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Multi-feature speech/music discrimination system
2010-03-29 00:00:00
the audio signal, and other input data is based upon variations of a feature over several frames, to distinguish the changes in voiced and unvoiced components of speech from the more constant characteristics of music. Several different types of classifiers for labeling test points on the basis of the feature data are disclosed. A preferred set of classifiers is based upon variations of a nearest-neighbor approach, including a K-d tree spatial partitioning technique.Claims

What is claimed is:

1. A method for discriminating between speech and music content in an audio signal, comprising the steps of:

selecting a set of audio signal samples;

measuring values for a plurality of features in each sample of said set of samples;

defining a multi-dimensional feature space containing data points which respectively correspond to the measured feature values for each sample, and labelling each data point as relating to speech or music;

measuring feature values for a test sample of an audio signal and determining a corresponding data point in said feature space;

determining the label for at least one data point in said feature space which is close to the data point corresponding to said test sample; and

classifying the test sample in accordance with the determined label.

2. The method of claim 1 wherein said determining step comprises determining the label for the data point in said feature space which is nearest to the data point for said test sample.

3. The method of claim 1 wherein said determining step comprises the steps of identifying a plurality of data points which are nearest to the data point for said test sample, and selecting the label which is associated with a majority of the identified data points.

4. The method of claim 1 wherein said determining step comprises the steps of dividing the feature space into regions in accordance with said features, labelling each region as relating to speech data or music data in accordance with the labels for the data points in the region, and determining the region in said feature space in which the data point for said test sample is located.

5. The method of claim 1 wherein one of said features is the variation of spectral flux among a series of frames of the audio signal.

6. The method of claim 1 wherein one of said features is a pulse metric which identifies correspondence of modulation frequency peaks in different respective frequency bands of the audio signal.

7. The method of claim 1 wherein one of said features is measured by the steps of determining the mean power for a series of frames of said audio signal, and determining the proportion of frames in said series whose power is less than a predetermined fraction of said mean power.

8. The method of claim 1 wherein one of said features is the proportion of energy in the audio signal having speech modulation frequencies.

9. The method of claim 8 wherein said speech modulation frequencies are around 4 Hz.

10. The method of claim 1 wherein said audio signal is divided into a sequence of frames, and wherein values for some of said features are measured for individual frames, and values for others of said features relate to variations of measured values over a series of frames.

11. The method of claim 1 wherein said audio signal is divided into a sequence of frames and further including the steps of classifying each frame of the test sample as relating to speech or music, examining the classifications for a plurality of successive frames, and determining a final classification on the basis of the examined classifications.

12. A method for determining whether an audio signal contains music content, comprising the steps of:

dividing the audio signal into a plurality of frequency bands;

determining modulation frequencies of the audio signal in each band;

identifying the amount of correspondence of the modulation frequencies among the frequency bands; and

classifying whether audio signal has musical content in dependence upon the identified amount of correspondence;

wherein the step of determining the modulation frequencies in a frequency band comprises the steps of:

determining an energy envelope of the frequency band;

identifying peaks in the energy envelope; and

calculating a windowed autocorrelation of the peaks.

13. A method for determining whether an audio signal contains music content, comprising the steps of:

dividing the audio signal into a plurality of frequency bands;

deter...

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

(2) Parameters are assigned to the operation results which are obtained by performing certain arithmetic computations to the LED1 output value and the LED2 output value, and the corresponding parameters are controlled when a predetermined condition is satisfied by the operation results.

(3) Parameters are assigned to a synthesized value of LED1 output value and LED2 output value (synthetic value), and the corresponding parameters may be controlled, when a predetermined condition is satisfied by the synthetic value. For example, predetermined phrases have been assigned in response to values obtained by adding LED1 output value to LED2 output value (sum or total value) as synthetic values, and it may be controlled so as to switch the phrases 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 may be a value obtained by determining a difference between LED1 output and LED2 output value (difference value), a ratio of LED1 output value to LED2 output value, and other values.

(4) Parameters are assigned to a rate of change in synthetic value, and the corresponding parameters may be controlled when a predetermined condition is satisfied by the rate of change in synthetic value.

As shown in FIG. 2, a level value "30" of the reflected light due to emission of the first infrared LED 26 detected by the infrared sensor 30 is displayed on the sensor level indicator 24b1, while a level value "40" of the reflected light due to lighting of the second infrared LED 28 detected by the infrared sensor 30 is displayed on the sensor level indicator 24b2.

Operating keys composing the operating key group 22 include operating keys for shifting cursor displayed on the display screen 24a for the control table (an upward operating key 40a for upward shift of the cursor, a downward operating key 40b for downward shift of the cursor, a leftward operating key 40c for leftward shift of the cursor, and a rightward operating key 40d for rightward shift of the cursor), condition setting operating keys for setting a variety of conditions with respect to control for parameters (an L1 operating key 42a for designating an output value obtained as a result of detecting reflected light of the first infrared LED 26 by the infrared sensor 30 (in this paragraph, hereinafter referred to as ...

Thumbrest ring adapter for musical instrument
2010-03-24 00:00:00
type have not achieved acceptance, possibly due to the constriction on the hand between the thumb and the forefinger and possibly due to the different feel of the instrument when it is supported near its bell rather than in the middle near its center of balance.

A variety of other types of instrument support devices have been used with heavier instruments such as baritones, sousaphones and S-shaped saxophones. However, these other types of support devices are virtually required because of the considerably greater weight of those instruments and would not typically be effective with the smaller woodwind instruments which require a greater degree of dexterity. Thus, in spite of the variety of different types of support devices for a wide variety of different musical instruments, musicians playing the smaller woodwind instruments such as the oboe, the clarinet, the English horn and the straight saxophone typically choose to either support the entire weight of the instrument on their thumb or use a support device connected to an attachment ring on the thumbrest. In those instances where the instrument does not include an attachment ring on the thumbrest, the musician will typically be required to hold the entire weight of the instrument rather than opt for an alternative support device. It is with respect to these and other considerations that the present invention has evolved.

SUMMARY OF THE INVENTION

The present invention provides the capability of attaching a support device, such as a neck strap, chest support or monopod device to a woodwind instrument such as the oboe, the clarinet, the English horn or the straight saxophone when those instruments do not include a permanent eye or attachment ring on the their respective thumbrests. The ability to add such a support device allows a musician to relieve as much of the weight of the musical instrument on the musician's thumb and hand as desired without limiting the position, flexibility or maneuverability of the instrument. A further objective of the present invention is to provide an assembly that allows for the attachment of a support device, where the assembly is relatively small with respect to the size of the musical instrument and where the assembly may be quickly and simply attached to the instrument.

In accordance with the above aspects, the present invention relates to a unique ring adapter assembly which may be releasably attached to a thumbrest on the musical instrument to provide an attachment ring to those thumbrests which do not include their own permanent eye or attachment ring. One embodiment of the ring adapter assembly, which is used with fixed position thumbrests, includes a base adapted to be seated on a top surface of the thumbrest (opposite the bottom surface where the musician's thumb is positioned while playing the instrument). The base holds an attachment ring and fits within an open bottom end of a hollow tube. A cap fits within an open top end of the hollow tube and holds the ring in place within the hollow tube. Once the base is seated on the thumbrest, a spring wire attached to the cap is connected around the thumbrest to maintain the ring adapter assembly attached to the thumbrest. A screw extending through the cap and contacting the base may be rotated to move the cap up and down in relation to the stationary thumbrest. Upward movement of the cap increases tension within the spring wire and tightens the connection of the ring adapter assembly to the thumbrest. A post extending horizontally through the ring adapter assembly supports the spring wire and acts like a fulcrum to direct the force applied by the wire on the ring adapter assembly downward and away from the body of the musical instrument.

An alternative embodiment of the ring adapter assembly is used with thumbrests which are adjustable with respect to the body of the musical instrument. Such adjustable thumbrests typically comprise a horizontal projection with a vertical post fixed to a top side thereof, wherein the musician's thumb typically contacts the bottom side of the horizontal projection. A receptacle fixed to the musical instrument includes a vertical hole to receive the vertical post attached to the horizontal projection. Once the horizontal projection is positioned as desired by the musician, a set screw within the receptacle is tightened about the vertical post to temporarily fix the position of the adjustable thumbrest. The alternative ring adapter assembly includes a an L-shaped body having a horizontal surface with an opening therein to receive the vertical post of the adjustable thumbrest, and having a vertical surface attached to the horizontal surface opposite the opening. An attachment ring or eye is fixed to the vertical surface so that the ring extends away from the musical instrument...

Keyboard electronic musical instrument with guitar emulation function
2010-03-20 00:00:00
a reverse state change (i.e., from second to first state) of the same strum key results in a descending arpeggio of the same chord. The tone generating device is allowed to continue sustaining the chord until (a) the auxiliary device is returned to its first state, at which time the chord is terminated; or (b) a second strum key state change is performed, at which time the chord is terminated and the predetermined chord corresponding with the second state change is initiated. If this second strum key state change is the reverse state change of the same key, the new chord is identical to the first chord, with the arpeggiation direction reversed.

When applied to a conventional keyboard, this method enjoys an advantage over the Multiple Trigger Pairs Method: Since only one octave is required for one type of chord, more chord types may be provided in a single keyboard without a patch change.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 shows a general overview of electronic systems/hardware and recommended keyboard which may be used to realize the invention.

FIG. 2 shows an overview of the software program used in the preferred embodiment.

FIGS. 3-14 detail various program subroutines which are used in the preferred embodiment. Subroutines which require two drawing figures are split into two parts--a & b, for example, 14a & 14b.

FIG. 15 shows a cutaway side view of a front guide pin and bushing recommended for the keyboard of the preferred embodiment.

FIGS. 16A-D show various views of a rear guide pin and bushing recommended for the keyboard of the preferred embodiment. FIG. 16A is an exploded view, FIG. 16B is an overhead view with key not shown, FIG. 16C is cutaway rear view taken along line XVI-C of FIG. 16B, and FIG. 16D is a cutaway side view taken along line XVI-D of FIG. 16B.

ORIENTATION TERMS AND CLARIFICATIONS

In this specification and appended claims orientation terms are based on the orientation of a musician as most commonly positioned at a piano keyboard; thus:

The longitudinal axis is that which extends from the bass, or left end of the keyboard to the right, or treble end.

The lateral or transverse axis is that which extends from the front to the rear of the keyboard.

The vertical axis refers to the key axis of motion.

In this specification and appended claims, a statement that a key is "depressed" or "down" means that a key is moved from rest to depressed position. Depressed position does not necessarily refer to the absolute bottom end of key travel. Rather, this term refers to any depth of key depression which is beyond the threshold at which the key state sensing system interprets the key to be in depressed position. For example, this threshold may occur at 2/3 down from rest position. Likewise, rest position is any position above a predetermined rest position threshold; for example, the upper 1/3 of key travel. For example, an embodiment which is well within the scope of the 2nd aspect of the invention would be one in which when a first key is held down as a second key is depressed, the first tone is muted as the second key reaches 1/3 of its downward stroke, and the second tone is initiated when the second key reaches 2/3 of its downward stroke.

The term "key row" refers to a row of keys which extend substantially from left to right. Key rows within a keyboard according to the present invention are not necessarily precisely parallel to the left-right keyboard axis. For example, a keyboard with angled rows (e.g., the Uniscala Keyboard shown in Keyboard magazine, June 1995) may be adapted to utilize the present invention.

DESCRIPTION OF THE PREFERRED EMBODIMENT

I. Overview

The preferred embodiment of the invention is a five-row Janko controller keyboard with independent keys. Various aspects and embodiments of this keyboard are described in the applicant's prior patents, U.S. Pat. No. 5,185,490 (Key Guide) and U.S. Pat. No. 5,469,772 (Linearly Reciprocating Keyboard Key Incorporating Two Guide Pins), and copending applications Ser. Nos. 08/173,855, now U.S. Pat. No. 5,515,763 (Tactile Key Tops), and 08/345,067, now U.S. Pat. No. 5,505,115 (Keyboard Key Return and Motion Sensing Mechanisms Incorporating a Swing Arm). These prior specifications are hereby incorporated by reference.

With guidance from these prior specifications and the present specification, a person of ordinary skill in the art may engineer a keyboard with the necessary features to implement the preferred embodiment of the present invention. Referring to FIG. 1, these features include:

(1) a keyboard 25 (A portion of a 5-level Janko keyboard is shown with an example of two keys 27 which occupy the same position on the X axis and which may be used as a strum trigger keys pair.);

(2) a key state sensing system (including key position/velocity/pressure sensors 28 and a system to scan these sensors 30) which can, for each key of the keyboard 25, sense downward/upward velocity and at least 16 levels of aftertouch pressure;

(3) at least two foot pedals 35 each with sensors capable of measuring downward/upward pedal velocity (The pedal unit sold with the Ensoniq SDP-1 keyboard may be employed. This pedal includes two pedals each with a contact spring which alternates between upper and lower stationary contact wires. Transit time between these two contacts may be measured and pedal velocity may thus be calculated. Alternately, a pedal employing a photointerrupter sensor may be employed. Such a pedal may be monitored by one of the key sensing daughter microcontrollers shown in applicant's copending application Ser. No. 08/345,067, now U.S. Pat. No. 5,505,115, for Keyboard Key Return and Motion Sensing Mechanisms Incorporating a Swing Arm.);

(3) a microprocessor-controlled computer system 36 (including a central processing unit 37, a random-access memory 38, and a read-only memory 39) which can process information received from the key state sensors and other input devices;

(4) a control panel including various swi...

Wavetable-modification instrument and method for generating musical sound
2010-03-12 00:00:00
form 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 delaywhere the stored value forms the output signal,

an output unit responsive to said output signal to produce the musical sound.

44. A wavetable-modification generator for use with a musical instrument having an input unit for specifying a musical sound to be generated and having an output unit responsive to an output signal to produce musical sound said generatorcomprising,

a digital wavetable unit having a random access memory for cyclically storing data values for a delay period,

a modifier unit having an arithmetic unit for summing 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 a modified data value, and

means for storing the modified data value back into the memory for subsequent delay where the modified data value forms said output signal representing the musical sound to be produced.DescriptionBACKGROUND OF THE INVENTION

This invention relates to musical instruments and more specifically to digitally controlled electronic instruments and methods for generating musical sound.

Digitally controlled methods of generating musical sound operate by producing a sequence of digital numbers which are converted to electrical analog signals. The analog signals are amplified to produce musical sound through a conventionalspeaker. Musical instruments which employ digital control are constructed with a keyboard or other input device and with digital electronic circuits responsive to the keyboard. The electronic circuits digitally process signals in response to thekeyboard and digitally generate oscillations which form the sound in the speaker. These digitally generated oscillations are distinguished from oscillations generated by analog oscillators and are distinguished from mechanically induced oscillationsproduced by conventional orchestral and other type instruments.

All musical sounds, whether of electronic or mechanical origin, can be described by Fourier spectra. The Fourier spectra describes musical sound in terms of its component frequencies which are represented as sinusoids. The whole musical soundis, therefore, a sum of the component frequencies, that is, a sum of sinusoids.

Under Fourier analysis, tones are classified as harmonic or inharmonic. A harmonic tone is periodic and can be represented by a sum of sinusoids having frequencies which are integral multiples of a fundamental frequency. The fundamentalfrequency is the pitch of the tone. Harmonic instruments of the orchestra include the strings, the brasses, and the woodwinds. An inharmonic tone is not periodic, although it often can be represented by a sum of sinusoids. The frequencies comprisingan inharmonic tone, however, usually do not have any simple relationship. Inharmonic instruments do not normally have any pitch associated with them. Instruments in the orchestra that are inharmonic include the percussion instruments, such as the bassdrum, the snare drum, the cymbal and others.

Electronically controlled musical instruments have relied upon forming selected Fourier spectra as a basis for producing musical sound. One known type of digital musical instrument employs a harmonic summation method of music generation. In theharmonic summation method, a tone is produced by adding (or subtracting) a large number of amplitude-scaled sinusoids of different frequencies. The harmonic summation method, therefore, requires a large number of multiplications and additions to formeach sample. That process requires digital circuitry which is both expensive and inflexible. Accordingly, the digital design necessary to carry out the method of harmonic summation is computationally complex and leaves much to be desired.

Another known type of musical instrument employs the filtering method of music generation. In the filtering method, a complex electrical waveform, such as a square wave or a saw-tooth pulse train, is filtered by one or more filters to select thedesired frequency components. Thereafter, the filtered frequency components are combined to form the electrical signal which drives the speaker. The filtering method is commonly used to synthesize human speech and has often been used with analogelectroni...

Programmed music on demand from the internet
2010-03-11 00:00:00
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 desired consumer profiles to be targeted, specification of the category of products or services to be advertised, specification of any territorial or local time requirements or preferences, and a key to the location of the audio advertising content.

The present invention includes a repository, i.e. database, in which all musical content is stored and updated in either or both digital or analog form. Each item of music content is cataloged, defining the nature or category of the contents, the identity of the copyright holder or holders, the characteristics of the desired consumer or subscriber, the category of any product or service the advertising for which is not to be annexed to the content, and any limitation on the availability of the content. The content is converted to digital form for delivery over the Internet. The content may further be encoded to prevent unauthorized duplication and to identify the subscriber to whom the content is to be delivered.

The database also includes the identity of each copyright holder of the music content and an audio message identifying the artist and/or the copyright holders of each item of music content ("identity ...

Method for encoding music printing information in a MIDI message
2010-03-10 00:00:00
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.

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.

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.

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.

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, bu...

Control system for a musical instrument
2010-03-09 00:00:00
the tactile member.

Further in the tremolo functions, the musician can also program three pre-set volumes for the tremolo characteristic so that when the instrument is subsequently played and the tremolo characteristic is sought, one of the preset volume levels can be selected to dictate the amplitude of the tremolo characteristic. To program the tremolo amplitude, the musician enters the program mode and then plays the instrument. The musician adjusts the volume by depressing the tactile member until a desired volume is reached. The musician then records this desired volume as one of the amplitude presets in the controller. Subsequently, when the musician is playing the instrument, the musician can select the amplitude of the tremolo from one of three pre-set amplitudes.

From the foregoing, it is apparent that the control system of the preferred embodiment enables the musician to program preset volume levels, tremolo frequency levels and tremolo amplitude levels by simply playing the instrument and exerting pressure on the tactile member. Subsequently, the musician can select between the preset levels while playing the instrument. The musician can also use the tactile member while playing the instrument to dynamically adjust the volume of the audio signal and the frequency of a tremolo effect applied to the audio signal by exerting pressure on the tactile member. Hence, the control system affords the musician greater flexibility in adjusting the characteristics of the audio signal produced by the musical instrument.

These and other objects and features of the present invention will become more fully apparent from the following description and appended claims take in conjunction with the accompanying drawings.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 is a perspective view of a musical instrument used in conjunction with a first embodiment of a control system of the present invention;

FIG. 2 is a perspective view of the musical instrument shown in FIG. 1, used in conjunction with a second embodiment of a control system of the present invention;

FIGS. 3A and 3B are partially cut-away perspective views of a tactile member which forms a portion of the control system shown in FIGS. 1 and 2;

FIG. 4 is a perspective view of a control box, and the external controls associated therewith, comprising a portion of the control system of the present invention.

FIG. 5 is an electrical schematic which illustrates a control circuit which forms a portion of the control system shown in FIGS. 1 and 2;

FIG. 6 is a flow chart illustrating the operation of the control circuit shown in FIG. 5;

FIG. 7 is a flow chart illustrating the operation of the control circuit as it performs an operation function shown in FIG. 6;

FIG. 8 is a flow chart illustrating the operation of the control circuit as it performs a volume operation function shown in FIG. 7;

FIG. 9 is a flow chart illustrating the operation of the control circuit as it performs a tremolo operation function shown in FIG. 7;

FIG. 10 is a flow chart illustrating the operation of the control circuit as it performs a program function shown in FIG. 6;

FIG. 11 is a flow chart illustrating the operation of the control circuit as it performs a program volume function illustrated in FIG. 10; and

FIGS. 12 and 12A is a flow chart illustrating the operation of the control circuit as it performs a program tremolo function shown in FIG. 10.

DESCRIPTION OF THE PREFERRED EMBODIMENTS

Reference will now be made to the drawings wherein like numerals refer to like parts throughout. FIGS. 1 and 2 illustrate a musician 100 holding a musical instrument 102, which in this case is an electric guitar. The musical instrument 102 is equipped with a music control system 104 of the preferred embodiment.

The music control system 104 includes one or more flexible tactile members 106 that are positioned on the musical instrument 102. The flexible tactile members 106 are preferably positioned on the musical instrument 102 in places where the musician 100 can exert pressure on the flexible tactile members 106 without the musician 100 removing his hands from playing positions on the musical instrument 102. In this embodiment, the tactile member 106 is positioned adjacent the neck of the guitar where the musician 100 can press down in the tactile member 106 with either his thumb or finger. Alternatively, the tactile member 106 could have been positioned adjacent the musician's strumming hand (shown in phantom) thereby allowing the musician 100 to use his strumming hand to exert pressure on the tactile member 106.

In the preferred embodiment, the tactile member 106 is a sealed air hose that the musician 100 can depress to thereby change the pressure within the air hose. The tactile member 106 is connected to a central control box 108 that has a sensor which determines the extent to which the musician has depressed the tactile member 106.

FIG. 2 illustrates a second embodiment of the invention wherein the tactile members 106 all are connected to a central manifold 110. The central manifold 110 is preferably connected to the central control box 108 via a connecting member 112. In the preferred embodiment, the connecting member 112 is a pressure hose which transmits the pressure from the tactile members 106 to the control box 108. The central manifold 110 is preferably selectable so that the musician 100 can select which of the plurality of tactile members 106 that is going to be used to transmit signals to the control box 108. Hence, the central manifold 110 allows the musician 100 to change between tactile members 106 as needed.

FIGS. 3A and 3B illustrate the tactile member 106 of the preferred embodiment in greater detail. FIG. 3A shows the tactile member 106 in a non-depressed state and FIG. 3B shows the tactile member 106 is a depressed state. As shown, the tactile member 106 has a square base 120 that is preferably 1/4" by 1/4" and a rounded upper surface that is formed from a hemisphere 122 positioned on the square b...

High density sound enhancing components for stringed musical instruments
2010-03-03 00:00:00
loop.

According to a further broad aspect of the invention, it has now been found that the added stone enhancements collective mass and high-efficiency transmission rate focuses, retains and centralizes the instruments core vibrations producing abalanced, compressed, naturally equalized sound with remarkable clarity and sustain with minimal distortion. It should be understood, that when reference is made to a veneer, it is not intended to be inclusive of a mere thin, decorative layer, such astypically made from materials such as wood, metal, paper or plastics. The veneer must be of sufficient mass to function as an acoustic material. For an instrument like a guitar, a granite veneer is preferably in the range from about 1/8 to 11/16 of aninch.

According to still another broad aspect of the invention, connecting and vibratically unifying the soundboard, strings, bridge system, pickups, neck and body in a time-correct sound transfer loop, produces a balanced, compressed, and naturallyequalized sound, with remarkable clarity and sustain, and with minimal distortion.

In another aspect of the invention, the vibratical unification is produced through the use of high sound conductivity materials to acoustically interconnect the soundboard, strings, bridge system, pickups, neck, and body in a time-correct soundtransfer loop. The high sound conductivity material can be a mineral such as stone, in particular granite, ceramics, metals, and other high density solid materials.

The guitars body weight, in combination with the other instrument component, must be no more than nine pounds and preferably no greater than eight pounds. Most preferably, the total weight of a guitar is no greater than eight pounds. Thus, thebasic components are maintained at a minimum weight and the dense acoustic veneer provides the additional weight to bring the weight of the instrument to the desired maximum weight.

According to another broad aspect of the invention the weight of the veneer or soundboard, as for example, granite is at least two pounds and preferably, at least three pounds, but no greater than five pounds. While this is preferable for astandard size guitar, other instruments can use either heavier to lighter weights of material.

It should be evident that the mass of the dense acoustic layer is far in excess of that which would be used for mere decorative purposes. Stated another way, the veneer layer has sufficient mass to function as an acoustic resonating material. The dense acoustic veneer does additionally provide the functional advantage of high durability and dramatic aesthetic appeal. In some instances, the veneer can be thinner than noted above, when used in combination with one or more blocks of graniteembedded in the body to provide the desired mass and resonance qualities.

According to a further broad aspect of the invention a stringed musical instrument is provided having a body section and a headstock secured to the body section by a neck region. The headstock includes means for securing the distal ends of aplurality of strings to the musical instrument. A bridge supports the proximal ends of said strings above the body section, and anchoring means secures the proximal ends of the strings to the body section of the musical instrument. A stone soundboardis secured to the body section for enhancing the acoustical output of the musical instrument. The soundboard, most advantageously is a layer of granite having a thickness in the range from about 1/8 to about 3/8 of an inch.

In one embodiment of the invention, the body section is a solid piece of wood, having a plurality of recessed areas. In another embodiment of the invention, the stringed musical instrument has a hollow body section, a head stock secured to saidbody by a neck region (said head stock providing a means for securing the distal ends of a plurality of strings to the head of the musical instrument), a bridge to support the proximal ends of said strings above the soundboard, means for securing theproximal ends of the strings to the body of the musical instrument, and a soundboard secured to said body section, wherein the soundboard is a thin acoustical layer of granite. In both embodiments the instrument includes one or more granite blocks orsound transfer rods which collectively contact and acoustically interconnect the soundboard, body, bridge/tremolo system, pickups, the string anchoring member, and the neck region. The advantages o...