AbstractA sound effects control system for musical instruments comprises a tactile controller and a control box. The controller generates, by means of manual or other bodily manipulation, a control signal which is communicated to the control box. The control box receives an output signal from the musical instrument and modifies it in accordance with the control signal received from the controller. The modified output signal is then communicated to a traditional amplifier which produces variations in the sound effects of the musical instrument, such as volume, tremolo, reverberation, etc. The tactile controller comprises a fluid-filled lumen which, in combination with the compressible material of the controller, is collapsible in response to manual manipulation in order to generate a static pressure control signal for varying the sound effects of the musical instrument. A wide variety of controller shapes, sizes, configurations, and locations on the musical instrument are available.ClaimsWhat is claimed is:1. A sound effects control system adapted to be used in connection with a musical instrument, said instrument generating an output signal for transformation into a musical sound, the system comprising:a tactile controller mounted externally on said instrument so as to be in a raised positioned on the surface of said instrument, said controller being constructed from a compressible material which can be readily compressed by a musician through a predefined range of physical movement, said controller further comprising a fluid-filled lumen which, upon the compression of said controller, collapses in response to said pressure to define a fluid static pressure; anda control box in communication with said controller so as to receive said static pressure as a control signal, said control box receiving said output signal from said instrument and modifying it in accordance with said control signal to generate a modified output signal for varying the sound effects of said musical instrument.2. The system of claim 1, wherein said tactile controller comprises a tube that is positioned on a surface of said musical instrument and wherein said musician depresses said tube towards said surface to induce said control box to generate a modified output signal.3. The system of claim 2, wherein said lumen comprises a chamber having a first and a second end, wherein said first end of said chamber is closed and said second end of said chamber is in fluid communication with said control box.4. The system of claim 3, wherein said tactile controller has a top and a bottom surface and wherein said bottom surface is adhered to said surface of said musical instrument and wherein said upper surface of said tactile controller is rounded.5. The system of claim 4, wherein said tactile controller has a cross-sectional width of approximately 0.25 inches, a height, from said bottom surface to an uppermost point on said upper surface, of approximately 0.25 inches and wherein said lumen is a concentric circular passageway having 0.125 inches diameter.6. The system of claim 1, wherein said lumen of said tactile controller is air filled and said control box receives a pneumatic signal as said control signal. 7. The system of claim 1, wherein said tactile controller is constructed from a length of closed cell neoprene sponge which is externally coated with a urethane coating.8. The system of claim 1, wherein said musical instrument comprises an electric guitar and wherein said tactile controller is positioned on said guitar in a position where said musician can depress said tactile member while simultaneously playing the guitar without removing his or her hands from the strings of guitar.9. The system of claim 7, wherein said tactile controller is positioned on the neck of the guitar on a surface wherein said musician can depress said tactile controller with his or her thumb while simultaneously depressing the strings of the guitar on the frets on the neck of said guitar.10. A system for varying the sound signals output from a musical instrument comprising:at least one tactile controller constructed from a compressible material and defining a lumen, wherein said at least one tactile controller is compressible through a pre-determined range of physical motion which results in a corresponding change of pressure within said lumen and wherein said at least one tactile controller is configured to be mounted externally in a raised position on a surface of said musical instrument in a location wherein said musician can depress said at least one tactile controller towards said surface to thereby produce a control signal that corresponds to the change of pressure within said lumen of said at least one tactile controller, while simultaneously playing said musical instrument; anda control box which receives said control signal and also receives an output signal from said musical instrument and, in response to receiving said control signal, modifies said output signal to generate a modified output signal for varying the sound effects of said musical instrument.11. The system of claim 10, wherein said at least one tactile controller comprises a plurality of tactile controllers wherein each of said plurality of tactile controllers are configured to be mounted externally in a raised position on a plurality of surfaces of said musical instrument in locations wherein said musician can depress each of said plurality of tactile controllers towards said surface to thereby produce said control signal, while simultaneously playing said musical instrument.12. The system of claim 11 wherein said control box receives said control signal from each of said plurality of tactile controllers and uses said control signal to modify said output signal to produce said modified output signal.13. The system of claim 9, wherein said one or more tactile controllers are comprised of one or more lengths of tubing having central lumen filled with fluid wherein depression of said one or more tactile members results in a proportionate change in pressure within said lumen and wherein said proportionate change in pressure comprises said control signal.14. The system of claim 13, wherein said one or more lengths of tubing comprises a plurality of lengths of tubing and said system further comprises a manifold which receives said control signal from each of said plurality of lengths of tubing and said manifold provides said control signal to said control box.15. The system of claim 14, wherein said musical instrument comprises an electric guitar and wherein a first length of tubing of said plurality of lengths of tubing is mounted on a top surface of a neck of the guitar wherein the musician can depress said first length of tubing towards said top surface with his or her thumb of a first hand while simultaneously using his or her fingers of said first hand to depress the strings on the frets of the guitar.16. The system of claim 15, wherein said first length of tubing is sized to permit simultaneous depression of said first length of tubing and depression of said strings on the frets of the guitar over the entire length of the fret portion of the neck of the guitar.17. The system of claim 14, wherein a second length of tubing of said plurality of tubing is positioned on a surface of said guitar adjacent the location of said guitar where said musician strums said guitar so that said musician can depress said second length of tubing towards said surface with one digit while using the other digits of his or her hand to strum the guitar.18. The system of claim 14, wherein a third length of tubing of said plurality of lengths of tubing is positioned on a back side surface of said guitar so that said musician can depress said third length of tubing by compressing said third length of tubing between said back side of said guitar and said musician's body.19. A system for varying the sound signals output from a musical instrument comprising:means for producing a control signal by depression of said means from a raised position above a first surface towards said first surface of said musical instrument wherein said means includes a lumen and depression of said means towards said first surface results in a change of pressure within said lumen; andmeans for modifying an output signal of said musical instrument in response to receiving said control signal.20. The system of claim 19, wherein said means for producing a control signal comprises a tactile controller mounted externally in a raised position on a surface of said musical instrument.21. The system of claim 20, wherein said tactile controller comprises a length of tubing having a central lumen wherein depression of said length of tubing towards said surface of said musical instrument results in a change of pressure within said central lumen and wherein said control signal is reflective of said change in pressure.22. The system of claim 21, wherein said musical instrument comprises an electric guitar and said length of tubing is positioned on the neck of said guitar.23. The system of claim 19, wherein said means for modifying an output signal comprises a control box which receives an output signal from said musical instrument and said control signal.24. A method of varying the sound signals output from a musical instrument comprising the steps of:positioning a tactile member having a lumen on a first surface of a musical instrument so that an upper surface of said tactile member is raised above said first surface;depressing said tactile member towards said first surface so that a change of pressure within said lumen occurs and so that said tactile member produces a control signal that corresponds to said change of pressure within said lumen; andmodifying an output signal produced by said musical instrument based upon said control signal.25. The method of claim 24, wherein the positioning step comprises positioning a length of tubing having a fluid filled lumen on a musical instrument in a position where a musician can depress said length of tubing, and thereby affect the pressure of said fluid within said lumen, while simultaneously playing said musical instrument.26. The method of claim 25, wherein the positioning step comprises positioning said length of tubing on a neck of an electric guitar.27. The method of claim 26, further comprising the step of determining the change in pressure within the lumen as a result of the depression step.28. The method of claim 27, wherein the modifying step comprises increasing the volume of the sound signal produced by the musical instrument proportionately to the change in pressure within the lumen as a result of the depression step.DescriptionFIELD OF THE INVENTIONThe present invention relates to a control system for controlling the sound and musical effects of musical instruments, and, more particularly, to a control system for controlling volume, tremolo, reverberation, and other musical effects of an electrical guitar or other musical instrument without requiring the musician to remove either hand from the keyboard, the accuracy of such control system being enhanced by a sensitive tactile controller.BACKGROUND OF THE INVENTIONIn modern music, a wide range of natural and synthesized musical sound effects is available. Moreover, there is a growing demand for new and variable sound effects which can be easily and quickly achieved from a single musical instrument. For example, musicians are also desirous of being able to adjust the volume, vibration, reverberation, and other sound effects possible with modern instruments. Although many such sound effects are available now, it is generally necessary to interrupt the musical piece in order to make any adjustment in such effects. In the case of an electrical guitar, for example, the playing of which requires two hands, either the fretting hand (i.e., the hand which forms the chords on the frets located on the neck of the instrument) or the strumming hand must be removed from the guitar in order to make adjustments in volume, etc. This interruption in play disrupts the continuity of the musical piece being performed.In the case of the guitar, this problem has been addressed, in part, by the use of foot pedals which allow the guitarist to continue performing the musical piece without interruption while making adjustments in sound effects with the foot pedals. However, this arrangement has the disadvantage of requiring the musician to be tied to the particular location of the foot pedals, thus inhibiting a range of motion on the stage or other performing area. Other devices which have attempted to address this problem have not adequately met the needs of the musician by failing to provide an adequate range of sensitivity for a...
Abstract textThis invention relates to an assessment tool for use in musical therapy comprising: (a) at least one patient record stored within the assessment tool; (b) at least one field or datum within the patient record; (c) a security scheme that either permits or denies authorization a user to view and/or edit each field or datum within each patient record; and optionally, (d) a plurality of users of the assessment tool each with a unique identification. This invention also relates to combining the above embodiments with a computer to store the patient records, and the security scheme. This above tool may also be connected to a network, including the internet, via the computer element.Claims1. An assessment tool for use in musical therapy comprising:(a) at least one patient record stored within the assessment tool;(b) at least one field or datum within the patient record; and(c) a security scheme that either permits or denies authorization a user to view and/or edit each field or datum within each patient record. 2. The assessment tool of claim 1, further comprising a plurality of users of the assessment tool each with a unique identification. 3. The assessment tool of claim 2, wherein a computer is used to store at least one patient record. 4. The assessment tool of claim 2, wherein a computer is used to implement the security scheme. 5. The assessment tool of claim 4, wherein the security scheme either permits or denies authorization to view each field or datum within each patient record for each user. 6. The assessment tool of claim 4, wherein the security scheme either permits or denies authorization to edit each field or datum within each patient record for each user. 7. The assessment tool of claim 3, wherein the computer is connected to a network comprising at least one other computer. 8. The assessment tool of claim 4, wherein the computer is connected to a network comprising at least one other computer. 9. The assessment tool of claim 7, wherein the network is the internet. 10. The assessment tool of claim 8, wherein the network is the internet. 11. The assessment tool of claim 3, wherein at least one field or datum stored comprises an audio recording. 12. The assessment tool of claim 3, wherein at least one field or datum stored comprises a video recording. 13. The assessment tool of claim 2, wherein at least one field or datum stored is an evaluation of a patient on a scale of clinical evaluation. 14. The assessment tool of claim 13, wherein the scale of clinical evaluation is the Western Aphasia Battery. 15. The assessment tool of claim 13, wherein the scale of clinical evaluation is the Test of Adolescent/Adult Word Finding.Description[0001]This application claims benefit of U.S. Provisional Ser. No. 61/036,645 filed Mar. 14, 2008, the entire disclosure of which is hereby incorporated by reference. BACKGROUND OF THE INVENTION [0002]Music therapy is a health care profession that serves a variety of clinical populations, including patients with psychological, psychiatric, neurological, developmental, rehabilitative and other medical conditions. In the U.S., music therapists are licensed and board-certified. Music therapists have standardized training and qualifications. However, music therapists lack a standardized assessment tool to measure the progress of their patients. The lack of such a tool hampers their ability to gather clinical progress data easily and employ it for outcome-oriented research. To make such a tool available especially in an online computerized form would make it even more useful for patient monitoring and research purposes. [0003]There is a need for a novel assessment tool for music therapists who work with patients suffering from neurological and psychological disabilities. The development of such a tool could help to advance the delivery of music therapy services as part of comprehensive care in the U.S. and around the world, particularly in the area of clinical care of physically and psychologically disabled people of all ages. Such a tool will advance the use and effectiveness of music therapy and thereby improve the function of people with neurological disorders such as stroke, Parkinson's disease, and dementia. SUMMARY OF THE INVENTION [0004]The invention described herein is an assessment tool for use in musical therapy comprising [0005](a) at least one patient record stored within the assessment tool; [0006](b) at least one field or datum within the patient record; [0007](c) a security scheme that either permits or denies authorization a user to view and/or edit each field or datum within each patient record; and optionally, [0008](d) a plurality of users of the assessment tool each with a unique identification. [0009]Another embodiment of the invention combines either of the above embodiments with a computer to store the patient records, and the security scheme. [0010]Another embodiment further limits the above embodiment wherein the computer is connected to a network comprising at least one other computer, including the internet. DETAILED DESCRIPTION OF THE INVENTION [0011]Here we present the invention of a novel assessment tool for music therapists who work with patients suffering from neurological and psychological disabilities. The assessment tool described herein allows music therapists to measure the progress of their patients. The assessment tool also allows for consistent record keeping of initial patient assessments and ongoing treatment evaluations of music therapy patients. Additionally, the assessment tool serves as a repository for information and data collected during the course of treatment for an individual patient or for a group of patients. Furthermore, the assessment tool also allows music therapists to share data collected in the evaluation and treatment of their patients with other therapists and researchers. [0012]The tool allows the therapist to share access to patients' records with nearly any person while maintaining a desired level of patient privacy. Such privacy is tailored to the recipient of patient's records. The access to patient records is based on the authority level of the user and his relationship to the particular patient. The tool permits access based on the authority level of the user of the tool, providing particular types of information to a given user while also protecting particular types of data and information from that user. The tool also only permits authorized users to enter and edit data. The tool can share patient information with therapists, administrators and researchers yet maintain patient privacy, especially as required by the Health Insurance Portability and Accountability Act of 1996. Patient Data [0013]Music therapists use a variety of methods to observe and evaluate their patients. Such methods include but are not limited to clinic evaluations using scales, recorded informal clinic observations, recorded case studies prepared by therapists, audio recordings of sounds, speech and musi...
The Boss VT-1 was always my fave.---------------------------------------------------------"At the evening sermon tonight, the sermon top will be; "What is HELL?".ome early to listen to ourhoir prte".One of my favorites is the Roland S-350. Another is this oneThe brain behind the infiltrator is our most eellent janitor Dr. Juste.I bought the Roland VP 550 yesterday as a replement for the Roland VP 330 and the Korg -10.Aharity Pantomime in aid of Paranoid hizophrens deended intohaos yesterday when someone shouted, "He's behind you!" Mus at MySpe and Virb - the mam vf11 (also marketed as next, and perhaps so...
The firstoert for 'The Memphis Tour' was spotted on the Oz Tketmaster site yesterday. Mah 1 at The Palais in Melbourne. Quote:The firstoert for 'The Memphis Tour' was spotted on the Oz Tketmaster site yesterday. Mah 1 at The Palais in Melbourne. Another Ardent field tr might be needed! Elizabeth Montgomery wrote:Quote:The firstoert for 'The Memphis Tour' was spotted on the Oz Tketmaster site yesterday. Mah 1 at The Palais in Melbourne. Another Ardent field tr might be needed! ABSOLUTELY Elizabeth!! I put that suggestion in John Fry's thread _________________Hi Elizabeth, We'll save a ple for you all in The 'Soul Lounge'. Start pking!'SOUL LOUNGE DETAILS:A Soul Lounge pass ilud...
An electronic musical instrument comprising a host processor (10), process/engine interface (12) and sound engine (14) the latter utilizing partial control chip modules (32, 34) and a data path chip module (36) to effect multiple partial (Fourier) synthesis, in conjunction with a sound modelling technique, to generate up to 240 independent partials and impress time-varying amplitude envelopes on them and select and apply them to sound generation, each partial being controlled by selected parameters of frequency, amplitude, phase and attack/decay rate. A modulo-sumdither and oversampling approach to noise reduction is utilized in connection with the data path chip arrangement. Log sine addition is utilized to avoid multiplication apparatus ordinarily required to combine sine wave defining parameters.ClaimsWhat is claimed is:1. Electronic musical instrument comprising in combination:means defining a digitized waveform for utilization with multiple input parameter selections,means for making parameter selections via a user interface to generate digital inputs,means for generating logarithms of multiple parameters, adding the same and converting the sum to antilog equivalent and feeding back on itself to produce a sample sum and,means for applying the sample to output device and further comprising:means for modulating the sample sum by clipping the bit length of each digital word thereof by clip rounding off the most significant bits, from an original n bit length, and further reducing into p bit length usable as a data unit bytruncate-elimination of the most significant p bits of n.DescriptionBACKGROUND OF THE INVENTIONThe present invention relates to electronic means for music generation and more particularly has as its object the provision of such instrument with a sound engine comprising an architecture enabling the application of thousands of stored unitsof music digital data to rapid production of analog speaker-driving forms, utilizing practical solid state circuit means.The invention is described below with reference to electronic piano usage, but is also usable in a number of other electronic musical instrument roles to provide, singly or combined, the sounds of a variety of instrument, elements of human voiceand other sound sources and in analogous instrument contexts not involving music or voice, but involving comparably varying waveform data.Multiple Partial (Fourier) Synthesis is a technique well known in engineering practice. Any arbitrary periodic waveform (e.g., musical instruments' sound) may be reproduced by summing up a series of sine waves of appropriately determinedfrequencies, amplitudes, and relative phases. This technique allows great flexibility, much more so than subtractive synthesis (which starts out with a complex waveform and filters out unwanted spectral content) or wave-table synthesis (which can onlyreproduce whatever is in the table).
It is the object of the present invention to establish effective instrumentation using Fourier synthesis.SUMMARY OF THE INVENTIONThe musical apparatus of the invention inputs a stream of digital signals which represent a sequence of audio notes to be ultimately produced. The apparatus creates a sequential list of partials and impresses time-varying amplitude envelopes onthem, such that the sequential list completely characterizes the desired audio signal. A multiple partial synthesis, sometimes referred to as a Fourier Synthesis, is formed.Each partial from the sequential list is digitally generated by stepping through a ROM containing a single cycle forming the frequency of that partial and combining it with the amplitude envelope for that partial resulting in a signal with thedesired frequency, amplitude, duration and attack and decay rates. All the partials are summed into a digital data stream which is converted to an analog form, filtered and made available for use, for example by an audio amplifier and speakers producingsound.With reference to the preferred embodiment a sine wave is digitally stored and sensed at an appropriate rate of change of phase angle per sample frequency of a given partial. The phase angle determines the next value selected from the storedsine wave so that changing the rate of change of the phase angle changes the resulting frequency. The stored amplitude is scanned synchronously with the sine wave scanning in a pipe line design ensuring the proper time relationship between the two. Since a partial is a waveform multiplied by an amplitude, both are stored in log form, then added and the anti-log generated forming the resultant partial as a digital stream of signals.The technique has many useful properties. One is that the quality of a given sound increases as more partials are used to represent it. Another is that partials are controlled independently of one another. This feature allows less importantpartials to be "stolen" from notes already sounding, and used to form new notes. Taken together, these two properties allow both the ability to play many complex timbres simultaneously, as well as allowing enhanced quality for notes played singly or insome instances against a demanding background of silence. This is in contrast to many commercially available synthesizers, which allow only a limited number of voices. The latter force entire previously played notes to be silenced as more notes areplayed (e.g., a 10-note chord played on an 8-voice synthesizer).Additionally, multiple partial synthesis can be used with sound modelling data stored in one or more read only memories to lower the cost of extra installed voices, because of the greatly reduced storage requirements that go withpartials-synthesis. One second of waveform table as in conventional wave table storage may be tens of Kilobytes, whereas the information that describes a sound and the 10 to 50 partials needed to synthesize the same sound with the present inventionwould be smaller by a factor of up to 20. Similarly, having several voices available at once for a keyboard split or orchestral effect is much less expensive.The sound model data comprises, in accordance with the invention, the amplitude envelope for each partial as a series of exponential "segments" stored in ROM. Segments have the properties of duration (time) and rate/direction of change(attack/decay). During each segment, the amplitude of a given partial increases or decreases exponentially at a fixed rate maintained by the hardware of what is described herein as a sound engine. Thus, all the processor of such engine has to do isupdate the rate of change of amplitude for each partial after the apropriate duration, starting the next segment.The invention allows maintenance of a far greater number of accurate models for sounds available at all times compared to prior art capability. A digital model of the sound generation process is calculated in real time, as opposed to playing outa sample table. Each note on each pitch of each voice can be modeled separately, to any required accuracy, if so desired.The "engine" comprises the hardware in VLSI and or TTL and/or other integrated and modular versions to synthesize, control, and sum up a number of sine waves. It can generate (in a typical configuration) up to 240 independent partials, andadditionally can impress time-varying amplitude envelopes upon them. These partials can be put together in any combination, producing 10 different sounds that each require 24 partials, one sound of 236 partials and 2 sounds of 118, or any otherarbitrary combination.Each partial is controlled by four parameters: frequency, amplitude, phase, and attack/decay rate. All these parameters are made available to the programmer, and are described in detail below.Generation of each partial is handled by stepping a pointer through a ROM containing a quarter cycle of a sine wave. This pointer is maintained automatically for each partial by one of two partial control chips, each of which contains storagefor 240 16-bit phase pointers and 240 16-bit frequency control values (one of each per partial). Each partial's phase pointer is incremented by the frequency control value one per sample cycle, and the resulting new pointer is handed to a data path chip(DPC) for processing. Thus, the larger the frequency constant, the fewer cycles required to step through the sine wave ROM and the higher the resultant frequency.Amplitude envelope generation is handled in a VLSI version of the invention by a partial control chip (PPC). The PCC contains RAM arrays for the 240 current amplitude values and the 240 attack/decay increments. Values for the current amplitudeof each partial are derived in a similar manner to that used for the phase pointers, and handed to the DPC for processing.The DPC takes in the phase and amplitude values in a pipelined stream, and uses the phase pointer to look up the value of the sine wave for that partial (stored in an internal sine wave ROM table herein). It then scales the value of the sine forthat partial by the amplitude value (functionally performing a multiplication). It also accumulates all 240 partials into the final output sample, and provides stable data to a digital to analog converter for conversion via its sample bus.A host processor maintains control over all this by creating and maintaining a model of the sound desired, and modifying the frequency, attack/decay rate, amplitude, and phase of each partial required, all in real time.The use of phase angle and frequency information in address form facilitates generating log-sine functions through a look-up table (avoiding use of logarithmic conversion circuitry of analog or digital form and providing an inherently fast, cleansource of the data). Relevant prior art includes the article of Snell, "Design of Digital Oscillator Which Will Generate Up To 256 Low Distortion Sine Waves In Real Time," Computer Music Journal, pp. 4-25 (April, 1977). Snell provides--in electronicmusical instrument context--slope and data phase angle RAM's which yield digital information, an adder thereof, a phase angle RAM determining stored sine wave scan parameters, addition of the phase and slope/delta phase, all with feedback essentially asdescribed for corresponding components of the present instrument. Also, Snell provides a sine wave look up table (but not log-sine information).Amplitude information is multiplied by the sine wave information--rather than providing an adding of logs as taught herein. The product of such multiplication comprises the partials information which is used (typically as 28 bit words) for latertruncation (to 16 bit words) and then provision to a holding register, DAC's and music output elements. There is no correction or accuracy enhancement of the rounding.Parks, "Hardware Design Of A Digital Synthesizer," Computer Music Journal, pp. 44-16 (Spring, 1983), shows usage of a log look-up table for sine wave frequency (in effect, phase angle as well) information and the resultant elimination ofmultiplier circuits. The system context of Parks is a pipelined architecture differing from the system context of the present invention.The present invention is also characterized by the above described dedicated logic of the sound engine. This affords separation of engine functions from other musical instrument functions and minimizes timing, hardware and software constraintsof multi-use logic/RAM elements.Other objects, features, and advantages will be apparent from the following detailed description of preferred embodiments thereof taken in conjunction with the accompanying drawing, in which: BRIEF DESCRIPTION OF THE DRAWINGFIG. 1 is a block diagram representation of a preferred embodiment of the invention preferably of VLSI construction;FIGS. 2-4 and 6-9 are similar block diagrams of component portions of the FIG. 1 apparatus--respectively, data path chip (2), data path chip (3), log sine generator (4), inverse log generator (6), modulo-sum-dither (7-8), and pitch processor (9);including pitch-processor system schematic diagrams of hardware arrangement and multi-bit structure for a pitch value (8a, 8b, respectively).FIG. 5 is a sine-wave graph form showing normalized sine values-phase angle correlation utilized in connection with the FIG. 4/6 components.FIGS. 10-14 show a TTL hardware-simplified embodiment, incorporating complex system approaches to enable hardware simplification consistent with performance values. DETAILED DESCRIPTION OF PREFERRED EMBODIMENTSFIG. 1 shows in block diagram form, the apparatus of a preferred embodiment of the invention. Such apparatus comprises a the host processor 10 which handles input signals representing one or more selected parameters (such as notes being played)from a keyboard port 16, front panel port 18, and/or the musical instrument digital interface (MIDI) link 20, and creates a list of notes. The apparatus then processes these notes using information contained in an internal sound modelling ROM 12 (whichmay be supplemented by one or more external complementary ROM(s) 30 of the same type), to produce the list of partials required to produce the sounds requested by the player. These partials are then allocated from an available pool of 240. Amplitudeenvelopes are also produced by the host processor 10 according to the list of envelope segments also contained in ROM 22 (or 30). Durations for each segment are timed by an event timer module 24 and attack/decay rates are handled automatically by theengine 14, for the duration of each note. By judicious use of this automatic envelope generation feature, host processor 10 overhead can be minimized. At the end of the note, all partials are returned to the pool.The host processor 10 directly controls three memory arrays. These are the program ROM 26, the sound modelling ROM 22, and scratchpad RAM 28 which provide for multiply, typically 7-8 basic voices (e.g., a grand piano, Rhodes, B3, and otherinstruments). The additional sound modelling ROM(s) 30 can be added in interchangeable modules, allowing additional voices for the instrument.Scratchpad RAM 28 is divided up into two parts: a ...
h4>AbstractIn an electronic musical instrument, playing data are produced by depressing a key in a keyboard, and divided into plural groups. At least one of the semi-automatic playing channels processes sound data of a musical piece read out of a memory to generate musical tones in synchronism with the playing data of at least one group. The sound data may be corrected according to sound correcting data before being used to generate musical tones.ClaimsWhat is claimed is:1. An electronic musical instrument comprising:playing data generating means for production of playing data in response to an action on a playing controller;musical piece data memory means for storing musical piece data comprising a series of musical sound data units;separating means for dividing the playing data into a plurality of groups according to a predetermined reference; andat least one semi-automatic playing means responsive to each said production of playing data in at least one of the plurality of groups, for reading a sequence of sound data units of the musical piece data out of the musical piece data memory means, said sound data units which are read out being determined by the group that the playing data belongs to, and for generating musical tones on the basis of said sound data units which are read out in synchronism with the production of playing data.2. An electronic musical instrument according to claim 1, wherein the musical piece data includes at least one of a melody part and an accompaniment part of a musical piece.3....
The CDs out there have a pristine sound, but records provide a better sound. Younger kids like the cover art on the records as well, according to James Patterson, age 17, who doesn't even remember when they LPs were popular in the past. He found some old LPs up in the attic at his grandparents home by the Beatles and the Rolling Stones, then his uncle grabbed him a player on eBay and he know displays it in his room.Replica turntable systems are available from various manufacturers. They look like the past machines but have today's technology used in them. A few top manufacturers include Memorex, jWin, Teac, and Crosley. Various functions are included, which includes USB connections, stacking up multiple LPs, and even recording from the LPs to CD as well.Raman of Classic Buys says that Nostalgia turntables are among the best seller audio electronics during gift giving Christmas season. Nostalgia turntables from popular brands like Crosley, Teac, Memorex and Thomas Pacconi are the top picks.Shoppers are looking for the best brands and great features when they purchase audio turntables today according to The Magma Group president. They prefer to go with systems that are four in one, playing the radio, cassettes, records, and CDs. Usually top brancs like Teac and Crosley are purchased. They look for great features such as the Stack-O-Matic, recording to CDs, and more. With the CD recorder you are able to record to CDs from the LP and with the Stack-O-Matic you can stack several records and then play them, similar to using a CD changer that plays multiple CDs.According ...
its very ne, but I want to get some new sounds. All I was wondering is if its possible to get new sounds on it if I got midi-> and bk. If someone know how to get new sounds and sh, or if you just know a few things about the korg, please add me on msn: Kelvinsollihogda@hotmailom, or just Hard at work in the Peruvian Amazon, Skeetaz are buzzing freely, yanking aural synthet inspiration from the lal animalia kingdom and integrating them dirtly into their beetle-poweredommodore 64s. The long hours, sweat,onstant rain, and lyme disease have lended immensely to the pshedel zonked-out basslines and wood-sprite hop-jobs that emit aurally from t...
Ionfessed a long time ago eltro-musomartle.php?t=225I guess in the pture there is a zoom H2 and beyer-dynam headphoneshomepage - - myspe - virb - berkleemusQuote:Stolen? What more?? has the pre of heroin gone up in Norway rently?! ---------------------------------------------------------"At the evening sermon tonight, the sermon top will be; "What is HELL?".ome early to listen to ourhoir prte". Has the pre of heroin gone up in Norway rently?! This image has been reded to fit the page.lk on it to enlarge.Stolen? What more?? has the pre of heroin gone up in Norw...
Please support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.Display from previous: All 1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Youannot new tops in this forumYouannot reply to tops in this forumYouannot edit your in this forumYouannot delete your in this forumYouannot vote in polls in this forumYouannot atth files in this forumYouan download files in this forumPlease support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.Display from previous: All 1 Day7...
