Musical scale indicator
2010-03-26 00:00:00
and the steps between each of the tones A, B, C, D, E, F, and G is not the same. There is a half-step interval between tones B and C, and between tones E and F, while there are whole-step intervals between A and B, C and D, D and E, and F and G. Each tone may be raised or lowered one-half step; these are known as the accidentals of the tone, and they are represented by a "鈾? sign for "sharps", which raise the tone one-half step, and represented by a "b" sign for "flats", which lower the tone one-half step. The Chromatic Scale, from which all music derives, is based upon the natural tones, A, B, C, D, E, F, and G (the white piano keys), as well as upon the accidentals F鈾? G鈾? A鈾疌鈾?and D鈾?(the black piano keys).

In any melody, there is one tone which seems to dominate and be more final than any other tone. If a musical melody is played without finishing on this tone, the melody appears to the ear as somehow incomplete. This central tone is called the "tonic", or "key ". Each tonic has a set of tones which are related to it in varying degrees. When a musical score begins on a certain tone, it can be expected that certain selected tones will follow. These groups of tones, which relate to the concept of "tonality", constitute the musical "scales".

Over the years a number of musical scales have been developed, as follows.

By the s eventeenth century, the following scales (or modes) were in use:

A B C D E F G A ... known as Aeolian;

B C D E F G A B ... known as Locrian;

C D E F G A B C ... known as Ionian;

D E F G A B C D ... known as Dorian;

E F G A B C D E ... known as Phrygian;

F G A B C D E F ... known as Lydian; and

G A B C D E F G ... known as Mixolydian.

The Major scale, like Ionian Mode, is based upon a succession of eight tones modeled on the tone intervals, or steps, when the succession of tones begins on C. These intervals are: C-D, D-E, E-F, F-G, G-A, A-B, and B-C; constituting steps which are: whole, whole, half, whole, whole, whole, and half. This scale is known as the "C Major Scale". Major scale 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? ...

Musical apparatus using multiple light beams to control musical tone signals
2010-03-25 00:00:00
in space satisfy those conditions.

A fourth, separate aspect of the present invention is a musical apparatus which controls a musical tone based on whether conditions are satisfied by the results of the detection of light reflected off an object in space.

A fifth, separate aspect of the present invention is a musical apparatus which controls a musical tone based on which conditions are satisfied by the results of the detection of light reflected off an object in space.

A sixth, separate aspect of the present invention is a musical apparatus which has a single detector which detects light beams from a plurality of light sources such as infrared radiation such that the results of this detection controls a variety of parameters of musical tones.

A s eventh, separate aspect of the present invention is a musical apparatus that uses a plurality of light detectors to detect light beams from a single light source such that the results of this detection controls a variety of parameters of musical tones.

An eighth, separate aspect of the present invention is a musical apparatus which locates two light emitters in an outwardly inclined manner on the casing of the musical apparatus in order to reduce the size of the casing.

A ninth, separate aspect of the present invention are steps formed in an opened port in the casing of the musical apparatus which prevent diffused reflection from being received by the light detector.

A tenth, separate aspect of the present invention is a musical apparatus which controls the order in which types of parameters of musical tones are changed.

An eleventh, separate aspect of the invention is a musical apparatus which uses the sum, difference, ratio or other relationship between the detection results of two detected light beams to control a parameter of a musical tone.

A twelfth, separate aspect of the present invention is a musical apparatus which does not require a one-to-one correspondence of light emitters to light detectors.

BRIEF DESCRIPTION OF THE DRAWINGS

The present invention will become more fully understood from the detailed description given hereinafter and the accompanying drawings which are given by way of illustration only, and thus are not limitative of the present invention, and wherein:

FIG. 1 is a block diagram showing an electronic musical apparatus having the musical apparatus of an embodiment of the present invention;

FIG. 2 is an explanatory diagram showing an operation panel of the electronic musical apparatus;

FIG. 3 is an explanatory diagram showing a control table;

FIG. 4 is an explanatory diagram showing a setting table;

FIG. 5 is an explanatory diagram showing a buffer;

FIG. 6 is a flowchart showing a timer interrupt routine;

FIG. 7 is a flowchart showing a subroutine for processing of a first infrared LED;

FIG. 8 is a flowchart showing a subroutine for processing of a second infrared LED;

FIG. 9 is a flowchart showing a subroutine for overall processing;

FIG. 10 is an explanatory diagram for a conversion table of sensor output value;

FIG. 11 is an explanatory diagram illustrating an embodiment of the musical apparatus according to the present invention;

FIG. 12 is an explanatory diagram showing another embodiment with respect to the light emitter and light detector;

FIG. 13 is an explanatory diagram showing another embodiment with respect to the light emitter and light detection;

FIG. 14. is an explanatory diagram for explaining the assignment of parameters;

FIG. 15 is an explanatory diagram for explaining the assignment of parameters;

FIGS. 16(a), (b), and (c) are explanatory diagrams each showing a casing wherein (a) is a top view, (b) is a sectional view taken along the line 16b--16b of (a), and (c) is a view taken in the direction of the arrow C in (b);

FIGS. 17(a) and (b) are explanatory diagrams each showing a casing wherein (a) is a sectional view taken along the line 17A--17A of FIG. 16(a), and (b) is a view taken in the direction of the arrow B in FIG. 16(a);

FIG. 18 is an explanatory diagram showing an enlarged opened port of the casing;

FIGS. 19(a), (b), and (c) are diagrams each showing an example wherein three infrared LEDs are used as light emitters wherein (a) is an example employing three infrared LEDs and one infrared sensor, (b) is an example employing three infrared LEDs and two infrared sensors, and (c) is an example employing three infrared LEDs and two infrared sensors; and

FIG. 20 is a diagram showing an example of a conversion table.

FIG. 21 is a diagram of another example of a control table.

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT

Embodiments of the musical apparatus according to the present invention will be described in detail hereinafter in conjunction with the accompanying drawings.

In one embodiment of the present invention, a musical apparatus which detects light rays and uses results of this detection to control musical tones may comprise a plurality of light emitters, a single light detector, and a controller for controlling parameters of musical tone. The light emitter may be a light emitting element such as an infrared light-emitting diode (infrared LED), and a plurality of light emitters may use, for example, two infrared LEDs. Likewise, a light detector may use, for example, a light receiving element such as an infrared sensor. The plurality of light emitters and the single detector are mounted on the main housing of the apparatus. The single detector detects the light rays, which were radiated from the plurality of light emitters and reflected off of a material object in space, independently for every light emitter, and outputs the results detected corresponding to each of the plurality of light emitters, respectively. In response to the detected re...

Thumbrest ring adapter for musical instrument
2010-03-24 00:00:00
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 when the opening in the horizontal surface is placed over the vertical post of the thumbrest. A set screw in the horizontal surface is used to adjustably position the ring adapter assembly on the vertical post of the thumbrest so that the position of the attachment ring relative to the adjustable thumbrest may be adjusted as the position of the thumbrest is adjusted relative to the musical instrument.

The present invention also provides an attachment component for use with the monopod strut device described in the above referenced application. The presently disclosed attachment component is adapted to be releasably attached to both the attachment rings of the ring adapter assemblies described above, as well as the permanent attachment rings disclosed in the above referenced application, without interfering with the conventional placement of the musician's thumb on the thumbrest. The attachment component includes an elongated body with a longitudinal slot formed at one end to receive the attachment ring. A hook is pivotally connected to the elongated body and an actuating handle connected to the hook moves the hook into and out of the attachment ring. Additionally, a transverse slot adjacent the longitudinal slot within the elongated body captures the hook as the hook moves across the longitudinal slot to connect with the attachment ring. Capturing the hook within the transverse slot pr events both upward and downward forces applied to the attachment component from bending or otherwise damaging the hook. The attachment component of the present invention works equally well when the monopod strut device described in the above referenced application is used with the above described ring adapters or with a thumbrest having its own permanent attachment ring.

A more complete appreciation of the present invention and its scope can be obtained from the accompanying drawings which are briefly described below, from the following detailed description of presently preferred embodiments of the invention, and from the appended claims.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 is a perspective view illustrating a ring adapter assembly embodying the present invention attached to a fixed thumbrest of a musical instrument.

FIG. 2 is an enlarged perspective view of the ring adapter assembly shown in FIG. 1.

FIG. 3 is a top plan view of the ring adapter assembly and fixed thumbrest shown in FIG. 1.

FIG. 4 is a side elevation view of the ring adapter assembly and fixed thumbrest shown in FIG. 1.

FIG. 5 is a front elevation view of the ring adapter assembly and fixed thumbrest shown in FIG. 1.

FIG. 6 a bottom plan view of the ring adapter assembly and fixed thumbrest shown in FIG. 1.

FIG. 7 is an exploded view of the elements of the ring adapter assembly shown in FIG. 2.

FIG. 8 is a longitudinal section view of the ring adapter assembly, taken substantially in the plane of line 8--8 in FIG. 2.

FIG. 9 is a longitudinal section view of the ring adapter assembly, taken substantially in the plane of line 9--9 in 2.

FIG. 10 is a perspective view illustrating an attachment component of a monopod strut device adapted to be releasably connected to the ring adapter assembly shown in FIG. 1.

FIG. 11 is a front elevation view of the attachment component shown in FIG. 10.

FIG. 12 is a top plan view of the attachment component shown in FIG. 10.

FIG. 13 is a side elevation view of the attachment component shown in FIG. 10.

FIG. 14 is a top plan view of the attachment component shown in FIG. 10, and a top plan view of the ring adapter assembly and fixed thumbrest shown in FIG. 1, showing the attachment component in a position to receive the ring adapter assembly.

FIG. 15 is a perspective view of another embodiment of the ring adapter assembly of the present invention attached to an adjustable thumbrest of a musical instrument.

FIG. 16 is a side elevation view of the ring adapter assembly and adjustable thumbrest shown in FIG. 15.

FIG. 17 is a longitudinal section view of the ring adapter assembly and adjustable thumbres...

Low profile keyboard device and system for recording and scoring music
2010-03-23 00:00:00
such as the MIDI specification, described in Keyboard Synthesizer Library, Vol. 3, Synthesizers and Computers, pp. 114-126 (1985).

Processing and converting the data from one key occurs within one cycle time. Each key has a particular "modified" cycle time. The time is initially calculated during system restart. Each key has a detector rise time which is proportional tothe amount of light received from its emitter. Lower light levels have a higher rise-time constant. Consequently, analog key voltage can be sampled at a later delay for "dark" keys and more quickly for "white" keys. The parameters are stored inmemory. The cycle time is fast enough to detect key velocity ranges typical of musical performances up to approximately five miles per hour (eighty-eight inches per second). To determine key attack and release velocities within this velocity range, thecycle time ranges from between approximately twenty microseconds and fifty microseconds. This cycle time range is more than sufficient to resolve music played in one-sixty-fourth notes (or even faster notes). Thus, the invention is capable ofaccurately acquiring and processing note and note expression data for any music played.

Data processing as shown in FIG. 8 begins with a command 80 to initialize the keyboard modular device of the invention and the microcomputer 76. A generated positive-going pulse on the reset line 48 initializes the keyboard modular device byclearing the binary counter 36, while a positive level on the clock line 40 shorts out any residual charge on the phototransistors 32 via the compensation circuit 54, and prepares the LEDs 30 for strobing via the enable circuit 29. Internal programregisters, counters and pointers of the microcomputer 76 are also initialized. In addition, the time delay is calculated for each key before clocking in the next key. This is subsequently used as an interrogation cycle for each key to allow appropriatesetup depending on the reflected light detected. The computer-compatible communication link 78 generates an interrupt signal and requests any preliminary data exchange transmission requirements. In this fashion, the system of the invention isinitialized and is prepared for data acquisition, processing and transmission.

An index "i" identifies the particular key which is being strobed and sampled. The index i is incremented 81 from K(i)=0 up to the number of keys covered by the modular devices of the invention; for example, on a standard acoustic eighty-eightkey piano, K(i), i=0,87. The maximum value of the index i would be increased for other signal inputs to the system, such as signals carrying sustain pedal information.

The microprocessor 68 selects 82 the output from the comparator circuit 60 containing the key and key expression data of the K(i) key. The two outputs of the comparator circuit are interrogated 83. Depending upon whether the logical states ofthe comparator outputs are equal or are not equal, the program instructions branch to different functions.

The data output of the two comparators 62 and 66 may be equal, i.e., both data bits are high or logical one or both data bits are low or logical zero; indicating that the key is in the up position 37 or the down position 35, respectively. Ineither of these situations, the state of the K(i) key for the previous keyboard cycle is inspected 84 and 84'. The state of the K(i) key is compared 85 with the state of the same key on the previous strobe. If the current state of the key, K(i),remains unchanged from the previous state, the program returns 88 to the beginning of the loop, increments 81 the index to i=i 1 and selects 82 the comparator data output corresponding to the K(i 1) key. The processing cycle is repeated in the abovefashion. If, however, the current state of key K(i) has changed from the previous state of key K(i), then the microprocessor 68 loads 86 the data representing the current state of the key into a temporary memory location. The key and key expressiondata of the prior state of the key is cross-referenced 87 to a table located in PROM/ROM 74 to obtain the suitable format of note and note expression data for transmission to the computer ports 78. The program then returns 88 to the beginning of theloop, increments 81 the key index, and processes the data from the next key, as described earlier.

On the other hand, when the key K(i) is in transition 33 and 41, the outputs of the two comparators 62 and 66 are not equal, i.e., one data bit from a comparator is high or logical one and the other data bit from the other comparator is low orlogical zero. The microprocessor 68 advances 89 a timing register to measure elapsed time while the key is in transition. This timing register is used to calculate key attack or release velocity depending upon the direction of the transition. Attackand release velocities are defined as a normalized register count which is cross-referenced 87 to an address in an internal PROM/ROM 74 table. The value stored in the PROM/ROM 74 table corresponds to a velocity for a particular count. The velocity,converted to an appropriate protocol can then be transmitted to the computer-compatible link 78.

The timing register counts only to a predefined maximum count, Tmax. This Tmax limit operates as a fault to pr event the timing register from counting indefinitely in the event a key is stuck in a transitional position. In thissituation, the timing register is advanced 89 and when the timing register becomes equal 90 to Tmax, the register is in...

Keyboard electronic musical instrument with guitar emulation function
2010-03-20 00:00:00
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 of these keys in a manner which is consistent with a note select function. The tone generating device is capable of producing at least twelve tones corresponding with the at least twelve note select keys. Numerous different tone generating devices may be used. These include (but are not limited to) MIDI or ZIPI-operated electronic "sound modules", and computer-controlled automatic pianos, e.g., PianoDisc.RTM. pianos.

The user may alternate the triggering device between two states.

The instrument operates in such a fashion that two arpeggiated chords of alternating direction (ascending and descending) may be produced during, and at least partially as a result of, one triggering device cycle from one state to the other and back again.

It should be noted that, for any type of triggering device according to the present invention, the two trigger states are not transitory. They are distinct static states. A static state is to be distinguished from a transitory event in that a static state may be maintained indefinitely, and a transitory event may not. For example, the sweeping of a guitar pick over a set of guitar strings is an event. A keyboard key in rest position is in a static state. A triggering device according to the present invention triggers an arpeggiated chord when it is shifted by the user from one static state to another. A triggering device according to the present invention is configured in such a manner that, under normal operating circumstances, the processing system is always informed of a shift from one state to the other.

The triggering device may be a key on the keyboard which may be alternated between a rest state (typically "up" position) and a selected state (typically "down", or "depressed" position). The key may comprise a stationary metal plate which is electrically connected to a finger sensing circuit. In this alternate embodiment, the triggering device comprises the metal plate key and the sensing circuit. The sensing circuit would occupy a rest key state (e.g., a low current state) when it is untouched and would occupy a selected key state (e.g., a relatively high current state) when a fingertip is making direct contact. Note select keys may operate in the same way.

Triggering device state changes may be affected through movement of a human appendage, e.g., a finger, foot, elbow, palm, knee, or other body part. The speed with which this appendage moves may be measured in ways which are familiar to those of ordinary skill in the art. Information regarding the speed with which a human appendage effects a state change may be used to determine performance parameters, such as output veloci...

Device for cleaning wind musical instruments
2010-03-18 00:00:00
one flap extending out of said slit for cleaning the tube of the wind musical instrument, said flap being furled about said elongated member to pr event the elongated member from marring the tube of the wind musical instrument; and

(c) means for releasably securing said separable sections in contiguous relation,

(d) said slit extending substantially along the entire axial distance of said elongated member, and said cleaning cloth being disposed in and extending out of said slit substantially along the entire axial distance of said elongated member.

2. A cleaning device as claimed in claim 1 wherein said separable sections are formed with confronting walls between which said cloth is removably secured when said separable sections are disposed in contiguous relation, said device further comprising abrasive means adhering to said confronting walls to improve the securement between said separable sections and said cloth.Description

BACKGROUND OF THE INVENTION

The present invention relates in general to devices for cleaning musical instruments, and more particularly to a device for cleaning wind musical instruments.

The playing of wind musical instruments causes moisture to collect on the inner wall of the tube of the wind instrument. The breath of the instrumentalists condenses on the inner wall of the tube of the wind instrument. Proper care of the wind instrument requires the removal of the moisture from the inner wall of the tube of the wind instrument. Heretofore, cotton swabs have been employed to remove the moisture that has collected on the inner wall of the tube of the wind instrument. Such swabs were intended to be disposable. Heretofore, filaments were employed to remove moisture that has collected on the inner wall of the tube of the wind instrument. The filaments with the moisture collected thereon extended through the tone holes of the musical instrument, resulting in moisture collecting on the pad that covers the tone holes. The repeated wetness of the pad causes the pad to become hard rather than remain a soft material.

The U.S. Pat. No. 4,114,504, to Koregelos, issued on Sept. 19, 1978, for Demoisturizer For Wind Musical Instrument, discloses an elongated device with filaments disposed along an elongated member. The filaments extend radially outward from the elongated member. The device is inserted into the tube of the wind instrument, whereby the filaments absorb moisture t...

Automatic performance apparatus of an electronic musical instrument
2010-03-15 00:00:00
signal MS is supplied to the load terminal L of latch circuit 38. At this time, the registered content data RGD is stored in latch circuit 38, then, its least significant digit ("1" in this case) is outputted to reading control circuit 56b of melody auto-performance device 56 through OR gate 39 as melody control signal MCD. Thus, performance data stored in memory 56a are, in turn, read out afterward, and then converted into the melody tone signal which is supplied to speaker 57 through amplifier 5, thus, the automatic performance of melody tone is played. Outputting detecting signal MS from on-off data detecting circuit 37, this detecting signal MS is supplied to address counter 31 through OR gate 27, AND gate 24, and OR gate 25, thus, the count of address counter 31 or address data AD becomes "4". Thus, the data stored in the address 4 of chord sequence memory CM is read out.

Thereafter, the above-mentioned process is repeated. Herein, turning the value of address data AD into "K", data stored in the address "K" of chord sequence memory CM is read out, in other words, registered data RGS and RGD indicating the OFF-state of the melody is read out. This makes detecting signal MS to output from on-off data detecting circuit 37 as shown in FIG. 4. By outputting the detecting signal MS from on-off data detecting circuit 37, registered content data RGD is stored in latch 38. This turns melody control signal MCD into "0" signal, then supplies this "0" signal to melody auto-performance device 56, thus, the automatic performance of the melody tone is stopped. Next, by outputting the detecting signal MS from on-off data detecting circuit 37, address counter 31 is incremented by "1".

Afterward, data stored in the chord sequence memory CM, is, in turn, read out therefrom. When the value of address data AD becomes "N", registered data RGS and RGD indicative of the data end are read out from chord sequence memory CM. By outputting this registered data RGS and RGD from chord sequence memory CM, end detecting circuit 35 detects this registered data RGS and RGD to thereby generate an end signal ES. This end signal ES is supplied to the clear terminal of latch circuit 38 incorporated in melody on-off detecting circuit 36, which clears latch circuit 38. In addition, the end signal ES is supplied to the clear terminal of latch circuit 43, which clears latch circuit 43. By clearing the latch circuit 43, the generation of the accompaniment tone is stopped in accompaniment tone generating circuit 44. Further, end signal ES is supplied to the set terminal S of flip-flop circuit 30 (FIG. 3), which causes flip-flop circuit 30 to change to the set state. By setting flip-flop circuit 30, a signal "1" is supplied to each of the reset terminals R of address counter 31 and note length counter 33. This resets address counter 31 and note length counter 33, then the automatic performance is eventually completed.

On the other hand, when the on-off control signal MCD is changed to "0" while start-stop switch 14 is closed, a signal is supplied to read-memory control circuit 56b incorporated in melody auto-performance device 56 through OR gate 39. This reads performance data stored in memory 56a, and converts this performance data into the melody ton...

Programmed music on demand from the internet
2010-03-11 00:00:00
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 pr event 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 audio message").

A separate database is used to store and update the advertising content, again in either digital or analog form, later to be linked and transmitted to the ultimate consumer/subscriber. The advertisements are converted to digital form for delivery as audio messages over the Internet. The audio content of the database may include generic audio messages.

In operation, the subscriber selects the content which he or she desires to receive, and the content is placed in a queue for transmittal to the subscriber. Based on the profile of the content, a determination is made by the CPU based system as to which advertising copy--there may be many different ones--is appropriate to be delivered to the particular subscriber. The system then selects from a set containing numerous, different advertising messages those items that fit the subscriber and which also have "available allocation." From the advertising messages that can be transmitted, the next available advertising message is selected. In effect, advertisers buy the right to have their messages played a given number of times. If their available allocation of advertising play time has run out, they must replenish their account or their advertising message(s) will not be transmitted to subscribers.

Finally, the selected advertising message is affixed to the next generic message in the queue or to the applicable artist (composition) identity audio message. The system automatically links the advertising message, the generic or identity audio message and the subscriber selected content into a single data stream to be transmitted to the subscriber over the Internet. In constructing the stream, the system overlays the generic or identity audio message onto the music content so that, when delivered, the audio generic mes...

Method for encoding music printing information in a MIDI message
2010-03-10 00:00:00
key) for the musical pitches notated as C-# and D-鈾? and in the Even-Tempered System of tuning, these musical pitches have the same frequency. Likewise with the other "black" keys of the keyboard: i.e., D-#=E-鈾? F-#=G-鈾? G-#=A-鈾? and A-#=B-鈾? This "alternate spelling" of frequency-equivalent pitches is not limited to the black keys of the keyboard. There are, in fact, an infinite number of pitch spellings for each pitch as defined by musical frequency. The note A4, which in modern American tuning is the pitch of 440 Hertz (444 in Europe), can alternatively be spelled F4-#-#-鈾?鈾? G4-鈾?鈾? A4, B4-鈾?鈾? C5-鈾?鈾?鈾? D5-鈾?鈾?鈾?鈾?鈾? In "real-life" situations, it is rare to find more than two sharps or flats attached to a primary degree (note letter).

MIDI representation of pitch.

The Musical Instrument Digital Interface (MIDI) standard for representing musical events developed originally as a convention for communicating between electronic instruments. Since the primary (and musically most sophisticated) electronic instrument was the music (piano) keyboard, a system was devised to represent all possible (musically "likely") keys on the keyboard. The note, middle C, normally designated C4, was assigned the number 60. Each successive key above C4 was assigned a successively higher integer, and each successively lower key was assigned a successively lower integer. This system has served its original purpose well, since each note (key) on the keyboard has one and only one number associated with it.

The Problem with MIDI and the printing of music

The MIDI Interface

The MIDI system is well known. A wide variety of instruments and MIDI-compatible devices have been patented. For a good general background on the MIDI system, see U.S. Pat. No. 5,208,421 by Lisle et al, a portion of which is reproduced here.

MIDI was established as a hardware and software specification which would make it possible to exchange information such as: musical notes, program changes, expression control, etc. between different musical instruments or other devices such as: sequencers, computers, lighting controllers, mixers, etc. This ability to transmit and receive data was originally conceived for live performances, although subsequent developments have had enormous impact in recording studios, audio and video production, and composition environments.

A standard for the MIDI interface has been prepared and published as a joint effort between the MIDI Manufacturer's Association (MMA) and the Japan MIDI Standards Committee (JMSC). This standard is subje...

Control system for a musical instrument
2010-03-09 00:00:00
/>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 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 pr event 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 instru...

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