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Sound effects control system for musical instruments2010-03-10on 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
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.
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 ...
Electronic musical instrument2009-10-12produced. 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 s...
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