later_tags
Thumbrest ring adapter for musical instrument2010-03-24 00:00:00/>
A base 68 of the ring adapter assembly 30 also has a square cross section and is divided into an upper base portion 70 with a top surface 72 and a lower base portion 74 with a bottom surface 76. The cross sectional size of the upper base portion 70 is slightly smaller than the size of the open bottom end 56 of the main body 46, thus allowing the upper base portion 70 to fit within the bottom of the hollow main body 46. The cross sectional size of the lower base portion 74 is slightly greater than the size of the open bottom end 56 of the main body 46, thereby creating a circumferential flange 78 which contacts the bottom of the main body 46 when the upper base portion 70 of the base 68 is inserted through the open bottom end 56 of the main body 46 (FIG. 2). The upper base portion 70 includes a front wall 80, a rear wall 82 and opposing side walls 84 corresponding to the front face 48, rear face 50 and opposing side faces 52 of the hollow main body 46.
A top groove 86 is formed in the top surface 72 of the upper base portion 70, as shown in FIG. 7. The top groove 86 extends completely between the front and rear walls 80 and 82, respectively, and is positioned midway between the opposing'side walls 84. Similarly, a rear groove 88 is formed in the rear wall 82 of the upper base portion 70. The rear groove 88 extends between the top surface 72 and the flange 78, and is also positioned midway between the opposing side walls 84. Lastly, a hole 90 is formed through the upper base portion 70 between the opposing side walls 84. The hole 90 extends below and intersects a portion of the top groove 86 as shown in FIG. 7, and the position of the hole 90 on each side wall 84 corresponds to the holes 62 in the opposing side faces 52 of the hollow main body 46. The base 68 is preferably made from a durable plastic material such as Delrin鈩?
A metal ring 94 (also preferably formed from brass) is bent as shown in FIG. 7 to include a rear stem 96, a straight top portion 98 extending substantially perpendicular to the rear stem 96, and a protruding eye portion 100 which extends forward from the straight top portion 98. The rear stem 96 of the ring 94 is sized to fit flush within the rear groove 88 of the upper base portion 70. Similarly, the straight top portion 98 of the ring is sized to fit flush within the top groove 86 of the upper base portion 70 so that the eye portion 100 extends forward of the front wall 80 of the upper base portion 70. Once the ring 94 is fit within the grooves 86 and 88, the upper base portion 70 and ring 94 may be fit within the open bottom end 56 of the hollow main body 46. The flush fit of the ring 94 within the grooves 86 and 88 allows the upper base portion 70 to fit within the main body 46 without interference, and the
laterally-centered position of the top groove 86 ensures that the forward protruding eye portion 100 of the ring 94 is received within the slot 58 on the front face 48 of the hollow main body 46 (FIG. 2).
Once the upper base portion 70 is fit entirely within the hollow main body 46 so that the flange 78 created by the interface of the upper and lower base portions 70 and 74, respectively, contacts the bottom of the main body 46, the holes 62 in the side faces 52 of the main body 46 are aligned with the hole 90 extending through the upper base portion 70 between the opposing side walls 84. The cylindrical post 64 may then be inserted through the holes 62 and 90 so that it extends beneath the straight portion 98 of the ring 94 (FIGS. 8 and 9), thereby locking the base 68 into place relative to the main body 46. A liquid cement may be applied to the cylindrical post 64 prior to inserting it through the holes 62 and 90 to prevent the ring adapter assembly 30 from being unintentionally disassembled when the cement hardens. The length of the cylindrical post 64 is greater than the width of the main body 46 so that opposing ends of the post 64 extend beyond the side faces 52 of the main body 46.
A T-shaped cap 104, also preferably made from Delrin鈩? includes a rectangular top 106 and a downwardly extending leg 108 having a square cross section slightly smaller in dimension than the cross section of the hollow main body 46. A threaded hole 110 (FIG. 7) extends through both the rectangular top 106 and the leg 108 of the T-shaped cap 104. Two smaller non-threaded holes 112 are formed through the rectangular top 106 of the cap 104, one on each side of the downward leg 108, as shown in FIG. 7. The purpose of the holes 110 and 112 is described in detail below. The cross-sectional size of the downward leg 108 allows the leg to fit within the open top end 54 of the main body 46 so that the T-shaped cap may move up and down relative to the main body 46.
A spring steel U-shaped wire 114 includes opposing ...
Low profile keyboard device and system for recording and scoring music2010-03-23 00:00:00the processing unit 52. Analternative embodiment of the invention utilizes optional battery capability thereby replacing the power supply.
The compensation circuit 54 of the system of the invention comprises a compensating transistor 56, a diode 57 and a resistor 58. The compensation circuit 54 accommodates rapid sampling times by discharging any residual voltages on thephototransistors 32 (see FIG. 6). Phototransistors 32 have a significant time delay in returning to an off state because the charge contained in the phototransistors 32 depletes relatively slowly. To increase the response time of the phototransistors32 and to eliminate the possibility of erroneous voltage readings, it is necessary to rapidly discharge any residual voltages remaining on the phototransistors 32 before the next cycle. Each strobe and data acquisition cycle comprises a number ofnegative-going clock pulses, for example, eighty-eight negative-going clock pulses for a standard acoustic piano keyboard, followed b? a positive-going clock pulse. The positive-going clock pulse, generated by the microprocessor 68, enters thecompensation circuit 54. This positive-going pulse causes the compensating transistor 56 to ground residual voltages remaining on the phototransistors 32. The cycle of sequentially enabling the LEDs 30 is then repeated starting on the followingnegative-going clock pulse from the clocking means 70. Thus, the compensation circuit 54 ensures that the phototransistors 32 have no residual voltages and are clean for the next cycle of the system.
In the system of the invention, the analog voltage data from the phototransistors 32 enters the comparator circuit 60 on the data out conductor 46. The comparator circuit 60 preferably comprises a differential comparator 62 which is calibratedby the use of resistors 64, 64' and 64" to detect a low voltage level generated by the phototransistors 32. A low voltage level is typically ten percent of Vcc. A second differential comparator 66 is calibrated by the use of resistors 64, 64' and 64"to detect the high voltage level, which is typically ninety percent of Vcc. An alternative embodiment of the system of the invention is the replacement of the comparator circuit with an analog-digital converter (A/D), common to the art. In such analternative embodiment, analog voltage levels derived from the phototransistors are digitized for entry to a microcomputer.
The comparator circuit 60 functions as follows (see FIGS. 3(a)-7. When a key 31 of a keyboard instrument is in an upright position 37 and is not being played, light emitted from the LED 30 is not blocked and the voltage subsequently generated bythe phototransistor 32 is greater than the high voltage level, and, of course, greater than the low voltage level. Thus, the output of the low voltage comparator 62 and the output of the high voltage comparator 66 are both high or logical one. Themicrocomputer 76 then determines that the key 31 has not been played. The same principle, in reverse, applies when the key 31 is pressed all the way down 35 and the light emitted from the LED 30 is deflected at an angle and thus not detected by thephototransistor. In this case, the voltage generated by the phototransistor 32 is less than both the high and the low voltage levels calibrated in the comparator circuit 60 and the outputs of the comparators 62 and 66 are both low or logical zero. Themicrocomputer 76 then determines that the key 31 is in the down position 35. A more interesting case arises when the key 31 is in transition 33 and 41. In this case, the analog voltage from the phototransistor 32 is less than the high voltage level,but is still greater than the low voltage level. Thus, the signal from the low voltage comparator 62 is high or logical one, but the signal from the high voltage comparator 66 is low or logical zero. The microcomputer 76 again registers this transitionand proceeds to further process the information to calculate key attack or key release velocity.
The flowcharts of FIGS. 8 and 9 (also see FIGS. 3(a)-7 shows preferred operation and decision boxes representative of processes run by the microcomputer 76 to extract note and note expression data from the output of the comparator circuit 60. The microcomputer 76 further converts that data to a computer-compatible bus and protocol specification, 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 processin...
Keyboard electronic musical instrument with guitar emulation function2010-03-20 00:00:00processing system commands said tone generating device to terminate each tone contained within the corresponding chord immediately prior to re-initiation; whereby,
the highest pitched tone of the chord is muted and re-triggered, then the next lowest pitched musical tone is muted and re-triggered, followed by the next lowest tone.
68. An emulator as in claim 64 wherein;
when any one of said 12 upstrum keys is changed from rest to selected key state as the other 23 strum keys are in rest state and is then held in selected key state as its pair partner downstrum key is changed from rest to selected state, said processing system commands said tone generating device to terminate each tone contained within the corresponding chord immediately prior to re-initiation; whereby,
the lowest pitched tone of the chord is muted and re-triggered, then the next highest pitched musical tone is muted and re-triggered, followed by the next highest tone.
69. An emulator as in claim 64 wherein,
each of said strum keys is reciprocative between a rest position and a depressed position; and
said rest and selected key states are said rest and depressed key positions, respectively.
70. An emulator as in claim 64 wherein;
state changes of said strum keys from rest to selected state are affected through movement of at least one of the user's fingers;
said data processing system receives information from said strum keys regarding the velocity with which said finger effects state changes of said keys from rest to selected state;
said commands to initiate tone production include velocity data; and,
the velocity values corresponding with said commands to initiate tone production are a function of the velocity of the finger movement which triggers the commands.
71. An emulator as in claim 64 wherein;
said data processing system measures elapsed time between successive rest-to-selected strum key state changes; and,
elapsed time between successive commands to initiate tone production within a note sequence initiated as a result of a rest-to-selected strum key state change is a function of elapsed time since the prior rest-to-selected strum key state change.
72. An emulator as in claim 64 wherein;
said data processing system communicates with said tone generating device according to a standardized digital protocol.
73. An emulator as in claim 72 wherein;
said protocol is selected from the group consisting of MIDI and ZIPI.
74. An emulator as in claim 64 wherein,
the two keys within each of said key pairs are spaced one octave apart on the left-to-right axis of said keyboard.
75. An emulator as in claim 64 wherein,
said keyboard includes at least two parallel key rows which extend longitudinally from left to right; and
the two keys within each of said key pairs are
laterally aligned with each other.
76. An emulator as in claim 64 wherein,
said keyboard includes at least four parallel key rows.
77. An emulator as in claim 76 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.
78. An emulator as in claim 77 wherein,
strum keys in rows one and two are paired with
laterally aligned strum keys in rows three and four, respectively.
79. An emulator as in claim 78 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.
80. A method of generating ascending and descending musical chord arpeggiations comprising:
assigning at least 24 of the keys within a keyboard to a strum triggering function;
grouping said 24 strum trigger keys into twelve key pairs, each pair corresponding with one of the twelve notes in a standard octave and consisting of an upstrum key and a downstrum key;
assigning one of twelve predetermined chords to each of said key pairs;
instructing a tone generating device to play an ascending arpeggiation of one of said chords in response to a state change of that chord's corresponding downstrum key from a rest key state to a selected key state; and
instructing said tone generating device to play a descending arpeggiation of one of said chords in response to a state change of that chord's corresponding upstrum key from a rest key state to a selected key state.
81. A method of generating arpeggiations as in claim 80 wherein,
when any one of said 24 strum keys is held in selected key state as another of said 24 strum keys is changed from rest to selected state, said tone generating device is instructed to
(a) terminate production of the tones contained within the chord corresponding with the previously selected key; and
(b) initiate production of the tones contained within the chord corresponding with the newly depressed key.
82. A method of generating arpeggiations as in claim 81 wherein;
the tones c...
Device for cleaning wind musical instruments2010-03-18 00:00:00sections 15a and 15b in the interlocking relation.
At the opposite end of the elongated member 15 is a removable cap 35. In the exemplary embodiment, the cap 35 is made of rubber or a suitable plastic. The cap 35 is removed from the elongated member 15, when the separable sections 15a and 15b are to be angularly spaced apart for the removal of the cleaning cloth 25 from the slit 20 or for the insertion of the cleaning cloth 25 between the separable sections 15a and 15b for gripping relation therewith.
The cloth 25, when used for cleaning a saxophone, has its longer transverse dimension adjacent the cap 35 and its shorter transverse dimension adjacent the cap 30. When the cleaning cloth 25 is releasably secured between the separable sections 15a and 15b, the free sides or flaps of the cleaning cloth 25 project radially outward from the elongated member 15.
In using the device 10 for cleaning the inner wall of a tube of a wind musical instrument, the cap 35 is inserted into the tube of the instrument while gradually rotating the elongated member 15. The cloth 25 rotates with the rotation of the elongated member 15 and the flaps of the cloth become furled about the elongated member 15 (FIG. 2) to prevent the elongated member 15 from contacting or scratching the inner wall of the tube of the instrument. The cap 30 remains accessible for gripping by an operator. The device 10 may remain in the tube until the instrument is to be used. The cloth 25 may be removed from the device 10 for washing and
later reused.
Illustrated in FIG. 5 are cleaning devices 40a and 40b suitable for use in cleaning a clarinet C. They differ from the cleaning device 10 in the length of elongated members 45, the dimensions of cleaning cloths 50 and caps 70 are substantially the same size as caps 75. The devices 40a and 40b for cleaning the clarinet C have shorter elongated members 45 and the cleaning cloths 50 have smaller dimensions. The transverse dimensions of the cleaning cloths 50 are substantially equal throughout the length of the cleaning cloths 50. In using the devices 40a and 40b for cleaning the clarinet C, the clarinet C is separated axially along the length thereof so that an upper section US of the clarinet is separated from the lower section LS of the clarinet. The device 40a is disposed within the upper section US of the clarinet and the device 40b is disposed in the lower section LS of the clarinet in the manner described for the cleaning device 10. Illustrated in FIG...
Automatic performance apparatus of an electronic musical instrument2010-03-15 00:00:00with the detected key data, in which chord data indicates a chord of an accompaniment tone.
In the present embodiment, many types of chords such as C major or A minor are designated by the key operation of key-area KB1. For example, depressing keys C, E, and G of key-area KB1 designates C major. The chord data generating circuit 3 receives a signal based on the key which is depressed in key-area KB1. According to this received signal, the chord data generating circuit 3 generates chord data which includes basic tone data CCD indicated by the basic tone of the chord (C, D, E, or the like) and type data TPD indicated by type of the chord (major minor, or the like). In accordance with the generated chord data, an automatic accompaniment tone is generated as described
later. The note length data generating circuit 4 generates note length data FTD corresponding to the depressed key in key-area KB3. Herein, the note length data of the accompaniment chord is indicated by the key operation of key-area KB3. The note length data generating circuit 4 then outputs note length data FTD to the next circuit in accordance with the detected key data of key-area KB3.
A tone color switch 6 is used for setting the tone color of the accompaniment tone; an effect switch 7 for setting an effect of the accompaniment tone; a melody-ON switch 8 for storing a starting signal of a melody tone in the automatic performance; a melody-OFF switch 9 for storing a stopping signal of the melody tone in the automatic performance; a multi-stage tone volume switch 10 is used for controlling the volume of the accompaniment tone; and an end switch 11 is used to indicate the completion of the accompaniment tone.
Numeral 12 designates a record switch which is CLOSED when writing data to chord sequence memory CM. A play switch 13 CLOSES when reading data stored in chord sequence memory CM to automatically perform the accompaniment tone. A start-stop switch 14 manually turns the melody tone on and off during the automatic performance.
A code converter circuit 16 generates the registered data corresponding to one of the operated switches 6 to 11. The registered data includes registered type data RGS and registered content data RGD, in which registered type data RGS indicates a type (tone color switch, effect switch, etc.) of the operated switch, while registered content data RGD indicates a switch number, a tone volume level (when tone volume switch 10 is operated), or the like. Numeral 17 designates an OR gate which executes the logical OR among the above-mentioned note length data FTD, registered data RGS, and RGD by every bit to thereby output its result to a differentiation circuit 18. The differentiation circuit 18 outputs a pulse signal to the next circuit when the output of OR gate 17 is a trailing edge.
Numeral 20 designates an OR gate for executing the logical OR among registered data RGS and RGD.
Numeral 21 designates a selector for selectively outputting the data at an input terminal <1>or <0>from the output terminal thereof depending on whether the output of OR gate 20 is "1" or "0".
A chord sequence memory CM stores basic tone data CCD, type data TPD, note length data FTD, and registered data RGS and RGD, in which basic...
Wavetable-modification instrument and method for generating musical sound2010-03-12 00:00:00in 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 natural musical sound.
In accordance with the present invention, at any time t, the signal yt which is stored back into the wavetable is a function of the result vt of accumulated modifications of the original contents xt of the wavetable, and a currentmodification component mt. Therefore, the signal yt is a function of vt and mt as follows:
In a digital sample embodiment, the nth sample of yt is given as yn. In general, the nth modification component, mn, is determined stochastically for each sample. For a particular sample n, mn may be such that nomodification is performed. In accordance with one embodiment of the type suitable for generating plucked-string sounds, the modification performed to generate yn is an average of a first delayed output yn-N and the previous delayed outputyn-(N 1).
In the plucked string embodiment, the nth value to be stored into the wavetable is given as follows: ##EQU1## where: xn =nth initial excitation sample
yn =output at nth sample
N=pitch number (approximately the desired period of the tone in samples)
yn-N =sample delayed by N
yn-(...
Programmed music on demand from the internet2010-03-11 00:00:00to be advertised, specification of any territorial or local time requirements or preferences, and a key to the location of the audio advertising content.
The present invention includes a repository, i.e. database, in which all musical content is stored and updated in either or both digital or analog form. Each item of music content is cataloged, defining the nature or category of the contents, the identity of the copyright holder or holders, the characteristics of the desired consumer or subscriber, the category of any product or service the advertising for which is not to be annexed to the content, and any limitation on the availability of the content. The content is converted to digital form for delivery over the Internet. The content may further be encoded to prevent unauthorized duplication and to identify the subscriber to whom the content is to be delivered.
The database also includes the identity of each copyright holder of the music content and an audio message identifying the artist and/or the copyright holders of each item of music content ("identity 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 message and the audio content can both be heard by the subscriber simultaneously. The completed data stream is then delivered to the subscriber in a single, inseparable stream of data packets over the Internet.
Other features and advantages of the present invention will become apparent from the following description of the invention which refers to the accompanying drawings.
BRIEF DESCRIPTION ...
Method for encoding music printing information in a MIDI message2010-03-10 00:00:00utilizing substantially less than data than would otherwise be required. The MIDI standard permits the transmittal of a serial listing of program status messages and channel messages, such as "note on" and "note off" and as a consequence require substantially less digital data to encode than the straightforward digitization of an analog musical signal. Using the MIDI system provides additional advantages including the ability to transmit the MIDI signals to a variety of MIDI-compatible devices to allow simultaneous translation of a single signal for multiple purposes and also to allow mixing signals to a variety of devices on a single signalling connection.
Extensions to MIDI
The MIDI standard was originally designed for communication between electronic instruments. About the time it was being developed, however, it was also becoming clear to many people that not only could one musical instrument be used to control another, but musical instruments themselves could be controlled by computer. Put another way, a sequence of electronic (MIDI) commands that might be generated (in a performance) on a musical keyboard could also be generated by computer. The receiving instrument has no way to know what the origin of the commands is (computer vs. live performance). In a similar manner, the "sending" instrument knows nothing about the nature of the "receiving" instrument under the MIDI standard. It is therefore possible for the receiving instrument to be a computer, which is actually recording (receiving and storing) the MIDI signals from the sender. In this way, a musical performance (defined as a series of physical gestures on an electronic keyboard), can be recorded (received and stored) on a computer and
later played back on (sent to) the same keyboard or some other sound generating device which "understands" MIDI commands.
With the advent of "MIDI" recordings and simulated recordings compiled by software, the need arose to find a way to pass this data from one computer to another. Also there were several descriptive aspects of the music not originally representable by the initial MIDI standard which people wanted to include in their files. Among these aspects are the key of the piece (number of sharps and flats), the mode (major or minor), the time signature, the tempo, musical lyrics, and other attributes. An extension of the original MIDI standard was developed for passing this information.
MIDI and the spelling of musical pitches
There is, however, one aspect of the music which has not been addressed by and is not included in this standard, and for a very good reason. This aspect is...
Control system for a musical instrument2010-03-09 00:00:00set to program the frequency or speed component, however, if the musician 100 depresses the volume button 216 (FIG. 4), the controller 300 will toggle to the depth or amplitude component. Repeatedly depressing the volume button will cause the controller 300 to toggle between these two components.
Assuming that the controller 300 has determined in decision state 686 that the musician 100 wishes to program the frequency component, the controller 300 then determines in decision state 692 whether the musician 100 has manipulated the program mode select button 212 (FIG. 4) to begin programming the selected frequency preset. The controller 300 continues to flash the frequency LED at a rate corresponding to the preset until the controller 300 receives an input from the program mode select button 212 indicating that the musician 100 has manipulated the button.
The controller 300 then induces the program LED 214 to flicker in state 694 which provides an indication to the musician 100 to begin programming the frequency component for the selected preset. The musician 100 does this by playing the musical instrument 102 to produce an audio signal and then exerting pressure on the tactile member 106 to cause the frequency of the tremolo effect induced on the audio signal to change. Hence, the controller 300 in state 696 reads the pressure input from the sensor 320 (FIG. 5) and adjusts the tremolo frequency component in state 700 accordingly. The controller 300 continues to adjust the frequency component in accordance with the amount of pressure the musician is exerting on the tactile member 106 until the musician 100 manipulates the program button 212 (FIG. 4). This again induces the controller 300 to record in state 704 the frequency value in the memory 330 and the controller 300 then changes the program LED 214 back to solid in state 706.
Hence, the musician programs a frequency component for a selected preset position of the button 218 by entering the program mode, playing the instrument 102, depressing the tactile member 106 to change the frequency and then depressing the program button 212 to record the new desired frequency component for this preset. In the preferred embodiment, there are three separate presets that the musician 100 can program in the previously described manner.
Once the programming of the selected frequency preset has been completed, the controller 300 then determines whether the tremolo programming function 612 has ended. In the preferred embodiment, the tremolo programming function 612 ends when the musician 100 manipulates the program button 212 (FIG. 4) into the operation mode or turns off the control system 104. Otherwise, the controller 300 remains in the program tremolo function 612, returning to state 682, allowing the musician to continue programming frequency and amplitude components for each of the three possible presets for each component.
If the controller 300 determines in decision state 636 that the musician has selected to program one of the amplitude i.e., depth, presets using the tremolo depth button 220, the controller 300 then determines in decision state 720 whether the musician has manipulated the program button 212 to begin programming a particular preset amplitude component for a tremolo characteristic. Once the musician manipulates the program button 212, the controller then sends a signal in state 722 to cause the program LED 214 to flicker which indicates to the musician that the selected amplitude preset component is ready to be programmed.
The musician then begins to play the musical instrument 102 and an audio signal is then sent to the signal modifier 336. This signal is modified by a tremolo characteristic wherein the frequency component and amplitude components correspond to the previously recorded components corresponding to the present positions of the speed and depth buttons 218, 220. The musician can then modify the preset amplitude component by exerting pressure on the tactile member 106. The controller 300 in state 724 receives a signal from the sensor 320 indicative of the increase in pressure and correspondingly adjusts the amplitude component of the tremolo characteristic being applied to the audio signal.
The musician 100 continues playing the musical instrument 102 and exerting pressure on the tactile member 106 until the desired amplitude component for the tactile member 106 is achieved. At that point the musician depresses the program button 212, which is detected by the controller 300 in decision state 730, and the controller 300 then records in state 732 the present amplitude component in the memory 330. The controller 300 then returns the program LED 214 to emitting a solid light and proceeds to decision state 710 in the previously described fashion.
Hence, in the program tremolo function 612, the controller 300 allows the musician 100 to reprogram one or more preset amplitude, i.e., volume, components by entering the program mode, selecting the desired amplitude preset to be reprogrammed, playing the instrument, exerting pressure on the tactile member 106 to achieve the desired amplitude and then pressing the program button 214 to record the desired amplitude in memory.
In the preferred embodiment the program tremolo function 612 enables the musician to program up to three separate preset amplitude and frequency values for a tremolo characteristic that is to be applied to the audio signal produced by the musical instrument 102. The system 104 enables the musician to do this programming while playing the musical instrument 104 and dynamically changing the components until the desired values are obtained. The musician can subsequently select a tremolo characteristic to be applied to the audio signal that is comprised of any combination of the plurality of preset frequency components of the plurality of preset amplitude components.
The foregoing description has described a control system that a musician can program to effectuate changes to an audio signal produced by a musical instrument. The control system enables the musician to program preset characteristics that can
later be selected while playing the musical instrument and the control system also allows the musician to dynamically change certain characteristics of the audio...
Musical apparatus detecting maximum values and/or peak values of reflected light beams to control musical functions2010-03-08 00:00:00values which triggers the musical control instruction is not limited only to the case when the detection values become equal in value, but may also be, for example, when the difference between the detection values falls within a specified range, or when the ratio of the detection values reaches a specified value.
FIG. 1 is a hardware configuration diagram wherein the musical apparatus has been applied to an electronic musical instrument as an example embodiment of the invention, wherein two infrared emitting diodes and one infrared sensor are used in an optical sensor component that detects motion of an object (for example, a hand). FIG. 1 depicts the various infrared emitting diodes 1A and 1B (hereinafter, referred to simply as light emitting diodes) and an infrared sensor 2 which detects infrared rays. The light from the light sources described above is not limited to infrared light, but may also be normal visible light or ultraviolet light, etc. CPU 3 (central processing unit) performs general control of the device. The main ROM 4 stores the control programs and various tables. A working RAM 5 stores various registers and flags, etc., described below. The element with reference numeral 6 represents various operation elements and indicators which are arranged on a panel. FIG. 1 also shows a sequencer 7,sound source 8, an effecter 9, and a timer 10, all of which are connected to one another by a bus 11.
The sequencer 7 is capable of simultaneously performing up to eight phrases, and the performance data for 100 phrases are stored in a ROM inside the sequencer (sequencer ROM 71). The sequencer 71 is able to play back one song data apart from these phrases. Song data for ten songs are stored in the sequencer ROM 71.
The sound source 8 has a multi-timbral configuration capable of simultaneously playing "128" voices, and sequencer 7, sound source 8, effecter 9, and bus 11 are connected as shown in the figure.
The timer 10 starts when the beam controller button in FIG. 2, described below, is pressed and turned ON which generates an interrupt every 5 milliseconds to the CPU 3 and causes the timer interrupt routine, described below, to be executed.
An external view drawing of the panel in the device of this example embodiment is shown in FIG. 2. The beam controller, consisting of the two light emitting diodes 1A, 1B and the infrared sensor 2, is situated on the panel. The light emitting diodes 1A, 1B are arranged on a
lateral line, as viewed from the front of the panel of the electronic musical instrument, with the infrared sensor 2 situated midway between them. The space above this beam controller in the panel is the operation space for performing operation instructions by moving an object (typically, a hand). This beam controller is turned ON/OFF by pressing a beam controller button 61 situated in its vicinity.
The light emitting diodes 1A, 1B are controlled to turn ON/OFF in a time multiplexed manner so that the timing of their respective light emissions differ from each other and consequently, their infrared beams are not simultaneously irradiated inside the operation space. In addition, the light emitting diodes 1A, 1B are situated so that their beam irradiation directions are inclined outward from one another from the plumb direction to the panel. The equal-level curves of infrared beams irradiated from these light emitting diodes 1A, 1B are shown in FIG. 5. FIG. 5 illustrates the equal-level curves when the electronic musical instrument of this example embodiment is viewed from the front in the
lateral direction on the panel surface, wherein it can be seen that the infrared beams of the light emitting diodes 1A, 1B are inclined outward from each other. By inclining the light axes of the two light sources outward from one another, the lights can be radiated so that there is a radiation field i...
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