LED 28 in accordance with a time-sharing manner. Based on two kinds of output values of the infrared sensor 30 which are the detected results of the reflected light thus detected of the first infrared LED 26 and the second infrared LED 28, respectively, it is possible to control complicated parameters.
More specifically, when a human body, material object, or the like is suitably moved over the infrared sensor 30, the reflected light derived from emission of the first infrared LED 26 and the second infrared LED 28 varies, so that two kinds of output values of the infrared sensor 30 also vary in accordance with the changes in the reflected light. Thus, parameters can be controlled arbitrarily in response to changes in these output values, whereby control for complicated parameters can easily be made.
For instance, in the case where two infrared LEDs and one infrared sensor are used, the two infrared LEDs are used in a time-sharing manner, the light rays emitted are suitably reflected by human body, material object, or the like, and the reflected light corresponding to the respective LED is detected by a single infrared sensor in a time-sharing manner. In other words, reflected light derived from a plurality of (e.g., two) infrared LEDs is detected by one infrared sensor in a time-sharing manner, and a variety of parameters are controlled on the basis of two kinds of output values which are the detection results of the respective reflected light of two infrared LEDs thus detected by the single infrared sensor.
When the human body, material object, or the like is suitably moved, the reflected light derived from the respective infrared LEDs changes which cause the two kinds of output values in an infrared sensor to change, so that parameters can be arbitrarily controlled in response to changes in these output values.
There are two ways to control parameters on the basis of the above described two kinds of output values by one infrared sensor. For example, one way is to control parameters unconditionally in real time based on the above described two kinds of output values (real time control), and the other way is to control parameters in real time where the above described two kinds of output values satisfy a predetermined condition (conditional real time control).
First, real time control will be described in detail.
real time control is a manner wherein separate parameters are assigned to the above described two kinds of output values, respectively, and the corresponding parameters are controlled in response to the respective output values. For instance, pitch-bend is assigned as a parameter to an output value obtained as a result of detecting the reflected light originating from a first infrared LED (hereinafter referred to as "LED1" in this paragraph) out of two infrared LEDs by one infrared sensor (hereinafter referred to as "LED1 output value" in this paragraph), while modulation is assigned as another parameter to an output value obtained as a result of detecting the reflected light originating from a second infrared LED (hereinafter referred to as "LED2" in this paragraph) out of two infrared LEDs by one infrared sensor (hereinafter referred to as "LED2 output value" in this paragraph), whereby the output values may be used to control operation of the musical apparatus.
In real time control mode, parameters may be controlled, for example, in accordance with the following manner:
(1) A plurality of parameters respectively may be assigned to the LED1 output value and LED2 output value. For example, by assigning pitch-bend and cut-off of filter as parameters to LED1 output value, these parameters may be controlled.
(2) Parameters are assigned to the operation results which are obtained by performing certain arithmetic computations to LED1 output value and LED2 output value, and the corresponding parameters are controlled based on the operation results. For instance, arithmetic computations are performed on LED1 output value to determine the rate of change in LED 1 output value, and resonance of filter is assigned as a parameter to the rate of change in LED1 output value being the operation result, whereby the resonance of filter may be controlled in response to the rate of change in LED1 output value.
(3) Parameters may be assigned to a synthesized value of LED1 output value and LED2 output value (synthetic value), and the corresponding parameters may be controlled in response to the synthetic value. For example, volume has been assigned as a parameter to a value obtained by adding LED1 output value to LED2 output value (sum or total value) as a synthetic value, and the volume may be controlled in response to changes in the total value. The synthetic value is not limited to the summed value of LED1 output value and LED2 output value (total value), but can also be a value obtained by determining a difference between LED1 output value and LED2 output value (difference value), a ratio of LED1 output value to LED2 output value and other derived values.
(4) Parameters may be assigned to a rate of change in synthetic value, and the corresponding parameters may be controlled in response to the rate of change in synthetic value.
Next, conditional real time control will be described in detail. The conditional real time control mode is a manner by which parameters are controlled when a certain condition is satisfied by the LED1 output value, the LED2 output value and the like, so that the conditional real time control is suitably used to implement an ON/OFF switch-like control. For instance, when LED1 output value becomes a predetermined value or more, bend range is allowed to vary, or when LED2 output value becomes a predetermined value or more, effect is turned ON and when LED2 output value becomes less than a predetermined value, effect is turned OFF.
In the conditional real time control mode, parameters may be controlled in accordance with the manner of, for example, the following Items (1) to (4).
(1) A plurality of conditions may be set to one of the output values (e.g., LED1 output value, LED2 output value, or the like), and parameters may be controlled when the conditions are satisfied.
Thumbrest ring adapter for musical instrument2010-03-24 00:00:00within the transverse slot and extending across the longitudinal slot.
15. A ring adapter assembly and attachment component combination as defined in claim 12, wherein the elongated body further includes:
a longitudinal slot formed at one end of the elongated body to receive the eye.
16. A ring adapter assembly and attachment component combination as defined in claim 15, wherein the elongated body further includes:
a transverse slot formed adjacent the one end of the elongated body to capture the hook as the actuating handle moves the hook across the longitudinal slot.Description
FIELD OF THE INVENTION
This invention relates to musical instruments of the type which are substantially supported by a thumb or hand of the musician while they are being played, such as an oboe, clarinet, English horn or straight saxophone. More particularly, the present invention relates to a new and improved apparatus for selectively connecting an attachment ring to either a fixed or an adjustable thumbrest of a musical instrument which did not previously provide an attachment ring. The attachment ring may be used to attach a support device such as a neck strap or a monopod support of the type described in the aforementioned application to the musical instrument to relieve the musician of some of the fatigue involved when playing the instrument.
BACKGROUND OF THE INVENTION
Certain reed woodwind musical instruments, such as the oboe, the clarinet, the English horn and the straight saxophone, require the musician to hold the instrument by the musician's mouth embouchure and by the musician's hands, while simultaneously requiring the embouchure to be flexible enough to achieve the desired range of reed vibration and requiring the fingers to be flexible and moveable enough to depress all of the keys when playing the instrument. One consequence of these requirements for simultaneous stability and flexibility is that the support arrangement for the instrument can not limit the flexibility of the musician's fingers or mouth. As a result, an oboe, clarinet, English horn and straight saxophone all include a thumbrest which rests on the thumb of the musician's right hand. The thumbrest itself typically comprises a flange which protrudes from the musical instrument, the flange having a flat underside that is supported on the musician's right thumb while the remaining fingers of the right hand are unrestricted to contact the key pads of the instrument. The thumbrest may be fixed in position on the musical instrument or it may be adjusted over a narrow range of positions along the length of the instrument. The fingers and the thumb of the musician's left hand are all available to contact key pads.
The substantial majority of the weight of the instrument is supported by the thumb of the musician's right hand, since the embouchure can not support the weight of the instrument and still remain flexible enough to play the instrument, and because the fingers of the left hand must remain free to contact the keypads. As a result, considerable strain in the hand and on the right thumb may be experienced by the musician during prolonged musical performances or practice sessions. For professional and student musicians, the strain may become so unbearable as to hinder their ability to play the instrument. Worse still, repeated strain may cause severe and permanent injuries of a nature similar to repetitive motion injuries.
A variety of instrument support devices have been created to relieve the musician of the stress involved with supporting the musical instrument over a prolonged period of time. These devices include both conventional neck straps and chest support devices which are typically connected to an attachment ring mounted on a top side of the thumbrest opposite the underside where the musician's right thumb is placed. In addition to neck straps and chest supports, the attachment ring may also be connected to a monopod support such as the one described in U.S. patent application Ser. No. 08/378,198 for "Extendable Monopod Strut Device For Musical Instrument," filed Jan. 25, 1995.
However, not all woodwind musical instruments include an attachment ring on top of the thumbrest. In particular, clarinets and less expensive oboes often do not include such an attachment ring on the thumbrest. In these instances, a neck strap, a chest support or a monopod support can not be directly attached to the thumbrest, and the weight of the musical instrument must be fully supported by the musician's thumb and embouchure.
Alternatively, a different means of supporting the musical instrument which is not dependent on a...
Low profile keyboard device and system for recording and scoring music2010-03-23 00:00:00release velocity when the signal strength comparison step indicates a change in key depression has occurred for a key.
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.
16. The method of claim 14 wherein the clock signal is sufficiently fast to provide accurate data for key strike and release velocities.
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
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.
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.
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.
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...
Keyboard electronic musical instrument with guitar emulation function2010-03-20 00:00:00instructed to terminate each tone contained within the corresponding chord immediately prior to re-initiation; whereby,
the lowest pitched tone of the chord is muted and re-triggered, then the next highest pitched musical tone is muted and re-triggered, followed by the next highest tone.
85. A method of generating arpeggiations as in claim 80 wherein,
each of said strum keys is reciprocative between a rest position and a depressed position; and
said rest and selected key states are said rest and depressed key positions, respectively.
86. A method of generating arpeggiations as in claim 80 further comprising:
measuring the velocity with which a user's finger effects a rest-to-selected state change of one of said keys; and
instructing said tone generating device to play that key's corresponding arpeggiated chord at a volume which is a function of the measured finger velocity.
87. A method of generating arpeggiations as in claim 80 further comprising:
measuring elapsed time between successive rest-to-selected strum key state changes; and,
instructing said tone generating device to play arpeggiated chords in such a manner that elapse times between successive notes within an arpeggiated chord are a function of the elapsed time between the rest-to-selected strum key state change which triggered the chord and the preceding rest-to-selected strum key state change.
88. A method of generating arpeggiations as in claim 80 wherein;
instructions are sent to said tone generating device according to a standardized digital protocol.
89. A method of generating arpeggiations as in claim 88 wherein;
said protocol is selected from the group consisting of MIDI and ZIPI.
90. A method of generating arpeggiations as in claim 80 wherein,
the two keys within each of said key pairs are spaced one octave apart on said keyboard.
91. A method of generating arpeggiations as in claim 80 wherein,
said keyboard includes at least two parallel key rows which extend longitudinally from left to right; and
the two keys within each of said key pairs are laterally aligned with each other.
92. A method of generating arpeggiations as in claim 80 wherein,
said keyboard includes at least four parallel key rows.
93. A method of generating arpeggiations as in claim 92 wherein;
said keyboard comprises a first key row, a second key row, a third key row, and a fourth key row;
said rows extend longitudinally from left to right;
said second key row is laterally positioned between said first and third rows;
said third key row is laterally positioned between said second and fourth rows;
at least a plurality of keys within said first row are laterally aligned with a plurality of keys within said third row;
at least a plurality of keys within said second row are laterally aligned with a plurality of keys within said fourth row; and
at least a plurality of keys within said second row are staggered in the longitudinal dimension halfway between adjacent keys of the first row.
94. A method of generating arpeggiations as in claim 93 wherein,
strum keys in rows one and two are paired with laterally aligned strum keys in rows three and four, respectively.
95. A method of generating arpeggiations as in claim 94 wherein;
at least a plurality of strum keys within rows one and two are downstrum keys, and their pair partners in rows three and four are upstrum keys.Description
FIELD OF THE INVENTION
This invention relates to a keyboard-controlled electronic musical instrument capable of emulating a strumming guitar.
BACKGROUND OF THE INVENTION
When a guitarist plays a guitar with standard string tuning and the standard physical configuration (left hand selecting notes on the fretboard and right hand strumming the strings), a downstrum (in which the right hand strokes downward) generally produces an ascending arpeggiated chord. An upstrum generally produces a descending arpeggiated chord. Generally, a guitarist will alternate up and downstrums, producing arpeggiated chords which are alternately ascending and descending.
This action is easy, smooth and natural, due to the fact that two chords may be produced with a single up-down cycle of the right hand.
This two-chord-per-cycle technique enables a guitarist to easily produce strums in rapid succession. Also, this technique allows a guitarist to easily introduce a swing factor into the timing of the strums. A swing factor or "feel" is present when the elapsed time between an upstrum and a downstrum is different than the elapsed time between a downstrum and an upstrum. By consistently alternating strums with the same time difference, a guitarist can produce a desired swing feel. A guitarist may easily achieve this effect by simply displacing the center of his stroke either slightly above or slightly below the vertical center of the six strings (the vertical center of the strings is between the D and G strings).
This displacement of stroke is so easy and natural that guitarists are often not even aware that they are doing it.
Various known prior art processing systems enable a keyboardist to simulate guitar strums. However, these prior art systems have been found to be lacking in the above stated advantageous qualities which a guitar possesses.
For example, U.S. Pat. No. 4,379,420 (Deutsch) describes a keyboard guitar emulator in which a group of keys perform the dual function of chord selection and arpeggiated chord triggering. In text column 11, lines 44-68, an alternating strum direction feature is disclosed. A musician, or user, may trigger a first strum by depressing a chord on the keyboard. Once the chord is depressed and held, an additional strum, alternati...
Automatic performance apparatus of an electronic musical instrument2010-03-15 00:00:00to reading control circuit 22 as a signal RS.
The accompaniment tone generating circuit 44 generates an accompaniment tone signal whose tone color, effect, and tone volume respectively corresponds to tone color data, effect data, and tone volume data each outputted from registered data detecting circuit 42, in which accompaniment tone signal designates the accompaniment tone of a chord indicated by basic tone data CCD and type data TPD both supplied from latch circuit 43. Then, the accompaniment tone generating circuit 44 outputs its accompaniment tone signal to amplifier 5.
A tempo clock oscillator 54 generates a tempo clock TCL by which the tempo is generated. An autorhythm device 55 generates a rhythm tone signal of a waltz, mambo, or the like by operating the rhythm tone source incorporated therein. The auto-rhythm device 55 outputs its rhythm tone signal to amplifier 5. A melody auto-performance device 56 includes a memory 56a and a read-memory control circuit 56b, in which memory 56a stores performance data for automatically performing the melody tone, the read-memory control circuit 56b reads the melody tone data stored in memory 56a and then converts the data into a musical tone signal, then outputs its musical tone signal to the next circuit. Thus, the melody tone signal which is outputted from read-memory control circuit 56b is supplied to amplifier 5. The amplifier 5 mixes each musical tone signal inputted from manual musical tone generating circuit 2, accompaniment tone generating circuit 44, auto-rhythm device 55, and melody auto-performance device 56.
This amplifier 5 amplifies the mixed musical tone signal and then outputs its amplified signal to speaker 57.
Next, the operation of the auto-performance apparatus is described in accordance with the above-described construction.
(1) WRITING DATA INTO THE CHORD SEQUENCE MEMORY CM
In the case where data is written into chord sequence memory CM, the record switch 12 is turned on. Turning on record switch 12 produces signal REC of "1", which causes chord sequence memory CM to be set in the writing mode. When the REC signal "1" is supplied to differentiation circuit 29 through OR gate 26 shown in FIG. 3, the differentiation circuit 29 generates a pulse signal to supply its signal to the reset terminal R of flip-flop circuit 30. Therefore, the flip-flop circuit 30 is reset, and subsequently, a signal "0" from the output terminal of flip-flop circuit 30 is supplied to the reset terminal of address counter 31, thus, the reset state of the address counter 31 is released to permit the count. At this time, the address counter 31 is "0". Conversely, the AND gate 23 (shown in FIG. 3) opens when signal REC is "1".
Thereafter, when an operator uses one of switches 6 to 11, or the keys in key-areas KB1 and KB3, the data which correspond to the operated switches or the keys are, in turn, written into chord sequence memory CM. Hereinafter, an example of the written data is described as shown in FIG. 2. By depressing a switch indicative of a piano tone within tone color switches 6, registered type data RGS and registered content data RGD are outputted from code converter circuit 16, in which registered type data RGS indicates the state of tone colo...
Wavetable-modification instrument and method for generating musical sound2010-03-12 00:00:00and thereby becomes a new output signal.
This process is periodically repeated whereby each new output signal is stored (after possibly being modified) back into the wavetable to produce rich and natural musical sound.ClaimsWhat is claimed is:
1. A musical instrument for producing musical sound comprising,
input means for specifying a musical sound to be generated,
wavetable-modification generator means for generating by wavetable modification an output signal representing the musical sound to be produced, including a wavetable unit for cyclically storing data values for a delay period N, including initialvalue means for storing input data values into said wavetable unit with said input data values having amplitudes determined at least in part randomly, including a modifier unit for combining two or more delayed data values from said wavetable unit toform a modified data value, and including selection means for selecting the modified data value as a stored value stored back into the wavetable unit for subsequent delay by the period N where the stored value forms the output signal, means for selectingthe stored value as the output signal at a rate independent of the pitch of the musical sound to be produced,
an output unit responsive to said output signal to produce the musical sund.
2. The musical instrument of claim 1 wherein said selection means includes means for selecting said modified data value or a delayed data value stochastically based upon a predetermined probability, d.
3. The instrument of claim 2 wherein said modifier unit includes an arithmetic unit for summing said two or more delayed data values from said wavetable unit and for dividing the summed data value by a number greater than unity to form saidmodified data value.
4. The instrument of claim 3 wherein said number greater than unity is 2 whereby said two or more delayed data values from said wavetable unit are averaged.
5. The instrument of claim 2 wherein said value has an amplitude yn at a sample time n greater than or equal to 0 where yn is given as follows, ##EQU7## where yn-N is the data value output from the wavetable after delay of N andwhere yn-(N 1) is the data value output from the wavetable after a delay of N 1 and where xn is an input data value at sample time n having a signal amplitude loaded for an initial number of samples M into the wavetable and where rn is arandom number between 0 and 1 generated at sample time n.
6. The instrument of claim 5 wherein said output signal, at sample time n, is the data value having the amplitude yn.
7. The instrument of claim 5 wherein said wavetable unit is a random access memory, wherein the data value, yn, is stored in said memory at a Write Pointer address and wherein the data value yn-N is stored in said memory at a ReadPointer address, and wherein said Write Pointer address and said Read Pointer address are offset by a number of addresses equal to the number, N.
8. The instrument of claim 7 wherein the data value yn-(N 1) is stored in said memory at a Read Pointer 1 address which is offset from said Read Pointer address by 1.
9. The instrument of claim 5 wherein the values of xn initially stored in said wavetable represent "white noise".
10. The instrument of claim 9 wherein said values of xn are given as follows:
where un is determined as 1 or -1 as a function of the output of a random number generator and where A is some amplitude.
11. The instrument of claim 5 including control means for producing the values of yn for the output signal at a sampling frequency, fs, and wherein the fundamental frequency of the sound produced for a pitch number N is approximatelyequal to fs /(N d/2).
12. The instrument of claim 7 including means for storing said Write Pointer address, means for storing the pitch number, N, as an address offset, means for calculating said Read Pointer address by summing said Write Pointer address and N, andmeans for sequentially changing said Write Pointer address to a new address for each value of yn stored.
13. The instrument of claim 12 wherein means for sequentially changing said Write Pointer address includes means for decrementing said Write Pointer address.
14. The instrument...
Programmed music on demand from the internet2010-03-11 00:00:00according to predetermined criteria.
Public and network television and radio stations have for decades distributed proprietary copyrighted subject matter to the viewing and listening public without any charge due to the sponsorship and financing of these programs by various advertisers and/or governmental bodies. With television and radio broadcast, it is difficult if not impossible to deliver specific advertisement messages to finely selected audiences since audience targeting is possible only on the basis of broad geographical areas, e.g. the city of New York. It is impossible to target individuals, or individuals who share a common trait, e.g. a certain age range, educational background, etc.
In contrast, the Internet communicates (at least along a portion of its path) over personal communication lines, i.e. the telephone.
This enables sending of tailored messages between the ultimate recipient of specific information and the source of the information, e.g. a website, an Internet Service Provider, etc. Traditionally, proprietary, e.g. copyrighted, information could be downloaded from the Internet. In most cases, charge accounts are established with an Internet Service Provider and the recipient of the proprietary data content pays for those services and/or information.
It is desirable to provide an Internet based system for the dissemination of valuable proprietary information free of charge, just as it is provided through network television and radio stations without any costs to the ultimate user/subscriber and with advertiser sponsorship thereof targeted to the subscriber.
SUMMARY OF THE INVENTION
Accordingly, it is a general object of the present invention to provide programmed music via the Internet to numerous subscribers without any charge to the subscribers.
It is a further object of the invention to provide programmed music to the general public in a manner which facilitates the bundling of such programmed music with advertisement copy tailored to the individual, to thereby underwrite the cost of supplying to members of the public valuable music and other data containing information.
It is a further object of the invention to provide advertisers a method of targeting music consumers meeting a profile designated by the advertiser which assures that the targeted music consumer receives a massage tailored for such consumer.
It is a further object of the invention to provide a system of the above type which is easy to use and implement.
The foregoing and other objects of the invention are realized in accordance with a preferred embodiment of the present invention which includes a software-controlled and microprocessor-based repository in which the dossiers of a plurality of subscribers are stored and updated. Subscribers use their own microprocessor-based systems to receive the programmed music and advertisements from the repository over the internet via their PCs.
The system handles advertisers by creating advertiser dossiers containing the amount of advertising time purchased by each advertiser, the amount used up and the amount remaining to be used ("available allocation"). The advertiser dossiers also contain specification of the desire...
Method for encoding music printing information in a MIDI message2010-03-10 00:00:00standard.
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
What is claimed is:
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:
selecting at least one musical parameter related to music printing, said parameter capable of being described by a finite, integral number of states;
defining said binary code for each said state of said at least one musical parameter; and,
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.
2. The method of claim 1 wherein said at least one musical parameter related to music printing is an enharmonic spelling of said note.
3. The method of claim 2 wherein said selected MIDI parameter is said note-on velocity parameter.
4. The method of claim 2 wherein said selected MIDI parameter is said note-off velocity parameter.
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.
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.
7. The method of claim 1 wherein said at least one musical paramet...
Archiv
TAGE
