method for_tags

Method and apparatus for teaching musical notation to young children
2010-03-12 00:00:00
AbstractA method for teaching musical notation to children. Each note is associated with a distinctly identifiable color, which is in turn associated with an object which naturally occurs in this color. Each object, in turn, is associated with a cartoon character which prominently incorporates an image of the object. Each character is endowed with a distinctly identifiable personality characteristic which enables the child to utilize the cartoon character in an educational activity. These relationships allow the child to apply relatively sophisticated symbolization techniques which are a part of the child's natural developmental process in order to master the musical notation system.Claims

What is claimed is:

1. A method for teaching a set of musical notes to a child, said method comprising the steps of:

providing a set of physical objects, each said object in said set of objects being characterized by a different color;

matching each musical note i n said set of notes with a selected one of said different colors of said objects in said set of objects;

forming a set of fanciful figures, each said figure in said set of figures prominently incorporating an image of a selected one of said physical objects in said set of objects; and

matching each note in said set of notes with that figure in said set of figures which incorporates an image of that object in said set of objects which is characterized by that color with which that note has been matched.

2. The method of claim 1, wherein the step of matching each said note with a figure further comprises:

matching each object with said first display surface of that demonstration article which predominantly shows said color of that object thereon.

3. The method of claim 2, further comprising the step of:

displaying said second surface of each said demonstration article so as to predominantly show said black color thereon, so as to provide a visual correlation between said figure thereon and a corresponding musical note on a black-and-white musical score.

4. The method of claim 3, wherein the step of forming said figure as a demonstration article having first and second display surfaces comprises:

forming said demonstration article as a two-sided article having an outline in the shape of said fanciful figure, so that said first and second surfaces can be displayed alternately by flipping said figure over, while said outline remains substantially the same in both positions.

5. The method of claim 3, wherein the step of forming said figure as an article having first and second display surfaces comprises:

forming said article of an outer fabric layer predominantly showing said color of said object thereon and an inner fabric layer predominantly showing said black color thereon, said inner and outer fabric layers being joined to form a tubular fabric structure which is selectively eversible so as to alternately expose said inner and outer fabric layers while retaining said outline in the shape of said fanciful figure.

6. The method of claim 1, further comprising the step of:

forming a visual image of said figure which predominantly shows said color of said selected object thereon.

7. The method of claim 6, wherein the step of matching said notes with said figures further comprises:

matching said selected object with said image of said figure which predominantly shows said color of said selected object thereon.

8. The method of claim 6, further comprising the step of:

changing the color of said visual image of said figure so as to predominantly show a black color thereon, so as to provide a visual correlation between said figure and a corresponding note on a black-and-white musical score.

9. The method of claim 1, further comprising the step of:

generating at least one musical tone which corresponds to said musical note, in conjunction with displaying said figure to said child.

10. The method of claim 9, wherein the step of generating at least one musical tone comprises:

playing back a recorded script which incorporates said musical tone therein.

11. The method of claim 10, further comprising the step of:

providing a recorded script which is associated with said figure.

12. The method of claim 11, wherein the step of providing said recorded script comprises:

providing a prerecorded script having blank portions at selected points therein; and...

Method for operating a musical instrument
2010-03-08 00:00:00
a method for operating a musical instrument, especially a keyboard instrument such as a piano. In one embodiment, a keyboard instrument is provided which is operable for producing a musical sound. The keyboard instrument is used in combination with a musical staff on which a musical composition has been recorded. The staff has a structure that corresponds with the arrangement of keys on a keyboard such that notes recorded in spaces on the staff correspond to white keys of the keyboard instrument and notes recorded on lines correspond to black keys of the keyboard instrument. The keyboard instrument is operated by depressing the appropriate corresponding white key for a note recorded on a space of the staff and depressing the appropriate black key for a note recorded on a line of a staff.Claims

I claim:

1. A method for producing pitches of sound corresponding to a musical composition represented by noteheads visually depicted on a musical staff, the method of comprising the steps of:

producing sound responsive to said noteheads, said sound comprising pitches of said musical composition as represented by said noteheads visually depicted on said musical staff;

said musical staff comprising five substantially parallel and visually observable lines grouped in two groups, a first group consisting of three lines and a second group consisting of two lines, wherein said first group is separated from said second group by a distance that is larger than the spacing between lines within either of said first and second groups;

wherein, each line of said first group has a visually distinctive appearance relative to each line of said second group and wherein a first line of said first group of lines has a visually observable width that is smaller than the widths of the other two lines of said first group, so that said pitches will be easily identifiable when some of said noteheads are visually depicted in said first group and some of said noteheads are visually depicted in said second group.

2. The method of claim 1, wherein:

each of said lines of said first group has a visually observable width that is larger than each of said lines of said second group.

3. The method of claim 1, wherein:

said width of said first line is about one half as large as said widths of said other two lines of said first group.

4. The method of claim 1, wherein:

said three lines within said first group and said two lines within said second group have relative line widths substantially as shown in FIG. 14.

5. The method of claim 1, wherein:

during said step of producing said sound, said sound is produced by a musical instrument.

6. The method of claim 5, wherein:

said musical instrument comprises a keyboard; and

said step of producing said musical sound includes depressing a black key to produce a pitch of said sound when one of said noteheads corresponding to said pitch is visually depicted as being on one of said lines of said staff and depressing a white key to produce a pitch of said sound when one of said noteheads corresponding to said pitch is visually depicted as occupying a space between two of said lines.

7. The method of claim 1, wherein:

said five substantially parallel lines being substantially horizontally extending during said step of producing said sound.

8. A method for producing pitches of sound corresponding to a musical composition represented by noteheads visually depicted on a musical staff, the method comprising the steps of:

producing sound responsive to said noteheads, said sound comprising pitches of said musical composition as represented by said noteheads visually depicted on said musical staff;

said musical staff including at least 15 substantially parallel lines, which are substantially horizontal during said step of producing said sound and which are divided into at least two staff portions, with a first staff portion including seven lines arranged in three groups and a second staff portion including eight lines arranged in three groups, with the first staff portion and the second staff portion being separated by a distance that is larger than the spacing between groups of lines within said first staff portion and said second staff portion;

said three groups including said seven lines of said first staff portion including a first group consisting of three of said seven lines and second and third groups each consisting of two of said seven lines, wherein said first group is located between said second and third groups with each of said first, second and third groups being separated from any other adjacent of said first, second and third groups by a distance that is larger than spacing between lines within any of said first, second and third groups;

said three groups including said eight lines of said second staff portion including a fourth group consisting of two of said eight lines and fifth and sixth groups each consisting of three of ...

Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument
2010-03-06 00:00:00
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 e...

Music Processing System Including Device for Converting Guitar Sounds to Midi Commands
2010-03-03 00:00:00
Abstract text A device is disclosed for converting guitar sounds to MIDI commands. The device has 7 microcontrollers. Each guitar string's oscillations are filtered and amplified with input filters and input amplifiers. The conditioned string signal is directed to an input of an associated microcontroller and converted to a MIDI command. Each string has an input filter and amplifier, and a microcontroller that converts the string oscillations into a MIDI command. MIDI commands from all six microcontrollers are received and processed by a main microcontroller that transmits the commands to the MIDI interface of a musical instrument with additional modification, if needed.Claims 1. A device for converting guitar sounds to MIDI commands comprising:a low capacity microcontroller associated with each guitar string, the low capacity microcontroller being configured to convert filtered and amplified signals oscillations from a guitar string to a corresponding MIDI command; anda main microcontroller operatively connected to the low capacity microcontroller, the main microcontroller being configured to receive and collect MIDI commands generated by the low capacity microcontrollers, modify the MIDI commands, and transmit the modified MIDI command to the MIDI interface of a musical instrument. 2. The device of claim 1 wherein:each low capacity microcontroller comprises: (i) an input adapted to receive the amplified and filtered signals from the guitar string, (ii) an output adapted to transmit a MIDI command corresponding to the amplified and filtered signal from the low capacity microcontroller to the main microcontroller, an (iii) output adapted signal the main microcontroller that the low capacity microcontroller has a MIDI command to be transmitted to the main microcontroller, and (iv) an input adapted to receive a signal from the main microcontroller to transmit a MIDI command. 3. The device of claim 1 wherein:the main microcontroller comprises: (i) an input adapted to receive a signal from the low capacity microcontroller that the low capacity microcontroller has a MIDI command to be transmitted to the main microcontroller; (ii) an output adapted to transmit a signal from the main microcontroller to each low capacity microcontroller to transmit a MIDI command from the low capacity microcontroller to the main microcontroller; and (iii) one input for receiving MIDI commands sent by each low capacity microcontroller.Description RELATED APPLICATION DATA [0001]This application is a continuation in part of U.S. application Ser. No. 11/873,970, filed Oct. 16, 2007, currently pending, and claims priority to Serbian Patent application ser. no. 2007-0015, filed Feb. 5, 2007, and the benefit of provisional application Ser. No. 61/019,039 filed Jan. 4, 2008, the disclosures all of which are incorporated by reference herein. BACKGROUND [0002]This disclosure generally pertains to a music processing system that converts sound from musical instruments into an electronic data format. More specifically, this invention pertains to a system and method that converts sound generated by musical instruments to a form to be used in electronic media based on a first harmonic of an input signal. In one embodiment, the data format is the Musical Instrument Digital Interface (MIDI) format. [0003]For years digital keyboard players enjoyed unparalleled flexibility and functionality in interfacing and composing with their computers, such as the ability to instantly create notation and change sounds generated by their instruments with the push of a button. The music processing system described herein offer this flexibility and functionality to guitarists as well as the ability to use a guitar with computer games. The methods and apparatus described may comprise a pick-up and converter that attaches directly to any electric, acoustic electric or acoustic guitar, thereby making a user's guitar fully plug and play compatible with Windows XP or higher as well as Mac OSX. Preferably, no driver installation is necessary. [0004]The music processing system described herein may be adapted for use with Guitar Wizard, a game that allows users to jam along to popular songs while learning to play a real guitar. Guitar Wizard teaches aspiring musicians everything from single note picking to complex chords and strumming techniques. Modem Digital Audio Workstation (DAW) software, such as Sony Acid鈩?Music Studio and Apple GarageBand harness the power of PCs, allowing musicians to play samples and software instruments. With the music processing system described herein, guitarists can control these programs to play sampled sounds and synthesized instruments such as a keyboard or piano, a different style guitar, drums or a woodwind instrument. Using the music processing system described herein, guitarists can compose a complete masterpiece controlling and recording each instrument from trumpets to tympanis using their guitar. [0005]Using the music processing system described herein, users will enjoy the ability to connect a real guitar to console systems bridging the gap between gaming and reality. For instance, using the music processing system described herein, one may be able to: use a guitar to connect with a computer, operating with for instance Windows XP and/or Mac OSX; learn to play guitar; record, compose and edit music easily; arrange with flexibility and control; and convert recorded songs into sheet music. As described below, the pick-up and control components of the music processing system mount on any guitar and preferably recognizes and transmits specific instructions for each individual note played on the guitar, thereby allowing for great flexibility in playing and recording. This is conveyed simply as a list of events which describe the specific steps that a soundcard, program or other device use to generate the specific sound. At its simplest the language would indicate for example `Middle C on" at a specific time along with the volume of the note--then it would indicate "Middle C off" at a later time. Any number of other commands can be added to make it as expressive as desired. [0006]Thus, the music processing system may allow the user to make his or her guitar sound like another instrument. With the system, a guitar can sound like anything: a keyboard or piano, a completely different style guitar or a guitar with any number of different effects applied, a woodwind or brass instrument or the human voice. Each note can even be assigned to play a different recorded clip or sound effect. Different or "drop" tunings are simple because the note or tuning of the guitar need not be changed. The instructions for playing the note are simply "transposed" to the desired note in accordance with the desired tuning. The language of the music processing system is very specific as to what note is being played down to the specific fret on each string. This information can be used in conjunction with a learning program to teach guitar. Since each string is tracked individually this can be a very complex and robust application, teaching everything from single note picking to complex chords and strumming techniques. [0007]Furthermore, the instructions generated can optionally be recorded on a computer memory. This allows recorded instructions to be edited using computer software. A single note within a recorded song is easily adjusted because all that is changed is the instruction for that specific note. To change or delete a note or passage in a regular recording would require clipping out the undesirable portion and re-recording--not an easy task as precision is next to impossible yet required. An embodiment described herein also allows for easy tempo changes of a recorded performance. The instruction is simply adjusted to change the tempo, thereby avoiding pitch change when a recording slowed down. Editing recorded music is simple using computer software--drag and drop functionality may be provided to edit individual notes. Shorten or lengthen a note simple by clicking on it and changing its duration. Using software, the user can change the whole recording to a new key using the same principle described above regarding alternate tunings. Users can cut and paste a section for use later in the song. File size is small because the methods described herein store instructions for playing a note, not sampling and digitizing the actual note or sound wave. This saves storage space on a hard drive. For example a sampled or digitized 1 minute clip requires about 10 Megabytes of data. The same 10 seconds with the music processing system only requires 10 Kilobytes for the same 1 minute clip. Many files that are already recorded in this language have tracks that are separated from the rest of the tracks making it easy to listen to just one instrument track and study it to learn more about it or how to play it. Then this track can be muted, played over to practice playing the song or for a live performance with backing tracks. One may print out actual sheet music of what has been recorded. It is very simple to convert the recorded instructions into musical notation. One may also create a ring tone for a cell phone. [0008]The music processing system can be used to trigger much more than notes. The instructions for turning a note on and off and other such commands can optionally be used to activate any action or event within a program or computer game. Many prerecorded elements such as loops or tracks can be triggered on a computer program turning them on and off as backing tracks for example. These elements can also be turned on and off building them to create a song by selecting each individual element by playing a single note. Events can optionally be triggered in games. Playing a specific note or notes can be used for a game such as Guitar Hero鈩?or other similar game. It can be as simple as the current offerings or as complex as a real-world guitar performance. Notes could even be used to move a character around the screen. Embodiments of the present invention can also be used in conjunction with a wide variety of musical equipment. Most electronic musical equipment supports one of the various versions of the MIDI format. [0009]One using the technology disclosed herein can achieve sound electronically using any classical instruments or any sound source. One method disclosed herein includes analyzing sound from the sound source, and then generating an appropriate sound electronically based on the detection of the first harmonic of the input signal. The second method disclosed herein requires fast and precise first harmonic period determination from the signals generated by a classical instrument, and then the measured period may be transformed to digital information acceptable by electronic instruments to generate sound electronically. Algorithms for transforming the measured period into digital information are disclosed in a co-pending patent application entitled "Adaptive Triggers Method for Signal Period Measuring," U.S. application Ser. No. 11/873,970, filed Oct. 17, 2007, the disclosure of which is incorporated by reference herein. However, other tone detection methods known in the art may also be used. Such algorithms, which for instance provide a solution for transforming guitar sounds to MIDI commands, require powerful thirty-two bit microprocessors and/or DSP processors, as will be described below. SUMMARY OF THE INVENTION [0010]One embodiment relates to a controller for a guitar. In the controller, a plurality of small capacity microcontrollers are used. For functions related to analyzing sounds generated by a guitar string, detecting basic harmonics, and generating MIDI information, one small capacity microcontroller is used for each guitar string. Electrical signals generated by one guitar string include oscillations that are filtered and amplified by analog filters and analog amplifiers. The filtered and amplified signal is directed to one of the input pins of the small capacity microcontroller. The small capacity microcontroller is programmed to analyze and detect the input sound signal generated by each guitar string, for instance, by using the methods disclosed in U.S. application Ser. No. 11/873,970. The methods also enable the microcontroller to generate an output MIDI command corresponding to the input signal. The MIDI command may be generated when the microcontroller detects the sound signal, or when the input signal is lost during monitoring of the sound signal. When a MIDI command is ready to be transmitted, the small capacity microcontroller signals a main microcontroller and waits for the main microcontroller to signal the small capacity microcontroller to allow the MIDI message to be transmitted to the main microcontroller. The main microcontroller collects MIDI messages from all six small capacity microcontrollers, modifies the received MIDI commands, if needed, and sends a new the MIDI message over the MIDI interface to an electronic instrument with an MIDI interface. BRIEF DESCRIPTION OF DRAWINGS [0011]FIG. 1a shows a graph of input signal amplitude measured over time; [0012]FIG. 1b shows a graph of the calculation of maximum input signal amplitude and minimum input signal amplitude over time; [0013]FIG. 1c shows a graph of the change in time of the positive and negative trigger value that is concurrently calculated with maximum input signal amplitude calculation; [0014]FIG. 1d show a graph of the change in time of the positive trigger value calculated at a point in time when the input signal value becomes less than the negative trigger value and the change in time of the negative trigger value calculated at a point in time when the input signal value becomes greater than the positive trigger value; [0015]FIG. 2 shows a flow chart of the method described in this document where positive and negative trigger values are concurrently calculated with maximum and minimum input signal amplitude calculation; [0016]FIG. 3 shows a flow chart of the method described in this document where positive and negative trigger variable are calculated at a point in time where the input signal becomes greater then positive trigger or becomes less then negative trigger; [0017]FIGS. 4 to 15 show changes over time of a microcontroller's registers; [0018]FIG. 16 shows an overall view of an exemplary embodiment of the music processing system, including a guitar with a pick-up, a controller and a computer; [0019]FIG. 17a-17b show various detailed views of a pick-up of FIG. 16. [0020]FIG. 18 shows an exemplary circuit schematic for the electrical output of the pick-up of FIG. 17. [0021]The schematic diagram of FIG. 19 shows an input filter and amplifier for a guitar high E string; [0022]The schematic diagram of FIG. 20 shows an input filter and amplifier for a guitar B string; [0023]The schematic diagram of FIG. 21 shows an input filter and amplifier for a guitar G string; [0024]The schematic diagram of FIG. 22 shows an input filter and amplifier for a guitar D guitar string; [0025]The schematic diagram of FIG. 23 shows an input filter and amplifier for a guitar A string; [0026]The schematic diagram of FIG. 24 shows an input filter and amplifier for low E guitar string; [0027]The schematic diagram of FIG. 25 shows one of six like low-capacity microcontrollers associated with one of circuits shown in FIGS. 19-24 that is used for processing the output of one of the circuits shown in FIGS. 19-24 using the techniques shown graphically in FIGS. 1-15; [0028]The schematic diagram of FIG. 26 shows a digital logic circuit for collecting data from 6 low-capacity microcontrollers in an exemplary embodiment. [0029]The schematic diagram of FIG. ...

Magnetic pickup for stringed musical instrument
2010-03-01 00:00:00
of selected pole legs to change pickup sensitivity. Magnetscouple the outer polepieces to the inner polepieces disposed in coils. These magnets have like poles positioned in contact with opposite sides of the inner polepieces. The thickness of each inner polepiece is sufficient to overcome repelling betweenthe like poles.

The outer polepieces reduce the flux path impedance by providing a return path for magnetic flux. The pole legs on the outer polepiece also serve to concentrate the flux coupled in each string.

A method of selecting the heights of the individual sections of the polepiece comprises forming the inner and outer polepiece means as flat structures with a preselected height for each string and, when pole legs are employed, shearing the distalends of the outer polepiece pole legs.

It is an object of this invention to provide a magnetic pickup having a high output.

It is an object of this invention to provide a magnetic pickup and a method for making the same in which production costs are reduced by simplifying tooling and assembly.

It is a further object of this invention to provide tamper-proof sensitivity selections for each string.

It is another object of this invention to provide a set of sensitivity selections which can be standardized for a particular product model.

It is yet another object of this invention to enable a set of professionally chosen sensitivity selections which may be incorporated into a magnetic pickup during production.

It is another object of this invention to simplify the method of manufacturing magnetic pickups.

ON THE DRAWINGS

FIG. 1 is a perspective view of a magnetic pickup provided in accordance with an illustrative embodiment of the invention, a cover being omitted;

Fig. 2 is a cross-sectional view taken along line II--II of FIG. 1;

FIG. 3 is a side elevational view of the magnetic pickup of FIG. 1;

...

Musical instrument string modifying device
2009-10-24 00:00:00
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 which is quiet in use when the player slides his fingers along the string, and which still has excellent musical properties.

Other objects and advantages of the invention will become apparent upon reference to the drawings and detailed description.

According to the invention, an apparatus for modifying a musical instrument string is provided comprising a pair of rollers, one mounted on a fixed axis and the other mounted on a moveable arm, hydraulic means for pressing the second rollertoward the first to compress a string passing therebetween, and guide means for centering the string as it passes between the rollers. As a result, the peaks of the fine helically wound wire are compressed and flattened. A string results which is veryquite when the player slides his fingers along the stri...

Method and apparatus for facilitating group musical interaction over a network
2009-10-20 00:00:00
AbstractA method for providing real-time musical interaction among a plurality of players connected via a network includes the steps of analyzing local player's musical performance to extract emulation data that represents the musical performance; transmitting emulation data to remote players over a network; receiving emulation data from remote players over the network; and using the emulation data to emulate the remote player's musical performance by locally generating approximations of the performances.Claims

What is claimed is:

1. A method for facilitating real-time competition between players of a game, the method comprising the steps of:

(a) receiving music performance input from a local player;

(b) generating audio output responsive to the received input;

(c) receiving emulation data extracted from a remote musical performance; and

(d) generating a local approximation of the remote musical performance using the emulation data, the local approximation synchronous with the local musical performance.

2. The method of claim 1 wherein step (a) comprises receiving music performance input from a local player via a game pad.

3. The method of claim 1 wherein step (a) comprises receiving music performance input from a local player via a fake musical instrument.

4. The method of claim 1 wherein step (b) comprises playing a note to indicate a successful input.

5. The method of claim 1 wherein step (b) comprises playing an error message to indicate unsuccessful input.

6. A method for facilitating musical interaction over a network, the method comprising the steps of:

(a) receiving emulation data representing a remote user's musical performance; and

(b) locally generating an approximation of the remote user's musical performance using the received emulation data, the approximation synchronous with a local musical performance.

7. The method of claim 6 wherein step (a) comprises receiving emulation data, the emulation data comprising a moving average of recent remote musical performance events.

8. The method of claim 6 wherein step (a) comprises receiving emulation data, the emulation data comprising a moving average of timing deltas between recent remote musical performance events.

9. The method of claim 6 wherein step (a) comprises receiving emulation data, the emulation data comprising an identification of recent remote musical performance events.

10. The method of claim 6 further comprising extracting local emulation data representing a local musical performance.

11. A means for facilitating musical interaction over a network, comprising:

(a) means for receiving emulation data representing a remote user's musical performance; and

(b) means for locally generatin...

Modified musical instrument string
2009-09-07 00:00:00
along the string to change positions, and which still provides perfect intonation and frequency response. The method for modifying such a wound musical instrument string is also disclosed.ClaimsInvention is claimed as follows:

1. A musical instrument string comprising a core having a fine cover wire helically wound thereon, said cover wire having a substantially round cross-section overthe maj...

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