to one of_tags
Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument2010-03-06rates of amplitude envelopes modifies the timbre of a note slightly, but the tone is still recognized as a variant of the same instrument. Some electronic musical instruments provide mechanisms for selecting and mixing multiple instrumental timbres for each note or a range of notes.
One such feature is known as "keyboard split", whereby a predetermined contiguous range of pitches is played in a particular timbre while another disjunct range is played in a different timbre (e.g., C2-B3 bass, C4-C6 piano). The ranges and timbre assignments are preset and cannot be changed during performance.
Another timbre selection method is "velocity mapping", whereby a pair of timbres is assigned to a range of pitches. A mix of the two timbres is controlled by the force of the player's note-on actions, (e.g., at soft levels 100% timbre A and 0% timbre B, at medium levels 50/50 mixture of the two timbres, at loud levels 0% timbre A and 100% timbre B). This sort of timbre selection is subtle and difficult to control, since it is hard to reliably reproduce the same force on repeated key strokes.
SUMMARY OF THE INVENTION
It is an object of the present invention to assign an initial duration to each new note and to change the original duration of a previously sounding note upon the initiation of the next new note so as to control the articulation effect due to the overlap or space between successive notes.
It is a further object of the present invention to control the number of notes that can be sounding at the same time, automatically switching between a full polyphonic mode where many notes can sound simultaneously and a constrained melodic mode where a limited number of notes can sound at a time.
Yet another object of the present invention is to recognize and process groups of notes played simultaneously in a chord in a consolidated manner, enabling the assignment of identical musical parameters (such as duration and velocity) to each note in the chord.
A still further object of the present invention is to dynamically detect the playing style of each new note as it is played based on the time interval between successive notes, and to assign the timbre of each note depending on the playing style.
The aforesaid objects are achieved individually and in combination, and it is not intended that the present invention be construed as requiring two or more of the objects to be combined unless expressly required by the claims attached hereto.
The present invention overcomes the limitations of prior art as described above and allows greater control of articulation on any electronic musical instrument, controller, or tone generator by varying the note duration and timbre assignment in relation to the player's performing speed and a dynamically specified articulation style (degree of legato/staccato) thus producing changing amounts of overlap and detachment. According to the present invention, musical performance data, including note-on signals from a controller, is received and processed, and musical performance data, including note-on and note-off signals, is transmitted to multiple channels of a tone generator. A new note is generated for each note-on received. Each note is assigned
to one of three classes: chord, polyphonic or melodic. The classification is made by measuring the time interval between successive note-on signals (called the on/on time), i.e., the time interval between the note-on time of the new note and the note-on time of the previous note. If the measured on/on time interval is less than a predetermined threshold T1, the note is classified as a chord note. If the on/on time interval is longer than a second predetermined threshold T2 (which is greater than T1), the note is classified as a polyphonic note. If the on/on time interval is between the two threshold values, the note is classified as a melodic note and the on/on time is transmitted with the note. Each of the three note types is processed separately to generate note-on and note-off signals that are sent to the tone generator as described below.
Chord notes are treated as a group, and a single duration is calculated for all the notes in the group. Note-ons for all the chord notes are sent at one time to the tone generator, and the corresponding note-off signals are sent after a time interval equal to the calculated duration has elapsed. All chord note-ons and note-offs are sent to a designated channel on the tone generator.
Polyphonic notes are treated independently. Each polyphonic note is assigned a duration proportional to the velocity of its note-on signal. A note-on signal is sent to the tone generator and the corresponding note-off signal is transmitted after a time interval equal to the calculated duration has elapsed. All polyphonic note-ons and note-offs are sent to a designated channel on the tone generator.
Melodic notes are processed such that successive tones are connected according to a specified articulation style (legato or staccato). When staccato style is specified, melodic notes are assigned a duration equal to a fixed percentage (less than 100%) of the on/on time associated with the new note. When legato style is specified, melodic notes are assigned an initial duration proportional to the velocity of the note-on signal. A note-on signal is sent to the tone generator, and the corresponding note-off signal is sent after a time interval equal to the calculated duration has elapsed. Melodic note-ons and note-offs are sent to a designated channel on the tone generator.
The actual duration of a melodic note may be modified from the originally calculated duration, as receipt of another melodic note-on while one or more melodic notes are still sounding can reschedule note-offs. Specifically, melodic notes are subject to overlap constraints. When staccato style is specified, only one melodic note can sound at a time. If a new melodic note is performed and a previous melodic note is still sounding, the older note is immediately stopped (even if its initially calculated duration has not elapsed), and the new note-on is sent to the tone generator. With legato style, if another melodic note is still sounding and a new melodic note-on is received, the previously calc...
Music Processing System Including Device for Converting Guitar Sounds to Midi Commands2010-03-03instruments 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...
Magnetic pickup for stringed musical instrument2010-03-01coupled to the end20 to create a single polarity in the inner polepiece means 16. The outer polepiece means 17 has a remote portion 21 remote from the pole legs 19 which magnetically couple with the magnet means 15.
The magnet means 15 comprises a pair of magnets 22 and 23 which have poles of like polarity positioned in contact with opposite sides of the inner polepiece means 16. A possible repelling effect between like poles is minimized by havingsufficient thickness of the inner polepiece means 16.
The outer polepiece means 17 comprises two outer polepieces 24 and 25 on opposite sides of the coil means 14 and respectively coupled to the magnets 22 and 23. Each of the outer polepieces is less than half the thickness of the inner polepiecemeans 16 and preferably are one-fourth such thickness.
The pole legs 18 on the inner polepiece means 16 are of equal height in the illustrated embodiment and each has a distal rectangular end face 26 which is level with an end 27 of the coil means 14. However, these end faces may also have heightvariances below or above the end 27 of the coil means.
Each pole leg 19 on the outer polepiece means 17 has a rectangular distal end 28a of selected height. Each pole leg on the polepiece 24 has an individually preselected height. In the illustrated embodiment, each is a different height with polelegs common
to one of the strings 12 being the same height. The difference in heights compensates for variations in string height and other characteristics and the exact height of the legs will depend on these factors.
In another embodiment of the invention, some or all of the pole legs on the outer polepieces 24, 25 are of the same height, as illustrated in FIG. 6.
Four strings 12 are provided in the musical instrument 10. A set of the pole legs 18 and 19 is provided for each string.
As shown in FIG. 2, a close fitting plastic cap 28 encloses the structure described. The parts beneath the plastic cap 28 are potted with an epoxy resin compound 29 which holds th...
Method and apparatus for facilitating group musical interaction over a network2009-10-20/>
The real-time music creation engine generates signals representative of audible music by manipulating an input device. For example, an embodiments that provide a joystick as the input device, pulling the handle of the joystick back indicates that the user wants to play fewer notes over time in the given time signature, and pushing it forward is an indication that the user desires to play more notes over time. Similarly, pushing the handle of the joystick to the left indicates that the user wants to play notes of a lower pitch, and pushing it in the right direction is an indication that the user wants to play higher pitched notes. In a single-user embodiment, the input values are fed to a real-time music creation engine which includes at least a rhythm generator and a pitch generator. The rhythm generator and the pitch generator combine to form a series of notes that are rhythmically and melodically consonant with the background track.
When used in the context of the present invention, an analyzer module 420 extracts musical parameters from the input and transmits them over a network 400 to a remote hardware station. For example, the analyzer module 420 may simply transmit the input stream over a network 400 or it may extract the information into a more abstract form, such as "faster" or "lower."
The remote hardware station receives the transmitted emulation data and creates an approximation of the improvisation performed by the remote user by using the local real-time music creation system. The audio created by the local real-time music creation system is necessarily an approximation of the solo played by the remote player because the local real-time creation system is using the emulation data at a different point in time than the actual solo occurred. Even though this is the case, the local user hears a improvisational solo that has the same musical parameters (e.g. pitch and rhythm) as the solo created by the remote user at the remote hardware station [though delayed by the network latency].
Although the present invention has been described in the context of a two-player game, no limitation of the principles of the invention is intended, and the invention may be used with any number of players.
The present invention (including without limitation, the timer 340, and the event monitor 320) may be provided as one or more computer-readable programs embodied on or in one or more articles of manufacture. The article of manufacture may be a floppy disk, a hard disk, a CD-ROM, a flash memory card, a PROM, a RAM, a ROM, or a magnetic tape. In general, the computer-readable readable programs may be implemented in any programming language, LISP, PERL, C, C++, PROLOG, or any byte code language such as JAVA. The software programs may be stored on or in one or more articles of manufacture as object code.
Having described certain embodiments of the invention, it will now become apparent
to one of skill in the art that other embodiments incorporating th...
Channel assigning system for use in an electronic musical instrument2009-09-18channels for each musical tone part;
channel assigning means for assigning each of the plurality of musical tones directed by said directing means
to one of said plurality of musical-tone generating channels, said channel assigning means including,
first assignment control means for assigning a first of said plurality of musical tones directed by said directing means to an idle c...
Fundamental frequency variation for a musical tone generator using stored waveforms2009-09-09/>a conversion means for producing a musical tone responsive to data words read out from said waveshape memory means.
2. In a musical instrument according to claim 1 wherein said assignor means comprises assignor circuitry whereby said scaled frequency number is transferred
to one of said plurality of tone generators assigned to a corresponding detect dataword.
3. A musica...
