Multi-feature speech/music discrimination system
2010-03-29 00:00:00
INVENTION

In accordance with one aspect of the present invention, a set of features is provided which can be selectively employed to distinguish speech content from music in an audio signal. In particular, eight different features of a digital audio signal can be measured to analyze the signal. In addition, higher level information is obtained by calculating the variance of some of these features within a predefined time window. More particularly, certain features differ in value between voiced and unvoiced speech. If both types of speech are captured within the time window, the variance will be relatively high. In contrast, music is likely to be constant within the time window, and therefore will have a lower variance value. The differences in the variance values can therefore be employed to distinguish speech sounds from music. By combining data from some of the base features with data from other features, such as the variance features, significant increases in the discrimination accuracy are obtained.

In another aspect of the invention, a "nearest-neighbor" type of classifier is used to distinguish speech data samples from music data samples. Unlike the Gaussian classifier, the nearest-neighbor classifier estimates local probability densities within every area of the feature space. As a result, arbitrarily complex decision boundaries can be generated. In different embodiments of the invention, different types of nearest-neighbor classifiers are employed. In the simplest approach, the nearest data point in the feature space to a sample data point is identified, and the sample is labeled as being of the same class as the identified nearest neighbor. In a second embodiment, a number of data points within the feature space that are nearest to the sample data point are determined, and the new sample point is classified by a voting technique among the nearest points in the feature space. In a preferred embodiment of the invention, the number of nearest data points in the feature space that are employed for such a decision is small, but greater than unity.

In a third embodiment, a K-d tree spatial partitioning technique is employed. In this embodiment, a K-d tree is constructed by recursively partitioning the feature space, beginning with the dimension along which features vary the most. With this approach, the decision boundary between classes can become arbitrarily complex, in dependence upon the size of the set of features that are used to provide input data. Once the feature space is divided into sufficiently small regions, a voting technique is employed among the data points within the region, to assign it to a particular class. Thereafter, when a new sample data point is generated, it is labeled according to the region within which it falls in the feature space.

The foregoing principles of the invention, as well as the advantages offered thereby, are explained in greater detail hereinafter with reference to various examples illustrated in the accompanying drawings.

BRIEF DESCRIPTION OF THE DRAWINGS:

FIG. 1 is a general block diagram of a speech/music discriminator embodying the present invention;

FIG. 2 is an illustration of an audio signal that has been divided into frames;

FIGS. 3a and 3b are histograms of the spectral centroid for speech and music signals, respectively;

FIGS. 4a and 4b are histograms of the spectral flux for speech and music signals, respectively;

FIGS. 5a and 5b are histograms of the zero-crossing rate for speech and music signals, respectively;

FIGS. 6a and 6b are histograms of the spectral roll-off for speech and music signals, respectively;

FIGS. 7a and 7b are histograms of the cepstral resynthesis residual magnitude for speech and music signals, respectively;

FIG. 7c is a graph showing the power spectra for voiced speech and a smoothed version of the speech signal;

FIGS. 8a and 8b are graphs depicting variances between speech and music signals, in general;

FIGS. 9a and 9b are histograms of the variation in spectral flux for speech and music signals, respectively;

FIGS. 10a and 10b are histograms of the proportion of low energy frames for speech and music signals, respectively;

FIG. 11 is a block diagram of a speech modulation detector;

FIGS. 12a and 12b are histograms of the 4 Hz modulation energy for speech and music signals, respectively;

FIG. 13 is a block diagram of a circuit for determining the pulse metric of signals, along with corresponding signal graphs for two bands at each stage of the circuit;

FIGS. 14a and 14b are histograms of the pulse metric for speech and music signals, respectively;

FIG. 15 is a graph illustrating ...

Musical scale indicator
2010-03-26 00:00:00
beginning on other tones may be constructed, always with the steps between the third and fourth tones and the seventh and eighth tones being half steps. This is accomplished by selectively utilizing the accidentals A鈾? B鈾? C鈾? D鈾? E鈾? F鈾痑nd G 鈾? and Ab Bb, Db, Eb, Fb and Gb instead of the naturals A, B, C, D, E, F, and G, as necessary to achieve the intervals, or steps, of the C Major For instance, the Major Scale beginning on G is constructed as scale. For instance, the Major Scale beginning on G is constructed as follows: G A B C D E F 鈾疓.

The Minor Scale, like the Aeolian Mode, is based upon a succession of eight tones modeled on the tone intervals, or steps, when the succession of tones begins on A. These intervals are: A-B, B-C, C-D, D-E, E-F, F-G, and G-A; constituting steps which are: whole, half, whole, whole, half, whole, and whole. As in the Major Scale, the Minor Scale can be constructed so as to begin on any tone with the intervals between tones being those of A minor, by using the appropriate accidentals of the tones where required.

The foregoing Minor Scale description is known as the "Natural Minor Scale". There are two main variations of the Minor Scale. The "Harmonic Minor Scale" is an adaptation of the Minor Scale for harmonic purposes in certain melodies. The Harmonic Minor Scale raises the seventh step so that there is a half-step difference between the seventh and eighth steps of the octave. The intervals are: A-B, B-C, C-D, D-E, E-F, F-G鈾? and G鈾?A; constituting steps which are: whole, half, whole, whole, half, one and one half, and half. The "Melodic Minor Scale" additionally raises the sixth step when the melody is ascending, but the sixth and seventh degrees are restored to the natural when the melody is descending. The intervals when ascending are: A-B, B-C, D-E, E-F鈾? F-G鈾? and G鈾?A; constituting steps which are whole, half, whole, whole, whole and half.

A "scale" a sequential series of tones which is established under the principle of tonality. In contradistinction to this is the concept of the "chord", which is the simultaneous playing of more than one tone.

There are four basic families of musical instruments: stringed, brass, woodwinds and percussion. In each family, individual instruments have unique fingerboard positions which are required in order for the musician to produce desired tones from the instrument. As an example of a percussion instrument, the piano keyboard spans seven octaves, each octave having 12 keys, 7 white (representing naturals) and 5 black (representing accidentals).

B. Prior Art Devices to Aid Musicians

Clearly, with the extreme complexity of the musical system which has evolved over the centuries, and the additional complexities associated with particular instrument fingerboards, the beginning musician has a most difficult task on his way to musical proficiency.

In the prior art there are various attempts at making this task somewhat easier.

U.S. Pat. No. 422,964 to McTammany discloses a mechanical indicator having a base and a selectively apertured overlay, the overlay apertures cooperate with the base to indicate finger positions and blow action required by an apprentice musician who is learining to play particular songs on a brass or woodwind instrument. The overlay must be perforated for each particular tune to be played.

U.S. Pat. No. 2,001,191 to Golden discloses a chord finder for banjos composed of a top member, a bottom member and a sliding member therebetween. The top member has three rectangular slots; the bottom member has three sets of tones, each positioned to fit under a rectangular slot and arranged in groups of four across (representing the four strings of the banjo fret board). The first set represents the major chords, the second represents the minor chords and the third represents the "seventh chords". The sliding member is apertured to show finger positions necessary to play the desired chords on the instrument.

U.S. Pat. No. 2,663,211 to Wallace disclose...

Musical apparatus using multiple light beams to control musical tone signals
2010-03-25 00:00:00
(conditional real time control).

First, real time control will be described in detail. This 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.

(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 a...

Thumbrest ring adapter for musical instrument
2010-03-24 00:00:00
140 must be attached to the vertical post 156 of the thumbrest before the vertical post is fit within the vertical hole 148 and secured by the set screw 152. In either instance, the set screw 168 fixes the position of the eye 170 in relation to the vertical post 156, just as the set screw 152 fixes the position of the vertical post 156 relative to the fixed flange 144. Therefore, the position of the ring adapter 140 on the thumbrest 142 may be adjusted in a manner similar to adjusting the position of the thumbrest itself. The eye 170 of the ring adapter 140 thus provides an attachment point for support devices such as a neck strap or the monopod strut device disclosed in U.S. patent application Ser. No. 08/378,198.

In some instances, such as with a clarinet, the vertical post 156 of the adjustable thumbrest 142 may have a rectangular cross section (FIGS. 20 and 21) as opposed to the round cross section shown in FIGS. 15-19. To ensure that the ring adapter will properly engage vertical posts having both round and rectangular cross sections, a further alternative embodiment 171 of the ring adapter is shown in FIGS. 20 and 21. The ring adapter 171 is very similar to the ring adapter 140, and elements that are unchanged between the ring adapters 140 and 171 will be referred to by identical reference numbers. For instance, the vertical face 162 and the eye 170 are the same between the two embodiments, and the only change is found on the horizontal face 160.

The horizontal face 160 of the ring adapter 171 includes the threaded horizontal hole 166 and set screw 168, as found in the ring adapter 140. However, the vertical hole 172 in the horizontal face of the ring adapter 171 differs slightly from the vertical hole 164 of the ring adapter 140. As shown in FIGS. 15-18, the vertical hole 164 is preferably round to receive the round cross section of the cylindrical vertical post 156. To ensure the ring adapter 171 can receive vertical posts of both round and rectangular cross section, the horizontal face of the ring adapter 171 defines a slot 173 to directly receive the vertical post 156 within the vertical hole 172, and the vertical hole 172 includes two flat sides 174 for firmly engaging the rectangular cross section of the vertical post 156. Once the rectangular post 156 is received within the slot 173 and is seated against the flat sides 174 within the vertical hole 172, the set screw 168 may be tightened to contact the vertical post 156 as described above. The slot 173 is not large enough to allow a vertical post of circular cross section to be pulled through the slot, and thus the connection of the ring adapter 171 to a cylindrical vertical post 156 is the same as with the ring adapter 140.

The monopod strut device disclosed in U.S. patent application Ser. No. 08/378,198 includes a monopod component which is adjustable in length and an attachment component connected to one end of the monopod component for attachment to a ring on a conventional thumbrest. The attachment component includes a stair-step shaped horizontal body having a slot in one end to receive the ring and a latch mechanism on top of the body which is pivotably actuated to engage the ring when it is received within the slot. The stair-step shape allows the slotted portion of the body which receives the ring to be positioned above the top surface of the thumbrest opposite the surface where the musician's thumb supports the thumbrest. Positioning the attachment component body in this manner allows the latch mechanism to transfer the weight of the instrument to the attachment component and simultaneously prevents any downward force on the body of the attachment component from being applied directly to the latch mechanism due to the support of the thumbrest beneath the attachment component.

However, the attachment components disclosed in U.S. patent application Ser. No. 08/378,198 will not work effectively with the ring adapters of the present invention due to the fact that the eye portions 100 and 170 of the ring adapters 30 and 140, respectively, are not attached directly to the thumbrests themselves but rather extend above and, in some cases, in front of the thumbrests. Therefore, an attachment component of a monopod strut device such as that shown in U.S. patent application Ser. No. 08/378,198 will not be supported on the thumbrest itself and thus does not prevent a downward force applied directly to the body of the attachment component from applying a reactive upward force to the latch mechanism on top of the attachment component. Such an upward force can bend and distort the top-mounted latch mechanism to such a degree as to render the attachment component of limited value.

An alternative attachment component 175 for the monopod strut device disclosed in U.S. patent appli...

Low profile keyboard device and system for recording and scoring music
2010-03-23 00:00:00
/>The attack and release velocity with which the key is played, is preferably determined by calibrating a low voltage level and a high voltage level in a comparator circuit 60 located off the keyboard module (See FIG. 7). Thus, important musicalexpression information, such as whether the note was played fortissimo, pianissimo, legato, or staccato, is captured.

FIG. 6 illustrates in more detail the preferred circuitry embodied in an octave modular device of the invention and the conducting lines running in and out of each module. The module circuitry enables each LED 30 corresponding to an individualkey to emit light and permits the acquisition of voltage data. The keyboard modular device of the invention preferably comprises a module multiplexer 34, a binary counter 36, a decoder 38, module-identifying means such as a dip switch 24, light emittingdiodes 30, phototransistors 32, and an enable circuit 29.

The binary counter 36 located on the modular keyboard device is advanced by negative-going clock pulses coming in on the clock pulse wire 40. The four least significant bits of the module binary counter 36 are sent to the keyboard modulemultiplexer 34 which sequentially turns on the corresponding LEDs 30 contained in the reflective couplers. The LEDs 30 emit light (represented by the wavy lines in FIG. 6) which is reflected and detected by the phototransistors 32. This sequentialenabling technique minimizes power requirements because at any one time only one LED 30 emits light to be detected by one phototransistor 32. On a next negative-going clock pulse, the module multiplexer 34 selects the next key within that keyboardmodule. If, however, all of the LEDs 30 in that particular module have been strobed, the binary counter 36 then reads the uppermost significant digits counted from the clock pulses and advances the scan to the next keyboard module (assuming more thanone module is being utilized). The module multiplexer 34 on the next keyboard module device selects the first key in that module and turns on its corresponding LED 30. Thus, for example, after eighty-eight negative-going clock pulses occur, all thekeys of a standard acoustic piano keyboard have been sampled. The microprocessor then generates a positive going pulse. The positive-going clock pulse enters the enable circuit 29. The enable circuit 29 functions to clear the module multiplexer 34 andturn off all the LEDs 30 on that module just prior to the beginning of a data cycle beginning with the subsequent negative-going pulses. Thus, the enable circuit 29 operates as an open circuit to the data line 46 while the compensation circuit 54 (FIG.7) shorts out any residual charge on the data line 46.

Preferably, each modular device contains a dip switch 24 or other module identifying means, connected to the on-board module circuit. The musician labels each module by a series of unique binary digits coded in the dip switch 24. The binarycounter 36 and decoder 38 (See FIG. 6) count the clock pulses coming into the module. When the uppermost significant digits within the binary counter 36 match the binary digits encoded in the dip switch 24 of the module, the LEDs 30 of the module arestrobed during the negative-going cycle of clock pulse and the data collected. This preferred embodiment is particularly useful when the module is an octave module; each octave dip switch is uniquely set to identify its particular octave position. Asan alternative embodiment, the module identifying means is preset and cannot be modified by a musician. The musician would use a particular module only in its intended position on a keyboard. For example, there could be a "middle-C" octave module and a"high-C" octave module; or for an organ, an "upper-keyboard" module and a "lower-keyboard" module.

Each modular device of the invention preferably contains six conducting lines or less. This feature of the device of the invention not only enhances the unique design and function of the invention, but also provides for the increased compactnessof the modular keyboard device because it eliminates bulky parallel data input and output channels, which are common in the prior art. The first conductor 40 provides clock pulses to the binary counter 36 and the module multiplexer 34. The clock pulsesare derived from, for example, a twelve MHz oscillating crystal 70 located on a processor unit, as shown in FIG. 7. The compact keyboard modular device of the invention embodies a single-clock/single-line multiplexing scheme. This single-linemultiplexing configuration, however, does not preclude the use of several independently operating multiplexed lines to individual keyboard modules for faster data acquisition and processing. The preferred sequential sampling method described abovesimply minimizes line and mechanical termination numbers. A second conductor 42 provides the necessary voltage for the module circuit units, Vcc, while a third conductor 44 functions as ground. A fourth conductor 46 transmits analog voltage data fromthe phototransistors 32 to an off-board processor unit 52 (see FIG. 7). A fifth conductor 48 is not essential to the operation of the keyboard modular device of the invention, but is preferable to incorporate optional features, such as a reset line tothe modular circuitry. FIG. 6 illustrates the preferred use of the fifth conductor 48 as a reset. A sixth conductor (not shown) can be used to remotely vary each multiplexed "on current" through the emitter over each key.

The data derived from the modular keyboard device of the inven...

Keyboard electronic musical instrument with guitar emulation function
2010-03-20 00:00:00
/>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, alternating in direction, may be triggered by lifting any key within the chord and repressing it. Since a chord is triggered only when the key moves from rest to depressed position, the two-chord-per-cycle technique described above is not possible and the above described advantages of this technique are not realized.

Other guitar emulators provide a separate trigger switch to trigger arpeggiated chords, e.g., U.S. Pat. No. 3,967,520 (Drydyk), but none of the known prior art enables a user to produce arpeggiated chords in alternating directions with the same easy, smooth, and natural action of strumming a guitar.

SUMMARY OF THE INVENTION

Overview:

According to the present invention, an electronic musical instrument is provided with a keyboard, a tone generating device, at least one user-operated triggering device for triggering arpeggiated chords, and a digital data processing system. The keyboard may be worn on the user with the same orientation as the Z-Tar (manufactured by Starr Switch Co. of San Diego, Calif.) or other strap-on keyboard, or the keyboard may be horizontally situated in the traditional fashion.

The data processing system processes key state information received from the keyboard and, following a predetermined software program, sends tone triggering/muting instructions to a tone-producing module. The keyboard, processing system, and tone-producing module may be housed within a single stand-alone unit, or separate units may be provided for each. For example, the invention may be realized through the use of a standard MIDI controller keyboard sending MIDI data to a stand-alone computer which then processes the received data according to the invention and sends this processed data via MIDI to a standard stand-alone tone producing module. In the preferred embodiment, the keyboard and microprocessor-controlled processing system are housed in a single unit and communicate via MIDI to a standard stand-alone tone producing module. The processing system and tone generating device may be incorporated into the same electronic device, circuit board, or even into the same microprocessor-driven computer system. Other hardware configurations are within the scope of the invention as well.

At least twelve keys within the keyboard are assigned to a note select function. The data processing system establishes this assignment by processing information about movement...

Wavetable-modification instrument and method for generating musical sound
2010-03-12 00:00:00
the harmonic summation and the filtering methods rely upon a linear combination of sinusoids and, hence, they are characterized as linear methods for generating musical sound. The linear property is apparent from the fact that multiplyingthe amplitude of the input function (sinusoids for harmonic summation or a pulse train for filtering) by a factor of two results in an output waveform with the same tone quality and with an amplitude multiplied by a factor of two.

U.S. Pat. No. 4,018,121 entitled METHOD OF SYNTHESIZING A MUSICAL SOUND to Chowning describes a non-linear method for generating musical sound. That nonlinear method employs a closed-form expression (based upon frequency modulation) torepresent the sum of an infinite number of sinusoids. That non-linear frequency modulation method produces a number of sinusoids which have frequencies which are the sum of the carrier frequency and integral multiples of the modulation frequency. Theamplitudes of the multiples of the modulation frequency are sums of Bessel functions. The non-linear frequency modulation method of Chowning is an improvement over previously used linear harmonic summation and filtering methods, and has found commercialapplication in music synthesizers.

U.S. Pat. No. 4,215,617 entitled MUSICAL INSTRUMENT AND METHOD FOR GENERATING MUSICAL SOUND to Moorer describes improved non-linear methods of musical sound generation in which the amplitudes of frequency components are not constrained to theBessel functions and in which finite spectra can be utilized, that is, spectra composed of the sum of a finite number of sinusoids.

In general, prior art methods of musical sound generation have employed deterministic techniques. Typically, the methods rely upon an input sample which has fixed parameters which specify the musical sound to be generated. Such input sampleswhen processed by a predetermined method result in a deterministic output signal which does not have the rich, natural sound of more traditional instruments.

While many linear and non-linear methods, like those described above, have been used with success for digital musical synthesis, they all have required fast and complex computational capability typically involving several multiplication steps persample in order to achieve rich, natural sounds. Such fast and complex computational capability results in musical instruments of high cost and complexity. This high cost and complexity has impeded the widespread availability of digital synthesis.

Accordingly, there is a need for improved musical instruments employing digital synthesis which can be used with digital circuits requiring slower and less complex computational capability than that required by prior techniques, but which stillproduce rich and natural sounds. There is also a need for improved digital music synthesizers which can be constructed using conventional computer processors and conventional semiconductor chip technology.

In accordance with the above background, it is an objective of the present invention to provide an improved musical instrument and method of generating rich and natural musical sounds utilizing simple and conventional digital circuitry which doesnot require computational complexity.

SUMMARY OF THE INVENTION

The present invention is a musical instrument and method employing probabilistic wavetable-modification for producing musical sound. The musical instrument includes a keyboard or other input device, a wavetable-modification generator forproducing digital signals by probabilistic wavetable modification, and an output device for converting the digital signals into musical sound.

The generator includes a wavetable which is periodically accessed to provide an output signal which determines the musical sound. The output signal from the wavetable can be modified and is stored back into the wavetable directly or as modifieddata. A decision is made stochastically whether to modify the output signal before it is stored back into the wavetable. At some later time, the possibly modified stored signal is again accessed and thereby becomes a new output signal. This process isperiodically repeated whereby each new output signal is stored (after possibly being modified) back into the wavetable. The output signals are thus generated by probabilistic wavetable modification, in accordance with the present invention, and are usedto produce rich and natur...

Programmed music on demand from the internet
2010-03-11 00:00:00
and a data unit, the data units being musical works;

(e) transmitting the composite response packet to the requesting subscriber; and

packaging selected ones of the response packets so that each successive playing of the musical work results in the subscriber hearing a different advertising message.Description

BACKGROUND OF THE INVENTION

The present invention relates to a method and apparatus for transmitting and receiving programmed music to and from the Internet to subscribers of the programmed music, where the programmed music received by the subscribers includes targeted advertising according to predetermined criteria.

Public and network television and radio stations have for decades distri buted 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 accorda...

Method for encoding music printing information in a MIDI message
2010-03-10 00:00:00
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 parameter related to music printing is selected from the group consisting of slur information, stem directi...

Control system for a musical instrument
2010-03-09 00:00:00
122 positioned on the square base 120 that has a radius of approximately 1/4". The tactile member 106 also has a central passage 124 that extends its full length that is roughly circular in cross section and has a diameter of 1/8". The tactile member 106 is made out of a substantially air-tight material so that depression of any one portion of the tactile member 106 results in a proportionate change in pressure inside the central passage 124 of the tactile member 106.

In the preferred embodiment, the tactile member 106 is made out of neoprene rubber that has been coated on both the outside surface and the inside surface of the central passage 124 with urethane to prevent leakage of air through the neoprene material. Neoprene material of the above-dimensions is preferred as it has a tactile feel which allows the musician 100 to depress the material to a known depth. Specifically, in the preferred embodiment, the tactile member 106 exerts a known, predictable amount of force against the finger of the musician when the musician is depressing the tactile member 106 until the point where the central chamber 124 of the member 106 has been pinched off. Hence, the musician 100 can become acquainted with the extent to which he must depress the tactile member 106 to produce a given change in pressure within the tactile member 106.

The tactile members 106 are preferably glued to the surface of the musical instrument 102 so that they project outward from the musical instrument 102 in the positions shown in FIGS. 1 and 2. This further facilitates the musician 100 in depressing the tactile member 106 in a controlled fashion as it allows the musician 100 to depress the tactile member 106 towards a surface. Since the tactile members 106 are positioned on the outer surfaces of the musical instrument 102, the musician 100 can position the members 106 in a desired location and change the position of the members whenever he desires by simply removing the member from one location and gluing it to another.

FIG. 4 illustrates the control box 108 in greater detail. Specifically, the control box 108 includes a power on-off switch 200 and an auxiliary power port 202. The control box 108 preferably includes an internal battery (See, FIG. 5) but is equipped to operate on either batteries or from an external power source.

The control box 108 also includes a tube input 204 to receive the pressure signal from the tactile member 106 and an electrical input 206 which receives the audio signal from the musical instrument 102. In the preferred embodiment, the musical instrument is an electric guitar which produces an electrical signal indicative of the notes played on the strings via a plurality of magnetic pickups associated with the strings. The electrical signal from the musical instrument 102 is then processed by the control box 108 in the manner described hereinbelow and an output signal is then provided via an electrical output 210 to a sound system, e.g., an amplifier (not shown), wherein an audio signal is produced.

The control box 108 also includes a program mode select button 212 and a program mode LED 214. The program mode select button 212 enables the musician 100 to program the control box 108 to perform manipulations to the audio signal produced by the musical instrument using a plurality of select buttons 216, 218 and 220. The select buttons include the volume select button 216, the tremolo speed select button 218 and the tremolo depth or amplitude button 220. The operation of these buttons varies depending upon whether the control box 108 is in a program mode or in a play mode.

In the program mode, the volume select button 216 enables the musician 100 to program a set starting volume for the signal produced by the musical instrument 102. Further, in the program mode the tremolo speed select button 218 enables the musician 100 to program a plurality of different frequencies, i.e., speeds, for a tremolo effect on the sound signal produced by the musical instrument. Finally, in the program mode the tremolo depth button 220 enables the musician 100 to select a plurality of different amplitudes for a tremolo effect, e.g., volume levels, on the audio signal produced by the musical instrument 102.

In the play mode, the volume select button 216 can be selected by the musician 100 to induce the control system 104 to perform one of two functions. In the first function, the control system 104 modifies the audio signal produced by the musical instrument 102 so that the volume characteristic is dependent upon the pressure that the musician 100 is exerting on the tactile member 106. In the second function, the control box 108 modifies the audio signal produced by the musical instrument 102 so that the volume characteristic of the audio signals is sustained at a particular value. In this function, while the musician 100 is playing the instrument 102, he is depressing on the tactile member 106 thereby causing the volume characteristic to increase. The control system 104 sustains the volume characteristic at the volume that corresponds to the maximum amount of pressure that the musician 100 exerted on the tactile member 106.

Further, in the play mode, the tremolo speed select button 218 enables the musician 100 to select the frequency or speed of the tremolo effect as one of three preset frequencies. The preset frequencies are generally frequencies that the musician has preprogrammed into the control system 104 in the program mode as described above. The musician 100 is also capable of increasing the frequency from one of the pre-programmed frequencies by depressing on the tactile member 106. The control system 104 increases the frequency at a rate which is proportional to the amount of pressure exerted on the tactile member 106 by the musician 100.

Finally, in the play mode, the tremolo depth button 220 allows the musician 100 to change the volume, i.e., the amplitude, of the tremolo effect on the audio signal produced by the musical instrument 102. In the preferred embodiment, the musician 100 can change the volume between a plurality of different pre-programmed volumes.

Hence, the control box 108 permits the musician 100 to program various parameters for different sound characteristics and then, when play...

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