output_tags
Musical tone synthesizing apparatus utilizing an all-pass filter having a variable fractional delay2010-03-29 00:00:00functions to at least delay an
output of the delay circuit by a second delay time corresponding to a decimal fraction of the sampling period, so that an
output of the all-pass filter is fed back to the delay circuit. The whole delay time of the closed loop consists of the first and second delay times which can be respectively controlled. Thus, a musical tone signal representing a synthesized musical tone (e.g., an attenuating sound which is produced from an percussion instrument) is picked up from the closed loop. Incidentally, the whole configuration of the closed loop can be embodied by a digital signal processor (DSP).Claims
What is claimed is:
1. A musical tone synthesizing apparatus comprising:
first delay means for delaying an input signal by a first delay time corresponding to an integral number of a sampling period;
second delay means for delaying an
output of said first delay means by a second delay time corresponding to a decimal fraction of said sampling period, said first delay means and said second delay means being connected together in a closed loop so that an
output of said second delay means is fed back to said first delay means;
delay calculating means for calculating a total delay amount applied to said closed loop, said total delay amount comprising an integral-part delay time and a decimal-part delay time, said integral-part delay time corresponding to said first delay time and said decimal-part delay time corresponding to said second delay time; and
control means for controlling said integral-part delay time and said decimal-part delay time in an interrelated manner to minimize discontinuity in an
output of said second delay means, whereby a musical tone signal representing a synthesized musical tone is
output from said closed loop.
2. A musical tone synthesizing apparatus as defined in claim 1 wherein said second delay means is a all-pass filter which acts upon a filter coefficient supplied thereto, while said control means produces and supplies said filter coefficient to said all-pass filter such that a delay operation corresponding to said second delay time can be carried out by said all-pass filter.
3. A musical tone synthesizing apparatus as defined in claim 1 wherein said control means controls said decimal-part delay time to be approximately equal to zero when said control means controls said integral-part delay time to be increased, while said control means controls said decimal-part delay time to correspond to one sampling period when said control means controls said integral-part delay time to be decreased.
4. A musical tone synthesizing apparatus comprising:
delay means for delaying an input signal by a first delay time corresponding to a certain integral number of sampling periods;
an all-pass filter for receiving an
output of said delay means and for delaying said
output by a second delay time corresponding to a decimal fraction of said sampling period in response to a filter coefficient supplied thereto, said delay means and said all-pass filter being connected together in a closed loop so that an
output of said all-pass filter is fed back to said delay means;
delay calculating means for calculating a whole delay amount applied to said closed loop, said whole delay amount consisting of an integral-part delay time and a decimal-part delay time, said integral-part delay time corresponding to said first delay time, while said decimal-part delay time corresponds to said second delay time;
control means for controlling said integral-part delay time which is applied to said delay means as said first delay time and said filter coefficient such that said first and second delay times are controlled in an interrelated manner to minimize a discontinuity in an
output of said all-pass filter; and
an interpolation means for performing an interpolation operation on said filter coefficient in response to a variation of said integral-part delay time controlled by said control means, whereby a musical tone signal representing a synthesized musical tone is obtained from said closed loop.
5. A musical tone synthesizing apparatus comprising:
excitation wave producing means for producing an excitation wave signal;
an adder for receiving said excitation wave signal;
delay means for receiving an
output of said adder so as to delay it by a first delay time which corresponds to an integral number of sampling periods;
an all-pass filter, responsive to a filter coefficient supplied thereto so as to at least delay an
output of said delay means by a second delay time which corresponds to a decimal fraction of said sampling period;
a low-pass filter for performing a low-pass filtering operation on an
output of said all-pass filter;
a multiplier for multiplying an
output of said low-pass filter by a loop gain supplied thereto, wherein said adder, said delay means, said all-pass filter, said low-pass filter and said multiplier are connected together to form a closed loop so that an
output of said multiplier is fed back to said adder in which it is added to said excitation wave signal; and
a delay control means for controlling said first delay time and said second delay time, respectively, in an interrelated manner to minimize discontinuity in said
output of said all-pass filter, whereby a musical tone signal representing a synthesized musical tone is obtained from said
output of said adder, while a tone pitch of said musical tone is continuously controlled by said control means.
6. A musical tone synthesizing apparatus comprising:
a signal producing portion for producing a signal;
a loop-circuit portion connected with said signal producing portion, said loop-circuit portion receiving said signal
outputted from said signal producing portion so as to circulate it therethrough, resulting that said signal is modified in accordance with a characteristic of said loop-circuit portion while circulating through said loop-circuit portion,
said loop-...
Method and apparatus for representing musical information2010-03-26 00:00:00the pitch and duration of each note and the duration of each rest from said memory array, starting with the notes in the storage node corresponding to the first measures stored in said memory array for each sound source and continuing sequentially for notes in the storage nodes corresponding to the second and succeeding measures in said memory array; and
means for translating the retrieved electronic representations into electronic
output signals to at least one sound source, starting with the first note in any measure of the storage node corresponding to the first measures stored in said memory for each sound source and joining with said first note any notes to be performed at the same time, then continuing with the next succeeding note and any notes to be performed in said first measure and further continuing with the notes in measures of the storage node corresponding to the second and succeeding measures at the same time.
9. A method for electronically processing and storing musical information using a programmable data processing system, the steps comprising:
providing the programmable data processing system with a plurality of data signals representing musical information; and
using the programmable data processing system to perform the steps of:
separating the musical information into a plurality of segments, each segment representing some portion of a measure;
assigning a sequential time dimension value to each segment;
separating the musical information into a plurality of channels, each channel representing a sound source;
assigning a sound dimension value to each channel; and
storing the musical information for a given channel and segment by associating the musical information corresponding to a given channel and segment with the time dimension value and sound dimension value assigned to the given channel and segment.
10. A music processing apparatus for representing musical information comprising:
means for selectively inputting musical information;
programmable data processing means operably connected to the means for selectively inputting musical information for electronically representing, storing and retrieving the musical information in a memory means associated with the programmable data processing means for storing information; and
a multi-dimensional data structure framework within the memory means of the programmable data processing means having:
a time dimension for separating the musical information into a plurality of segments, each segment representing some portion of a measure; and
a sound dimension for separating the musical information into a plurality of channels, each channel representing a sound source, such that a plurality of framework intersection points are defined by the intersections of the time dimension and the sound dimension,
whereby the musical information for a given sound source and measure is stored at the framework intersection point corresponding to a time dimension value and a sound dimension value that correspond to the given instrument and measure.
11. The music processing apparatus of claim 10 wherein the framework further comprises a performance dimension accessible at each framework intersection point for storing additional musical information representing one or more multiple renditions of a particular measure as played by a particular instrument.
12. A method for processing musical information comprising the steps of:
inputting the musical information into a programmable data processing means for electronically representing the musical information;
separating the musical information into a plurality of measures;
assigning a time dimension value to each measure;
separating the musical information into a plurality of channels;
assigning a sound dimension value to each channel;
storing the musical information for a given channel and measure by associating the musical information corresponding to a given channel and measure with an array location specified by the time dimension value and the sound dimension value assigned to the given instrument and measure.
13. The method of claim 12 further comprising the steps of:
retrieving the musical information for a specified range of instruments and measures by:
specifying all of the combinations of time dimension values and the sound dimension values for the specified range of instruments and measures;
determining whether musical information exists for each combination of the time dimension values and sound dimension values;
retrieving the musical information for each combination of time dimension value and sound dimension value that exists; and
generating a whole rest for each combination of a time dimension value and a sound dimension value that has no associated musical information; and
outputting the retrieved musical information.
14. A method for electronically representing musical information using a programmable data processing system, the steps comprising:
providing the programmable data processing system with a plurality of data signals representing musical information; and
using the programmable data processing system to perform the steps of:
storing a plurality of entries that represent rhythmic, melodic, and interpretive aspects of the musical information, each entry comprising one unit of music data selectively representing a rest, a note or a chord and a set of details associated with the entry;
linking successive entries for a given instrument together in time sequence order;
grouping a portion of a sequence musical information to be associated with a specified measure for a given instrument by:
assigning a first pointer to the successive entries for the given instrument...
Music search by interactive graphical specification with audio feedback2010-03-25 00:00:00/>
FIG. 4 illustrates an exemplary system of the present invention.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
FIG. 1 is a flow chart of an exemplary method for creating a musical query. In step 110, the method begins with the graphical generation of a musical segment. For example, the user can generate a graphical representation which approximates a piece of music that is to be searched for in a database of musical pieces and/or representations of music. The graphical representation can be generated entirely by the user, or can be generated by modifying a graphical representation that corresponds to an existing piece of music the user has selected as a starting point in the search.
Those skilled in the art will appreciate that the desired piece of music can be any musical file, including but not limited to CD audio tracks, MIDI, MP3, wav, au, and the like. In addition, any standard internal representation can be used including, but not limited to, the ** kern representation, written for example in the Humdrum representation language, as used in conjunction with the aforementioned Themefinder project. This project is directed to a search engine for music themes based on specialized musicological features. Graphical representations of musical segments developed in accordance with exemplary embodiments of the present invention can be used to locate a music segment that has been stored using this format. The desired musical piece can also be a portion of a multimedia file containing both video and audio, such as AVI files, MPEG files, QT files, and the like. The invention is applicable to any file that can be obtained via a musical search. Alternately, or in addition, the musical segment can be generated and/or modified in response to user inputs, to change characteristics of the revised segment.
The method continues in step 120 by providing audio feedback to a user by playing the musical segment. Those skilled in the art will appreciate that this can be accomplished in a variety of ways. For instance, 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 all...
Method and apparatus for generating musical tone waveforms by user input of sample waveform frequency2010-03-24 00:00:00in said plurality of sounding channels, wherein when said performance information commands to start generation of a new tone, one new sounding channel is added to said plurality of sounding channels, and when the tone generation in one of said plurality of sounding channels is finished, said one of said plurality of sounding channels is removed from said plurality of sounding channels; and
a reproduction step of
outputting said plurality of musical tone waveform samples, sample by sample, every sampling cycle;
wherein said generating step generates said musical tone waveform samples by said musical tone waveform calculation in a manner such that a maximum number of said plurality of sounding channels is limited in accordance with said limitation information by inhibiting said musical tone waveform calculation for some of said plurality of sounding channels when a total number of said sounding channels exceeds the maximum number defined by said limitation information.
5. A method as claimed in claim 4, wherein the received limitation information is input based on a setting operation by a user.
6. A method of generating musical tones which is executed on a computer, comprising:
a first receiving step of receiving a plurality of pieces of performance information for commanding to generate musical tones;
a second receiving step of receiving limitation information defining a maximum amount of processing capacity of a processor of the computer which can be employed for tone generation;
a generating step of carrying out, at predetermined time intervals longer than a sampling cycle, a musical tone waveform calculation of a plurality of sounding channels which said performance information has commanded to generate tones, for generating a plurality of musical tone waveform samples in said plurality of sounding channels, wherein when said performance information commands to start generation of a new tone, one new sounding channel is added to said plurality of sounding channels, and when the tone generation in one of said plurality of sounding channels is finished, said one of said plurality of sounding channels is removed from said plurality of sounding channels; and
a reproduction step of
outputting said plurality of musical tone waveform samples, sample by sample, every sampling cycle;
wherein said generating step generates said musical tone waveform samples by said musical tone waveform calculation in a manner such that a total number of said plurality of sounding channels is limited in accordance with said limitation information by inhibiting said musical tone waveform calculation for some of said plurality of sounding channels when a total amount of processing capacity of the processor which is used by the musical tone waveform calculation in the generating step exceeds the maximum amount of processing capacity of the processor defined by said limitation information.
7. A method as claimed in claim 6, wherein the received limitation information is input based on a setting operation by a user.
8. A method of generating musical tones which is executed on a computer, comprising:
a performance information receiving step of receiving performance information which designates a pitch of each of the musical tones to be generated;
a control information receiving step of receiving control information;
a waveform sample generating step of carrying out, at predetermined time intervals longer than a sampling cycle, a musical tone waveform calculation of a plurality of sounding channels which said performance information has commanded to generate tones, for reading musical tone waveform samples from a memory, interpolating the read musical tone waveform samples in a manner selected by the control information, at a rate corresponding to a pitch designated for each of said sounding channels by said performance information, and generating a plurality of musical tone waveform samples for each of said sounding channels based on the musical tone waveform samples interpolated, wherein said musical tone waveform samples generated has the pitch designated by said performance information; and
a reproducing step of
outputting said musical tone waveform samples generated by said waveform sample generating step, sample by sample, every sampling cycle.
9. A method as claimed in claim 8, wherein the received control information is input based on a setting operation by a user.
10. A method of of generating musical tones which is executed on a computer, comprising:
a first receiving step of receiving performance information;
a second receiving step of receiving instruction information for instructing a digital filter to switch on or off;
a generating step of carrying out, at predetermined time intervals longer than a sampling cycle, a musical tone waveform calculation in response to the received performance information, for generating a plurality of musical tone waveform samples, and storing the generated plurality of musical tone waveform samples in a memory, wherein said musical tone waveform calculation includes a digital filtering step of filtering said generated plurality of musical tone waveform samples to control a tone color of said musical tone waveform samples, only when said instruction information for instructing the digital filter to switch on is received by said second receiving step; and
a reproducing step of
outputting said plurality of musical tone waveform samples, sample by sample, every sampling cycle.
11. A method as claimed in claim 10, wherein the received instruction information is input based on a setting operation by a user.
12. A method of generating musical tones which is executed on a computer, comprising:
a first receiving step of receiving performance information;
a second receiving step of receiving instruction information for instructing a low frequency oscillator to switch on or off;
a generating step of carrying out, at predetermined time interva...
Method and apparatus for achieving timbre modulation in an electronic musical instrument2010-03-15 00:00:00Selected comparator
outputs are applied to the associated digital logic in conjunction with a sample gating signal. This modulation results in a segmentation of the audio waveshape in accordance with the frequency signals selected for use in the comparator. Hence, choice of lower pitched frequency signals will result in a wider segmentation period, while choice of higher pitched frequency signals will narrow the segmentation period. Timbre modulation may be employed during note attack and/or decay.ClaimsI claim:
1. Apparatus for achieving timbre modulation in an electronic musical instrument including an audio wave shape generator responsive to octavely related note frequency signals,comprising:
means for generating a variable magnitude digital signal,
means connected to the audio wave shape generator for generating octavely related note frequency signals,
digital magnitude comparator means for comparing said variable digital signal with said octavely related note frequency signals and for producing an
output signal based on predetermined comparisons,
means for generating a sample gating signal indicative of the desired state of the audio wave shape generator, and
digital logic means connected to the audio wave shape generator for accepting said sample gating signal and said digital magnitude comparator
output signal and for producing a timbre modulated sample gating signal for controlling the audio waveshape generator.
2. The apparatus according to claim 1 wherein said means for generating said octavely related note frequency signals includes a multiplexed accumulator.
3. The apparatus according to claim 1 wherein said means for generating said variable magnitude digital signal includes a multiplexed attack and decay scale factor generator.
4. The apparatus according to claim 1 ...
Musical instrument bridge2010-03-09 00:00:00the head portion and over the saddle. The difference between the fingers 370 and the fingers 100 described above, is that the waist portion 386 has been shortened and is substantially the same width of the base portion and the head portion.
FIGS. 8C-8D show cross sections of three variations of the fingers 370 for use with different strings of a conventionally tuned six-string electric guitar. Each finger has the same profile but varies in mass according to the frequency of the string to be supported by the finger. FIG. 8C shows a finger 370a for use with a low E, and A strings of an electric guitar. The finger 370a has a circular area 400 drilled symmetrically about the hole 396. The circular area 400 reduces the mass of the head portion of the finger and adjusts the resonant frequency of the finger.
FIG. 8D shows a finger 370b for use with the D and G strings of a six-string electric guitar. The finger 370b has an elliptical area 402 removed from the head portion. The elliptical area 402 is somewhat larger than the circular area 400 removed from the head portion of the finger 370a. The mass of the finger 370b is lighter than the mass of the finger 370a, thereby giving the finger 370b a higher resonant frequency than the finger 370a.
FIG. 8E shows a finger 370c for use with a high B and E strings of electric guitar. The finger 370c has a larger elliptical area 406 removed from the head portion. The elliptical area 406 is larger in length than the elliptical area 402 removed from the finger 370b. The mass of the finger 370c is lighter than the mass of the fingers 370a and 370b, thereby giving the finger 370c a higher resonant frequency.
By changing the dimensions of the area removed in the head portion, the resonant frequency of the finger is changed. The more mass removed from the head portion, the higher the resonant frequency of the finger. By adjusting the mass of the finger 370, the fingers can be constructed to produce the best tone and sustain for a string of any tuning.
As indicated above, the musical instrument bridge of the present invention has also been used in a steel guitar. In particular, the bridge shown in FIGS. 8A-8E has been adapted for use in a lap-type electric steel guitar. By slightly increasing the size of the plate and the width of the mounting block to accommodate the wider string spacing on the steel guitar, the bridge has been shown to provide increased sustain, string isolation, tonal clarity and elimination of conflicting frequencies. The fingers used for the steel guitar are the same as those for a conventional electric six-string guitar even though the tuning of the steel guitar differs from that of the standard guitar.
The present invention has several advantages over prior art instrument bridges. The first advantage provided by the present invention is the increased harmonic content of a note played. It is believed that vibrations from the string are transferred through the fingers to the plate and into the body of the instrument. These vibrations then interact with the body of the instrument and are returned to the vibrating string via the finger to create a richer, more complex sound. The tone quality of the sound produced by a string is affected by the resonant frequency of each finger on the bridge. The resonant frequency of a finger is adjusted by selecting the material from which the plate, mounting block and fingers are made, as well as by adjusting the mass of the finger itself.
As indicated above, it has been determined that the most suitable material from which to make the bridge according to the present invention is brass. The mass of the fingers is adjusted by removing material from the head portion and/or the base portion. As was also previously indicated, the optimum resonant frequency for each of the fingers is somewhat a matter of taste. However, it has been determined that if the resonant frequency of the finger is the same as the pitch of the string, the finger will dampen the motion of the string as it is played, thereby producing little or no sound. Thus, the fingers should not have a resonant frequency that is exactly the same as the pitch of the string.
The second advantage of the musical instrument bridge according to the present invention is a reduction in interstring modulation, whereby striking one string of the instrument causes vibration of another string of the instrument. Because all the fingers are spaced apart to be independent of each other except for their common connection to the mounting block, the vibration of one string on the instrument causes little vibration in the other strings of the instrument. Therefore, the resulting sound produced by the instrument is cleaner with little sympathetic interstring vibration.
The third advantage provided by the present invention is a reduction in the orbital motion of the string as it is struck. The construction of the fingers allows them to vibrate laterally in a plane that is substantially parallel with the plane of the plate and consequently the front face of the instrument. However, the construction of the fingers reduces motion of the string in a plane perpendicular to the plane of the plate. This lateral motion of the string produces the strongest signal in a magnetic pickup and minimizes signal distortion. Thus, the bridge according to the present invention produces cleaner and stronger
output signals than are obtained with prior art instrument bridges.
While the preferred embodime...
Method for operating a musical instrument2010-03-08 00:00:00looking at the new staff where any given octave begins and ends. The same pitch within any octave will always occupy the same position relative to a group of two and a group of three lines that the corresponding pitch in another octave group would occupy. Therefore, for example, the pitch represented by the note named "F" within any octave will always appear on the new staff by a notehead positioned immediately below and adjacent to the bottom line of a group of three lines.
As seen with the new staff in FIG. 1, notes representing pitches corresponding to the white keys on a standard keyboard are always positioned in a space, whereas notes representing pitches corresponding to black keys on a standard keyboard are always positioned on a line. As seen in FIG. 1 with the new staff, the note named "C" is located immediately below and adjacent to the bottom line of a group of two lines. The next higher pitch, generally referred to as either "C sharp" or "D flat" is located by depicting a notehead on the bottom line of the group of two. Other pitches represented by higher keys within the octave are then positioned in spaces and on lines, alternately, until the highest pitch within an octave, represented by the note named "B," is positioned above and immediately adjacent to the top line of the group of three. The wide space between the group of two and the group of three lines allows for the placement of two noteheads, representing the notes named "E" and "F," which on a standard keyboard have no intervening black key.
As noted, each space and line on the new staff of the present invention relates to a white or black key of a keyboard instrument. Therefore, to play music, a musician would depress a white key in response to a notehead visually depicted in a space between two lines of the staff and a black key in response to a notehead visually depicted on one of the lines of the staff.
The standard keyboard instrument is ordinarily operated by a person, such as a musician, who depresses keys according to the correspondence between the noteheads visually depicted on the staff and the keys of the keyboard. Alternatively, the standard keyboard instrument could be operated by an automatic translation of the noteheads visually depicted on the staff into an actuation of the corresponding keys of the standard keyboard. For example, a staff with noteheads could be read by an optical scanner into a microprocessor. The microprocessor could be programmed to compare the position of the noteheads relative to the lines and spaces of the staff, determine the corresponding keys on the keyboard to be depressed and create an
output to have the appropriate keys depressed, such as by sending signals to actuate a step motor which depresses the appropriate keys.
As an alternative to using a keyboard instrument to produce the desired musical sound, any other musical instrument could be used. The operator, or musician, would operate the instrument in a manner to produce pitches of sound corresponding with the noteheads represented in spaces and/or lines of the staff. Also, the pitches of sound could be produced using the human voice. For example, a singer could vocalize the pitches of sound corresponding to the noteheads represented in spaces and/or on lines of the staff. A singer could identify the location of noteheads on the staff and responsively produce the corresponding pitches of sound, without the complexity of interpretation required of conventional music notation. As another alternative, an electrical signal could be generated for each of the pitches represented on the staff, with the electrical signals then being converted to sound in a speaker system.
The staff of the present invention contains a position for each pitch within an octave and also provides a logical analog to the standard keyboard. Furthermore, the 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...
Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument2010-03-06 00:00:00and
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 ini...
Method and Apparatus for Playing in Synchronism with a CD an Automated Musical Instrument2010-03-04 00:00:00rate. Hence, the data itself is consumed at the CD audio data rate by the DAC Subsystem which, via its DMA progress status, then provides the controller with an accurate digital audio time-base.
[0028] Once playback of the CD audio track has been initiated, the controller resets its internal sequencer time-base and monitors the progression of audio time as measured by the DAC Subsystem. As this digital audio time progresses, the controller submits the MIDI events to the Piano system in accordance with the event timestamps. Thus, the CD and the automated musical instrument are synchronized.
[0029] Since the automated Piano is a solenoid-actuated system, there is a measurable time delay from the time it receives a MIDI Event and the time it can actually sound a note on the automated acoustic Piano. In practice, his time can be as low as 100 ms or as high as 500 ms. Although the time is variable, the controller fixes the absolute delay from event reception to note sounding at 500 ms. Because of this delay, the controller advances the assertion of MIDI events during playback by 500 ms relative to the song start in order to maintain absolute synchronization to the CD as perceived by the user.
BRIEF DESCRIPTION OF THE DRAWINGS
[0030] FIG. 1 is a block diagram showing the operational components of the system of the invention.
[0031] FIG. 2 is a front view of a controller.
[0032] FIG. 3 is a diagram showing the timely relationship between an analog audio
output and a music sequence.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT
[0033] As shown in FIG. 1, the synchronization system 20 described herein includes a controller 22, an automated musical instrument, such as a piano 24, and an amplifier 26 and speaker 28. The amplifier 26 and speaker 28 can be incorporated into the controller 22 in an alternate embodiment, and need not be separate devices. Similarly, the amplifier 26 and speaker 28 can be replaced with any combination of devices that will allow the user to hear the recorded material on the CD placed into the CD drive 40 of the controller 22. Thus, it is beneficial for the housing of the controller 22 to include an audio
output port for connection of the amplifier 26 and speaker 28, or other device used to transduce the audio signal
output from the controller 22. In the preferred embodiment, the
output port is a pair of RCA jacks 60 to allow play of the left and right audio channels of the CD, as shown in FIG. 2.
[0034] The controller 22 is connected to the automated musical instrument or piano 24 by a communication channel 35 capable of carrying the music sequences from the ...
Music Processing System Including Device for Converting Guitar Sounds to Midi Commands2010-03-03 00:00:00wherein: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 as...
