They_tags
Keyboard device of electronic musical instrument2010-03-20 00:00:00When the key 110 is struck against the biasing force of the return spring 125, an actuator 126 integrally formed with the key 110 actuates a key switch 127 fixed on the lower surface of the keyboard frame 100, thereby electrically generating a tone corresponding to this key 110.
A spring seat wall 128 is integrally formed with an inner side wall portion in the vicinity of the back end portion of the key 110. The back end of the return spring 125 is stopped by the wall 128. The front end of the return spring 125 is stopped by a stopper portion 129 formed on the upper surface of the keyboard frame 100. The return spring 125 comprises a leaf spring obtained by punching a metal plate having a proper thickness. The return spring 125 is buckled between the key 110 and the keyboard frame 100. Therefore, the return spring 125 is buckled in an arcuated shape, as shown in FIG. 13. The biasing force of the spring 125 acts on the key 110 clockwise and backward. Reference numeral 131 denotes a key guide integrally formed with the front end of the keyboard frame 100 to regulate the lateral movement of the key 110; and 132, an inertia weight mounted through a gasket 133 on the lower surface of the front end portion of the key 110 so as to obtain the same key touch as in the conventional, mechanical piano.
In the keyboard device having the construction described above, the support shaft 112 supports the corresponding key 110, so that the key can be stably and smoothly struck. In addition, the support shaft 112 is mounted in each key 110 and is held by the engaging portions 117 of the holding member 113. Therefore, when the engaging portions 114A and 114B are respectively disengaged from the corresponding engaging portions 117 of the holding member 113, the corresponding key 110 can be removed from the holding member 113 independently of other keys, thereby achieving one-to-one correspondence between the keys and the support shafts. In addition to this advantage, the support shaft 112 can be easily removed from or mounted in the corresponding key 110 and the holding member 113. The key 110 is biased backward by the return spring 125, as described above, so that the support shaft 112 will not be separated from the holding member 113 during normal musical performance, thereby providing stable striking operation of the keys. The walls 115A, 115B, 115C, . . . have a function for preventing the keys 110 from being laterally moved.
FIG. 15 shows an eleventh embodiment of the present invention. Engaging portions 114A and 114B are formed at two ends of a support shaft 112. The engaging portions 114A and 114B comprise radially elongated grooves. Engaging portions 117 which comprise linear projections are integrally formed on side surfaces of each of support walls 115A, 115B, . . . of a support shaft holding member 113 and correspond to the engaging portions 114A and 114B, respectively. In this case, a distance l1 between the engaging portions 114A and 114B is substantially the same as a width L of the back end portion of the key 110 and is slightly shorter than a distance L1 between the corresponding pair of engaging portions 117. An overall length L2 of the support shaft 112 is slightly shorter than a distance L3 between the adjacent support walls 115A and 115B.
FIG. 16 shows a twelfth embodiment of the present invention. A support shaft holding member 113 comprises a plurality of bent portions 150a, 150b, 150c, . . . of a keyboard frame 100. Engaging portions 114A and 114B which comprise linear projections are respectively formed on two end faces of a support shaft 112. Engaging portions 117 which comprise elongated grooves are formed in the bent portions 150a, 150b, 150c, . . . , respectively. In this case, the support shaft holding member 113 can be integrally formed with the keyboard frame 100, so that the number of component parts can be decreased, thereby further improving assembly operation.
In each of the tenth, eleventh and twelfth embodiments described above, the engaging portions 114A and 114B and the engaging portions 117 are horizontally formed. However, the engaging portions are not limited to this configuration.
They can be vertically formed to obtain the same effect as in the above embodiments.
As shown in FIG. 16, the bent portions 150b and 150c are adjacent to each other. However, one bent portion can be c...
Sound effects control system for musical instruments2010-03-10 00:00:00AbstractA 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.Claims<br /><br />What is claimed is:<br /><br />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:<br /><br />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; and<br /><br />a 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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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. <br /><br />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.<br /><br />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.<br /><br />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.<br /><br />10. A system for varying the sound signals output from a musical instrument comprising:<br /><br />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; and<br /><br />a 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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />19. A system for varying the sound signals output from a musical instrument comprising:<br /><br />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; and<br /><br />means for modifying an output signal of said musical instrument in response to receiving said control signal.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />24. A method of varying the sound signals output from a musical instrument comprising the steps of:<br /><br />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;<br /><br />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 wit...
Electronic musical instrument2009-10-12 00:00:00a pointer through a ROM containing a single quarter-cycle of a sine wave. This pointer is maintained automatically for each partial by PCC 32 which will hereafter be referred to as the Phase PCC. Itcontains RAM arrays which accomodate the 240 16-bit phase pointers and the 240 16-bit frequency control values. Each partial's phase pointer is incremented by the frequency control value once per sample cycle, and the resulting new pointer is handled tothe DPC for processing. A pointer is used to facilitate a table look up in the DPC as noted below. 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 by PCC #2, i.e. item 34, also referred to as the Amplitude PCC. The Amplitude PCC 34 contains RAM arrays for the 240 current amplitude values and the 240 attack/decay increments. Values for the currentamplitude of each partial are derived in a similar manner to that used for the phase pointers, and handed to the DPC for processing.
The DPC 36 takes in the phase and amplitude values, and performs the sine wave lookup and scaling functions on each partial. It also accumulates the final output sample, and provides stable data to the DAC 38 for conversion via its sample bus.
FIG. 2 shows a PCC chip in detail. Each PCC 32, 34 has as input the bidirectional engine data bus 44, the buffered host processor address bus 46 (see FIG. 1), and the interface control signals 48 (including interface handshaking and globalsynch) and address bus 48A. The master/slave pin 45 allows the PCC to be tailored for the different jobs when master Phase PCC and when slave Amplitude PCC. Each contains two times 240 (i.e. 480) 16-bit words of RAM (58, 60) address multiplexing 54 anddecoding logic 56, a 16-bit adder 66, a programmable arithmetic clipper network 68 at the adder's output and control logic 62.
They also contain a partial (sync address counter) section 52, used to maintain synchronization between both PCCs and the DPC.
When in the master mode the PCC functions as the wave generator by enabling the RAM 58 to contain the frequency data, and RAM 60 to contain the phase data. Correspondingly in the slave mode RAM 58 contains the attack/decay, and RAM 60 theamplitude information. The arithmetic clipper is allowed to wrap around when overflowing or underflowing during wave generation since wave generation is cyclical containing positive and negative values. However, during amplitude generation the clipper68 is constrained to stop at its maximum count (FFFF in hex notation) and at its minimum count (0000 in hex notation) The DPC 38 is responsible for taking in the phase and amplitude information generated for each partial by the PCCs, performing the sinewave lookup and scaling required, accumulating the final sixteen-bit sample, and presenting it to the DAC 38. It inputs the data from PCC 32 and PCC 34 bus and a SYNC signal from PCC 32 which synchronizes the engine 14, and produces a data resultcontaining all the audio information desired by the player. Due to the nature of the processing that it performs, it is a highly pipelined configuration.
Normally, the process of scaling a given partial value by an amplitude value requires a multiplication. However, due to the cost and complexity of performing a fast sixteen bit by sixteen bit multiplication these operations occur in the log-basetwo domain. Here, the multiply becomes an add, followed by a lookup in an antilog table. The data provided by the Amplitude PCC 34 is also in the log-base two domain, which yields piec...
20: The Younger Generation Enjoys The Rich Sound Of Vinyl On The New Audio Turntables
2009-08-29 00:00:00systems 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...
lyme disease have lended 2009-08-15 00:00:00its 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...
on improvement Edit:Also, what is a2009-05-06 00:00:00 I am looking for suggestions on improvement.Edit:Also, what is a G2 pah?<br>Won't tell you how to improve (that's your job ) just that I like the trk you ed, thanks!<br>I'm glad that you enjoyed my warped sense of humor, it was intended to get a laugh or two. Iannotomment from an expert's persptive sie I am so inexperieed at mus generally, but for my taste the song is slow and loses my attention. It's kind of long and it's a good light jam for relaxing if that's ...
the A6 in the beginning2009-05-05 00:00:00forum who has started painting the 14" jks on his MOTM DIY synth, and ed ptures of them under the "ptures of yourGS panels" thread in the Ken Stone sub-forum.
They look fantast.What I'd really love ...
Hardware and2009-05-05 00:00:00 Forum index » DIY Hardware and Software<br>Powered by phpBB opy; 2001, 2005 phpBB Grouopyright opy; 2003, 2004, 2005, 2006 and 2007 by eltro-musom<br>The Synergy ProjtJoined: May 01, 2007: 6Lation: London - UK<br>really looking forward to this one.so glad Vibesquad is finally in the UK, for those who dont know,hk this guy out myspeomvibesquadhappy days<br>TheGrinJoined: Aug 17, 2008: 3Lation: Brighton<br>Future Mus this Friday!book early to avoid disappointment @ futuremuseventsom<br>Display from previous: All 1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First <br>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 forum<br>Please support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.<br>oust InterloperJoined: Jul 07, 2007: 730Lation: Berksounty, PAAudio files: 6<br>Is this even feasible withurrent thnology? Latey in a soundard driver is nothing inomparis...
youan improvise over the net2009-05-05 00:00:00 I don't see how youan improvise over the net without making latey part of theompositional strture. <br>pshonautJoined: Aug 18, 2008: 4Lation: Medford, New Jersey<br>all of these ideas seem to be getting somewhere. The delay softwareould beool, but we obviously have to figure out what it isalled and extly how it works before itan beonsidered. I think my original idea to use the same midilk is totally out of the water, but I like the progressive idea with everyone playing on their interval... thatould be a good way to get started and wor...
gonnaharge you for the priviledge2009-05-05 00:00:00Ule KrunkusModeratorJoined: Jul 11, 2005: 3366Lation: Nambca Heads, AustraliaAudio files: 27G2 pah files: 1<br>1. I haven'thked the sps, but I'd gaurantee that the Voyager is not a repla of 40 year oldiuits. No one would want it to be either, as those old synths did many great things, but stay in tune was not one of them! 2. All analogue synths are notreated equal, so it's very hard to say how mh building your own willost. If you bought enough kits from, say, PAIA to get a similarompone...
