string_tags

Musical tone synthesizing apparatus utilizing an all-pass filter having a variable fractional delay
2010-03-29 00:00:00
". The filter 3 imparts a desired attenuation characteristic to a signal which circulates through the closed loop.

Meanwhile, an analog signal containing frequency components like a noise signal is modulated by a PCM (i.e., Pulse Code Modulation) technique by each sampling period 蟿s, resulting that a time-series digital signal is obtained. Such time-series digital signal is applied to the musical tone synthesizing apparatus as its input signal. This input signal is supplied to the adder 1, from which it is supplied to the filter 3 by means of the delay circuit 2. Then, the signal is fed back to the adder 1. Thus, the input signal circulates through the closed loop.

When ignoring a phase delay occurring in the filter 3, a time which is required for the input signal to circulate the closed loop once is assumed to be equal to the delay time 蟿p. In this case, the gain of the closed loop has a frequency characteristic of which maximum point is emerged at an integral multiple of a fundamental frequency f1=1/蟿p. Since the closed-loop gain is slightly smaller than "1", the signal which repeatedly circulates through the closed loop is gradually attenuated in amplitude. During an attenuating process of the signal, the output of the adder 1 is extracted and is subjected to digital-to-analog conversion. Thus, it is possible to obtain an attenuating signal having a fundamental wave and the other higher harmonic waves of which frequencies correspond to integral multiples of the fundamental frequency. By use of the above-mentioned closed loop, it is possible to excite the musical tone signal having the fundamental-wave component and higher-harmonic components like the real musical sound which is produced from the stringed instrument. Such musical tone signal is gradually attenuated in amplitude in a lapse of time.

In the circuitry shown in FIG. 17, the delay time 蟿 can be set in response to the integral multiple of the sampling period 蟿, in other words, the delay time 蟿 cannot be arbitrarily changed other than the delay times each corresponding to the integral multiple of the sampling period. In order to obtain an arbitrary delay time which is shifted from the delay time corresponding to the integral multiple of the sampling period 蟿s, an all-pass filter 4 must be inserted between the delay circuit 2 and the filter 3 as shown in FIG. 18. This all-pass filter 4 is designed on tile basis of the known configuration of the primary digital filter. It is configured by adders 41, 42, multipliers 43, 44 and a delay circuit 45. As similar to the delay circuit 2, the delay circuit 45 receives a clock by each sampling period 蟿s.

In the all-pass filter 4, the output of the delay circuit 2 is added with an output of the multiplier 44 by the adder 41. The output of the adder 41 is delivered to the adder 42 by means of the delay circuit 45. In addition, the output of the adder 41 is also delivered to the multiplier 43 wherein it is multiplied by a multiplication coefficient "-伪". Then, a result of the multiplication performed by the multiplier 43 is supplied to the adder 42. On the other hand, the multiplier 44 multiplies the output of the delay circuit 45 by a multiplication coefficient "伪", and then, a result of the multiplication performed by the multiplier 44 is supplied to the adder 41. The adder 42 adds the output of the delay circuit 45 to the output of the multiplier 43. A result of the addition is outputted to the filter 3. As each of the multiplication coefficients "伪" and "-伪" which are respectively used in the multipliers 43 and 44, it is possible to use a value which exists between "-1" and "1".

The function of the all-pass filter 4 described above can be expressed by use of a transfer function H(z) which is denoted by an equation (1) as follows:

H(z)=伪 z-1 /1 伪z-1 (1)

By replacing the term "z" by another term "exp(-j蠅蟿s)" in the equation (1), it is possible to obtain an equation (2), which represents a frequency characteristic F(蠅) of the all-pass filter 4.

F(蠅)=伪 exp(-j蠅蟿s)/1 伪*exp('j蠅蟿.s ub.s) (2)

A gain-frequency characteristic G(蠅) of the all-pass filter 4 becomes equal to an absolute value of the above-described equation (2) as follows:

G(蠅)=|F(蠅)|=1.

Thus, the gain of the all-pass filter 4 is maintained at "1" in all of the frequency bands. This is the reason why this type of filter is called as the all-pass filter. Under the condition where an angular frequency 蠅 is relatively low as compared to the Nyquist's angular frequency 蠅n=2蟺fs/2 (where fs is the sampling frequency) and a phase angle 蠅蟿s is close to "0", a phase delay P(蠅) can be expressed by the following approximate expression (3).

P(蠅)鈮?1-伪)蠅蟿s /(1 伪) (3)

An equivalent delay time 蟿a of the all-pass filter 4 is expressed by the following equation (4).

蟿a =P(蠅)/蠅 (4)

By use of the aforementioned equation (3), the delay time 蟿a can be approximated as follows:

蟿a 鈮?1-伪)蟿s /(1 伪).

This approximate expression indicates that the delay time 蟿a of the all-pass filter 4 can be adjusted by changing the multiplication coefficient 伪.

In result, the closed loop which consists of the circuit elements 1 to 4 as shown in FIG. 18 may have a resonance characteristic which responds to a whole delay time 蟿 (where 蟿=蟿p 蟿a). Next, the resonance characteristic of the closed loop will be described by referring to FIGS. 19(A) to 19(C). FIG. 19(A) shows a relationship between a frequency f and a phase delay 胃 in connection with the delay circuit 2 (see FIG. 18). As shown in FIG. 19(A), when the frequency f of the signal passing through the delay circuit 2 becomes equal to f1 (where f1=1/蟿p), the phase difference 胃 existing between the phases of the input signal and output signal of the delay circuit 2 becomes equal to 2蟺. The phase difference 胃 turns to 4蟺 when the frequency f is equal to f2 which is twice as large as the frequency f1, while the phase difference 胃...

Method and apparatus for representing musical information
2010-03-26 00:00:00
from its native environment (musical sound), represent the musical information in such a way that it may be automatically converted into its written language equivalent (musical notation), present the musical notation to the user so that it may be manipulated or edited, and then output the musical information, either as musical notation or as musical sound, exactly as it has been composed.

Present music processing apparatus cannot simulate an ideal music processing apparatus in large part because of the limitations imposed by the present methods and systems for internally representing musical information in these systems. The internal representation of musical information for a music processing apparatus is a problem that has challenged musicologists for more than twenty-five years with no single or satisfactory solution. Most music processing apparatus use a code-type representation that stores only the specific musical information needed to achieve the limited objectives of the system, i.e., information about pitch alone, about rhythm alone, or about pitch and rhythm without reference to dynamics or articulation. A few music processing apparatus have attempted to develop language-type representations that would enable the user to encode any element of musical information that is present in common musical notation. For example, the DARMS and MUSTRAN encoding languages were developed for mainframe computers. While flexible and more complete than the code-type representations, current music encoding languages are limited to textual-based entry of musical information and are not structured enough to provide a workable method and apparatus for representing musical information that could be used to create a device approaching the ideal music processing apparatus.

The Directory of Computer Assisted Research in Musicology, Center for Computer Assisted Research in the Humanities, 1987, pp. 1-22, identifies five broad classifications that encompass the current methods and systems for representing musical information: music/machine-readable code; music/logic; music/parametric; music/graphic; and music/acoustic. These classifications provide a background for thinking about the various stages of music data representation as the music data move from the input process to the various output processes of display, printing, analysis and sound in a music processing apparatus.

The first classification, music/machine-readable code, covers music processing apparatus that use a code-type representation, usually in the form of an unstructured character string, wherein each character represents, for example, the pitch or duration of the next role to be played in the sequence. The music/logical classification covers those representations that attempt to organize the musical information into logical records and, in this form, more closely represent the logical meaning or structure of the musical information itself. This is the general type of representation that is necessary for developing an ideal music processing apparatus. The next classification, music/parametric, includes all the information of the music/logical representation but presents this data as a list of objects (notes, rests, beams, etc.) whose attributes are determined by specific parameters. Most current music printing programs process their music data in this form. The last two classifications relate primarily to the output of musical information. The music/graphic classification covers representation forms that are closely related to the actual printing or display of the graphic musical information. Examples might include font-lists with X-Y coordinates or strings of redefined ASCII characters that translate directly into music graphics. The music/acoustic classification covers representation forms that are closely related to the actual generation of musical sound. The best known examples is the MIDI (Musical Instrument Digital Information) standard that is currently used by manufacturers of synthesizers and other electronic musical instruments. For a more detailed explanation of the MIDI format, reference is made to Boom, Music Through MIDI, 1987, Chapter 5, pp. 69-94, which is fully incorporated by reference herein.

Although the various music processing apparatus currently available have enabled music publishers to produce higher quality printed music or enabled hobbyists to enter and print simplistic musical notation, none of these systems has a method or device for representing musical information that enables a musician or composer to easily and accurately transcribe complete musical acoustic information into complete musical graphic information and to reverse this process. Accordingly, there is a continuing need for the development of new tools to assist the musician and composer in the transcription of musical information by providing a method and apparatus for representing musical information that will allow the musician or composer to enter, manipulate and retrieve both the graphic and acoustic attributes of musical information from a common data structure in the memory means of a computer data processing system, whereby changes to one type of information may be automatically reflected in changes to the other type of information.

SUMMARY OF THE INVENTION

In accordance with the present invention a method and apparatus for representing musical information are provided, utilizing a programmable data processing means having storage means for representing both acoustic and graphic musical information in a common data structure and input/output means operably connected to the data processing means for entering, editing and retrieving the musical information.

The method for electronically processing and storing musical information involves separating the musical information into a plurality of segments, each representing some portion of a measure, and assigning a sequential time dimension value to each segment and measure. The musical information is also separated into a plurality of channels, with each channel representing a sound source (e.g. an instrument) and having a sound dimension value assigned to it. The musical information for a given channel and segment is stored in a memory array by associating the musical information corresponding to a given channel and segment with the memory array node specified by the time d...

Music search by interactive graphical specification with audio feedback
2010-03-25 00:00:00
/>selecting at least one of the retrieved music pieces; and

playing the selected at least one of the retrieved music pieces to the user.

5. The method of claim 1, wherein the musical query is in a string format.

6. The method of claim 1, wherein the musical query is in a MIDI format.

7. The method of claim 1, wherein the musical query is in an audio format.

8. The method of claim 1, wherein the method is implemented in a software program accessible by a graphical interface for graphically generating the musical segment via a web browser over a network.

9. The method of claim 1, comprising:

modifying the musical segment produced during the step of graphically generating in response to user inputs to change characteristics of the musical segment.

10. The method of claim 1, comprising:

replacing the generated musical segment with the created graphical representation of the selected music portion,

graphically adjusting the replaced generated musical segment; and

providing audio feedback to a user by playing at least a portion of the adjusted generated musical segment.

11. The method of claim 10, comprising:

repeating the step of graphically adjusting the replaced generated musical segment and the step of providing audio feedback from the adjusted generated musical segment, until the adjusted generated musical segment has been acknowledged as acceptable; and

wherein the step of generating the second musical query is performed after the adjusted generated musical segment has been acknowledged as acceptable.

12. The method of claim 11, comprising:

graphically adjusting the replaced generated musical segment in response to user inputs to change characteristics of the musical segment.

13. The method of claim 1, wherein the generated musical segment comprises a bass and/or a rhythm section for generating the musical query.

14. The method of claim 1, comprising:

graphically adjusting the tempo of the generated musical segment to fine tune the tempo of the musical segment.

15. A computer-based system for creating a musical query comprising:

logic that graphically generates a musical segment that represents at least a portion of a desired piece of music;

logic that provides audio feedback to a user by playing at least a portion of the generated musical segment;

logic that generates a musical query based on the generated musical segment;

logic that retrieves at least one music piece from a music database based on the generated musical query;

logic that selects at least a portion of one of the retrieved music pieces;

logic that creates a graphical representation of the selected music portion; and

logic that generates a second musical query based on the created graphical representation of the selected music portion.

16. The computer-based system of claim 15, comprising:

logic that synthesizes the musical segment prior to providing the audio feedback.

17. The computer-based system of claim 15, comprising:

logic that allows the user to repeat graphically generating the musical segment and providing audio feedback, until the musical segment has been acknowledged as acceptable; and

wherein the logic that generates the musical query is activated after the musical segment has been acknowledged as acceptable.

18. The computer-based system of claim 15, comprising:

logic that displays a list containing the retrieved music pieces;

logic that selects at least one of the retrieved music pieces; and

logic that plays the selected at least one of the retrieved music pieces to the user.

19. The computer-base...

Suspension of musical instruments
2010-03-20 00:00:00
of said instrument and (b) moving said harness to achieve a balanced orientation of said instrument without applying a countervailing torque to said instrument.

13. The method of claim 12 wherein said harness includes a strap of adjustable length, further including the step of adjusting said length to alter the position of said guitar in relation to said body of said player.

14. A harness as defined in claim 1 for positioning and stabilizing a musical stringed instrument, wherein:

(a) said suspension means comprises a backpiece;

(b) said means for attaching said suspension means to said one of said attachment points comprises a first segment having a first and second end; a first attachment means for attaching said first end of said first segment to said backpiece; a first anchoring means for anchoring said second end of said first segment to said instrument;

(c) said means for attaching said suspension means to said another of said attachment points comprises a second segment having a first and second end; a first attachment means for attaching said first end of said second segment to said backpiece; a second anchoring means for anchoring said second end of said second segment to said instrument;

(d) said means for attaching said suspension means to said still another of said attachment points comprises a third segment having a first and second end; a third attachment means for attaching said first end of said third segment to said backpiece; a third anchoring means for anchoring said second end of said third segment to said instrument; wherein each of said first, second and third segments is independent from any other of said segments.

15. A harness for positioning and stabilizing a musical stringed instrument as recited in claim 14, including means for adjusting the length of said first, second and third segments.

16. A harness for positioning and stabilizing a musical stringed instrument as defined in claim 14 wherein:

(a) said first segment has said second end anchored to a first instrument anchoring means of said instrument;

(b) said second segment has said second end anchored to a second instrument anchoring means of said instrument;

(c) said third segment has said second end anchored to a third instrument anchoring means of said instrument;

wherein each of said first, second and third segments is independent from any other of said segments.

17. A harness for positioning and stabilizing a musical stringed instrument, as recited in claim 16, including means for adjusting the lengths of said first, second and third segments.

18. Apparatus for the suspension of a musical instrument as defined in claim 1 wherein said s...

Method and apparatus for achieving timbre modulation in an electronic musical instrument
2010-03-15 00:00:00
adaptable for use in instruments employing a time-division multiplexed signal for calling forth desired tones from those available in theinstrument. The principles of the present invention are applicable to any digital electronic musical instrument in which musical sounds are generated in response to the actuation of key switches regardless of whether those switches are actuateddirectly, e.g. by the musician's fingers, or indirectly, e.g. by the plucking of strings. The term key is used in a generic sense to include depressible levers, actuable on-off switches, touch or proximity responsive devices, closable apertures and soforth. More particularly, the present invention relates to timbre modulation for electronic musical instruments.

2. Description of the Prior Art

Prior art attempts to simulate the transient voice effects of musical timbre have included the momentary sounding of independent "chiff" tones. As a result, the chiff or transient voice effect took on an independent character with limiteddependence on the particular voices selected. U.S. Pat. No. 3,740,450 discloses a "chiff" of this type.

Prior art U.S. Pat. Nos. 3,908,504 and 3,972,259, while disclosing harmonic modulation and pulse width modulation respectively, employ complex and expensive hardware. The inventor knows of no prior art which affords the versatility and costeffectiveness of the present invention.

SUMMARY OF THE INVENTION

The present invention provides a new and unobvious approach to the accomplishment of timbre modulation which is particularly useful in digital electronic musical instruments. The present invention may be used during attack, decay, or both,thereby providing a variety of desirable musical effects.

Briefly, in accordance with the present invention, there is provided a digital magnitude comparator which compares selected note frequency signa...

Musical instrument bridge
2010-03-09 00:00:00
of strings (22) above a front face (14) of a musical instrument (12). The bridge has a plate (60), a mounting block (80), and a plurality of fingers (100). The plate is attachable to a rear face of the instrument. The plurality of fingers are cantilevered from the plate and extend outwardly therefrom. Each finger has a resonant frequency or rigidity that is related to a predetermined pitch of the string supported by the finger. Each finger is designed to vibrate in a plane that is parallel to the front face of the instrument but to reduce vibration in a plane perpendicular to the front face of the instrument.Claims

The embodiments of the invention in which an exclusive property or privilege is claimed are defined as follows:

1. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:

a plate that is attachable to the musical instrument;

several fingers cantilevered from the plate, each of said fingers having a resonant frequency and being configured to support a string of the set of strings above the front face of the musical instrument, said fingers being arranged in a row such that a first finger of said several fingers is disposed at one end of the row, a second finger of said set fingers is disposed at an opposite end of the row and all other of said several fingers are disposed intermediate said first and second fingers with no additional fingers located outward of said first and second fingers, the resonant frequency of said first finger being different than the resonant frequency of said second finger.

2. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of said first and second fingers having a width dimension, the width dimension of the waist portion of the first finger being different than a width dimension of the waist portion of the second finger.

3. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the head portion of each of the first and second fingers having a hold therein, the hole of the head portion of the first finger being a different size than the size of a hole of the head portion of the second finger.

4. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second fingers having a pair of opposing slots that extend lengthwise along a length of the waist portion, the opposing slots of the first finger having a dimension that is different than a dimension of the opposing slots of the second finger.

5. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a mass, the mass of the first finger being different than the mass of the second finger.

6. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a groove that extends between the base portion of such finger and the waist portion of such finger, the groove of the first finger having a length that is different than a length of the groove of the second finger.

7. The musical instrument bridge of claim 1, further comprising a mounting block disposed between the plate and the fingers.

8. The musical instrument bridge of claim 7, wherein the mounting block and the base portion of each of said fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.

9. The musical instrument bridge of claim 7, wherein the mounting block includes a plurality of slots into which each of said fingers is secured.

10. The musical instrument bridge of claim 9, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.

11. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:

a plate that is attachable to the musical instrument;
&...

Music Processing System Including Device for Converting Guitar Sounds to Midi Commands
2010-03-03 00:00:00
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 a...

Electronic device to detect and generate music from biological microvariations in a living organism
2010-03-02 00:00:00
Va sensed from the organism under observation has long-term large drift superimposed on top of the measured microvariations. To keep the voltage PROC_AD_0 within the range of the microprocessor's internal ADC, the processor occasionally adjusts the frequency fed to the FVC, causing the output voltage of the FVC to adjust, which level-shifts the signal PROC_AD_0.

All of the electronics in FIGS. 5c and 5d (with the exception of the circuitry surrounded by dotted line 16) comprises processor block 7 in FIG. 1. Additionally, microprocessor U5 contains an internal ADC, which comprises ADC block 6 of FIG. 1.

Potentiometer R31, R35, and R36 provide analog voltages to three multiplexed inputs of the ADC that is internal to microprocessor U5. Microprocessor U5 periodically reads the positions of potentiometers R31, R35, and R36, and the setting of these potentiometers are used to set parameters of how variations in signal PROC_AD_0 (analogous to microvariations in organism 2) are processed. Potentiometer R31 allows adjustment or the rate at which microprocessor U5 samples and processes microvariations in signal PROC_AD_0. Potentiometer R35 adjusts how large a microvariation it takes to meet certain processing thresholds. Potentiometer R36 adjusts the MIDI velocity of MIDI note codes generated by microprocessor U5. Adjustment of MIDI velocity is analogous, for instance, to adjusting how hard a piano key is stuck when playing a piano.

Jumpers JPR1 in FIG. 5c provides an input to microprocessor U5 which chooses between microprocessor U5 generating one note at a time in response to microvariations in organism 2, or generating triads of notes in response to microvariations in organism 2. Jumper JPR2 provides an input to microprocessor U5 that chooses between music being generated according to a major scale, or according to a 12-note scale.

Microprocessor U5 controls LED1, LED2, LED3, LED4, and LED5 to provide a visual indication of where within the range of the ADC the signal PROC_AD_0 is. If either the red LED5 or the red LED1 are lit, that indicates that the ADC is at an extreme end of its range, indicating that the level-shifting frequency-to-voltage converter DAC is unable to bring the signal back in range. Such a condition indicates a likely misconnection or misconfiguration of the interface to organism 2.

The microvariations sensed through the present invention may have various possibilities of linking. For instance, a voltage controlled audio frequency generator, or a MIDI interface audio generator, or a computerized interface portal, or a non-computerized one, or the management of systems of light mixing or electrical devices such as valves, pumps or electric engines or other servocontrols.

Such devices can have multiple uses, such as, for example, light and sound shows, play and entertainment, reproduction of artistic sound compositions through audio-visual supports, direct control of greenhouses, light sources, home and industrial uses, or it can allow the study of all phenomena linked to he sensitivity of the living biological organisms connected to the device.

Microprocessor U5 outputs a MIDI output (i.e., a serial output at 31,200 baud) that is representative of the change. An attached MIDI device translates these signals into musical tones.

In order to generate musical tones, the microprocessor periodically converts the analog output PROC_AD_0 into a digital value through its internal ADC. The microprocessor then monitors the converted digital value to determine when that digital value has changed. For example, when the monitored digital value increases, the microprocessor may send a serial MIDI command string to activate a musical note via the UART of the microprocessor. Similarly, if the monitored value decreases, the microprocessor may turn off the note. If the monitored digital value is close to an upper or lower limit of the ADC range, then the microprocessor may change the frequency driving the frequency to voltage converter to bring the input of the ADC closer to a center of its operating range.

Within the microprocessor U5, the sequence of samples from the ADC is converted to a sequence of musical note codes. Connector HDR1 is provided to connect the no...

Magnetic pickup for stringed musical instrument
2010-03-01 00:00:00
AbstractA magnetic pickup for a stringed instrument has one or two coils juxtaposed with the strings each coil having an inner polepiece disposed centrally therein. A single polarity is induced in each inner polepiece by two bar magnets, one at each side of the polepiece externally of the coil. An outer polepiece is magnetically coupled to an outside edge of each of the bar magnets and extends toward the strings. Each polepiece has a preselected shape, with an upper edge which is either continuous, or discontinuous with a plurality of pole legs, one common to each string of the musical instrument. The distance between the pickup and strings is adjustable to select a desired response. When pole legs are used, they are selectable in height by shearing off the distal end of each leg to obtain a selected pickup sensitivity for each string.ClaimsI claim as my invention:

1. A magnetic pickup for a musical instrument having a plurality of strings, comprising:

(a) a coil common to said strings;

(b) an inner ferromagnetic polepiece common to said strings and partially disposed in said coil;

(c) magnet means common to said strings and magnetically coupled to said inner polepiece and inducing a single polarity in said inner polepiece; and

(d) at least one flat outer ferromagnetic polepiece magnetically coupled to the magnet means outside of said coil and having a polarity opposite to that of the nearest portion of said inner polepiece.

2. A magnetic pick-up according to claim 1 in which said inner polepiece has a plurality of pole legs integrally formed with each other, there being one pole leg for each string.

3. A magnetic pickup according to claim 1 in which said outer polepiece is common to said strings and has a uniform length and uniform height.

4. A magnetic pickup according to claim 1 in which said outer polepiece has a segmented surface below the instrument strings in the form of pole legs with a continuous transition from the upper end of one pole leg to the upper end of the nextpole le...

Stringed musical instrument
2010-02-05 00:00:00
AbstractA musical instrument of the stringed kind having a hollow sound box formed of a top plate, bottom plate and side walls. A string supporting bridge is mounted on the top plate and has two feet which are spaced apart transversely of the instrument. A sound post extends between the top and bottom plates and is connected to one foot of the bridge through an opening formed in the top plate. The opening and the connection are related so that there is no impediment to movement of the top plate in the region of the opening. By way of example, the post may extend through the opening to effect the connection with the bridge foot, in which event clearance will be provided between the post and the opening.Claims

I claim:

1. A musical instrument of the stringed kind including, a sound box having top and bottom plates which are spaced apart, a string supporting bridge positioned over the top plate and having one of two opposite ends connected to said top plate, said one end being adjacent the string of said instrument of highest pitch, a sound post extending between said top and bottom plates and having a lower end connected to said bottom plate, an opening in said top plate, a connection between an upper end of said post and the other said end of the bridge such that said end is supported by the upper end of the post, said connection being effected through said opening and arranged so as to not impede movement of the top plate towards and away from the bottom plate, a bass bar connected to the underside of said top plate and extending transverse to said bridge, said bass bar being located so that said one end of the bridge is located between the bass bar and the sound post and is spaced from the bass bar, and a tension member extending across the undersurface of said top plate in substantially the longitudinal direction of said bridge and having each of two opposite ends secured to said top plate at locations beyond the ends of said bridge.

2. An instrument according to claim 1, wherein an upper end portion of said post extends through said opening so as to effect said upper end connection, and clearance exists between said opening and said upper end portion.

3. An instrument according to claim 2, wherein a flexible annular diaphragm extends across said clearance to close said opening without inhibiting movement of said top plate relative to said post.

4. An instrument according to claim 1, ...