in addition to_tags

Musical tone synthesizing apparatus utilizing an all-pass filter having a variable fractional delay
2010-03-29 00:00:00
be apparent from the following description, reference being had to the accompanying drawings wherein the preferred embodiment of the present invention is clearly shown.

In the drawings:

FIG. 1 is a block diagram showing a whole configuration of a musical tone synthesizing apparatus according to an embodiment of the present invention;

FIG. 2 is a block diagram showing a functional model of a digital signal processor (i.e., DSP) used in the embodiment;

FIG. 3 is a block diagram showing a detailed configuration of a low-pass filter used in the DSP;

FIG. 4 is a flowchart showing a main routine;

FIG. 5 is a flowchart showing a routine of manual-operable member;

FIG. 6 is a flowchart showing a key-on routine;

FIG. 7 is a flowchart showing a key-off routine;

FIG. 8 is a flowchart showing a DSP routine;

FIG. 9 is a flowchart which is used for explaining a first control method employed by the embodiment;

FIG. 10 is a flowchart which is used for explaining a second control method;

FIG. 11 is a block diagram showing an essential part of a modified example of the DSP;

FIG. 12 is a flowchart which is used for explaining a third control method;

FIGS. 13(A), 13(B), 14(A), 14(B) are graphs which are used for explaining follow-up characteristics of an interpolation device shown in FIG. 11;

FIG. 15 is a block diagram showing an essential part of a further modified example of the DSP;

FIG. 16 is a flowchart which is used for explaining a fourth control method;

FIG. 17 is a block diagram showing an essential part of an example of the conventional musical tone synthesizing apparatus;

FIG. 18 is a block diagram showing another example of the conventional musical tone synthesizing apparatus;

FIGS. 19(A), 19(B) and 19(C) are graphs which are used for explaining operations of the conventional musical tone synthesizing apparatus.

DESCRIPTION OF THE PREFERRED EMBODIMENT

[A] Whole Configuration

FIG. 1 is a block diagram showing an electronic configuration of the musical tone synthesizing apparatus according to an embodiment of the present invention as a whole. In FIG. 1, a numeral 10 designates a central processing unit (i.e., CPU) which controls several portions of the circuitry. Incidentally, the processing of the CPU 1 will be described later. A read-only memory (i.e., ROM) 11 stores several kinds of control programs which are read out from the CPU 10. A random-access memory (i.e., RAM) is provided as a work area for the CPU 10, wherein several kinds of values of registers will be temporarily stored.

A numeral 13 designates a manual-operation portion on which panel face several kinds of panel switches or auxiliary manual-operable members are arranged. More specifically, the manual-operation portion 13 provides so-called pitch benders as the auxiliary manual-operable members in addition to several kinds of switches such as filter-coefficient designating switches and tone-color designating switches. The pitch bender is used to continuously control the tone pitch of the musical tone to be produced, while the filter-coefficient designating switches designate an all-pass filter coefficient "c" and a low-pass filter coefficient respectively. In short, the manual-operation portion 13 produces manual-operation information in response to the manual operation applied to each of the switches and auxiliary manual-operable members. This manual-operation information is supplied to the CPU 10 by means of a system bus. A numeral 14 designates a performing portion which creates performance information, representing keycodes KC and the like, in response to a performing operation made by a performer.

A numeral 15 designates a digital signal processor (i.e., DSP). The DSP 15 carries out operational processes in accordance with micro programs which are read from a data memory 15a. The detailed operations of the DSP 15 will be described later. Further, a numeral 16 designates a digital-to-analog converter (i.e., D/A converter) which converts a digital output of the DSP 15 into an analog signal. This analog signal is outputted from the D/A converter 15 as a musical tone signal W.

FIG. 2 is a block diagram showing a musical tone synthesizing model which is embodied by the operational processing performed by the DSP 15. In FIG. 2, parts identical to those shown in FIG. 18 will be designated by the same numerals, hence, description thereof will be omitted. Different from the circuitry shown in FIG. 18, a low-pass filter which is configured on the basis of the finite-impulse-response-type digital filter (i.e., FIR digital filter) as shown in FIG. 3 is employed as the filter 3, while a coefficient multiplier 21 is newly inserted between the adder 1 and the low-pass filter 3 so as to control the closed-loop gain. This circuitry shown in FIG. 3 is designed to control a filter coefficient and a gain coefficient on the basis of a result of the processing performed by the DSP 15 which will be described later. Thus, the present invention is characterized by that the whole delay amount of the closed loop can be smoothly changed without causing any change of the amplitude of the musical tone.

In FIG. 2, an excitation wave producing portion 20 produces a noise signal. The noise signal is subjected to an integral-stage delay by the delay circuit 2, and then, it is subjected to a decimal-stage delay by the all-pass filter 4. Herein, the integral-stage delay corresponds to the sampling period 蟿s, in other words, the integral-stage delay corresponds to the number of delay stages provided in the shift register. On the other hand, the delay time corresponding to the decimal-stage delay is smaller than the sampling period 蟿s, in other words, the decimal-stage delay represents the delay time which is smaller than the delay time corresponding to one delay stage of the shift register. In the description given below, the delay amount of the delay circuit 2 will be sometimes referred to as "an integral par...

Music search by interactive graphical specification with audio feedback
2010-03-25 00:00:00
the graphical waveform defined by the user can be converted to an audio signal and output to a speaker. The musical segment can be synthesized into a MIDI format and played as notes via a MIDI compatible sound card. Optionally, user inputs can be used to modify the musical segment which has been synthesized, and this process repeated until an acceptable musical segment has been obtained.

The conversion of the graphical representation to an audio format can be implemented in any of a number of ways. For example, where the graphical representation has been converted to a MIDI format, it can be subsequently played through a standard MIDI sound card. In one implementation, the MIDI representation can contain up to 16 channels, each of which corresponds to an instrument, and each of which is identified by, for example, a 4-bit header in the data stream. In such an implementation, the beginning of a musical piece can include a program change MIDI data segment to map channels to particular programs on a synthesizer (i.e., to different instruments). For example, channel 1 can map to a piano, channel 2 can map to a guitar, channel 3 can map to a drum, and so forth.

The graphical representation-to-MIDI conversion can be implemented using a module which chooses appropriate instruments using general MIDI standard programs for the melody, bass and rhythm parts of the musical piece. The selection of appropriate instruments can, for example, be based on a user specification in a user interface. For example, the user can choose a piano for melody, a cello for bass and a triangle for rhythm. Alternately, the selection can be based on user input style values. For example, jazz can be mapped to piano, bass string and bongo drums; classical can be mapped to violin, cello and acoustical bass drum, and so forth. Those skilled in the art will appreciate that rather than specific user selections, default values can be selected. The selections can be encoded as appropriate program change MIDI messages. Those skilled in the art will appreciate that user interface is not limited, and can be designed to accommodate any of a variety of inputs. For example, the interface can be configured to allow the user to select different instruments for different parts of the musical piece. The user interface can also be modified in any of a variety of ways. For example, the user interface can include a chord section in addition to the sections already mentioned with respect to melody, bass and rhythm.

Where bass, melody and rhythm graphical representations have been associated with a musical piece, they can be aligned in time, or realigned by the user via the interface. For example, the user can specify a second bass part of the musical piece to begin one beat after the melody. A tempo slider can be used to determine absolute timing and rate of the audio to be generated. Those skilled in the art will appreciate that the graphical representation-to-MIDI conversion module can use a tempo slider setting to generate MIDI time codes for each subsequent message (e.g., note on/off message) sent to the sound card.

The graphical representation-to-MIDI conversion module next issues channel voice messages detailing, for example, note on/off, aftertouch pressure, polyphonic key pressure (where the user has more than one melody part, for example), pitch bend, (e.g., where the user specifies the change in pitch that is smaller than the standard smallest musical note interval) and so forth. Parameters for each of the points on the melody curves, bass curves and rhythm graphical representations are based on the position of note points or rhythm bars in these portions of the graphical representation.

A standard MIDI sound card reads these messages. In response, the MIDI sound card plays audio corresponding to the graphical representation.

As mentioned, the user can begin by selecting a portion of a musical piece that is then modified for purposes of searching the database. In this case, an audio signal which is obtained from the database for input externally is converted to a graphical representation that the user can modify. Such a conversion will be unnecessary where the user is replying to an existing inquiry or to refining a preexisting ...

Graphic/tactile musical keyboard and nomographic music notation
2010-03-23 00:00:00
to the uniform width of the middle row keys, and wherein the frontmost ends of all said lower row keys are coplanar; and

a nomographic music notation system comprising musical notation wherein notes to be played on one row of the keyboard are graphically marked while notes to be played on another row of the keyboard are unmarked, said notation system, in addition to conventional key signature symbols, including in the key signature area nomographic symbols indicating the lines and spaces on which said graphically marked notes occur.

2. A musical instruction system according to claim 1, wherein the graphic markings on certain notes and the nomographic markings in the key signature are alike.

3. The musical instruction system of claim 1, wherein notes are marked with a diagonal slant " " through the body of the note.

4. The musical instruction system of claim 1, wherein the upper row C鈾?/D鈾?and D鈾?/E鈾?keys are graphically and tactilely differentiated from the remaining upper row keys by lengthening the upper row C鈾?/D鈾?and D鈾?/E鈾?keys so that from ends thereof are relatively closer to the player than front ends of the remaining upper row keys, and

wherein the F鈾?/G鈾? G鈾?/A鈾? and A鈾?/B鈾?keys are graphically and tactilely differentiated from the remaining middle row keys by lengthening the F鈾?/G鈾? G鈾?/A鈾? and A鈾?/B鈾?keys so that front ends thereof are relatively closer to the player than front ends of the remaining middle row keys.

5. The musical instruction system of claim 1, wherein the upper row F and G keys are both graphically and tactilely differentiated from the remaining upper row keys by darkening the top and front surfaces of the upper row F and G keys, and by lengthening the upper row F and G keys so that front ends thereof are relatively closer to the player than front ends of the remaining upper row keys, and by beveling top surfaces and opposing side surfaces of the upper row F and G keys at the front ends thereof; and

wherein the C keys are both graphically and tactilely differentiated from the remaining middle row keys by darkening the top and front surfaces thereof, and by lengthening and bevelling the front ends thereof, said F, G, and C keys thus tactilely providing a major scale index.

6. The musical instruction system of claim 5, wherein top surfaces of the upper row F and G keys are raised above top surfaces of the remaining upper row keys by about one-eighth inch (3 mm).

7. The musical instruction system of claim 5, wherein top surfaces of the C keys are raised above top surfaces of the remaining middle row keys by about one-eighth inch (3 mm).

8. The musical instruction system of claim 5, wherein the lower row F and G keys are graphically differentiated from the remaining lower row keys by darkening top and front surfaces of the lower row F and G keys.

9. The musical instruction system of claim 8, wherein top surfaces of the lower row F and G keys are raised above top surfaces of the remaining lower row keys by about one-eighth inch (3 mm).

10. A graphic/tactile musical instruction system, comprising:

tone producing means for producing a musical note in response to the actuation of a selected key of a keyboard;

a graphic/tactile keyboard wherein actuation of any two adjacent keys within a single row causes the tone producing means to produce two musical notes separated by a whole tone, and actuation of any two adjoining keys in adjacent rows produces two musical notes separated by a half-tone, the keyboard having:

an upper row of keys positioned relatively farther away from the player, the upper row keys producing the notes C鈾? D鈾? D鈾?/E鈾? F, G, A and B, wherein adjacent upper row keys are separated by a gap, and wherein selected upper row keys are graphically and tactilely differentiated from the remaining upper row keys, the upper row keys in a predetermined one or more highest octaval groupings being narrower than the upper row keys in octaval groupings below said narrower keys;

a middle row of keys positioned lower and relatively closer to the player than the uppe...

Method and apparatus for teaching musical notation to young children
2010-03-12 00:00:00
the present invention lends itself strongly to instruction in "patterning". As is known to those skilled in the relevant art, such instruction is designed to teach children the concept of "patterns", typically using colored beads, unifix cubes, and other objects or structures arranged in repeating color sequences. By relating the patterns to the colored notes and characters which it provides, the present invention permits the teacher to employ musical beats, notes, tones, songs, octaves, and other musical features as both tools and objects of pattern instruction. Still further, the colors, characters, and "dispositions" which are used in the present invention provide vehicles which permit the musical instruction to be related to other curricula, such as social studies, mathematics, reading, physical education, and so on. For example, the characters and system of the present invention can be used by a class to create songs relating to a culture or region which is being studied, based on the timing of an existing song or creating their own (or perhaps using a single chant arrangement with young children), or the related subject may be made a part of the character's dialog or other verbal or visual presentation, as will be described in greater detail below.

b. Exemplary Embodiments

FIGS. 1A-1B illustrate a system in accordance with the present invention in which the basis for the primary symbolization is provided by a series of fruit and other relatively compact edible objects which are both familiar to and readily distinguishable by the child, on the basis of both color and taste.

Accordingly, a first symbolization level, as represented at 10 in FIG. 1A, involves associating the notes of the scale with individual, easily distinguished colors. The child is thus presented with the series of notes 12 located in the conventional positions on a simplified musical staff 14. The notes are preferably printed as simple "whole" notes (i.e., as simple open circles, sometimes shaded or "greyed") so as to provide an area which can be colored in by the child, although the coloring can be performed on a conventionally printed score having black and white notes.

In the embodiment which is illustrated, the colors which are associated with the notes of the scale are as follows: "C"--red, "D"--brown, "E"--yellow, "F"--purple, "G"--green, "A"--orange, "B"--blue. It will be understood that any series of easily distinguished colors can be used in addition to or in place of the foregoing, however the colors provided in this example have the very real advantage of corresponding to the colors which are provided in a child's basic crayon set.

The second symbolization level is indicated by the numeral 20 in FIG. 1A, which involves associating a distinctive edible object 22 with each of the notes of the scale, on the basis of the natural color of the object and also the first letter of its name. For example, the note middle "C", which was previously colored red, is associated with the image of a crab apple 22c; the child actually associates apples with the color red, and crab apples in particular with a biting, sour taste, the latter being useful for subsequently establishing the personality of the associated cartoon character. Continuing up the scale, the note "D" which was colored brown, is associated with a brown donut 22d, the note "E" is associated with a yellow Easter egg 22e, the note "E" with a purple fruit 22f, the note "G" with green grapes 22g (see FIG. 1B), the note "A" with orange-colored apricots 22a, the note "B" with blue blueberries 22b and, finally, upper "C" with a red cherry 22c', the sweet taste of the latter naturally contrasting with the sour of crab apples to distinguish this from middle "C". Thus, the noun name for each of the symbols 22c-22c' begins with the same letter in the alphabet as the letter designation given to the associated musical note; moreover, the association is strengthened by that fact that the child will generally know at a very early stage that the colors of these objects will naturally correspond to those which were used in the color code for the notes.

As was noted above, the exemplary symbols 22 which are employed for the second symbolization level 20 in the illustrated embodiment are all edible and have distinctive flavors. Hence, these bring the child's sense of taste into play, in addition to the sense of sight which was previously engaged by the color associations. In fact, it may be preferred in some embodiments to have the child taste a sample of each of the edible objects as the association is made, therefore reinforcing the recog...

Musical instrument bridge
2010-03-09 00:00:00
that extends parallel with the plane of the plate 140 and a height dimension that extends perpendicular to the plane of the plate 140. Preferably, the width dimension is smaller than the height dimension in order to allow the string 230 to vibrate the finger in a plane substantially parallel to the plane of the plate 140 but to reduce vibration in a plane perpendicular to the plate 140. This lateral movement reduces distortion that occurs because of the tendency of the string 230 to vibrate in an elliptical path once it is played.

Each of the fingers 100, 180 has a resonant frequency that is related to the pitch of the strings 22, 230 when the musical instrument is played. The resonant frequency can be adjusted by varying the mass of the finger, the width of the waist portion, the effective length of the waist portion and the materials from which the finger, mounting block and plate are made. It has been determined that brass and stainless steel provide the most appropriate materials from which to make the plate, mounting block, and fingers. These materials have been shown to provide the requisite strength and mass required to give the fingers the appropriate resonant frequency. In the currently preferred embodiment of the musical instrument bridge, brass is used for the fingers and the plate because it is less expensive and easier to machine. However, those skilled in the art will appreciate that other materials, such as titanium, could be used. For the first two embodiments of the present invention described above, the resonant frequency is determined by the thickness of the finger waist portion. Different fingers have different thicknesses to accommodate strings of different pitches. The different waist thicknesses result in different masses, and also affect the rigidity or flexibility of the interconnection between the string-anchoring head portion and the base portion.

In the alternative embodiment shown in FIGS. 6A-6E, a finger 235 includes a base portion 237, a head portion 241, and a waist portion 239 that extends between the base portion and the head portion. The base portion 237 is generally separated from the head portion 241 by a groove 238. The major difference between the finger 235 and the fingers previously described is the way in which the resonant frequency of the finger is modified. Instead of modifying the resonant frequency by varying the width of the waist portion as described above, the resonant frequency of the finger 235 is modified by adding a pair of opposing slots 243 in the waist portion 239, modifying the size of the area 240 removed from the head portion 241 and varying the length of the groove 238. All these changes have the effect of modifying the mass of the finger. In addition, changing the length of groove 238 has the effect of changing the rigidity of the connection of the string-anchoring head portion of the finger to the base portion.

As can be seen in FIG. 6B, the opposing slots 243 extend inward from both sides of the finger, thereby creating an "I beam" within the waist portion 239 with the web of the beam extending vertically. Since an I beam is strongest in the direction of its web, the opposing slots 243 promote lateral movement of the finger while inhibiting vertical movement, thereby contributing to string sustain and reduced distortion of the bass guitar string supported by the finger.

FIGS. 6C-6D are side views of three embodiments of the finger 235 for use in either a four or five string bass guitar. FIG. 6C shows a finger 235 for the A, D, and G strings of a conventionally tuned four or five string bass guitar. The finger 235 includes the groove 238 that divides the base portion of the finger from the waist portion. A generally oval area 240 is removed from the head portion of the finger to reduce the mass of the head portion for affecting the resonant frequency of the finger. In addition, a groove 242 extends from the waist portion into the head portion of the finger which increases the effective length of the waist portion and affects flex characteristics and the resonant frequency, in addition to decreasing the mass of the finger.

FIG. 6D is a side view of a finger 235a used for a low E-string of a four or five string bass guitar. The finger 235a has a pair of opposing slots 243 that are the same dimension as for the finger 235, but has a groove 238a shorter than the groove 238. In addition, the finger 235a has a smaller, circular portion 240 removed from the head portion of the finger. The mass of the finger 235a is greater than that of the finger 235, and the effective length of the waist portion is greater, thereby giving the finger 235a a lower resonant frequency.

FIG. 6E is a side view of a finger 235b for use on a low B string on a five string bass guitar. The finger 235b lacks the slots 243 and the groove 242 of fingers 235 and 235a. The area 240a removed from the head portion is the same size as is found in the finger 235a. Finally, the groove 238a is the same as that found in the finger 235a, but, nevertheless, the effective length of the waist portion is shorter because there is no upper slot below the head portion. The finger 235b is heavier than finger 235 and 235a, and the finger 235b has the lowest resonant frequency.

FIGS. 7A-7C show an alternative embodiment of the musical instrument bridge shown in FIGS. 1-4. The musical instrument bridge 245 includes a plate 250, a mounting block 270, and a plurality of fingers 280. The plate includes a plurality of holes 252 disposed about its perimeter for mou...

Method for operating a musical instrument
2010-03-08 00:00:00
depiction of the new staff according to the present invention substantially facilitates the visual recording and reading of music using the new staff. At a glance, it is immediately apparent that the new staff is not the conventional staff, and confusion between the new and conventional staffs is avoided. Therefore, it is more likely that musicians accustomed to using the conventional staff will use the new staff, because confusion is minimized.

In another embodiment of the present invention, noteheads are placed on the new staff of the present invention to symbolize recorded music. Conventional noteheads can be used, as shown in FIG. 1. Preferably, however, noteheads of a different design than those of conventional noteheads are used, thereby further differentiating the new staff from the old staff, and further minimizing the possibility of confusing the new staff of the present invention with the conventional staff.

FIG. 2 shows one embodiment wherein noteheads different than those conventionally used are placed on the new staff to record musical pitches. FIG. 2 shows an elongated notehead having rounded ends that are positioned to depict each of the twelve pitches within an octave group. Preferably, a plurality of different shaped noteheads are used to assist the musician to quickly identify the pitches to be played. In the embodiment shown in FIG. 2, the noteheads used to record pitches in a space are visually distinctive and individualized relative to those noteheads used to depict pitches recorded on a line. Therefore, a musician will immediately recognize whether the pitch is one corresponding to a white key or to a black key of a standard keyboard instrument. As used herein, placement of a notehead on a line means that the notehead is placed on the line such that the line approximately bisects the notehead, with approximately equal portions lying above and below the line. As used herein, placement of a notehead in a space means that the horizontal centerline of the notehead is placed at approximately the center of the space.

In FIG. 2, the noteheads have basically the same geometric shape, but the noteheads are placed at an angle across the line to depict pitches recorded on lines, which pitches correspond to the pitches of black keys on a standard keyboard instrument. FIG. 3 shows another embodiment using rectangular shaped noteheads to depict pitches recorded in a space of the new staff, and parallelograms that slant across the line to depict pitches recorded on a line. The embodiments shown in FIGS. 2 and 3 are illustrative only. Any other set of noteheads that distinguish between pitches recorded in spaces and on lines could be used to accomplish the same result.

In one preferred embodiment, each of the pitches within an octave group is assigned a notehead design that is different and distinctive relative to the notehead design of every other pitch within an octave. FIG. 4, for example, shows one possible set of twelve graphic designs that could be used as noteheads to individualize each of the twelve pitches within an octave that could be recorded on the new staff. Therefore, in addition to the musician being aided by the unique position each pitch occupies on the new staff, the shape of the notehead further assists the musician to avoid misreading the music. Also, the notehead designs, being substantially different than conventional noteheads, will diminish the possibility that the musician will confuse the new staff of the present invention with a conventional staff.

Although FIGS. 2, 3, and 4 show different shapes of noteheads to distinguish between pitches, other methods could also be used to individualize noteheads. For example, different colors could be used for noteheads representing different pitches. Or, noteheads having a different darkness or contrast could be used to distinguish pitches.

It is also possible to alter the way in which conventional note symbols represent rhythmic values. In a preferred embodiment of the present invention, however, conventional depiction of rhythmic values is retained. Therefore, conventional rhythmic notation, such as the use of darkened and undarkened interiors of noteheads, and the use of stems and flags, is preferred.

In addition to assisting a musician to distinguish the new staff from the conventional staff and to aid the reading of visually recorded music, use of nonconventional noteheads of the present invention as previously described, can be very useful as a teaching aid. For example, a novice will benefit from the use of notehead symbols distinguishing between pitches recorded in spaces and on lines, such as shown in FIGS. 2 and 3. As a musician becomes more advanced in the use of the new system of the present invention, however, that musician may be significantly assisted by the use of twelve individualized noteheads such as shown in FIG. 4.

As discussed previously, more lines than just one group of three and one group of two can be used with the staff of the present invention. However, it is preferred to use the minimum number of lines necessary to effectively represent the musical piece of interest. Use of an unnecessarily large number of lines can create complexity and confusion. For example, the staff...

Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument
2010-03-06 00:00:00
AbstractA signal processor acts upon a stream of incoming musical performance data including note-on signals and outputs a stream of musical performance data including note-on and note-off signals. The incoming performance data is dispatched to a multiplicity of output channels depending on the time interval between successive incoming note-on data. Notes played in very rapid succession are identified as chords and are performed with identical musical parameters such as duration and instrumental timbre. Notes played in slow succession are identified as polyphonic and are performed with the same instrumental timbre. Notes played at an intermediate speed are identified as melodic and are performed with the same instrumental timbre and a variable staccato or legato effect. A variable legato effect is achieved by controlling the overlap of successive pairs of notes, adjusting the release of the first note with respect to the onset of the second note as a function of the time interval between their onsets, and limiting the number of notes that can sound simultaneously. A variable staccato effect is achieved by controlling the duration of each note as a function of the time interval between the note and its predecessor, and limiting the number of notes that can sound simultaneously.Claims What is claimed is: 1. An electronic musical instrument, comprising: means for supplying performance data for a first note and for a second note; a processor for setting durations of said first and second notes in accordance with said performance data, wherein said processor sets an initial duration of said first note without regard to the performance data of said second note, determines a time interval N between a start time of said first note and a start time of said second note, and adjusts the initial duration of the first note as a function of said time interval N when the initial duration of said first note is greater than said time interval N; and a tone generator for generating tones in accordance with the durations of said first and second notes set by said processor. 2. The electronic musical instrument according to claim 1, wherein said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note. 3. The electronic musical instrument according to claim 1, wherein, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N. 4. The electronic musical instrument according to claim 1, wherein said performance data includes velocity data indicating a force with which each note is played and a pitch of each note, wherein said processor sets the initial duration of said first note as a function of at least one of: the velocity data corresponding to said first note; the pitch of said first note; a time interval N-1 between the start time of said first note and the start time of a previous note; and a predetermined duration. 5. The electronic musical instrument according to claim 1, further comprising a selector for selecting one of a first melodic mode and a second melodic mode, wherein: when the first melodic mode is selected, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N; and when the second melodic mode is selected, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note. 6. The electronic musical instrument according to claim 1, wherein said means for supplying performance data is at least one of: a music controller; a playable controller interface; and a data transmission line. 7. The electronic musical instrument according to claim 6, wherein said music controller is at least one of: a keyboard, a xylophone-type keyboard, an array of drum pads and a keyed wind instrument. 8. The electronic musical instrument according to claim 1, wherein said tone generator is a polyphonic tone generator. 9. The electronic musical instrument according to claim 1, wherein said tone generator is a multi-channel, multi-timbral tone generator. 10. An apparatus for controlling an articulation between successive musical notes, comprising: a note classifier for classifying at least a first note in accordance with performance data relating thereto, wherein said note classifier determines a time interval N-1 between a start time of said first note and a start time of an immediately previous note and determines a time interval N between the start time of said first note and a start time of an immediately subsequent note, classifies said first note and said immediately previous note as chord notes when the time interval N-1 is less than a first threshold time, classifies said first note as a polyphonic note when the time interval N-1 is greater than a second threshold time, and classifies said first note as a melodic note when the time interval N-1 is between said first and second threshold times; and a processor for setting a duration of at least said first note in accordance with a classification of said first note by said note classifier, such that: when said first note and said immediately previous note are classified as chord notes, durations of said first note and said immediately previous note are substantially overlapped; when said first note is classified as a polyphonic note, said processor sets a duration of said first note; and, when said first note is classified as a melodic note, said processor sets an initial duration of said first note and adjusts the initial duration of the first note as a function of said time interval N if the initial duration of said first note is greater than said time interval N. 11. The apparatus according to claim 10, wherein said processor sets the initial duration of said first note as a function of at least one of: a velocity at which said first note is played; a pitch of said first note; the time interval N-1; and the second threshold time. 12. The apparatus according to claim 10, further comprising a selector for selecting one of a first melodic mode and a second melodic mode, wherein: when the first melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N; and when the second melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N. 13. The apparatus according to claim 12, further comprising a tone generator for generating tones in accordance with the duration of said first note, wherein: when the first melodic mode is selected and said first note is classified as a melodic note, said tone generator generates at most two tones at a time; and when the second melodic mode is selected and said first note is classified as a melodic note, said tone generator generates only a single tone at a time. 14. The apparatus according to claim 10, wherein, when said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N. 15. The apparatus according to claim 10, wherein, when said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N. 16. The apparatus according to claim 10, wherein, when said first note and said immediately previous note are classified as chord notes, said processor sets a common start time and a common duration for said first note and said immediately previous note. 17. The apparatus according to claim 10, wherein said processor includes a first output channel, a second output channel, and a third output channel, wherein chord notes are assigned to said first output channel, melodic notes are assigned to said second output channel, and polyphonic notes are assigned to said third output channel. 18. An apparatus for controlling an articulation between successive musical notes, comprising: means for supplying performance data for a first note and for a second note; and a processor responsive to said performance data for determining a time interval N between a start time of said first note and a start time of said second note and setting a duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N. 19. An apparatus for controlling an articulation between successive musical notes, comprising: means for supplying performance data for a first note, a second note and a third note; and a processor responsive to said performance data for determining a time interval N-1 between a start time of said first note and a start time of said second note, setting an initial duration of said second note to a duration less than the time interval N=1, determining a time interval N between a start time of said second note and a start time of said third note, and, if the time interval N is less than the initial duration of said second note, adjusting the initial duration of said second note to a duration substantially equal to the time interval N. 20. An apparatus for generating a chord of pitches, comprising: means for supplying performance data corresponding to individual notes, the performance data including a note-on time and pitch data for each note; a processor responsive to the performance data of a sequence of at least two notes, for setting a common start time and a common duration for every note in the sequence when, for each note in the sequence, a duration between the note-on time of a note and the note-on time of an immediately subsequent note is less than a predetermined time interval; and a tone generator for simultaneously generating a plurality of tones at said common start time for said common duration, said tones having pitches that correspond to the pitch data of said sequences of at least two notes. 21. A method for controlling an articulation between successive musical notes, comprising the steps of: receiving performance data for a first note and for a second note; setting an initial duration of said first note without regard to the performance data of said second note; determining a time interval N between a start time of said first note and a start time of said second note based on said performance data; adjusting the initial duration of the first note as a function of said time interval N when the initial duration of said first note is greater than said time interval N; and generating tones in accordance with durations of said first and second notes. 22. The method according to claim 21, wherein, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note to a duration substantially equal to the time interval N. 23. The method according to claim 21, wherein, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N. 24. The method according to claim 21, wherein said performance data includes velocity data indicating a force with which each note is played and a pitch of each note, wherein said setting step includes setting the initial duration of said first note as a function of at least one of: the velocity data corresponding to said first note; the pitch of said first note; a time interval N-1 between the start time of the first note and the start time of a previous note; and a predetermined duration. 25. The method according to claim 21, further comprising the step of selecting one of a first melodic mode and a second melodic mode, wherein: when the first melodic mode is selected, if the time interval N is less than the initial duration of said first note, said adjusting steps includes adjusting the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N; and when the second melodic mode is selected, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note to a duration substantially equal to the time interval N. 26. A method for controlling an articulation between successive musical notes, comprising the steps of: determining a time interval N-1 between a start time of a first note and a start time of an immediately previous note based on performance data relating thereto; determining a time interval N between a start time of said first note and a start time of an immediately subsequent note based on performance data relating thereto; classifying said first note and said immediately previous note as chord notes when the time interval N-1 is less than a first threshold time; classifying said first note as a polyphonic note when the time interval N-1 is greater than a second threshold time; classifying said first note as a melodic note when the time interval N-1 is between said first and second threshold times; when said first note and said immediately previous note are classified as chord notes, substantially overlapping durations of said first note and said immediately previous note; when said first note is classified as a polyphonic note, setting a duration of said first note; and when said first note is classified as a melodic note, setting an initial duration of said first note and adjusting the initial duration of the first note as a function of said time interval N if the initial duration of said first note is greater than said time interval N. 27. The method according to claim 26, wherein the initial duration of said first note is set as a function of at least one of: a velocity at which said first note is played; a pitch of said first note; the time interval N-1; and the second threshold time. 28. The method according to claim 26, further comprising the steps of: selecting one of a first melodic mode and a second melodic mode; when the first melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, adjusting the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent is a function of the time interval N; and when the second melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, adjusting the initial duration of said first note to a duration substantially equal to the time interval N. 29. The method according to claim 28, further comprising the step of: generating tones in accordance with the durations of said first and second notes, wherein: when the first melodic mode is selected and said first note is classified as a melodic note, at most two tones are generated at a time; and, when the second melodic mode is selected and said first note is classified as a melodic note, only a single tone is generated at a time. 30. The method according to claim 26, further comprising the step of adjusting the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N if the time interval N is less than the initial duration of said first note and said first note is classified as a melodic note. 31. The method according to claim 26, further comprising the step of adjusting the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note and said first note is classified as a melodic note. 32. The method according to claim 26, further comprising the step of setting a common start time and a common duration for said first note and said immediately previous note when said first note and said immediately previous note are classified as chord notes. 33. The method according to claim 26, further comprising the steps of: assigning chord notes to a first channel; assigning polyphonic notes to second channel; and assigning melodic notes to a third channel. 34. A method for controlling an articulation between successive musical notes, comprising the steps of: receiving performance data for a first note and for a second note; determining a time interval N between a start time of said first note and a start time of said second note based on said performance data; setting a duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N. 35. A method for controlling an articulation between successive musical notes, comprising the steps of: receiving performance data for a first note a second note, and a third note; determining a time interval N-1 between a start time of said first note and a start time of said second note based on said performance data; setting an initial duration of said second note to a duration less than the time interval N-1; determining a time interval N between a start time of said second note and a start time of said third note based on said performance data; adjusting the initial duration of said second to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said second note. 36. A method for generating a chord of pitches, comprising the steps of: receiving performance data corresponding to ind...

Stringed musical instrument neck assemblies
2010-02-04 00:00:00
/>In a related aspect, a light-system and its light elements can be disposed on a substrate that is adapted to mate and/or couple to the bottom side of the fingerboard. The combined fingerboard and substrate can be disposed on the instrument neck. For example, the substrate can be sandwiched between a fingerboard and an instrument neck.

The substrate can include surface areas (e.g., bonding areas) that are adapted to facilitate bonding with the fingerboards. In one example, adhesives and/or glues can bond the surface of the substrate with the fingerboard.

The substrate can be sized and shaped to be at least partially received within a recess in the bottom side of the fingerboard, and thus, in one aspect, is substantially concealed by that fingerboard when disposed on an instrument neck. Lightelements can be arranged on, in or through the substrate to substantially align with or within the wells of the fingerboard.

According to another related aspect, light elements can have one or more light devices, each device capable of producing one or more colors of illumination when energized by the light-system. Each color can represent an action to be taken, or aparticular finger or fingers to be used, by a player of the instrument in addition to providing a visual indication of a finger or note position along which a string should be engaged by the player.

According to a further aspect of the invention, fretboards are provided that can be used for stringed musical instrument neck assemblies. Channels are disposed along a top surface of the fretboard, each channel extending in a directionsubstantially perpendicular to elongated sides of the fretboard, and having two opposing sides substantially perpendicular to the top side of the fretboard. An insert having a width slightly larger than width of a respective channel is disposed in arespective channel, and creates a force on the opposing sidewalls. The inserts have a secondary channel adapted to receive a fret.

According to a still further aspect of the invention, acoustical stringed instruments are provided having a mounting block that can couple neck assemblies to acoustical instrument bodies. The acoustical body has a generally hollow interiordefined by a top side, a bottom side and a sidewall extending therebetween. The sidewall has an exterior side defining a recessed area along a portion thereof. The mounting block is shaped to couple to the side along a portion of the recess area. Atop surface of the mounting block is adapted to receive and secure a portion of a bottom surface of the neck assembly. An aperture extending through the side provides passage for wires or a circuit to connect to a light-system in a fingerboard of theneck assembly to pass into the interior of the instrument body. The aperture is substantially concealed with the acoustic instrument is assembled.

In a related aspect, bores are disposed through the mounting block and extend through a bottom surface and the top surface. Mounting anchors can be received through the bottom surface extending through the bores and beyond the top surface. Theneck assembly is adapted to receive the mounting anchors and be secured to the top surface. Mounting anchors can be bolts, screws or rivets. A mounting plate can be disposed on the bottom surface and has holes corresponding to the bores. The mountingplate can receive the mounting anchors providing a substantially rigid surface against which they can be tightened.

According to another aspect of the invention, a channel can extend along a portion of the acoustical instrument body and receive a portion of the fingerboard extending beyond a body end of the instrument neck. The channel extends in a directionsubstantially parallel to the neck assembly when disposed on the mounting block toward a center of the instrument body. It is sized and shaped to receive a portion of the fingerboard providing a smooth transition of the extending portion of thefingerboard along the channel. An aperture is disposed along the channel that provides passages of wires coupled to a light-system in the fingerboard to pass into the interior of the acoustical body, and is substantially concealed when the instrument isassembled.

BRIEF DESCRIPTION OF THE DRAWINGS

Additional benefits and advantages of the present invention will become apparent to those skilled in the art to which this invention relates from the subsequent description of preferred embodiments and the appended claims, taken in conjunctionwith accompanying drawings, in which:

FIG. 1 is a stringed musical instrument having a neck assembly according to the invention with a fingerboard with a light-system having light element and disposed on an inst...

Device for and method of detecting and supplying chord and solo sounding instructions in an electronic musical instrument
2009-11-07 00:00:00
(pads), or computer keyboard and so forth.

Individual keys in a panel switch group 3 are scanned by a panel scanner 4, to detect on-off data for the individual keys, and the data is written to the RAM 6 by the CPU 5. The CPU 5 compares the written data with on-off data for the individual keys and stored in the RAM 6, to determine "on" and "off" events for the keys.

The panel switch group 3 includes a chord switch 10 for switching between a chord mode and a solo mode. In the chord mode, in response to a new sounding operation of a key of the keyboard 1, tone data of a single key number or tone pitch (hereinafter referred to as solo tone) corresponding to the "on" key is provided, together with chord tone data (hereinafter referred to as chord tone) corresponding to the "on" key. In the solo mode, in response to a new sounding operation of a key of the keyboard 1, tone data of a single key number or tone pitch is provided for normal play. When the mode is switched to the solo mode, the chord tone data in the chord mode immediately before the switch to the solo mode is continually provided. The chord switch 10 may be replaced by a pedal, a foot switch, a knee lever, or a knob, etc.

The RAM 6 stores various routine data, in addition to the data noted above. Among the stored routine data is switch data for switching the chord switch 10, and this data specifies the chord mode ("1") or the solo mode ("0"). A ROM 7 stores programs executed by the CPU 5, corresponding to flow charts described later, and programs for other routines. Further, the ROM 7 contains a chord table 11 and a chord sequence memory 12, and so forth.

The chord table 11 stores chord bit pattern data for various chords; this data being used for determining the chord type and chord root corresponding to "on" keys of the keyboard 1. The chord sequence memory 12 sequentially stores chord play pattern data and this data is modified to form patterns corresponding to the chord type and chord root, for an auto chord operation.

A tone generator 8 generates tone waveform data and the like according to tone data such as a key number (or tone pitch) and touch and tone number (or tone color) input from the keyboard 1 and panel switch group 3. The tone generator 8, produces tone generation systems for a plurality of, for example, 16, channels using a time division routine, to realized a polyphonic sounding of musical tones. The tone waveform data is sent to a soun...

Musical instrument string modifying device
2009-10-24 00:00:00
intonation of the string.

It has been found that the ideal string is one where the cover wire is round and the only contact made with the core is at the point of tangency with the cover wire. When the right combination of core and cover wire size is used, the intonationof the string is perfect and the harmonics are readily discernible to the trained ear. The only objection found in this ideal string is the resulting finger noise which is heard as the player slides his fingers up and down the string. Additionally, thecore wire is stretched during the winding process which may cause minute breaks in the surface. This factor in addition to the radius itself results in excessive fret wear.

SUMMARY OF THE INVENTION

It is an object of the present invention to provide an apparatus for modifying musical instrument strings to prevent noise when the player slides his fingers up and down the strings.

It is an additional object to provide an apparatus for modifying a musical instrument string which does not adversely affect the physical properties of the string.

It is still another object to provide an apparatus for modifying a musical instrument string which does not adversely affect the intonation and harmonics of the string.

It is still an additional object to provide an apparatus for modifying a musical instrument string which is relatively inexpensive to produce and operate.

It is an additional object to provide a method for modifying a musical instrument string which results in a string...

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