EP1336173B1 - Array or equipment for composing - Google Patents

Abstract

The invention relates to a novel array or piece of equipment (100) for providing assistance while composing musical compositions at least by means of acoustic reproduction during and/or after composing musical compositions or the like which are played on virtual musical instruments, preferably in a light music ensemble. Said array or piece of equipment comprises a composing computer (100) having at least one processor unit (4), at least one sequencer (5) that is data-flow connected to the latter and at least one sound sample library storage unit (6b) that is data-flow and data-exchange connected to at least said units (4, 5). In order to manage the sound samples (61) stored in the above-mentioned storage unit (6b), a bidirectional sound parameter storage unit (6a) is provided, which is bidirectionally or multidirectionally data-flow and data-exchange connected at least to the processor unit (4) and to the sequencer (5). Each of the sound samples (61) stored in the sound sample storage unit are assigned to said bidirectional sound parameter storage unit, which contains sound definition parameters enabling access to sound samples (61).

Description

The invention relates to a new arrangement or system for, for example by acoustic playback during and / or after creating a musical Composition supported, composing on, preferably a plurality of - real Musical instruments corresponding and their tones or sounds ready - virtual Musical instruments, preferably in an ensemble formation, e.g. in chamber music, Orchestral formation or the like, playable and reproducible sounds, Sound sequences, sound clusters, sounds, sound sequences, sound phrases, pieces of music, compositions or the like. as well as for acoustic, score or other reproduction thereof.

Among the background of the prior art in this field concerned Pamphlets must be executed as follows:

EP 0899 892 A2 describes a proprietary extension to the known ATRAC Data reduction method as described e.g. is used on MiniDisks. This font is no more than that the invention described there - like many others - has to deal with digitally processed audio.

US 5,886,274 A describes a proprietary extension to the well-known MIDI standard, which allows sequencer data, that is, play parameters of a piece of music, and connect sound data such that a platform independent Equality of the played piece is ensured. First and foremost, this is about one the most consistent distribution of MIDI and metadata over the Internet.

There is a data-like interweaving of playback and sound parameters intended. The sound production is conventional in their approach, to which Fig. 1: The output devices are only target, not source in the Flow chart. A substantive feedback from the synthesizer to the sequencer is not possible.

DE 26 43 490 describes a - today technically already much similar realized or much further developed - method for computer-aided music notation; the Of course, computer-based notation is a necessary feature, however, there is limited to the three meters 4/4, 3/4 or 2/4 (see Fig. 4 center).

US 5,728,960 A describes the problems and possibilities of realization Computer-aided notation and transformation, v.a. with regard contemporary rehearsal and performance practice. It will be "virtual sheet music" in Created real time. In "Conductor Mode" is on the possibility of a processor-based Processing of a video-recorded conductor in the blue box conceived, to which Fig. 9 to refer. There is no reference to a virtual / synthetic there Realization from an intelligently linked sound database.

US 5,783,767 A describes the computer-aided transformation of Control data of a melodic input to a harmonic output - possibly acts it is an automatic accompaniment based logic, but there is no bidirectional link between musical / compositional input and tonal Result provided or at least thought. This is particularly evident in the Entry "Easy Play Software" in Fig. 15 out.

Introducing the facts underlying the present invention is preliminary following executed:

It is one of the main concerns of the invention, despite sinking budgets, the Production of high-quality, especially symphonically oriented compositions, ie especially soundtracks for films, videos, advertising or the like, or contemporary To enable music.

Recordings with real orchestras for which costs of e.g. between ATS 350,000, - and 750,000, - are due to the music budgets for Austrian or other national film productions in the range of ATS 100,000, - to ATS 250,000, - have not been possible before. That's why this is on this Area for several years mostly with the sampling MIDI ("Musical Instruments Digital Interface) technology worked. Thus, for virtual orchestral compositions, e.g. the so called "Miroslav Vitous Library". This "library" consisting of 5 CDs, is in itself the most extensive and at the same time most expensive, present on the market "Orchestra Sound Library". It offers 20 different instruments or Instrument groups in an average of five varieties per instrument. The achieved with it Results are quite convincing when composing limited possibilities of this the library adapts. From the perspective of an artist it is but unsatisfactory, the very limited scope of the available English: www.wow-europe.com/en/community/spo...i/index.html unrestricted implementation of compositional ideas leads to today's Usually available only to more or less unsatisfactory Results.

The above-mentioned budget problems, as relevant experiences have shown have, by no means Austria-specific character. Even with a majority of International film productions are now compulsory, with limited film music budgets to work.

Add to that the fact that film productions already during the filming Have problems to keep calculated budgets and - because the music production in the Postproduction field falls - inevitably just there to set the savings pin.

Many composers try to solve this problem by either Use "synthesizer soundtracks" or chamber music arrangements. But right now The broad range of emotions of an entire orchestra is often the only option to the emotion content of films and of course in other areas as well adequately support. In such cases, so-called Classic Sample Libraries come for use, such as those of Vitous, Sedlacek or Jaeger.

The highest maxim in working with "sampled instruments" is: "The Instruments (orchestras) must sound real. "Exceptions to this rule are one deliberately desired artificiality, which goes without saying in the concept of a composition may well be provided.

If this implementation of o.a. Maxime not, then get one Composition or their reproduction the unflattering name Awarded "Plastic Orchestra".

In order not to produce such "plastic sounds", the present has Invention set the task here to provide remedies available. The development of the technical possibilities, which lag the existing "sound libraries", left the Demand for a new, comprehensive "orchestra library", which is based on this Area already or in the foreseeable future achievable and possible standard, arise.

Before going into the invention in more detail, is a brief outline of her underlying novel "sampling technology":

In a broader sense, a sampler is a virtual musical instrument stored with Sounds that can be recalled and played.

From a data carrier, such as CD-ROM or hard disk, loads the user or Composer the required "sounds", ie sounds, sounds or the like. in the working memory of the "Sampler".

That means, for example: a piano became a sound library, a so-called "sample library" prepared, it was thereby recorded tone by tone and for edited the sampler. The user can now on a MIDI keyboard or from the recorded MIDI data in a MIDI sequencer the sounds of a real piano in the Ideal 1: 1, so true to the tone, play.

If appropriate classical samples, thus classical sound material for Is available or is, it is possible at most in an ideal case, a before means conventional, e.g. Classical score stored by means of MIDI programming ultimately to reproduce in orchestral quality.

Decisive here is the quality and scope of the recorded and stored sounds and their careful editing and further, especially the digital Resolution format: The currently available, unsatisfactory material is in the past Recorded 44100 kHz / 16 bit resolution technique. The technology in this sector strives but very fast towards 96000 kHz / 24 bit resolution.

The higher the resolution, the more convincing the listening impression.

• die Notations-Eingabe-Einheit (2) der Anordnung bzw. Anlage über zumindest eine Schnittstelle, bevorzugt ein Graphical User Interface (3), mit einem Kompositions-Computer (1) datenfluss- und datenaustausch-verknüpft und -vernetzt ist, welcher
  • zumindest eine Processor-Einheit (CPU) (4), weiters
  • zumindest eine mit derselben datenfluss- und datenaustausch-verknüpfte - mit den genannten Noten, Notenfolgen, Notenclustern u.dgl. samt den ihnen jeweils zugeordneten Klang-Definitions-Parametern bzw. mit den denselben entsprechenden Klängen, Klangfolgen, Klangclustern u.dgl. versorgbare und dieselben einer eingabegemäßen Abfolge entsprechend abrufbar speichernde und über zumindest eine entsprechende Schnittstelle (7) an eine Abhöre (8), an einen Lautsprecher (33) od.dgl., an einen Partitur-Drucker (32) od.dgl. abgebende - Sequenzer-Einheit (5), sowie weiters
  • zumindest eine, mit der genannten Processor-Einheit (4) und mit der genannten Sequenzer-Einheit (5) datenfluss- und datenaustausch-verknüpfte Klang-Sampler-Einheit (6) umfasst,
    welche Klang-Sampler-Einheit (6) ihrerseits
  • zumindest eine - die in digitalisierter oder anderer Form vorliegenden eingespielten Klang-Imagos bzw. Klang-Samples (61) aller Einzelklänge, Klangfolgen, Klangcluster u.dgl., der einzelnen virtuellen Instrumente bzw. Instrumenten-Gruppen gespeichert enthaltende - Klangsample-Bibliotheks-Speichereinheit (6b) und
  • zumindest eine mit derselben datenfluss- und datenaustausch-verknüpfte und jedes der genannten Klang-Samples (61) in Form von demselben zugeordneten und dasselbe beschreibenden bzw. definierenden Klang-Definitions-Parametern, z.B. in Form von Kombinationen bzw. Sequenzen derselben, speichernden und verwaltenden - für den Abruf der Klang-Samples aus der Klangsample-Bibliotheks-Speichereinheit (6b) und für eine Weitergabe derselben zumindest an die Prozessor-Einheit (CPU) (4) und/oder Sequenz-Einheit (5) und/oder für die Speicherung, Verwaltung und Weitergabe von in den Kompositions-Computer (4) durch eine Bearbeitung in ihrer Qualität und somit in ihren Klang-Definitions-Parametern veränderten oder mit in denselben neue eingebrachten Klang-Definitions-Parametern beschriebenen Klängen/Klangfolgen/Klangclustern u.dgl. vorgesehene - Bidirektional-Klangparameter-Speichereinheit bzw. "Relationalen Klangparameter-Datenbank" (6a) umfasst.

The invention is now a, as defined at the outset arrangement or system for possibly supported by acoustic reproduction during and / or after the creation of a musical composition composing, which is characterized in that

• the notation input unit (2) of the arrangement or system via at least one interface, preferably a graphical user interface (3), with a composition computer (1) data flow and data exchange linked and networked, which
  • at least one processor unit (CPU) (4), further
  • at least one associated with the same data flow and data exchange - with said notes, note sequences, note clusters, and the like. together with their respective assigned sound definition parameters or with the same sounds, sound sequences, sound clusters and the like. supplyable and the same of a eingabegemäßen sequence correspondingly retrievable storing and at least one corresponding interface (7) to a listening device (8), to a speaker (33) or the like., To a score printer (32) or the like. releasing sequencer unit (5), as well as
  • at least one sound sampler unit (6) comprising data flow and data exchange associated with said processor unit (4) and with said sequencer unit (5),
    which sound sampler unit (6) in turn
  • at least one - the recorded in digital form or other form sound imagus or sound samples (61) of all individual sounds, sound sequences, sound clusters and the like, the individual virtual instruments or instrument groups stored - sample sound storage library unit (6b) and
  • at least one with the same data flow and data exchange-linked and each of said sound samples (61) in the form of the same associated and the same descriptive or defining sound definition parameters, eg in the form of combinations or sequences thereof, storing and managing for the retrieval of the sound samples from the sound sample library memory unit (6b) and for a transmission thereof at least to the processor unit (CPU) (4) and / or sequence unit (5) and / or for storage , Management and transmission of sounds / sound clusters and the like described in the composition computer (4) by editing in their quality and thus in their sound definition parameters or with sound-definition parameters introduced therein. provided - Bidirectional sound parameter storage unit or "Relational sound parameter database" (6a).

As for the terms and expressions used above, it will be explained following executed:

Under note or tone sequences or the corresponding "sound sequences" should musical sections with several notes or tones to be played in succession Sounds are understood, under "sound sequence parameters" each desired type of Playing the sound sequence. What is meant by this, should be briefly indicated: It exists in Sound impression a difference, whether, for. three consecutive virtual legato notes or sounds that sound on the digital recording from one to the other sound or sounds played on a real instrument, as if the virtual sound sequence underlying a sound sequence played on a real instrument. Under note cluster or Sound cluster is supposed to number more than one on an instrument at a time played notes or tones or their corresponding sounds are understood, ie e.g. a triad, associated "sound cluster parameters" would be for example the "arpeggio" playing a triad describing descriptive parameters. With the connecting word "and / or" are intended to single sounds, sound sequences and sound clusters in the single or in any desired combination, e.g. a Sequence of almost legato played arpeggio chords or the like .. To this awkward To avoid paraphrasing, the abbreviated term "sound definition parameter" is used in the following. or often just "parameter" for simplicity's sake.

The bidirectional sound parameter storage unit integrated in the new composition computer or their underlying software ceases essential core of the invention, it is essentially one between the Input and control unit and the sound sample library storage unit, ie Sound sample database turned on search engine for those in large numbers in the Memory unit as sound imagos or sound samples, e.g. through digitized sound envelopes defined stored sounds, sound sequences, sound clusters and the like. represents.

The new system and its technology make it possible for the first time that composer who have no way of having a real orchestra and / or real instrumentalist to work, an extremely easy to use, his work no longer with coding od. Like. To provide burdensome tool, the sound produced by him as close as possible to real orchestral sound.

The main advantages of the invention in its basic concept and its variations consist in the following:

It allows a clear and intuition not disturbing handling of the various "instruments" and their game variants. The user, so the Composer, is the first time a editing interface available, the corresponds to practically usual orchestral scores. It offers the opportunity, despite hundreds Game variations of a single instrument "linear", so only on one track work.

The invention also brings a work easier through optimal, independent "intelligent" background processes, such as automated time compression and expansion in tone sequence samples, such as repetitions, legato phrases, glissandi or the like.

It makes it possible at any time during the course or progression of the composing process the full overview of an already written sound or sound sequence, on the Instrumentation, etc., and immediately also on a just entered note and their sound-determining parameters, and for an immediate, visual and, what is especially important for composing music, for immediate Acoustic control by means of acoustic playback system are provided as listening can.

The sound samples of the sequencer unit organized in the form of the Bidrektional database transmits its qualitative parameters in the form of "Sound Sample Description Parameters "at each working session again and, above all, always updated, and allows for bidirectional and interactive reference of sequencer unit and Sound sample library storage unit.

A simplified embodiment of the new arrangement is the subject of claim 2.

Concerning the "internal organization" of the composing equipment according to the invention, software of the bidirectional sound parameter storage unit with a main track sub-track hierarchy of the instruments mentioned in claim 3 is favorable, wherein a structuring of the subtracks in planes as in claim 4 outlined, is able to perform their special services.

Preferably, a configuration according to claim 5 or analogously thereto may be provided in particular.

Further, it may be advantageous to the tones, melodies, tone clusters and their parameters in the database Sampler equal importance to configure to provide a hierarchical structure within the same, however, as outlined by the claim. 6

In the sense of the composer, arranger or the like. convenient workflow it is advantageous if the composition computer comprises a score software according to claim 7.

If, as alternatively or additionally provided according to claim 7, in the Computer software for the sound or sound scope of an instrument or for whose definition is integrated, which when composing one of the respective instrument is not playable sound for a warning to the composer care is an important step towards comfort and effective work.

In order to extend the spectrum of the sound effect of the instruments or groups of instruments or of the entire virtual orchestra, eg in the sense of reproducing different "types" of overtone fusion, eg to give this orchestra the auditory impression of various play rooms, concert halls, church rooms, eventual open-air spaces or the like., Furthermore, various instrument placings there even, positioning the listener, bright or soft sound, etc., to lend, it is particularly advantageous if a corresponding sound (post) editing software is integrated into the composition computer to which reference should be made in detail to claim 8, which further shows that it is particularly advantageous for a specific choice of dynamics, alternatively or additionally to provide a corresponding software unit.

For a reproduction of a composition that is practically fully equivalent to the reality of hearing fast tone repetitions and fast legato tone sequences, corresponding alternative or additional software units according to claim 9 in the first and disclosed embodiment can serve.

On, especially for virtual instruments or their playback quality occurring, often disturbing problem make the different volumes and Volume ranges of the various real instruments whose sounds in the Sound sample library are stored. In the interaction of different types of Instruments in a formation "kill" the instruments with higher ones Volume volume the instruments with lower intrinsic volumes. This problem can also be countered with a further alternative or additional provided, preferred software according to this claim 9, which volume volume adaptation or Adjustment allows, if desired, the natural dynamics differences between the "loud" and the "quiet" instruments. Of course With such a system it is even possible to "inversion" volume volumes to produce exotic sound effects.

As the previous embodiments have shown, the present invention is based on a comprehensive, digitized collection or library of recordings of the sounds real orchestral instruments. These recording samples are taken from the core of the Invention representing bidirectional sound parameter storage unit or relational Sound database organizes or manages a qualitative link with each other as well as with the acting as a control unit notation input unit and / or Sequencer unit allows. This novel bidirectional link allows both during the creation as well as in the simultaneous or delayed playback a piece of music, not just control data from the just mentioned control unit to the To transmit sound generation, but also allows the interactive feedback information from the sampler unit to the control unit just mentioned.

While in a conventional MIDI sequencer / sampler combination of the It is the responsibility of the user to ensure that e.g. a certain MIDI command too the desired sound event triggers, the basis of the inventive system lying system in a completely new way for an immediate correct content selection based on the stored in bidirectional memory and transmitted from there features or parameters of the individual samples available in sound sample memories (Sound sample definition or sample description parameter). Without detours is so ensure that e.g. an engraved G of a violin, mezzoforte, painted, solo, etc. is actually reproduced as such. A possible conceivable objection The same can be realized via elaborately programmed MIDI program change instructions This is especially important, because a conventional MIDI sequencer is not is able to get a qualitative feedback on the available sound data.

In addition, allows in the inventive arrangement for the first time provided interactive feedback between the control unit and sound generator the meaningful use of phrase samples: Since the sequencer unit based on the of the Sample Memory Database transmitted parameters instead of sampled singles alternatively fall back on suitable musical phrases - about Repetitions or fast, tied runs - are these for the first time actually realistic simulatable. The integral linkage within the new arrangement allows subsequently the automated use of DSP-based processes, e.g. Time-stretching, to adjust phrases samples to the tempo of the composition, etc.

The qualitative parameterization of the sound database by means of the new bidirectional sound parameter storage unit subsequently allows a future addition instruments available, such as ethnic or ancient instruments Music, without the control unit losing functionality, because the sound parameter database their - then extended - features at the latest in the course of the next start routine the system is able to transmit to said control unit.

By way of example and without any claim to completeness, the great number of combinations of parameters which can be assigned to a single violin sound and which ultimately define it near to the real world are shown:
Number of variants: 1. Instrumentation: eg unison combinations, eg 1, 4 or 10 violins 3 Second Main playing style: with or without damper 3x2 = 6 Third Type of game: eg painted, plucked, tremolo etc. 6x6 = 36 4th Lower play: eg painted, soft, hard, short, jumped, etc. 36x4 = 144 5th Fine tunings: eg a lot of vibrato, little vibrato 144x2 = 288 6th Dynamic gradations (assumed 3 gradations) 288x3 = 864

This means that 864 variants are available for a single tone, ie 864 Sampler Series: At the pitch of the violin of 22 tones that finally results 22x864 = 19008 single samples, and this still without sample sequences, such as repetitions, Fast legato phrases or the like.

This high number of "sounds" urgently demanded an adaptation of the so far Available sampler and the previously used "MIDI" technology, so that the Composer no longer with the tremendous amount of sample data and their Modifications must deal individually and directly.

The essence of the invention is that the samples are the smallest elements of a Sample library to handle, which with the sequencer and the processor unit is directly linked. That is, the sequencer unit underlying the sequencer software In the course of the start ("boot") sequence, the descriptive parameters each learn Samples and these are structured in the course of a working session the user available.

Thus, if the user composes, e.g. Notes on a "track" for a trumpet, like that come for example just more samples from the sample library section "trumpet" for that in Question. If he assigns the notes the dynamics "piano", only more "Trumpet piano samples" to wear, etc.

The join criteria can be defined by the single sample name and, without any limiting effect, for example, be structured as follows:
In this mean: "Vn10SsALVmC4PFg2" Vn Violin group C crescendo 10 Ensemble with 10 violins 4 4 s length or duration ss senza sordino P Start dynamics piano A arco F Enddynamics forte L legato g2 pitch vm vibrato medium

The following example part serves to explain the invention in more detail and shows the abundance of the available offer only a few essential possibilities and Variants, which by the inventive bidirectional database-linked Sampler sequencer technology has become possible in the first place:

Example part:

The underlying the software of the sequencer unit concept is based The following example explains the sample library, ie database own Track classes are assigned.

For example, there are 13 factory pre-set main tracks: 1. Whistle 5th trumpet 9th Streicher Second oboes 6th horns 10th Choir Third Clarinets 7th trombones 11th swot 4th fagotti 8th. tubes 12th percussion 13th Harp & Bar Games

In a graphic editor, the composer generates from the main track (HT) Instrument subtracks (IST), the strings would be e.g. a standard preset that the following:

I. "Initial Example": quarter note = 110 (tempo indication)

Depending on the instrumentation request, you assign the notes of the main tracks (HT) the respective instrument subtracks (IST). Of course you can also go directly to the like import a composed sound sequence or above import.

In the example here is the note (pause) episode of the STRING main track (Phrase) assigned to instrument subtrack Violins 1.

The sound parameter unit now automatically accesses only the violin samples the sample library too - a tag and a note may be the To point out to composers, if certain of his composed notes outside the natural vocal range of the chosen instrument.

If you now click on a note, a main menu appears with the following points:
(Subtrack 1, violin 1st quarter note = 110)

This Subtrack 1 (IST 1) line has the same "note sequence" as above Main track (HT) STRINGS on, but are "too deep" notes by a Gamut software of the computer as such, e.g. by an underline or the like., expelled because they are not playable, see the clip above.

HAUPTMENÜ

Instrument Parameter

Dynamik

Repetitions-Detector

Fast Legato-Detector

Spezial-Features

For example, for the first note of the above note sequence, the following appears on the monitor below the staff:

MAIN MENU

Instrument parameters

dynamics

Repetitions Detector

Fast Legato Detector

Special Features

With the (main) menu line "Instrument Parameter" you can select the possible Defining the cast, playing and articulation modes of the "Subtrack 1" instrument. This Menu follows the principle of a data tree and is individual for each instrument structured; This menu is ultimately passed through by the database Sound sample definition parameter or "Sample Description Parameter" - below often referred to as sound parameters or just referred to as "parameters" - determined.

In the case of violins, this structuring can have the following form, for example:

Three further examples II to V are given:

II.

III.

IV.

The advantage of the described new way of organizing in the inventive system provided bidirectional sound parameter storage unit in levels is that there is no duplication, but that after Selecting a specific line in a particular level only increases that selection Possibilities offered in the next level is the clicked line of the previous level and none for that line is no longer in question coming possibility.

In this type of structuring or hierarchy is from the outset on the individual characteristics and structures of each of the instruments or instrument groups and the composer is offered only those "variables", which the respective instrument or instrument group is capable of providing.

It is therefore no longer necessary to always reach the end of the data tree select; the basic setting is always the highest level. Becomes a certain variety selected, the selection made immediately afterwards appears, for example, underlined, in bold, or the like in the menu bars, at the same time this name is set automatically over the first selected tone (s), and / or as an articulation sign about the notes. If you want to change the type of game from a certain grade, such as in the Examples II to V of arco on pizzicato (3rd level), you have to select all "underlying" Redefine levels, but overlying levels are preserved, e.g. stay for Example IV: "10 violins, senza sordino" preserved.

V.

An example of a different structuring of the Instrument Parameters menu would be as follows for the timpani:

Optimized timpani selection: Each of the timpani mentioned in the 1st level comprises one certain, partially overlapping with the scope of another timpani Range. If e.g. the bass timpani assigned a high-pitched sound for them, provides a software for an on-screen warning, as in the above Tone perimeter instrument allocation explained.

It is now that certain tones on the different timpani types overlap: when composing e.g. a pitch tone with the pitch "Big A" Selected, so this sound is on the bass drum, on the big concert timpani and on the playable small concert timpani. Here helps a line and a corresponding, software-based Option: "Optimized Drum Selection": It ensures that each of the timpani exactly the best-sounding range is used.

Because the different playing styles on the levels 3 and 4 for all timpani and all If you are using hitting types and therefore have identical database structures, you can For example, in a finished edited timpani voice easily between the Switch level 2 toggle types to best suit the listening experience To find variant.

"DYNAMIC" software:

Back to the original example with the 10 violins:

The violins are defined as "10 violins, con sordino, legato, without vibrato" and now the dynamics are assigned.

For each note a main menu appears, as shown below, eg:

You select the first note, ie the d, and select dynamics from the main menu out. A data tree structure leads to the different options:

In the 1st level "static" is selected, in the 2nd level "piano": This entry applies now for all following notes until the next entry. Now the 10th note of the piece, that is, the G, selected, it is progressively selected in the 1st level and in the 2nd level start and end dynamics are defined.

Now the composition computer turns an automated one for the first time "Compression - Expansion Tool" or the corresponding software; namely the "10 violins / con sordino / senza vibrato / crescendo / start p-end f /" - Samples

These are in the sampler database, e.g. contained in 4 lengths, namely with Lengths of 4 s, 2.66 s, 2 s, 1.33 s; the selected tone G, ie a half + quarter = three-quarters note at tempo 110 has a length of 1.63 s.

The above-mentioned software recognizes by means of the sound definition parameters or Sample Description parameter automatically selects the best or next matching sample with 1.33 s length and it expands by the corresponding factor 1.266, so 1.63 s for the said 10th 3/3 note is reached. This process runs under software control in the background and is not noticeable to the user of the system.

Should a dynamic change be desired at certain Instruments in a defined variety is not specified in the database, e.g. "Violins tremolo, sul ponticello, ppp - fff ", so the computer chooses or its corresponding Software the most suitable, so the next coming sample "crescendo pp-ff "and reinforces it with an automatically inserted main volume curve.

After this o.a. "crescendo" is all the following notes of the example the dynamics f assigned. But if the composer wants to he has to return to the momentum p redefine this value at the corresponding next note.

Finally, a likewise favorable "dynamics-free parameter" is explained:

It is a software function for (long) "held" tones with several dynamic changes:

In the following staff, a sequence of notes is given, the last two notes form two whole notes "held" over two 4/4 bars:

One selects the desired tone of the example: thus over two 4/4 bars "held" long tone. Then activate the program function by clicking on it "Dynamics / free". Below the long note d 'appears the time frame shown above, which represents the Sound length divided into 8 units, in this case in 8 quarter notes. The user has the options "more detail" or "less detail" and can thus change the time frame in lower, "half note resolution" or higher, "eighth note note resolution".

Furthermore, he can select from a list the known static-dynamic signs (from ppp to fff). For example, he sets the first and third grid points, that is, the numbers 1 and 3 of the time grid, to the character p, so the sound is piano until the 3rd quarter; if you put the f on the 5th grid point, then a crescendo over two quarters becomes forte on the one of the second bar and on the sixth grid point a p, so to speak a "fp effect" and finally on the last grid point fff : there is a strong crescendo over the length of the last three quarters. The sequencer now generates a new sample using the Compression Expander tool and a crossfade tool, with the associated set "Sample Description Parameters". (This new sample will either be deleted at the end of the session or permanently stored in the relational database and made available during further sessions).

The staff shows the following picture and the dynamics label p <fp <fff under the held note:

"REPETITION DETECTION" software

Assumption: A trumpet passage has already been created with corresponding articulation and dynamics labels.

Trumpet 1:

Adoption:

The staff of this example contains three times three tones each Height, where each of the three notes played three times in succession, the same tone becomes, which is very typical for trumpet fanfares very typical repetitions. Such Repetitions usually form a big weak point of all previously known and available programming. There is always only one sample for that Such a repetition is eligible, and this is needed in the appropriate, so composed, number repeated. The more often and faster this sound sequence sounds, the more stuttering and artificial is the auditory impression. For this case, the invention provides organized sample library "repetition samples" before. These are e.g. 2-, 3-, 4- and 6-repeats, or 1, 2, 3-fold upbeat repetitions, differentiated in tempo, Dynamics and emphasis.

The principle of repetition detection follows that of a spell checker a word processor:

Sequenz-Nr: Sequenz-Nr: Sequenz 1 von 3 Sequenz 1 von 3 Spiele Repetition schnellere fixe 1. Note Spiele Original schnellere fixe letzte Note Alternativen kürzere Noten nächste Sequenz längere Noten Ausdruck auf Noten 1-2, Mit den Original & Repetitions-Klicks kann man das erzielte Ergebnis vergleichend kontrollieren. Mit dem Alternativen-Klick kann man versuchen, das Ergebnis weiter zu optimieren "Schneller-langsamer" verleiht dem Sample (mit Hilfe des Compression-Expansion-Tools) einen gewissen Groove, er beginnt je nach Wahl etwas zu spät oder endet etwas zu früh. The user selects the area of the note repetition that he wants to supply with repetition samples and then selects from the main menu the third entry: "Repetition Detector" shown above. A submenu lets you choose whether it should be automatic, factory-oriented or manual. In manual mode, a sequencer program analyzes the selected area and identifies the possible repetition sequences, the following staff:

Sequence number: Sequence number: Sequence 1 of 3 Sequence 1 of 3 Games Repetition faster fixed 1st note Games original faster fixed last note alternatives shorter notes next sequence longer notes Printout on grades 1-2, With the Original & Repetitions clicks you can compare the result obtained comparatively. With the alternative click you can try to further optimize the result "Faster-slower" gives the sample a certain groove (with the help of the Compression-Expansion-Tool), it starts a bit too late or ends too early depending on your choice.

RAPID LEGATO ("FAST LEGATO") - DETECTION-Software :

The rapid succession of legato notes is similar to the repetitions Problem dar. Using single-tone samples can be no convincing fast legato game simulate. Here the sample library sees a construction set of 2-, 3- and 4-fold tone sequences. This can be done on instruments with fast legato samples, For example, be about 500-2500 single-sample phrases: chromatic, diatonic Sound sequences and triad decompositions.

The original tempo of this sampled, in the computer or in the sound sample memory stored legato phrases are e.g. sixteenth note values at tempo 160. Thus, with the aforementioned compression-expansion tool, 8th of triplet passages in tempo from 171 to 266, sixteenth-passages in tempo from 128 to 200, sixteenth Trial passages in tempo from 86 to 133, 32-th passages in tempo from 64 to 100 be implemented. (Quintuplets and septols are the same).

Gr. Flute solo

The above staff illustrates this process:

Upon activation, the sequencer unit scans the selected part, all in question Passages will be marked, see staff NZ. Furthermore, the generated Sequencer unit a subtrack ST with only one staff, on which the division of the Block system is visible. The user can use this note image analyze, as from the 2-, 3-, 4-fold-consequences and possibly with the help of Single tones the desired Rasches legato sequence is built.

"SPECIALS" option (Specials Tool)

This option provides the user with a list of specialized applications, such as the following:

"PARAMETER CROSSFADES"

Sample 1: 10 Violinen: "sul ponticello/tremolo"

Sample 2: 10 Violinen: "tremolo"

This function can be activated if two adjacent tones of the same pitch are to be assigned different instrument parameters.

Sample 1: 10 violins: "sul ponticello / tremolo"

Sample 2: 10 violins: "tremolo"

Depending on the defined length of the "Crossfade" the sound effect corresponds to the flowing walking of the bow during a tremolo from the violin bridge to the normal Position.

The user considers the possibilities of this tool in his Programming, it can generate an unlimited number of new samples.

ENSEMBLE COMBINATION:

The system according to the invention advantageously includes some sample rows of standard ensemble combination, e.g. unison u. octave.

For example, if the user selects some violin measures and calls up the menu "Ensemble combination", a list of e.g. possible combinations: "Violins octave, 3 flutes in unison, 8 violas in unison and octave", and the like. He chooses one of these possibilities, the note sequence appears in the combination instrument track specially marked, with a reference to the respective "Mother instrument".

Another option of the ENSEMBLE COMBINATION MENU may be "AUTODETECT-COMBINATIONS" be: hiebei the sequencer looks for possible Unison or octave combinations, and one has the possibility of this by the of the Database to replace "ensemble samples".

ORCHESTRA CONSTRUCTION SET

This set represents a continuation of the ensemble combinations The difference is that these are no longer single notes, but chords and chords Rhythm sequences are - from the simple final chord to special effects, such as real cluster or the like.

A) Sample-basiertes Orchester-Konstruktions-Set:

Hier findet der Benutzer vorproduzierte und gespeicherte Stereo-Samples: Wird ein Sample angewählt, erscheint auf den verschiedenen Instrumenten-Tracks wiederum ähnlich eines Ghost-Parts die Ausnotierung dieses Samples.

B) Midi-Software-basiertes Orchester-Konstruktions-Set:

Es sieht vorgefertigte Midi-Files vor: werden diese auf dem Orchester-Track platziert, ist die Ausnotierung in den einzelnen Instrumenten-Tracks "real", der Benutzer kann dann noch nacharrangieren. Weiters besteht die Möglichkeit, seine eigenen Konstruktionssets zu generieren und diese abzuspeichern.

If the user activates this function, the sequencer generates its own orchestra track on which the samples can be placed, whereby two construction set variants can exist.

A) Sample-based Orchestral Construction Kit:

Here the user will find pre-produced and saved stereo samples: If a sample is selected, the notation of that sample will appear on the various instrument tracks similar to a ghost part.

B) Midi software based orchestral design kit:

It provides prefabricated midi files: if these are placed on the orchestra track, the notation in the individual instrument tracks is "real", the user can then re-arrange. It is also possible to generate your own construction sets and save them.

"HALL FILTER STEREO DISTRIBUTION LOW / LOUD Compression" Software: (Hall Filtering Panning Compression)

Flöte solo

Oboe solo

Flöte - Oboe unisono live,

Flöte - Oboe am Sampler kombiniert

Algorithmen ableiten und diese werden in den unterschiedlichen Instrumenten- und Dynamikkombinationen erstellt.The concatenation between samples and sequencer can also be extended to reverb and filter parameters. That is, the reunion program knows what it "reverberates". It knows at any time of the play about the instrument choice, types of play, dynamic assignments and the like fixed in the sequencer unit. Know. Using appropriate algorithms, the Hall software recreates the overtone fusion of an orchestra in a concert hall, generating correspondingly authentic sound images. For example, the underlying algorithms are based on the difference between live sampled unison combinations and combinations assembled in the sequencer unit. So you can eg from the difference analysis of different sound images:

Flute solo

Oboe solo

Flute - oboe in unison live,

Flute - Oboe combined on the sampler

Derive algorithms and these are created in the different instrument and dynamic combinations.

Another example may be software for considering the Resonance effect of a deep drumbeat on the double basses. The Corpi of Double basses act as a kind of resonance amplifier for the timpani. at Unison combinations of timpani and basses provide an additional "sound fusion" on; if a timpani is played in an ensemble without double basses, one is clearer Difference in the sound spectrum of the timpani noticeable. As already briefly stated above, the Hall software "knows" about any presence of double basses or Unison combinations "informed" and can do so in their sound image calculations consider.

1. Der Konzertsaal wird definiert durch Presets der "besten Konzertsäle" der Welt.

2. Das Orchester wird platziert, also die Raumaufteilung der Instrumente wird definiert.

3. Der Hörer wird platziert usw., z.B. von der Position des Dirigenten bis hin zur letzten Reihe im jeweiligen "Saal".

4. Der Dynamik-Bereich wird definiert, z.B. vom Klassik-CD-Bereich mit wenig Kompression bis zu Werbespot-Dynamik mit maximaler Kompression.

5. Der Klangcharakter wird definiert, z.B. von "grell" bis "sehr weich", und zwar durch entsprechendes Filtern und Forcieren entsprechender Instrumente und des Gesamt-Klangbildes.

An optimal, best graphically oriented Hall / Filter software is constructed without complicated technical parameters essentially according to the following aspects:

1. The concert hall is defined by presets of the "best concert halls" in the world.

2. The orchestra is placed, so the division of the instruments is defined.

3. The listener is placed etc., eg from the position of the conductor to the last row in the respective "hall".

4. The dynamic range is defined, for example, from the classical CD range with little compression to commercial dynamics with maximum compression.

5. The character of the sound is defined, for example, from "garish" to "very soft", by appropriately filtering and forcing appropriate instruments and the overall sound image.

ABMISCH- AND DYNAMIK SOFTWARE: Mixdown vote:

The treatment of volume ratios of various instruments and Grouping instruments is a complex task. An ff tone of a flute is even much quieter than an ff tone of three trumpets in unison. One more important for this reason Building block of the plant according to the invention is the natural Accurate dynamic relationships of all instruments to each other exactly. It is up to the user of course, free to pick it up for its own purposes.

To achieve this goal, when recording the samples is an accurate Dynamics protocol led. You know how many dB distance between a fff bang and a ppp tremolo / con sordino of a solo violin. This knowledge becomes concrete in the o.a. Instrument parameters (in the form of the "Sample Description Parameter"). The user can rest assured that the volume ratios he has programmed to correspond to those of a real orchestra, or if he has an existing one Score assumes that the dynamics assignments exactly the intentions of the composer correspond.

Should the composer now write a piece, the chamber music instrumented, so for example, includes woodwinds and small string ensemble arises a dynamic headroom that is not used. To achieve optimum quality in the To achieve mixing, ie the highest possible signal-to-noise ratio, he is able to Finished programming with a standardization function to optimize the piece. The Sequencer unit searches the loudest sample of the piece and highlights all samples around it possible value upwards. Of course, this process does not affect Volume ratios and the given dynamic range values also become equal maintained, e.g. pp samples remain just pp samples.

This option is possible if the library is standardized in itself. each Sample is stored at maximum level. The recorded during the recording Volume differences are stored in sample volume data. That is, everyone Sample has a co-stored volume value. So a fff bang is coming close Zero dB, a ppp solo dough at an offset of -40 dB. The sequencer unit So just check to see which is the highest sample volume value, which sample is closest to zero, and moves up all sample volume data accordingly.

To the signal to noise ratio at the individual audio outputs (extemer Mixing) optimally, the user can use a special Standardization function exploit all the instruments and samples on one Output are rooted, standardized as a self-contained package. The Sequencer unit then calculates a dynamics protocol, such as an external mixing console is to be set to return to the initial values, e.g. brass Stereo Out 1, Woodwind Stereo Out 2 etc.

RANGE vote:

Another dynamic-control feature is available for composers using the Consider Orchestrator as a score or lay-out workstation. Meant are composers, who work for "real" orchestra.

Now such a composer has programmed his work and all the instrument parameters Are defined. He has the dynamic assignments for the last step canceled. The starting point for his dynamic assignments is, for example, a lyrical one Oboe solo. The expression of the oboe he likes best, if this in the area mp-mf plays. He fixes this dynamic value first. Now the question arises for him how loud have accompaniment, figuration or bass voices to be desired by him Effect.

Now the sequencer unit offers its own dynamics tool. The composer can thus make individual voices or selections louder and quieter. The difference to a conventional "Velocity Control" is that here the dynamic gradations of individual samples are involved. In our example, it reduces the volume of the String harmonies so far that the oboe solo can develop to the correct degree. There except for the oboe part, no dynamic range is set, and the Sequencer unit emanates from the factory presets, the string dynamics initially corresponds about a mf. After the composer has reduced the strings so far, until the desired sound result is achieved, they have e.g. reaches a mean pp value. Of the Composer closes the window and under the strings voices then settles automatically the dynamic rule pp. Of course, this way of working is also predefined crescendo and decrescendo values applicable. So the composer has the certainty that his dynamic prescription ultimately in the concert hall the desired effects will achieve.

The "dynamics control" offers the user the following possibilities, the various Shortening and simplifying work processes, if one or more Instruments or the entire scope of the instrument:

DYNAMIC CONTROL

Longer, step by step Gradually quieter Received solo instrument dynamics Increase solo instrument dynamics Expand dynamics (expansion) Reduce dynamics (compression) Maximum volume Minimum volume

As for the hardware underlying the system according to the invention, this is to say briefly the following:

CAPACITY:

The bidirectional sound parameter storage unit provided in accordance with the invention Organized audio samples are an integral part of the system. At about 125 Gigabits, the samples are not directly changeable to the user. Of the The only accessor is the software of the sequencer unit itself. The samples are still influenced by criteria such as Velocity & Mainvolume, but there the sequencer software as with audio tracks, which has the possibility of that in each piece buffering required samples in advance, is an extremely large amount of RAM at according to fast hard disks not necessarily requirement.

A desirable minimum equipment for the full use of the invention would be eight, ideally 16 stereo outputs. Since with 96 kHZ / 24 BIT resolution processed and edited If this data rate is to be continued, it is obvious. This requires accordingly high-quality digital converters and sets the option of different digital-out variants, So from 44100, 48000 or 96000 kHz, ahead.

Reference to the drawing, the invention is explained in more detail:

1 shows a diagram of the new composing system and FIG. 2 a Flowchart of the composing process.

The composing system 100 shown in FIG. 1 comprises one of the user or Composers with the sound sequence or composition 01 imagined by him Notation input unit 2, which is connected via an interface, e.g. a graphical user interface (GUI) 3, with screen connected to a composition computer 1 data-flow. At connected to the computer is a corresponding peripheral, e.g. one (Score) printer 32. What constitutes an essential component of the system 100 is an audio export system, which via an audio interface (audio engine) 7 an acoustic Playback unit, e.g. supplies a loudspeaker system 33 or a listener 8, which for the acoustic reproduction of a note just entered, e.g. to the immediate Control of the sound or a sound sequence after entering a note, a note sequence and ultimately e.g. an entire composition.

At least one integrated into the system of the composition computer 1 Computer or processor unit (CPU) 4 and at least one with her data flow and Data Exchange Connected Sequencer (Sequencing Engine) 5. Between Processor unit 4 and a sample sound library memory unit 6 b, in which a large number of - on recordings 02 of sounds, sound sequences, sound clusters and the like. from real instruments, instrument groups, orchestras and the like. based - Samples 61 of digitized sounds, e.g. in the form of sound frequency envelopes or the like., Stored is an intelligent relational database 6a, namely the one essential Component of the system according to the invention or its underlying system illustrative - for each one of the sound samples 61 in the library unit 6b all this sound, this sound sequence, this sound cluster and its quality assigned, the same or the same characterizing, descriptive and defining parameters as well as those for the finding, for calling the sound in the and for its retrieval, etc. from the sample library 6b necessary data, coordinates, Address information and the like stored - bidirectional sound parameter storage unit 6a, interposed. The two aforementioned units 6a and 6b form the sound sampler unit 6 and are an essential part of it.

This latter, integrated into the system novel sound parameter storage unit 6a is at least with the processor unit 4 and with the sequencer unit 5 data flow and data exchange linked or networked. The sound parameter storage unit 6a "knows" anytime about all stored in the sample library 6b Sounds 61 (e.g., sound imagos in the form of sound envelopes in digitized form) and over all the same inherent quantity and quality values, she knows, on which instruments a sound desired by corresponding notation inputs and with its quality parameters can be produced, whether he is on one of the Enter the desired instrument is playable, etc. The sound parameter storage unit 6b is above all due to its always present, precise overview sound samples 61 included in the sound sample library 6a, e.g. able to stand up for a non-playable sounds by the user, the same by itself Suggestions for "playable" replacement instruments and / or matching replacement sounds too submit and the like.

The composition computer 1 further comprises a number of different, at least the CPU 4 and the sequencer unit 5 associated software units or them stored program software 41 for the playback of the input composition as usual score and / or such 42, to control which of composers entered sounds on the instrument chosen by him because of its limited Range can not be played and / or software 43, for editing a sound.

The - here by no means fully enumerated - software units can such for imprinting reverberation / reverberation characteristics on a sound, for dynamics changes within a longer held tone 44, for corrections to a Lifelike reproduction of rapidly repetitive sounds of equal height 45 or rapidly played on different sounds 46 height, further for an adaptation of Dynamics of sounds of different instruments 47 together and the like.

The thus corrected or the like. edited sound imago or sound samples can then via the Acoustic Converter 7 as appropriately corrected digital sound envelopes the listeners 8 and their speakers 33 supplied and from her ultimately as as desired, processed sounds are reproduced.

Furthermore, within the computer 1 a e.g. from the sequencer unit 5 over one - the play parameters along the time axis, e.g. an edit mode for the score ready - holding project data unit 90 a project memory unit 9 for the score storage are supplied, from which at any time in the context of a Working session required elements or parts of previously created and there stored compositions are retrievable.

The diagram of Fig. 2 shows how after loading the loading with the sound definition parameters is done from the sound database 6, in which the same storing the sound sample parameter storage unit 6a and the sound sample library 6b are integrated.

Thereafter, a query is made whether a loaded project in the project storage unit 9 is to be stored, which is done with "yes". If this is not the case, So a new project starts and thus an empty score sheet is available the input of the note sequence, composition or the like. forming notes, punctuation and the like, by the user, for example by means of notation input unit 2, such as ASCII keyboard, Mouse, MIDI keyboard, note scanning or the like

It is then supplied by the bidirectional sound parameter storage unit 6a the sound database 6 - the main track HT created. From there, the selection of the by the user predetermined notes or the like. assigned sounds etc. together with their parameters, of Phrasensamles a Tempomatching and the like., In the next query step whose Selection is confirmed or not.

Thereafter, in the event that an already saved project, ie one in the Project memory unit 9 stored score as a basis or supplement to the Composition is to be used, the same from the project memory unit. 9 be taken. Then follows the decision of the user, whether he is with the quality and the other properties of the sound entered by him or the corresponding Sound sequences or the like. and / or a sound sequence retrieved from the project memory unit 9 or the like. is satisfied. If this is not the case, a loop is made back into the Processing stage, which from the sound database 6 with new parameters, Processing parameters or the like. or with replacement and / or supplementary proposals created there is supplied. The named query and control loop will be so long go through until the user with the constantly controllable by him sound, with a Sound sequence or the like. is satisfied.

It can now play, a digital mixdown, the audio export, a sheet music export or the like. be done, which can be decided by a query, whether that just saved project is saved or not. If it is to be saved, it will be in the Project storage unit 9 introduced. If this is not the case, then the working session completed.

Claims (9)

1. Arrangement for computer-supported composing tones or tonal sequences or compositions, that can be played on and reproduced by virtual musical instruments, as well as for the reproduction of the same,
      characterized in that

   The arrangement (100) comprises an entry unit (2) which is coupled via at least one interface, preferably a Graphical User Interface (3), to a composition computer (1) including a processor unit (CPU) (4) for data exchange, that

   The composition computer (1) comprises, coupled to the processor unit (4), at least one sequencer unit (5) which supplies the desired notes or note sequences or note clusters together with the sound definition parameters respectively assigned to them and with the sounds or sound sequences or sound clusters corresponding to the same via at least one interface (7) to a monitor speaker (8), to a speaker unit (33) and/or to a score printer (32), and furthermore

   At least one sound sampler unit (6) coupled to said processor unit (4) and to said sequencer unit (5) for data exchange, Which sound sampler unit (6) comprises

   At least one sound sample library memory unit (6b) - containing in memory the recorded sound images or sound samples (61) available in digitalized form of all the individual sounds or sound sequences or sound clusters of the individual virtual instruments or instrument groups, and

   At least one sound parameter database (6a), coupled to said sound sample library memory unit (6b), by which each of the said sound samples (61) in the form of sound definition parameters assigned to the same and defining the same may be stored and administered, by which the sound samples from the sound sample library memory unit (6b) can be accessed and transmitted to the said processor unit (4) and/or to the said sequencer unit (5) and/or by which the sound samples, the sound definition parameters of which being changed within the said composition computer (4) by a treatment of their quality or being established by sound definition parameters newly introduced into the same, can be stored and administered.
2. Arrangement or system for composing, optionally supported by the acoustic playback during and/or after the completion of a musical composition, tones or tonal sequences or tone clusters or sounds or sound sequences or sounds phrases or musical works or compositions, that can be played on and reproduced by a plurality of virtual musical instruments corresponding to real music instruments and providing their tones or sounds, preferably in an, ensemble formation, as well as for the acoustic or other reproduction of the same,
   characterized in that

   It comprises at least one notation entry unit (2) for entering the notes, on which the tones or sounds to be played by the individual virtual instruments or instrument groups are based, together with the sound parameters, that are assigned to them by the composer and that describe them in detail or define them, which relate to the kind of instrument or instrument group to be played or to the pitch of tone or length of tone, or relate to dynamic or playing style, and/or for entering sound sequences and the sound sequence parameters describing them and/or for entering sound clusters and the sound cluster parameters describing them,

   From which notation entry unit (2) the said sounds or sound sequences or sound clusters together with the parameters assigned to them can be fed and stored into a sound parameter memory unit (6a) and sequencer unit which is data-flow-connected to the same and is integrated into a composition computer (1) as a program or a software,

   Wherein from the said sound parameter memory unit and sequencer unit (6a, 5) - in the case of listening during composing and/or playing back or the reproduction of a previously completed sound sequence or composition - the "sound images" or "sound-samples", preferably available in digitalized form, which correspond to the respective entered sound definition parameters can be directed, accessed and/or activated in sound sample library memory unit (6b, 6) or sample data base, which contains said sound images or sound samples of all individual sounds or sound sequences or sound clusters of the individual virtual instruments or instrument groups and their parameters or parameter constellations or parameter combinations, i.e. all sampled sounds/sound parameters and which is data-flow-connected or - coupled to the said unit or via the said sequencer unit (5),

   And that the sound images can be transmitted from the sound sample library memory unit (6b, 6) via an acoustic transformer, preferably digital/analogue transformer, to an acoustic playback unit, in particular to a speaker unit or monitor speaker.
3. Arrangement or system according to claim 1 or 2, characterized in that in the sound parameter data base (bi-directional sound parameter memory unit) (6a) the sound definition parameters are configured according to a hierarchical principle with the groups of various instruments of an orchestra as main tracks and the individual instruments of a respective group as sub-tracks.
4. Arrangement or system according to any of claims 1 through 3, characterized in that the sub-tracks of the individual instruments are configured or structured hierarchically according to a data tree principle in the form of sound parameter levels or sound parameter level sequences specific to the individual instruments.
5. Arrangement or system according to any of claims 1 through 4, characterized in that in the sound parameter data base (bi-directional sound parameter memory unit) (6a) the sound definition parameters are configured or structured according to a hierarchical principle, preferably according to the principle: instrument level (Ei) - instrument modus level (Em) - instrument playing styles level (Es) - first to nth playing style sub-levels (Es1, Es2, ..., Esn) - sound length level (El) - sound pitch level (EH).
6. Arrangement or system according to any of claims 1 through 5, characterized in

   that in the sound parameter data base (bi-directional sound parameter memory unit) (6a) the individual sound / sound sequences / sound clusters definition parameters, such as respective instrument to be played or respective instrument group to be played, dynamic, repetition, fast legato, and/or special modes, are configured with equal value in a hierarchical level next to one another, and

   that within the said sound definition parameters a hierarchical structure or configuration with main level and sub-levels is provided.
7. Arrangement or system according to any of claims 1 through 6, characterized in that

   at least one software unit (41 through 47) is coupled at least to the processor unit (CPU) (4) and to the sequencer unit (5) coupled to it for a data-exchange which, in particular, comprises a score unit and/or corresponding software (41) for the playback of the sound / sound sequences / sound clusters definition parameters entered via the notation entry device (2) in the conventional line of music or score mode to the input/output interface, in particular Graphical User Interface (3) and/or printer (32) and the like, and/or

   at least one tone range definer and limitation unit and/or a corresponding software (42) is provided, which when tones or sounds are entered via the notation entry unit (2) that cannot be played on a particular individual instrument and that are in particular too low or too high for this instrument, gives a corresponding warning prompt to the notation entry unit (2) or to the entry interface (GUI) (3).
8. Arrangement or system according to any of claims 1 through 7, characterized in that

   At least the processor unit (CPU) (4) and the sequencer unit (5), coupled to it for a data exchange, of the composition computer (1) comprise

   At least one sound (post-)processing unit and/or a corresponding software (43) for a desired change or (post-)processing of sound images or sound samples (61) accessed from the sample library memory unit (6a) and transmitted by it, such as in particular for the individually matched impression on the respective instrument of reverberation and/or echo- and/or timbre characteristics or the like, and/or

   At least one dynamic unit and/or corresponding software (44) for changes to the dynamic within a tone or sound or sound cluster, in particular within a sustained tone or sound or sound cluster.
9. Arrangement or system according to any of claims 1 through 8, characterized in that

   At least the processor unit (CPU) (4) and at least the sequencer unit (5) of the composition computer (1) comprise

   At least one repetition detection unit and/or corresponding software (45) for adjusting the audio impression of tones and/or sounds of the same pitch (sound repetitions) played in rapid succession on the respective virtual instrument to the audio impression of a sound repetition played on a real instrument and/or

   At least one fast legato unit or corresponding software (46) for adjusting the audio impression of tones and/or sounds of different, such as in particular descending or ascending, pitch played in rapid succession on a (virtual) instrument to the audio impression of a rapid such sequence of tones and/or sounds played on a real instrument and/or

   At least one dynamic adaptation unit and/or corresponding software (47) provided for a desired tuning of the different volumes / sound volume ranges of the individual instruments, when several different instruments are played together, which contains sound volume parameters defining the maximum and minimum volumes and/or volume ranges individually achievable by real instruments being played, and algorithms provided for the adaptation.

Images