in a recording studio. Musicians are able to record and immediately play back music with the use of sequencers. A sequencer, in its simplest form, consists of a series of adjustable voltage memories stepped by a clock pulse. The typical analog sequencer uses potentiometersand variable resistors, each including a manually operable dial for establishing a certain DC voltage In order to load the sequencer, the musician manually sets each potentiometer. Thereafter, the bank of potentiometers is scanned sequentially and theDC voltages are read to a voltage controlled oscillator (VCO) which then produces the melody or the rhythm. The sequencer thus enables the musician to repeatedly listen to the melody and make changes by varying the potentiometer dials. Sequencers areused to create the familiar insistent machine-beat that has been used in electronic organs. See Keyboard Synthesizer Library, Vol. 3, Synthesizers and Computers, p. 37 (1985). While the sequencer produces the accompaniment, a musician can play the leadline of the same or another keyboard, or even another instrument.<br /><br />With the advent of solid state electronics, smaller and more efficient electronics have been combined in the prior art to produce a digital sequencer. Typical digital sequencers utilize a Read/Write memory storing a plurality of words, each wordbeing coded to represent a note played on the keyboard. Once the memory has been coded, the sequencer can be used to play the keyboard instrument by reading back the data words in the memory in time sequence. See U.S. Pat. No. 3,890,871, entitled,"APPARATUS FOR STORING SEQUENCES OF MUSICAL TONES," to Oberheim; U.S. Pat. No. 4,160,399, entitled, "AUTOMATIC SEQUENCE GENERATOR FOR A POLYPHONIC TONE SYNTHESIZER," to Deutsch; and U.S. Pat. No. 4,487,101, entitled "DIGITAL SOLID STATE RECORDING OFTHE SIGNALS CHARACTERIZING THE PLAYING OF A MUSICAL INSTRUMENT," to Ellen. While providing an improved and efficient means of recording music, sequencers do not provide a written means of preserving music on musical score sheets. More importantly,however, sequencers require an electronic musical instrument and have not been adapted to conventional acoustic keyboard instruments, such as the piano.<br /><br />The electronic music revolution has led to the invention of the synthesizer, an electronic musical instrument. Sequencers, as described above, have been incorporated into the synthesizer, so that while the musician plays music on a synthesizerkeyboard, sequencers within the synthesizer plays back various accompaniments that the musician loaded previously into the sequencer. The use of sequencers allows the musician to compose and record various tracks of music. The electronic instrumentsgenerate musical data consisting of a series of binary digits, called bits. A number of digits representing a complete musical expression, such as which note has been played and the particular style, is called a data word. The words are then stored ina memory unit which can store only a finite number of these binary data words. The length of the recorded music, therefore, is limited by the amount of memory in the solid state chips used in digital sequencers. Microprocessor technology provides themeans for storing lengthy sequences by transferring the digitized musical data stored in memory to peripheral devices such as computer diskettes. Examples of electronic musical instruments which incorporate microprocessor technology include the EnsoniqMirage鈩? various Korg polyphonic synthesizers, and the Casio CZ 101鈩?<br /><br />The computer, especially the personal home computer, further revolutionized the electronic music industry with the creation of software capable of interpreting the notes played on the keyboard and printing the music in musical scored form. Themusic industry desired a communication standard to be used among the multitude of electronic music manufacturers and the multitude of available home computers. The standard decided upon was MIDI, an acronym for Musical Instrument Digital Interface. Inits simplest application, MIDI permits a musician to play two or more instruments from a single keyboard, in order to layer musical tone colors. In its most comprehensive application, MIDI provides the means for realizing a multi-track recorder or acomputer-based composing system by connecting several instruments to a master controller or computer. Computer software is available, furthermore, which can transform the music from digital format to a conventional musical score, both on the computerscreen and as printed out on paper in hard copy. Commercially available software which can convert MIDI data to scored music or to a format to be viewed on a computer terminal for editing purposes include the MIDI Performance Series鈩?by Passport,and the MPS鈩?written by Kentyn Reynolds for IBM-compatible personal computers.<br /><br />The current limitation to the MIDI computer - musical interface is that it requires expensive and complex electronic musical instruments such as synthesizers or sequencers. MIDI was not designed to be adapted for the conventional non-electronicmusical instrument, such as the piano. MIDI Retrofit Kits鈩?are currently available from Forte Music Company to accommodate acoustic pianos; however, these retrofit kits require extensive modification on the underside of the piano keys as has beendescribed on some of the previous efforts to record keyboard music.<br /><br />U.S. patent application Ser. No. 861,317 discloses a keyboard device and system which is mounted on a keyboard to capture, analyze, record, and score musical information. The musical data is captured within this device by optical transmissivecouplers which sense whether a key has been depressed by a wiper and piston assembly which makes contact with the key. It would be desirable to eliminate the pistons and wipers connected to each key as so many parts can cause mechanical and maintenanceproblems.<br /><br />Accordingly, it is a primary object of the present invention to provide an inexpensive, lightweight and unobtrusive device for the purpose of scoring and recording live music performances.<br /><br />It is another object of the present invention to provide an electronic device which is both noninvasive, portable and convenient to attach to any keyboard instrument, and which does not require piano tuning or electronics expertise for properinstallation of the keyboard sensing electronics to record and score music.<br /><br />Still another object of the present invention is to provide modular keyboard devices which easily interconnect to span any size or length of any keyboard instrument for purposes of recording and scoring music.<br /><br />Another object of the invention is to provide a modular keyboard device with simplified electronics and a minimal number of wires for sequential capture of key and key expression data.<br /><br />Another object of the invention is provide a reflective coupler method to detect which key is played and the velocity with which a particular key is struck, thus allowing for further musical expressions, such as staccato, legato, pianissimo, orfortissimo to be recorded simultaneously with the performance.<br /><br />A further object of the present invention is to convert analog musical information into digital data compatible with a MIDI interface for ultimate recording and scoring with the use of a personal computer and appropriate software.<br /><br />Other objects and further scope of applicability of the present invention will become apparent fro...

Keyboard electronic musical instrument with guitar emulation function
2010-03-20 00:00:00
AbstractA polyphonic electronic musical instrument is provided wherein a keyboard is used to trigger arpeggiated chords which emulate a strumming guitar sound. Select keys are provided for selecting which notes are included in chords to be strummed. At least one triggering device is also provided for triggering chords. The triggering device is constructed to alternate between two trigger states. The triggering device may be a keyboard key, foot pedal, or other device. The instrument operates in such a fashion that two arpeggiated chords of alternating direction (ascending and descending) may be produced during, and at least partially as a result of, one triggering device cycle from one state to the other and back again.Claims<br /><br />What is claimed is:<br /><br />1. An emulator for producing a guitar style performance from a controller, said controller including a user-operated triggering device for triggering arpeggiated chords which a user may alternate between a first trigger state and a second trigger state, and at least twelve keyboard keys assigned to a note select function, each of which a user may alternate between a rest key state and a selected key state, comprising:<br /><br />a digital data processing system which receives trigger state information from said triggering device and key state information from said note select keys, and which sends commands to a tone generating device wherein,<br /><br />a first state change of said triggering device from said first trigger state to said second trigger state when at least two of said note select keys are in said selected key state causes said data processing system to command said tone generating device to initiate production of a plurality of tones corresponding to the selected note select keys in an ascending sequence; and,<br /><br />a second state change of said triggering device from said second trigger state to said first trigger state following said first triggering device state change as said selected note select keys remain in said selected key state causes said data processing system to command said tone generating device to (a) terminate production of said plurality of tones and (b) re-initiate production of said plurality of tones in a descending sequence.<br /><br />2. An emulator as in claim 1 wherein;<br /><br />said triggering device is a keyboard key.<br /><br />3. An emulator as in claim 2 wherein,<br /><br />said triggering device key is reciprocative between a rest position and a depressed position; and <br /><br />said first and second trigger states are said rest and depressed key positions, respectively.<br /><br />4. An emulator as in claim 1 wherein;<br /><br />said triggering device is a vertically reciprocating foot pedal.<br /><br />5. An emulator as in claim 4 wherein,<br /><br />said triggering device foot pedal is reciprocative between a rest position and a depressed position; and<br /><br />said first and second trigger states are said rest and depressed pedal positions, respectively.<br /><br />6. An emulator as in claim 1 wherein;<br /><br />said triggering device is a foot position sensing device which senses horizontal position of at least a portion of one of said user's feet.<br /><br />7. An emulator as in claim 1 wherein,<br /><br />each of said note select keys is reciprocative between a rest position and a depressed position; and<br /><br />said rest and selected key states are said rest and depressed positions, respectively.<br /><br />8. An emulator as in claim 1 wherein;<br /><br />production of all of said tones initiated as a result of said first trigger state change is terminated as a result of said second trigger state change before the tones are re-initiated as a result of said second state change.<br /><br />9. An emulator as in claim 1 wherein;<br /><br />each of said tones initiated as a result of said first trigger state change is terminated as a result of said second trigger state change immediately prior to re-initiation; whereby,<br /><br />as a result of said second state change, the highest pitched selected musical tone is muted and re-triggered, then the next lowest pitched selected musical tone is muted and re-triggered, followed by the next lowest tone.<br /><br />10. An emulator as in claim 1 wherein;<br /><br />state changes of said triggering device are affected through movement of a human appendage;<br /><br />said data processing system receives information from said triggering device regarding the velocity with which said appendage effects trigger state changes;<br /><br />said commands to initiate tone production include velocity data; and,<br /><br />the velocity values corresponding with commands to initiate tone production for selected tones are a function of the velocity of the appendage movement which triggers the initiation of the selected tones.<br /><br />11. An emulator as in claim 1 wherein;<br /><br />said key state information includes information regarding aftertouch pressure applied to selected note select keys;<br /><br />said commands to initiate tone production include velocity data; and,<br /><br />the velocity values for selected tones are a function of aftertouch pressure applied to note select keys near the time of corresponding trigger state change.<br /><br />12. An emulator as in claim 1 wherein;<br /><br />said data processing system measures elapsed time between successive triggering device state changes; and,<br /><br />elapse times between successive commands to initiate tone production for selected tones initiated as a result of a trigger state change are a function of the elapsed time between that trigger state change and the preceding trigger state change.<br /><br />13. An emulator as in claim 1 wherein;<br /><br />state changes of said triggering device are affected through movement of a human appendage;<br /><br />said data processing system receives information from said triggering device regarding the velocity with which said appendage effects trigger state changes; and<br /><br />elapse times between successive commands to initiate tone production for selected tones initiated as a result of a trigger state change are an inverse function of the velocity of the appendage movement which affected the corresponding trigger state change.<br /><br />14. An emulator as in claim 1 wherein;<br /><br />the center-to-center distance between two of said note select keys which correspond with two tones one octave apart is not more than 14.5 centimeters.<br /><br />15. An emulator as in claim 1 wherein;<br /><br />said data processing system communicates with said tone generating device according to a standardized digital protocol.<br /><br />16. An emulator as in claim 15 wherein;<br /><br />said protocol is selected from the group consisting of MIDI and ZIPI.<br /><br />17. A method of generating ascending and descending musical chord arpeggiations comprising:<br /><br />assigning at least twelve of the keys within a keyboard to a note select function;<br /><br />determining which keys are included within a group of said note select keys being held in a selected state by a user;<br /><br />instructing a tone generating device to play an ascending arpeggiation of the notes corresponding with said group of keys in response to a first user-initiated state change of a triggering device from a first trigger state to a second trigger state as said group of keys continue to be held in selected state; and<br /><br />instructing said tone generating device to (a) mute the notes played in response to said first trigger state change and (b) play a descending arpeggiation of the same notes in response to a second user-initiated state change of said triggering device from said second trigger state to said first trigger state as said group of keys continue to be held in selected state.<br /><br />18. A method of generating arpeggiations as in claim 17 wherein;<br /><br />said triggering device is a key within said keyboard.<br /><br />19. A method of generating arpeggiations as in claim 18 wherein,<br /><br />said triggering device key is reciprocative between a rest position and a depressed position; and<br /><br />said first and second trigger states are said rest and depressed key positions, respectively.<br /><br />20. A method of generating arpeggiations as in claim 17 wherein;<br /><br />said triggering device is a foot pedal.<br /><br />21. A method of generating arpeggiations as in claim 20 wherein,<br /><br />said triggering device foot pedal is reciprocative between a rest position and a depressed position; and<br /><br />said first and second trigger states are said rest and depressed pedal positions, respectively.<br /><br />22. A method of generating arpeggiations as in claim 17 wherein,<br /><br />each of said note select keys is reciprocative between a rest position and a depressed position; and<br /><br />said rest and selected key states are said rest and depressed positions, respectively.<br /><br />23. A method of generating arpeggiations as in claim 17 wherein;<br /><br />production of all of said notes initiated in response to said first triggering device state change is terminated as a result of said second triggering device state change before the notes are re-initiated in response to said second triggering device state change.<br /><br />24. A method of generating arpeggiations as in claim 17 wherein;<br /><br />each of said notes initiated in response to said first triggering device state change is terminated as a result of said second triggering device state change immediately prior to re-initiation; whereby,<br /><br />in response to said second state change, the highest pitched selected note is muted and re-triggered, then the next lowest pitched selected note is muted and re-triggered, followed by the next lowest note.<br /><br />25. A method of generating arpeggiations as in claim 17 further comprising;<br /><br />measuring the velocity with which a human appendage effects a triggering device state change; and<br /><br />instructing said tone generating device to produce the corresponding arpeggiation at a volume which is a function of the measured appendage velocity.<br /><br />26. A method of generating arpeggiations as in claim 17 further comprising;<br /><br />measuring the aftertouch pressure applied to said group of keys near the time of a triggering device state change; and<br /><br />instructing said tone generating device to produce the corresponding arpeggiation at a volume which is a function of the measured aftertouch pressure.<br /><br />27. A method of generating arpeggiations as in claim 17 further comprising;<br /><br />measuring elapsed time between successive triggering device state changes; and,<br /><br />instructing said tone generating device to produce said arpeggiations of notes in such a manner that elapse times between successive notes within an arpeggiation are a function of the elapsed time between the triggering device state change which triggered the arpeggiation and the preceding triggering device state change.<br /><br />28. A method of generating arpeggiations as in claim 17 further comprising;<br /><br />measuring the velocities with which a human appendage effects triggering device state changes; and<br /><br />instructing said tone generating device to produce said arpeggiations of notes in such a manner that elapse times between successive notes within an arpeggiation are an inverse function of the velocity of the appendage movement which triggered the arpeggiation.<br /><br />29. A method of generating arpeggiations as in claim 17 wherein;<br /><br />the center-to-center distance between two of said note select keys which correspond with two notes one octave apart is not more than 14.5 centimeters.<br /><br />30. A method of generating arpeggiations as in claim 17 wherein;<br /><br />instructions are sent to said tone generating device according to a standardized digital protocol.<br /><br />31. A method of generating arpeggiations as in claim 30 wherein;<br /><br />said protocol is selected from the group consisting of MIDI and ZIPI.<br /><br />32. An emulator for producing a guitar style performance from a controller, said controller including first and second user-operated triggering devices, each of which a user may alternate between a rest trigger state and a selected trigger state, and at least twelve keyboard keys assigned to a note select function, each of which a user may alternate between a rest key state and a selected key state, comprising:<br /><br />a digital data processing system which receives trigger state information from said triggering devices and key state information from said note select keys, and which sends commands to a tone generating device wherein,<br /><br />a state change of said first triggering device from said rest trigger state to said selected trigger state when at least two of said note select keys are in said selected key state causes said data processing system to command said tone generating device to initiate production of a plurality of tones corresponding to the selected note select keys in an ascending sequence; and,<br /><br />a state change of said second triggering device from said rest trigger state to said selected trigger state following said state change of said first triggering device as said selected note select keys and said first triggering device continue to be held in selected state causes said data processing system to command said tone generating device to (a) terminate production of said plurality of tones and (b) re-initiate production of said plurality of tones in a descending sequence.<br /><br />33. An emulator as in claim 32 wherein said processing system<br /><br />(a) allows said tone generating device to continue production of the tones initiated as a result of said state change of said second triggering device when either of said triggering devices is returned to rest state as the other triggering device and said selected note select keys remain in selected state; and<br /><br />(b) commands said tone generating device to terminate production of the tones initiated as a result of said state change of said second triggering device when the triggering device remaining in selected state is returned to rest state.<br /><br />34. An emulator as in claim 32 wherein;<br /><br />at least one of said triggering devices is a keyboard key.<br /><br />35. An emulator as in claim 34 wherein,<br /><br />said triggering device key is reciprocative between a rest position and a depressed position; and<br /><br />said rest and selected trigger states are said rest and depressed key positions, respectively.<br /><br />36. An emulator as in claim 32 wherein;<br /><br />at least one of said triggering devices is a foot pedal.<br /><br />37. An emulator as in claim 36 wherein,<br /><br />said triggering device foot pedal is reciprocative between a rest position and a depressed position; and<br /><br />said rest and selected trigger states are said rest and depressed pedal positions, respectively.<br /><br />38. An emulator as in claim 32 wherein,<br /><br />each of said note select keys is reciprocative between a rest position and a depressed position; and<br /><br />said rest and selected key states are said rest and depressed positions, respectively.<br /><br />39. An emulator as in claim 32 wherein;<br /><br />production of all of said tones initiated as a result of said state change of said first triggering device is terminated as a result of said state change of said second triggering device before the tones are re-initiated as a result of said state change of said second triggering device.<br /><br />40. An emulator as in claim 32 wherein;<br /><br />each of said tones initiated as a result of said state change of said first triggering device is terminated as a result of said state change of said second triggering device immediately prior to re-initiation; whereby,<br /><br />as a result of said state change of said second triggering device, the highest pitched selected musical tone is muted and re-triggered, then the next lowest pitched selected musical tone is muted and re-triggered, followed by the next lowest tone.<br /><br />41. An emulator as in claim 32 wherein;<br /><br />state changes of said triggering devices from rest to selected state are affected through movement of one or more human appendages;<br /><br />said data processing system receives information from said triggering devices regarding the velocity with which said one or more appendages effect state changes of said triggering devices from rest to selected state;<br /><br />said commands to initiate tone production include velocity data; and,<br /><br />the velocity values corresponding with commands to initiate tone production for selected tones are a function of the velocity of the appendage movement which triggers the initiation of the selected tones.<br /><br />42. An emulator as in claim 32 wherein;<br /><br />said key state information includes information regarding aftertouch pressure applied to selected note select keys;<br /><br />said commands to initiate tone production include velocity data; and,<br /><br />the velocity values corresponding with commands to initiate tone production for selected tones are a function of aftertouch pressure applied to note select keys near the time of corresponding triggering device state change from rest to selected state.<br /><br />43. An emulator as in claim 32 wherein;<br /><br />said data processing system measures elapsed time between successive triggering device rest-to-selected state changes; and,<br /><br />elapsed time between successive commands to initiate tone production for selected tones initiated as a result of a triggering device rest-to-selected state change is a function of elapsed time between successive triggering device rest-to-selected state changes.<br /><br />44. An emulator as in claim 32 wherein;<br /><br />state changes of said triggering devices from rest to selected state are affected through movement of one or more human appendages;<br /><br />said data processing system receives information from said triggering devices regarding the velocity with which said one or more appendages effect state changes of said triggering devices from rest to selected state; and<br /><br />elapsed time between successive commands to initiate tone production for selected tones initiated as a result of a triggering device rest-to-selected state change is an inverse function of the velocity of the appendage movement which affected the corresponding rest-to-selected trigger device state change.<br /><br />45. An emulator as in claim 32 wherein;<br /><br />the center-to-center distance between two of said note select keys which correspond with two tones one octave apart is not more than 14.5 centimeters.<br /><br />46. An emulator as in claim 32 wherein;<br /><br />said data processing system communicates with said tone generating device according to a standardized digital protocol.<br /><br />47. An emulator as in claim 46 wherein;<br /><br />said protocol is selected from the group consisting of MIDI and ZIPI.<br /><br />48. A method of generating ascending and descending musical chord arpeggiations comprising:<br /><br />assigning at least twelve of the keys within a keyboard to a note select function;<br /><br />determining which keys are included within a group of said note select keys being held in a selected state by a user;<br /><br />instructing a tone generating device to play an ascendi...

Automatic performance apparatus of an electronic musical instrument
2010-03-15 00:00:00
AbstractThe present invention relates to an automatic performance apparatus of an electronic musical instrument for activating and deactivating an automatic performance for each musical part such as melody tone, accompaniment tone, or rhythm tone. The first performance data memory stores an instruction signal which instructs the second reading circuit to start and stop reading performance data stored in the second performance data memory, so that the reading of the performance data stored in the second performance data memory can automatically start and stop in accordance with the progressing of the reading based on the performance data stored in the first performance data memory. Both performance data stored in the first performance data memory and in the second performance data memory are read by respective reading circuits, so that it is possible to selectively start and stop reading the performance data stored in both the first performance data memory and the second performance data memory.ClaimsWe claim:<br /><br />1. An automatic performance apparatus of an electronic musical instrument comprising:<br /><br />first automatic performance means for performing music comprising:<br /><br />first memory means for storing first performance information and instruction information; and<br /><br />first reading means for reading said first performance information and said instruction information from said first memory means;<br /><br />second automatic performance means for performing music comprising:<br /><br />second memory means for storing second performance information; and<br /><br />second reading means for reading said second performance information from said second memory means; and<br /><br />control means for controlling said second automatic performance means in response to the readout of said instruction information.<br /><br />2. An automatic performance apparatus according to claim 1, wherein said first memory means comprises a chord sequence memory for storing said first performance information including basic tone data. <br /><br />3. An automatic performance apparatus of an electronic musical instrument comprising:<br /><br />first automatic performance means having a first performance data memory for storing first performance data and first reading means for reading out performance data stored in said first performance data memory;<br /><br />second automatic performance means having a second performance data memory for storing second performance data and second reading means for reading out performance data stored in said second performance data memory; and<br /><br />selection means for selecting at least one of said first automatic performance means and said second automatic performance means in accordance with the state of stored instruction data, said selection means comprising a start-stop switch and said stored instruction data comprising registered content data included in said first performance data memory.<br /><br />4. An automatic performance apparatus of an electronic musical instrument comprising:<br /><br />first automatic performance means having a first performance data memory for storing first performance data and first reading means for reading out performance data stored in said first performance data memory;<br /><br />second automatic performance means having a second performance data memory for storing second performance data and second reading means for reading out performance data stored in said second performance data memory; and<br /><br />selection means for selecting at least one of said first automatic performance means and said second automatic performance means in accordance with the state of stored instruction data,<br /><br />wherein said first performance data memory is a chord sequence memory for storing said first performance data including basic tone data.<br /><br />5. An automatic performance apparatus of an electronic musical instrument comprising:<br /><br />first automatic performance means having a first performance data memory for storing first performance data and first reading means for reading out performance data stored in said first performance data memory;<br /><br />second automatic performance means having a second performance data memory for storing second performance data and second reading means for reading out performance data stored in said second performance data memory; and<br /><br />selection means for selecting at least one of said first automatic performance means and said second automatic performance means in accordance with the state of stored instruction data,<br /><br />wherein at least one of said first memory and said second memory stores said instruction data.DescriptionBRIEF DESCRIPTION OF THE DRAWINGS<br /><br />The present invention is described in the following; reference is made to the accompanying drawings wherein a preferred embodiment of the invention is shown.<br /><br />FIG. 1 is a block diagram showing a hardware construction of the automatic performance apparatus of an electronic musical instrument according to an embodiment of the present invention;<br /><br />FIG. 2 is a layout diagram showing the data stored in a chord sequence memory CM shown in FIG. 1;<br /><br />FIG. 3 is a block diagram showing the details of a reading control circuit 22 in this embodiment;<br /><br />FIG. 4 is a block diagram showing a hardware construction of a melody on-off detecting circuit 36 shown in FIG. 1; and<br /><br />FIG. 5 is a block diagram showing the details of a registered data detecting circuit 42 shown in FIG. 1.<br /><br />DESCRIPTION OF THE PREFERRED EMBODIMENT<br /><br />Hereinafter, an embodiment of the present invention will be described by reference to the drawings.<br /><br />FIG. 1 is a block diagram showing the hardware construction of the present invention. In FIG. 1, numeral 1 designates a keyboard having plural keys, each of which provides key switches thereunder to detect the OPEN or CLOSED state thereof. The keyboard 1 is divided into three key-areas, KB1 to KB3, in which the output signal of each key in the key-area KB1 is supplied to a manual performance musical tone generating circuit 2 and a chord data generating circuit 3. The output signal of each key in the key-area KB2 is supplied to manual performance musical tone generating circuit 2, and the output signal of each key in the key-area KB3 is supplied to manual performance musical tone generating circuit 2 and note length data generating circuit 4 respectively.<br /><br />The manual performance musical tone generating circuit generates a musical tone signal corresponding to the depressed key on keyboard 1 and outputs this musical ton signal to an amplifier 5. The chord data generating circuit detects the depressed key in key-area KB1 to generate its chord data in accordance with the detected key data, in which chord data indicates a chord of an accompaniment tone.<br /><br />In the present embodiment, many types of chords such as C major or A minor are designated by the key operation of key-area KB1. For example, depressing keys C, E, and G of key-area KB1 designates C major. The chord data generating circuit 3 receives a signal based on the key which is depressed in key-area KB1. According to this received signal, the chord data generating circuit 3 generates chord data which includes basic tone data CCD indicated by the basic tone of the chord (C, D, E, or the like) and type data TPD indicated by type of the chord (major minor, or the like). In accordance with the generated chord data, an automatic accompaniment tone is generated as described later. The note length data generating circuit 4 generates note length data FTD corresponding to the depressed key in key-area KB3. Herein, the note length data of the accompaniment chord is indicated by the key operation of key-area KB3. The note length data generating circuit 4 then outputs note length data FTD to the next circuit in accordance with the detected key data of key-area KB3.<br /><br />A tone color switch 6 is used for setting the tone color of the accompaniment tone; an effect switch 7 for setting an effect of the accompaniment tone; a melody-ON switch 8 for storing a starting signal of a melody tone in the automatic performance; a melody-OFF switch 9 for storing a stopping signal of the melody tone in the automatic performance; a multi-stage tone volume switch 10 is used for controlling the volume of the accompaniment tone; and an end switch 11 is used to indicate the completion of the accompaniment tone.<br /><br />Numeral 12 designates a record switch which is CLOSED when writing data to chord sequence memory CM. A play switch 13 CLOSES when reading data stored in chord sequence memory CM to automatically perform the accompaniment tone. A start-stop switch 14 manually turns the melody tone on and off during the automatic performance.<br /><br />A code converter circuit 16 generates the registered data corresponding to one of the operated switches 6 to 11. The registered data includes registered type data RGS and registered content data RGD, in which registered type data RGS indicates a type (tone color switch, effect switch, etc.) of the operated switch, while registered content data RGD indicates a switch number, a tone volume level (when tone volume switch 10 is operated), or the like. Numeral 17 designates an OR gate which executes the logical OR among the above-mentioned note length data FTD, registered data RGS, and RGD by every bit to thereby output its result to a differentiation circuit 18. The differentiation circuit 18 outputs a pulse signal to the next circuit when the output of OR gate 17 is a trailing edge.<br /><br />Numeral 20 designates an OR gate for executing the logical OR among registered data RGS and RGD.<br /><br />Numeral 21 designates a selector for selectively outputting the data at an input terminal <1>or <0>from the output terminal thereof depending on whether the output of OR gate 20 is "1" or "0".<br /><br />A chord sequence memory CM stores basic tone data CCD, type data TPD, note length data FTD, and registered data RGS and RGD, in which basic tone data CCD and type data TPD are inputted from chord data generating circuit 3, the note length data is inputted from note length ...

Method for encoding music printing information in a MIDI message
2010-03-10 00:00:00
AbstractA system and method of communicating music printing information using a minor enhancement to the conventional MIDI standard. This method degrades the communication of traditional MIDI command information or parameters by a small amount, but allows the inclusion of information important to music printing. MIDI compatible equipment that does not recognize the enhanced encoding can still utilize MIDI information that includes the enhanced encoding with minimal degradation of the performance information. In particular, the system method is useful for encoding enharmonic pitch encoding in the low order bits of MIDI note-on velocity information. The general method can be utilized to encode a wide variety of printing information in one or more selected MIDI control commands.Claims<br /><br />What is claimed is:<br /><br />1. A method of encoding parametric musical printing information in a MIDI message where a digital message representing a MIDI parameter of a selected note is encoded with a binary code by substituting selected bits of said digital message with said binary code, said method comprising:<br /><br />selecting at least one musical parameter related to music printing, said parameter capable of being described by a finite, integral number of states;<br /><br />defining said binary code for each said state of said at least one musical parameter; and,<br /><br />selecting said MIDI parameter from one of a note-on velocity parameter, a note-off velocity parameter, a polyphonic key pressure parameter, a channel pressure parameter or a control change parameter, said MIDI parameter not otherwise used for communicating information about said at least one musical parameter, said selected bits of said digital message being selected from one of a representation of least significant bits or a representation of undefined bits of said selected MIDI parameter for said note.<br /><br />2. The method of claim 1 wherein said at least one musical parameter related to music printing is an enharmonic spelling of said note.<br /><br />3. The method of claim 2 wherein said selected MIDI parameter is said note-on velocity parameter.<br /><br />4. The method of claim 2 wherein said selected MIDI parameter is said note-off velocity parameter.<br /><br />5. The method of claim 3 wherein said binary code is defined as a two bit code encoded in bits representing two least significant bits of said digital message representing said note-on velocity parameter for said note. <br /><br />6. The method of claim 4 wherein said binary code is defined as a two bit code encoded in bits representing two bits of said digital message representing said note-off velocity parameter for said note.<br /><br />7. The method of claim 1 wherein said at least one musical parameter related to music printing is selected from the group consisting of slur information, stem direction information, enharmonic spelling, dynamic marking, crescendo and decrescendo, musical text directions, transposition by octave, and direction markings.Description<br /><br />FIELD OF THE INVENTION<br /><br />This invention relates to a method and system of encoding one or more types of parametric information in conventional MIDI information. In particular, this invention relates to a method and system of encoding and using enharmonic pitch spelling information with a MIDI system.<br /><br />BACKGROUND OF THE INVENTION<br /><br />Common Musical Notation (CMN)<br /><br />The modern system for notating the music of Western Civilization, referred to here as Common Musical Notation (CMN), has a long and distinguished history. The origins of the modern system can be traced as far back as the 10th Century AD with notation of early church chant. These simple melodies were made up entirely of the notes of what we today call the diatonic scale. This is the origin of the "white" keys on the modern keyboard. Early chant was not composed in what we today call the major-minor system of keys but rather in an older system call modes. All modes used the same diatonic scale tones, but each mode started at a different degree (note) of the diatonic scale. Thus, for example, the Dorian Mode started on what we today call the diatonic pitch of D and consisted of the notes, D, E, F, G, A, B, C. This mode sounds a lot like the modern key of D minor, but includes a "raised" sixth degree (the note B instead of the B-鈾?that would be called for in modern D minor.<br /><br />The system for notating pitch in chants and other early music was quite simple. A set of lines was drawn (sometimes four, sometimes five, sometimes more than five), and the degrees of the scale were represented as positions on the lines or on the spaces in between them. This is the origin of our modem five-line staff system. In the case of the Dorian mode referred to above, the notation of the scale would look as shown in FIG. 1.<br /><br />The important thing to notice is that each degree (note) of the scale has a position that is one level higher than the previous degree, but that the actual size of musical interval between two consecutive degrees is not the same in all cases. For example, the size of musical interval between D and E is what we today call a whole step. In terms of sound frequency, the pitch E is on the order of 12.24 percent higher than the pitch D (the actual size will depend on the system of tuning used). The size of the musical interval between E and F is what we today call a half step. In terms of sound frequency, the pitch F is on the order of 5.94 percent higher than the pitch E. To restate the point in another way, the levels on the musical staff do not all represent the same size musical interval.<br /><br />The modern system of major-minor keys, which is the basis of practically all music written and/or performed today (both classical and popular), grew out of the earlier modal system. What allowed the major-minor system to develop was the ability to alter selectively the basic pitches of the modes either by raising them with what we today call a sharp (#), or lowering them with what we today call a flat (鈾?. The amount by which a pitch is raised or lowered by a sharp or a flat is a half-step, about 5.94 percent of the base (starting) frequency. The Dorian scale in the previous example can be made into a D-minor scale by flatting the B. In CMN the flat is put in front of the note making the scale shown in FIG. 2.<br /><br />For the purpose of this discussion, it is important to note that raising the A in the example above with a sharp will produce a pitch (musical frequency) which is almost identical to the pitch (musical frequency) arrived at by lowering the next consecutive note B with a flat. In the even-tempered system of tuning, these frequencies are identical, but in a non-tempered system these frequencies are only close, not identical.<br /><br />Tuning Systems and Modern Keyboard Instruments.<br /><br />It is beyond the scope of this application to present a full explanation of the problem of tuning. Such a discussion would involve the theory of musical intervals and their relationship to musical harmonics. Suffice it to say that over the course of the development of Western music (principally the 14th through the end of the 17th centuries), several systems of tuning were devised and used. With the advent of the modern major-minor system of scales and keys toward the very end of the 17th century, the need developed for a tuning system in which the size of any particular musical interval would be the same (in terms of the ratio of sound frequencies) for all musical scales and keys. The system which does this is called the Even-Tempered System of tuning. In this system, all half-steps are the same size, and there are twelve of them in an octave. Since an octave is the interval between two pitches whose ratio is 2 to 1, the size of the half-step interval in the Even-Tempered System is the twelfth root of two, or approximately 1.059463 to 1.<br /><br />With the acceptance of the Even-Tempered System, it became possible to standardize, once and for all, the configuration of the keyboard (piano, clavichord, harpsichord, organ). This configuration, with accidentals (i.e., modifications to the principal degrees, e.g. C#, D#, F#, G#, and A#) being represented by shorter, thinner keys (the "black" keys) placed between wider, lo...

Musical apparatus detecting maximum values and/or peak values of reflected light beams to control musical functions
2010-03-08 00:00:00
the various paths satisfies a specified relationship.Claims

We claim:

1. An electronic musical system which responds to the motion of an object within a specified space to control a sound function, wherein the electronic musical system comprises:

at least one radiation source that emits radiation into the specified space;

at least one sensor that receives radiation reflected along at least two different paths from an object in the specified space and provides at least one detection value corresponding to a characteristic of radiation received from the two paths; and

a controller for generating a control signal for operating the sound function based on the detection value.

2. The system of claim 1, wherein the at least one radiation source that emits radiation comprises a light source that emits at least one light beam and wherein the at least one sensor that receives radiation from each of the at least two different paths comprises at least two light detectors for detecting light in at least two light paths.

3. The system of claim 1, wherein the sound function is an audio signal.

4. The system of claim 1, wherein the sound function is a tone signal.

5. The system of claim 1, wherein the controller comprises a central processing unit.

6. The system of claim 1, wherein the controller comprises a digital signal processor.

7. The system of claim 1, further comprising a sound source comprising a storage device for storing multiple tone waveform data, the multiple tone waveform data being readable for producing the sound function.

8. The system of claim 1, wherein the characteristic of the radiation comprises magnitude of radiation.

9. A method of controlling music based on the motion of an object within a specified spate, the method comprising:

receiving radiation reflected from an object within the specified space along at least two light paths;

generating information based on a characteristic of radiation received from each of the at least two light paths;

receiving performance data from a performance signal source;

generating an audio signal based on the performance data; and

controlling a characteristic of the audio signal based on the generated information.

10. A method as recited in claim 9, wherein receiving radiation reflected from an object comprises receiving light reflected from an object.

11. The method recited in claimed 9, wherein receiving performance data from a performance signal source comprises receiving performance data from a digital music signal source.

12. The method recited in claim 9, wherein receiving performance data from a performance signal source comprises receiving performance data from a Musical Instrument Digital Interface ("MIDI") signal.

13. The method recited in claim 9, wherein generating information based on a characteristic of radiation received from each of the at least two paths comprises:

generating at least two detection values, each of which is based on a characteristic of radiation received from each of the at least two paths;

detecting a maximum value of each of the at least two detection values; and

controlling a characteristic of the audio signal based on a correlation between the maximum values of the at least two detection values.

14. The method recited in claim 9, wherein the audio signal is a tone signal.

15. The method recited in claim 9, wherein generating information based on a cha...

METHOD AND APPARATUS FOR PLAYING IN SYNCHRONISM WITH A DIGITAL AUDIO FILE AN AUTOMATED MUSICAL INSTRUMENT
2010-03-04 00:00:00
or otherwise supplant meanings that are understood by those skilled in the art. [0008] MIDI--Acronym for Musical Instrument Digital Interface. MIDI is a music industry standard for digitally communicating musical instrument articulation events as a sequence of one or more bytes per event. The standard includes mechanical, electrical and byte signaling specifications. [0009] MIDI Interface--A physical interface across which MIDI bytes are sent and/or received. [0010] MIDI Event--A byte sequence that encodes a single musical instrument articulation event such as `key on` or `sustain pedal depressed.` [0011] MIDI Sequence--A chronological sequence of time-stamped MIDI events that encapsulates a performance of one or more musical instruments. [0012] MIDI Sequencer--A device that plays a MIDI Sequence in real time for the purpose of reproducing a musical performance. [0013] Standard MIDI File (SMF)--A music industry standard for storing and retrieving MIDI Sequences to and from a digital data file commonly referred to as MIDI file. [0014] Pianomation--A system for translating MIDI events to electro-mechanical activity for the purpose of automating an acoustic piano, or other automated musical instrument. [0015] Controller-- An electronic device used to drive Pianomation with music sequences, such as MIDI Events from various media. [0016] DVD--Acronym for the consumer electronics Digital Video Disc standard and media. [0017] CD Player--A device, such as an optical drive, that is capable of playing a CD. [0018] CD Player Subsystem--An electronic Subsystem used to play CDs such as an integrated CD player ASIC and related electronic components contained within a larger system such as a Controller. [0019] Music Sequence--A term used in this application to generically refer to a chronological sequence of time-stamped digital musical instrument articulation events that encapsulates a performance of one or more musical instruments. This could be a SMF, a MIDI Sequence, or an otherwise encoded sequence that achieves the same objective. [0020] Sync-Along CD--The technique described herein for synchronizing a music sequence to a CD Player or CD Player Subsystem. [0021] Sync-Along CD Device--The device that implements the technique. This device can either attach to or be contained within a controller. [0022] Compressed Audio--A sequence of audio data samples that is compressed, typically using frequency-domain coefficient quantization/elimination and some form of entropy coding. This compression is typically implemented to reduce a system's audio storage and/or audio delivery bandwidth requirements. [0023] MP3--Audio data that is compressed according to the MPEG-1 Layer-3 standard. Sometimes, MP3 is also assumed to include MPEG-2 Layer-3 and MPEG-2.5 Layer-3. [0024] AC3--Dolby Labs audio data compression, used mostly on DVDs. [0025] Bit Rate (or Bitrate)--The rate at which compressed audio data is delivered. This rate can be constant or variable. It is typically measured over a compressed audio `frame` which is some number of audio samples. [0026] Sample Rate--The rate at which uncompressed digital audio samples are issued. The sample rate for a file, song, or performance is constant. [0027] PCM--Acronym for Pulse Code Modulation. This term refers to the linear digital encoding...

Electronic music system and stringed instrument input device therefor
2010-03-02 00:00:00
AbstractAn electronic music system includes a voltage controlled tone generator, or synthesizer, and an input device, in the form of a guitar or other fretted stringed instrument and associated electronic circuitry, for sequentially providing voltage signals, selected from a set of discretely different voltage levels each analogously related to a musical tone, for driving the tone generator. Each string-fret pair of the stringed instrument is assigned a given musical tone, preferably in accordance with normal tuning of the instrument, and means are provided for producing a corresponding voltage when a string-fret pair is closed by pressing the string against the fret. When two or more string-fret pairs are simultaneously closed, the output voltage corresponding to the highest frequency musical tone associated with the closed string-fret pairs is produced. In particular, different electrical voltages are applied to the instrument frets so as to apply such voltages to the strings when the strings are pressed into contact with the frets. A multiplexing system repetitively samples the string voltages, adds to each string voltage an offset voltage compensating for the musical intervals between the open strings, and processes the highest summed voltage for output to the tone generator.ClaimsWe claim:

1. An electronic music system comprising a voltage controlled tone generator, a stringed instrument having at least one string and a plurality of frets spaced from one another along thelength of said string with each string-fret pair representing an assigned musical tone, and means responsive to said string being pressed into contact with any one of said frets for producing and supplying to said voltage controlled tone generator, asthe driving input signal for said tone generator, a voltage signal having a voltage value analogously related to the frequency of the musical tone assigned to the contacting string-fret pair, said voltage controlled tone generator including means forproducing an intermediate signal having a frequency related to said input voltage signal, an amplifier having a voltage controlled gain for varying the amplitude of said intermediate signal, an envelope generator for providing a voltage waveformcontrolling the gain of said amplifier, and means for turning said envelope generator on to initiate the production of a new voltage waveform therefrom in response to said at least one string being brought into contact with any one of said frets.

2. An electronic music system comprising a voltage controlled tone generator, a stringed instrument having a plurality of spaced parallel strings located over a fret board having a plurality of frets extending transversely of said strings andspaced one from another along the length of said fret board with each string-fret pair representing an assigned musical tone, and means responsive of any one of said strings being pressed into contact with any one of said frets for producing andsupplying to said voltage controlled tone generator, as the driving input for said tone generator, a voltage signal having a voltage value analogously related to the frequency of the musical tone represented by the contacting string-fret pair.

3. A music system as defined in claim 2 further characterized by said voltage controlled tone generator including means for producing an intermediate signal having a frequency related to said input voltage signal, an amplifier having a voltagecontrolled gain for varying the amplitude of said intermediate signal, an envelope generator for producing a voltage waveform controlling the gain of said amplifier, and means for turning said envelope generator on to initiate the production of a newvoltage waveform therefrom in response to any one of said strings being brought into contact with any one of said frets.

4. A music system as defined in claim 3 further characterized by means for inhibiting the production of another voltage waveform from said envelope generator until after all of said strings are first out of contact with any of said frets.