like_tags > www.tcomic.net

Generating music and sound that varies from playback to playback
2010-03-30 00:00:00
mixing of multiple snippets to generate each time sample in one or more channels. MIDI- like variable compositions and the variable use of segments comprised of MIDI-like command sequences are also disclosed.Claims

I claim:

1. A method for generating music or sound, comprising: providing at least one group of alternative sound segments; providing at least one initiating sound ...

Multi-feature speech/music discrimination system
2010-03-29 00:00:00
to distinguish between different types of sounds. For example, one such discrimination technique is disclosed in Saunders, "Real-time Discrimination Of Broadcast Speech/Music," Proceedings of IEEE ICASSP, 1996, pages 993-996. In this technique, statistical features which are based upon the zero-crossing rate of an audio signal are computed, and form one set of inputs to a classifier. As a second type of input, energy-based features are utilized. The classifier in this case is a multi-variate Gaussian classifier which separates the feature space into two domains, respectively corresponding to speech and music.

As illustrated by the Saunders article, the accuracy with which an audio signal can be classified as containing either speech or music can be significantly increased by considering multiple features of a sound signal. It is one object of the present invention to provide a speech-music discriminator in which the analysis of an audio signal to classify its sound content is based upon an optimum combination of features for a given environment.

Depending upon the number and type of features that are considered in the analysis of the audio signal, different classification frameworks may exhibit different degrees of accuracy. The primary objective of a multi-variate classifier, which receives multiple type of inputs, is to account for variances between classes of input that can be explained in terms of interactions between the measured features. In essence, every classifier determines a "decision boundary" in the applicable feature space. A maximum a posteriori Gaussian classifier, such as that described in the Saunders article, defines a quadric surface, such as a hyperplane, hypersphere, hyperellipsoid, hyperparaboloid, or the like, between the classes. All data points on one side of this boundary are classified as speech, and all points on the other are considered to be music. This type of classifier may work well in those situations where the data can be readily divided into two distinct clusters, which can be separated by such a simple decision boundary. However, there may be situations in which the dispersion of the data for the different classes is somewhat homogenous within the feature space. In such a case, the Gaussian decision boundary is not as reliable. Accordingly, it is another object of the present invention to provide a speech/music discriminator having a classifier that permits arbitrarily complex decision boundaries to be employed, and thereby increase the accuracy of the discrimination.

SUMMARY OF THE 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 arbitrari...

Musical scale indicator
2010-03-26 00:00:00
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 seventeenth 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? 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, i...

Musical apparatus using multiple light beams to control musical tone signals
2010-03-25 00:00:00
object in space is changed, a condition in detecting the light reflected by the material object changes.

In the musical apparatus containing a plurality of light emitters, at least one light emitter is noticed in the sense that the light radiated from the light emitter is detected by a plurality of detectors. For instance, in an apparatus containing three light emitters and two detectors, one of the three light emitters may be noticed in the sense that the light rays from the light emitter is detected by two detectors. Accordingly, there is no need of a 1:1 correspondence of light emitters to light detectors, which reduces costs.

In these embodiments, the musical apparatus may further comprise a selector capable of selecting a desired parameter in a plurality of parameters, and the controller controlling changing modes of parameters selected by the selector in response to the detection results of the detectors.

In addition, the musical apparatus may still further comprise a performance mode for controlling or changing parameters of musical tones based on the detection results of a light detector, a setting mode for setting this performance mode, and a controller which, in the setting mode, sets values based on the detection results, and in the performance mode, changes parameters of musical tones based on the values set during the setting mode.

FIG. 1 is a block diagram showing an electronic musical apparatus embodying the musical apparatus of the present invention where the electronic musical apparatus is constituted such that its entire operation is controlled by the use of a central processing unit (CPU) 10, and more specifically, a bus (BUS) 12 connected the CPU 10; a read-only memory (ROM) 14 storing a program and the like executed by the CPU 10; a random access memory (ROM) 16 having an area for a control table which will be described hereinafter, an area for a buffer, similar areas for executing the program by means of the CPU 10, and a working area; a sequencer 18 in which data of musical performance for a plurality of musical pieces (the expression "data of musical performance for musical pieces" will be hereinafter referred to as "musical piece performance data") and data for musical performance expressing a phrase having a shorter performance period of time than that of musical piece performance data (the expression "data for musical performance expressing a phrase" will be hereinafter referred to as "phrase performance data", and further "phrase performance data which have been stored in a built-in ROM will be referred to as "first phrase performance data", "second performance data", and "third performance data", respectively) have been stored in a built-in ROM and which reads the musical piece performance data and phrase performance data to output the same in accordance with the processing which will be described below; a sound source 20 in which setting conditions for musical tones and the like have been stored in a built-in ROM and which produces musical tone signals on the basis of the musical piece performance data and the phrase performance data outputted from the sequencer 18 to output the signals to a sound system composed of amplifier, loudspeaker and the like; an operating key group 22 including a variety of operating keys for setting a variety of parameters which will be described below for controlling the sequencer 18; and for similar purposes, a display section 24 for displaying setting conditions for a variety of parameters which will be mentioned below and the like; a first infrared LED 26 being the first light emitting element for outputting light rays as a means for emitting light; a second infrared LED 28 being the second light emitting element for outputting light rays as a means for emitting light; and an infrared sensor 30 being a light receiving element for receiving light rays as a detecting means to detect the same, respectively.

FIG. 2 illustrates an operation panel provided with a variety of operating keys comprising the operating key group 22, a display screen for control table 24a which is formed with an LCD display section 24, sensor level indicators 24b1 and 24b2, a first infrared LED 26, a second infrared LED 28, and an infrared sensor 30.

In FIG. 2, the display screen for control table 24a displays a setting condition of parameters for the control table which has been stored in the RAM 16 and will be described hereinafter. The display screen for control table 24a displays a portion of the control table, and the remaining portion may be displayed by scrolling the screen by the use of operating keys for shifting a cursor which will be described hereafter.

In FIG. 2, the first infrared LED 26 and the second infrared LED 28 are placed on the upper part of the operation panel with a predetermined spacing W, and the infrared sensor 30 is disposed halfway between the LEDs.

Accordingly, when the first infrared LED 26 and the second infrared LED 28 are allowed to emit light in a time-sharing manner by holding a part of human body such as a hand or other material objects over the infrared sensor 30, the light rays emitted by the LEDs are reflected off of the human body or material object, and the resulting reflected light is directed to the infrared sensor 30. As a result, the infrared sensor 30 detects the reflected light corresponding to the first infrared LED 26 and the second infrared LED 28 in accordance with a time-sharing manner. Based on two kinds of output values of the infrared sensor 30 which are the detected results of the reflected light thus detected of the first infrared LED 26 and the second infrared LED 28, respectively, it is possible to control complicated parameters.

More specifically, when a human body, material object, or the like is suitably moved over the infrared sensor 30, the reflected light derived from emission of the first infrared LED 26 and the second infrared LED 28 varies, so that two kinds of output values of the infrared sensor 30 also vary in accordance with the changes in the reflected light. Thus, parameters can be controlled arbitrarily in response to changes in these output values, whereby control for complicated parameters can easily be made.

For instance, in ...

Thumbrest ring adapter for musical instrument
2010-03-24 00:00:00
present invention is to provide an assembly that allows for the attachment of a support device, where the assembly is relatively small with respect to the size of the musical instrument and where the assembly may be quickly and simply attached to the instrument.

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

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

Keyboard electronic musical instrument with guitar emulation function
2010-03-20 00:00:00
AbstractA polyphonic electronic musical instrument is provided wherein a keyboard is used to trigger arpeggiated chords which emulate a strumming guitar sound. Select keys are provided for selecting which notes are included in chords to be strummed. At least one triggering device is also provided for triggering chords. The triggering device is constructed to alternate between two trigger states. The triggering device may be a keyboard key, foot pedal, or other device. 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.Claims What is claimed is: 1. An emulator for producing a guitar style performance from a controller, said controller including a user-operated triggering device for triggering arpeggiated chords which a user may alternate between a first trigger state and a second trigger state, and at least twelve keyboard keys assigned to a note select function, each of which a user may alternate between a rest key state and a selected key state, comprising: a digital data processing system which receives trigger state information from said triggering device and key state information from said note select keys, and which sends commands to a tone generating device wherein, a first state change of said triggering device from said first trigger state to said second trigger state when at least two of said note select keys are in said selected key state causes said data processing system to command said tone generating device to initiate production of a plurality of tones corresponding to the selected note select keys in an ascending sequence; and, a second state change of said triggering device from said second trigger state to said first trigger state following said first triggering device state change as said selected note select keys remain in said selected key state causes said data processing system to command said tone generating device to (a) terminate production of said plurality of tones and (b) re-initiate production of said plurality of tones in a descending sequence. 2. An emulator as in claim 1 wherein; said triggering device is a keyboard key. 3. An emulator as in claim 2 wherein, said triggering device key is reciprocative between a rest position and a depressed position; and said first and second trigger states are said rest and depressed key positions, respectively. 4. An emulator as in claim 1 wherein; said triggering device is a vertically reciprocating foot pedal. 5. An emulator as in claim 4 wherein, said triggering device foot pedal is reciprocative between a rest position and a depressed position; and said first and second trigger states are said rest and depressed pedal positions, respectively. 6. An emulator as in claim 1 wherein; said triggering device is a foot position sensing device which senses horizontal position of at least a portion of one of said user's feet. 7. An emulator as in claim 1 wherein, each of said note select keys is reciprocative between a rest position and a depressed position; and said rest and selected key states are said rest and depressed positions, respectively. 8. An emulator as in claim 1 wherein; production of all of said tones initiated as a result of said first trigger state change is terminated as a result of said second trigger state change before the tones are re-initiated as a result of said second state change. 9. An emulator as in claim 1 wherein; each of said tones initiated as a result of said first trigger state change is terminated as a result of said second trigger state change immediately prior to re-initiation; whereby, as a result of said second state change, the highest pitched selected musical tone is muted and re-triggered, then the next lowest pitched selected musical tone is muted and re-triggered, followed by the next lowest tone. 10. An emulator as in claim 1 wherein; state changes of said triggering device are affected through movement of a human appendage; said data processing system receives information from said triggering device regarding the velocity with which said appendage effects trigger state changes; said commands to initiate tone production include velocity data; and, the velocity values corresponding with commands to initiate tone production for selected tones are a function of the velocity of the appendage movement which triggers the initiation of the selected tones. 11. An emulator as in claim 1 wherein; said key state information includes information regarding aftertouch pressure applied to selected note select keys; said commands to initiate tone production include velocity data; and, the velocity values for selected tones are a function of aftertouch pressure applied to note select keys near the time of corresponding trigger state change. 12. An emulator as in claim 1 wherein; said data processing system measures elapsed time between successive triggering device state changes; and, elapse times between successive commands to initiate tone production for selected tones initiated as a result of a trigger state change are a function of the elapsed time between that trigger state change and the preceding trigger state change. 13. An emulator as in claim 1 wherein; state changes of said triggering device are affected through movement of a human appendage; said data processing system receives information from said triggering device regarding the velocity with which said appendage effects trigger state changes; and elapse times between successive commands to initiate tone production for selected tones initiated as a result of a trigger state change are an inverse function of the velocity of the appendage movement which affected the corresponding trigger state change. 14. An emulator as in claim 1 wherein; the center-to-center distance between two of said note select keys which correspond with two tones one octave apart is not more than 14.5 centimeters. 15. An emulator as in claim 1 wherein; said data processing system communicates with said tone generating device according to a standardized digital protocol. 16. An emulator as in claim 15 wherein; said protocol is selected from the group consisting of MIDI and ZIPI. 17. A method of generating ascending and descending musical chord arpeggiations comprising: assigning at least twelve of the keys within a keyboard to a note select function; determining which keys are included within a group of said note select keys being held in a selected state by a user; instructing a tone generating device to play an ascending arpeggiation of the notes corresponding with said group of keys in response to a first user-initiated state change of a triggering device from a first trigger state to a second trigger state as said group of keys continue to be held in selected state; and instructing said tone generating device to (a) mute the notes played in response to said first trigger state change and (b) play a descending arpeggiation of the same notes in response to a second user-initiated state change of said triggering device from said second trigger state to said first trigger state as said group of keys continue to be held in selected state. 18. A method of generating arpeggiations as in claim 17 wherein; said triggering device is a key within said keyboard. 19. A method of generating arpeggiations as in claim 18 wherein, said triggering device key is reciprocative between a rest position and a depressed position; and said first and second trigger states are said rest and depressed key positions, respectively. 20. A method of generating arpeggiations as in claim 17 wherein; said triggering device is a foot pedal. 21. A method of generating arpeggiations as in claim 20 wherein, said triggering device foot pedal is reciprocative between a rest position and a depressed position; and said first and second trigger states are said rest and depressed pedal positions, respectively. 22. A method of generating arpeggiations as in claim 17 wherein, each of said note select keys is reciprocative between a rest position and a depressed position; and said rest and selected key states are said rest and depressed positions, respectively. 23. A method of generating arpeggiations as in claim 17 wherein; production of all of said notes initiated in response to said first triggering device state change is terminated as a result of said second triggering device state change before the notes are re-initiated in response to said second triggering device state change. 24. A method of generating arpeggiations as in claim 17 wherein; each of said notes initiated in response to said first triggering device state change is terminated as a result of said second triggering device state change immediately prior to re-initiation; whereby, in response to said second state change, the highest pitched selected note is muted and re-triggered, then the next lowest pitched selected note is muted and re-triggered, followed by the next lowest note. 25. A method of generating arpeggiations as in claim 17 further comprising; measuring the velocity with which a human appendage effects a triggering device state change; and instructing said tone generating device to produce the corresponding arpeggiation at a volume which is a function of the measured appendage velocity. 26. A method of generating arpeggiations as in claim 17 further comprising; measuring the aftertouch pressure applied to said group of keys near the time of a triggering device state change; and instructing said tone generating device to produce the corresponding arpeggiation at a volume which is a function of the measured aftertouch pressure. 27. A method of generating arpeggiations as in claim 17 further comprising; measuring elapsed time between successive triggering device state changes; and, instructing said tone generating device to produce said arpeggiations of notes in such a manner that elapse times between successive notes within an arpeggiation are a function of the elapsed time between the triggering device state change which triggered the arpeggiation and the preceding triggering device state change. 28. A method of generating arpeggiations as in claim 17 further comprising; measuring the velocities with which a human appendage effects triggering device state changes; and instructing said tone generating device to produce said arpeggiations of notes in such a manner that elapse times between successive notes within an arpeggiation are an inverse function of the velocity of the appendage movement which triggered the arpeggiation. 29. A method of generating arpeggiations as in claim 17 wherein; the center-to-center distance between two of said note select keys which correspond with two notes one octave apart is not more than 14.5 centimeters. 30. A method of generating arpeggiations as in claim 17 wherein; instructions are sent to said tone generating device according to a standardized digital protocol. 31. A method of generating arpeggiations as in claim 30 wherein; said protocol is selected from the group consisting of MIDI and ZIPI. 32. An emulator for producing a guitar style performance from a controller, said controller including first and second user-operated triggering devices, each of which a user may alternate between a rest trigger state and a selected trigger state, and at least twelve keyboard keys assigned to a note select function, each of which a user may alternate between a rest key state and a selected key state, comprising: a digital data processing system which receives trigger state information from said triggering devices and key state information from said note select keys, and which sends commands to a tone generating device wherein, a state change of said first triggering device from said rest trigger state to said selected trigger state when at least two of said note select keys are in said selected key state causes said data processing system to command said tone generating device to initiate production of a plurality of tones corresponding to the selected note select keys in an ascending sequence; and, a state change of said second triggering device from said rest trigger state to said selected trigger state following said state change of said first triggering device as said selected note select keys and said first triggering device continue to be held in selected state causes said data processing system to command said tone generating device to (a) terminate production of said plurality of tones and (b) re-initiate production of said plurality of tones in a descending sequence. 33. An emulator as in claim 32 wherein said processing system (a) allows said tone generating device to continue production of the tones initiated as a result of said state change of said second triggering device when either of said triggering devices is returned to rest state as the other triggering device and said selected note select keys remain in selected state; and (b) commands said tone generating device to terminate production of the tones initiated as a result of said state change of said second triggering device when the triggering device remaining in selected state is returned to rest state. 34. An emulator as in claim 32 wherein; at least one of said triggering devices is a keyboard key. 35. An emulator as in claim 34 wherein, said triggering device key is reciprocative between a rest position and a depressed position; and said rest and selected trigger states are said rest and depressed key positions, respectively. 36. An emulator as in claim 32 wherein; at least one of said triggering devices is a foot pedal. 37. An emulator as in claim 36 wherein, said triggering device foot pedal is reciprocative between a rest position and a depressed position; and said rest and selected trigger states are said rest and depressed pedal positions, respectively. 38. An emulator as in claim 32 wherein, each of said note select keys is reciprocative between a rest position and a depressed position; and said rest and selected key states are said rest and depressed positions, respectively. 39. An emulator as in claim 32 wherein; production of all of said tones initiated as a result of said state change of said first triggering device is terminated as a result of said state change of said second triggering device before the tones are re-initiated as a result of said state change of said second triggering device. 40. An emulator as in claim 32 wherein; each of said tones initiated as a result of said state change of said first triggering device is terminated as a result of said state change of said second triggering device immediately prior to re-initiation; whereby, as a result of said state change of said second triggering device, the highest pitched selected musical tone is muted and re-triggered, then the next lowest pitched selected musical tone is muted and re-triggered, followed by the next lowest tone. 41. An emulator as in claim 32 wherein; state changes of said triggering devices from rest to selected state are affected through movement of one or more human appendages; said data processing system receives information from said triggering devices regarding the velocity with which said one or more appendages effect state changes of said triggering devices from rest to selected state; said commands to initiate tone production include velocity data; and, the velocity values corresponding with commands to initiate tone production for selected tones are a function of the velocity of the appendage movement which triggers the initiation of the selected tones. 42. An emulator as in claim 32 wherein; said key state information includes information regarding aftertouch pressure applied to selected note select keys; said commands to initiate tone production include velocity data; and, the velocity values corresponding with commands to initiate tone production for selected tones are a function of aftertouch pressure applied to note select keys near the time of corresponding triggering device state change from rest to selected state. 43. An emulator as in claim 32 wherein; said data processing system measures elapsed time between successive triggering device rest-to-selected state changes; and, elapsed time between successive commands to initiate tone production for selected tones initiated as a result of a triggering device rest-to-selected state change is a function of elapsed time between successive triggering device rest-to-selected state changes. 44. An emulator as in claim 32 wherein; state changes of said triggering devices from rest to selected state are affected through movement of one or more human appendages; said data processing system receives information from said triggering devices regarding the velocity with which said one or more appendages effect state changes of said triggering devices from rest to selected state; and elapsed time between successive commands to initiate tone production for selected tones initiated as a result of a triggering device rest-to-selected state change is an inverse function of the velocity of the appendage movement which affected the corresponding rest-to-selected trigger device state change. 45. An emulator as in claim 32 wherein; the center-to-center distance between two of said note select keys which correspond with two tones one octave apart is not more than 14.5 centimeters. 46. An emulator as in claim 32 wherein; said data processing system communicates with said tone generating device according to a standardized digital protocol. 47. An emulator as in claim 46 wherein; said protocol is selected from the group consisting of MIDI and ZIPI. 48. A method of generating ascending and descending musical chord arpeggiations comprising: assigning at least twelve of the keys within a keyboard to a note select function; determining which keys are included within a group of said note select keys being held in a selected state by a user; instructing a tone generating device to play an ascendi...

Automatic performance apparatus of an electronic musical instrument
2010-03-15 00:00:00
1 and outputs this musical ton signal to an amplifier 5. The chord data generating circuit detects the depressed key in key-area KB1 to generate its chord data in accordance with 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&q...

Wavetable-modification instrument and method for generating musical sound
2010-03-12 00:00:00
fs /N, is determined by division using an integer, N, and hence desirable variations due to non-integral division are not achieved.

In many prior art systems, the divisor, N, is forced to be an integer when shift-register or other fixed circuits are employed. Also, the integer is further limited to some power of 2 in order to facilitate processing. In order to vary thepitch, fs /N, the frequency fs must be varied. Such systems, however, cannot be extended readily and economically to multi-voice embodiments because, for example, each voice requires a different frequency, fs.

Both 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...

Programmed music on demand from the internet
2010-03-11 00:00:00
/>Preferably, the subscribers receive the programmed music and advertisements from the repository over the Internet. However, the invention is applicable to communications between system and subscribers that use non-Internet channels, e.g. cable, direct broadcast, or any means of communication provided the method of communication permits delivery of an identified audio and/or audio video message to an identified specific subscriber. The specific musical material and advertisements transmitted may vary as a function of the information contained in the dossiers of the subscribers. In addition, the dossiers may change from time to time with a resulting change in music and advertisement programming. Further, the programmed music and advertisements may change as a function of the time of year or other conditions.

Referring to FIG. 1, the physical hardware/software configuration of the present invention preferably comprises a central processing unit (CPU) 10 which interfaces via the Internet 20 with a plurality of subscriber operating PCs 12, 14 . . . 16 (or other device capable of receiving individualized content for audio and/or video production) which respectively have speakers 12a, 14a . . . 16a to play programmed music or other audio information which is transmitted to them via the Internet 20. As already explained, in accordance with the present invention, the music being transmitted over the Internet to the subscribers is bundled with targeted advertising material in the form of audio messages tailored to the subscriber or musical profile paid for by advertisers 18, 19 . . . 21.

The CPU 10 may be any type of computer system, for example a mainframe, a server-based system of PCs, a stand-alone microprocessor and the like. The CPU 10 has the usual operator interface, e.g. a keyboard 22 and complement of memory and IO devices (not shown). Of significance here is that the CPU 10 maintains a plurality of databases including an advertisers/marketing criteria database 24 in which it stores the advertising preferences of the advertisers 18, 19 . . . 21, e.g. the type of subscribers that these advertisers would like to reach, their geographic locations and the system usage privileges and/or credit balance of these advertisers.

The database 26 stores the advertisement content, i.e. the actual advertising copy of the various advertisers 18, 19 . . . 21. Note that any one of the advertisers 18, 19 . . . 21 can have several different audio messages stored for transmittal to different classes of subscribers 12, 14 . . . 16.

The subscriber profile database 28 contains the actual profiles of the individual subscribers 12, 14, 16, specifying for each subscriber criteria as, for example, age, demographic data, education, sex, ethnic background, musical selections previously or simultaneously made by the subscriber, purchasing habits and the like. Finally, the large library of selectable/searchable music content is stored in the database 30. This database includes the musical work, the profile of the work, the audio identity of the artist and copyright holders, and an audio statement of the artist. Together, these databases enable the present invention to attain its objective of matching music with audio advertisement copy to be transmitted to the individual subscribers.

The operation/co...

Method for encoding music printing information in a MIDI message
2010-03-10 00:00:00
keys on the modern keyboard. Early chant was not composed in what we today call the major-minor system of keys but rather in an older system call modes. All modes used the same diatonic scale tones, but each mode started at a different degree (note) of the diatonic scale. Thus, for example, the Dorian Mode started on what we today call the diatonic pitch of D and consisted of the notes, D, E, F, G, A, B, C. This mode sounds a lot like the modern key of D minor, but includes a "raised" sixth degree (the note B instead of the B-鈾?that would be called for in modern D minor.

The system for notating pitch in chants and other early music was quite simple. A set of lines was drawn (sometimes four, sometimes five, sometimes more than five), and the degrees of the scale were represented as positions on the lines or on the spaces in between them. This is the origin of our modem five-line staff system. In the case of the Dorian mode referred to above, the notation of the scale would look as shown in FIG. 1.

The important thing to notice is that each degree (note) of the scale has a position that is one level higher than the previous degree, but that the actual size of musical interval between two consecutive degrees is not the same in all cases. For example, the size of musical interval between D and E is what we today call a whole step. In terms of sound frequency, the pitch E is on the order of 12.24 percent higher than the pitch D (the actual size will depend on the system of tuning used). The size of the musical interval between E and F is what we today call a half step. In terms of sound frequency, the pitch F is on the order of 5.94 percent higher than the pitch E. To restate the point in another way, the levels on the musical staff do not all represent the same size musical interval.

The modern system of major-minor keys, which is the basis of practically all music written and/or performed today (both classical and popular), grew out of the earlier modal system. What allowed the major-minor system to develop was the ability to alter selectively the basic pitches of the modes either by raising them with what we today call a sharp (#), or lowering them with what we today call a flat (鈾?. The amount by which a pitch is raised or lowered by a sharp or a flat is a half-step, about 5.94 percent of the base (starting) frequency. The Dorian scale in the previous example can be made into a D-minor scale by flatting the B. In CMN the flat is put in front of the note making the scale shown in FIG. 2.

For the purpose of this discussion, it is important to note that raising the A in the example above with a sharp will produce a pitch (musical frequen...