Classifications

• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H1/00—Details of electrophonic musical instruments
  • G10H1/32—Constructional details
  • G10H1/34—Switch arrangements, e.g. keyboards or mechanical switches specially adapted for electrophonic musical instruments
  • G10H1/342—Switch arrangements, e.g. keyboards or mechanical switches specially adapted for electrophonic musical instruments for guitar-like instruments with or without strings and with a neck on which switches or string-fret contacts are used to detect the notes being played
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H1/00—Details of electrophonic musical instruments
  • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
  • G10H1/04—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation
  • G10H1/053—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only
  • G10H1/055—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only by switches with variable impedance elements
  • G10H1/0553—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only by switches with variable impedance elements using optical or light-responsive means
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
  • G10H2220/135—Musical aspects of games or videogames; Musical instrument-shaped game input interfaces
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
  • G10H2220/155—User input interfaces for electrophonic musical instruments
  • G10H2220/405—Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle
  • G10H2220/411—Light beams
  • G10H2220/415—Infrared beams

Definitions

• This invention relates to a musical instrument and more specifically relates to a device that in one embodiment generates digital commands that in turn are interpreted by something else to generate a sound with specific parameters or to control musical expression or other control functions that are useful in a performance setting and in another embodiment generates note tones itself.
• the MIDI control language allows for other commands for the purposes of musical expression with a common one being a spring-centered slider wheel that is used to control pitch bend.
• This feature adds a level of expression to a keyboard that cannot be achieved with a piano, and there are other ⁇ ays to influence the sound created by a keypress.
• These other controls are typically in the form of sliders and knobs mounted on the keyboard.
• there are other innovative means to control the sound generated such as the use of Hall effect switches in a guitar-like musical instrument (US Pat. No. 4,658,690 issued to Aitken et al. entitled "Electronic Musical Instrument"), the combination of piano-like keys with a guitar-like synthesizer (US Pat. No. 4,794,838 issued to James F.
• MIDI controllers that either adapt a conventional instrument or model the shape and performance of one.
• these controllers suffer in comparison to the original instrument in terms of expressiveness or have technical limitations.
• guitar-to-MIDI converters must spend a finite amount of time in calculating the incoming note and this introduces a delay between the played note and the sound produced.
• MIDI controllers There is another category of MIDI controllers that are not bound to the model of existing instruments. This category can in turn be divided into two main classifications. The first are defined as devices that are used to influence the sound of notes that are generated independently. The second classification can be defined as devices that are used to generate the note tones. Sometimes these two functions are combined into one device but most commonly are separate.
• the Midi interface standard allows for a great deal of flexibility in that messages from a keyboard can be used to control the playing of musical notes or can be used to control a variety of other functions. For example, a certain key on a musical instrument can be used to generate a musical note such as middle C, or can be "mapped" to instead trigger a pre-stored sequence of musical notes for accompaniment. This pre-stored sequence is often referred to as a loop since it is typically a short musical or percussion sequence that continuously loops.
• this device has an array of keys and a series of key, push buttons, pads and switches, it still requires the user to manipulate the device in a fashion very similar to manipulating a guitar (i.e., one hand grasping the neck and playing notes off of the neck while the other hand manipulates the keys, push buttons, pads and switches on the body of the instrument).
• devices that generate digital commands that in turn are interpreted by something else to generate a sound with specific' parameters or control musical expression or other control functions that are useful in a performance setting or generate note tones itself that mimics or is compatible with the actions a musician takes to make or perform music and that allows the user to add expressiveness to the notes that they are playing.
• the present invention is a musical device that generates digital information that is in turn used to generate note tones. It can also influence the sound of notes that are generated independently and performs a variety of user defined or user controlled activities. These activities include but are not limited to producing musical notes, determining, influencing or changing the sound, quality, voice, volume or other characteristics of a note, activating and coordinating the replay of stored loops, recording, editing and playing user created pieces previously produced and controlling peripheral devices such as lighting.
• the musical device in preferred embodiments uses a combination of strings and frets to locate notes on a fingerboard or fretboard that a user may activate.
• the invention includes a system to generate digital messages that are used to create a sound corresponding to a note selected and activated according to preselected parameters such as the voice (e.g., trumpet, violin).
• a user's intent to play a particular note is preferably confirmed by a system of sensors corresponding to each note position that confirms a user's intent to play a particular note.
• the musical device also includes one or more switches that activate functions, loops or voices corresponding to note positions on the fingerboard or fretboard.
• the music device is a stand alone unit.
• the music device is a computer peripheral that is attached to a standard PC or laptop computer.
• the music device may be a relatively low-cost peripheral for existing computers and software applications.
• the music device may be a peripheral for popular stand- alone game platforms such as the Microsoft Xbox®, Nintendo Wii® and Sony Playstation® video game systems.
• the music device allows anyone who has a desire to play a musical instrument, but does not have the prodigious amount of time that is required to master a conventional musical instrument, to produce relatively high quality music.
• the music device allows skilled musicians to expressively and easily perform their desired music.
• the invention uses a MIDI interface to interact with other devices. Because of its MIDI standard interface, the present invention can interface directly with devices and programs that create sounds and music, teach music or otherwise allow users to express their musical creativity and devices such as the portable devices and podcasting systems mentioned above.
• the present invention allows a user to control these programs and devices through a natural musical interface that consists of strings and frets. This interface is similar to a guitar except that only one hand is needed to generate a sound; pressing a string between the frets generates a MIDI command.
• an array of infrared sensors senses the position of the user's fingertips as music is produced on the invention to provide a means to capture musical expression. This capture of expression is essential in providing a musical experience that is acceptable to advanced musicians.
• the technology of the present invention can be used in a conventional guitar-like format including embodying the musical device in a guitar-like body with a neck and a fretboard.
• the present invention uses the array of infrared sensors to capture subtle nuances of the musical performance while the fret/string combination provides tactile feedback and an intuitive interface with the musical device.
• the array of infrared sensors acts as a non-contact sensing device that provides information about the fingers approach to the note prior to its activation. This can be used for "velocity sensing" that is a Standard MIDI parameter to control the volume of the note produced.
• the infrared sensor array provides ongoing information about the user's finger position after the note is activated. This allows for rapid modulation of the note after it is pressed by moving the finger back and forth between the frets. It also can provide a function called "aftertouch" that provides information about how the note is released.
• this array is an array of solid-state infrared sensors means that it is far less costly, easier to produce and more reliable than an array of mechanical switches.
• the music device is capable of having a large feature set. However, despite having the ability to have a large feature set, the music device also is accessible and easy to use on a number of different levels so that the end user can immediately begin using it in an entertaining way. But, the device is also sophisticated enough to allow for continual advancement as the expertise of the user grows.
• the musical device described herein takes the ease and accessibility of piano keys but retains the ability to move patterns and scales as on a guitar.
• having multiple strings provides a dimension that the piano lacks. Instead of having to cover an entire range of notes horizontally, the musical device adds the back-and-forth vertical dimension and so allows for a much greater range of notes in a compact size.
• the present musical device integrates an easy-to-play yet powerful musical instrument with a wide variety of easily accessible controls to manipulate the playback of both live and prerecorded music.
• FIG. 1 is a perspective view of an embodiment of this invention.
• FIG. 2 is a top view of the invention of Figure 1.
• FIG. 3 is an end view of one end of the invention of Figure 1.
• FIG. 4 is an end view of another end of the invention of Figure 1.
• FIG. 5 is a front view of the invention of Figure 1.
• FIG. 6 is a back view of the invention of Figure 1.
• FIG. 7 is a close up view of the IR LED system of the present invention.
• FIG. 8 is a schematic side view of the IR LED system of FIG. 7.
• FIG. 9 is a schematic view of the electronics of the invention of Figure 1.
• FIG. 10 is a schematic view of the multiplex circuit of the invention of Figure 1.
• FIG. 11 is a timing chart showing the interaction and timing of the various elements of the present invention to detect and confirm that the user has selected a particular note.
• FIG. 12 is a perspective view of an alternate embodiment of the invention.
• FIG. 13 is a schematic view "of the circuitry used to detect the plucking of a string in the embodiment of the invention of Figure 12.
• FIG. 14 is a close up front view of the LED array of the virtual potentiometers of the present invention.
• FIG. 15 is a close up front view of an LCD display of one embodiment of the present invention.
• FIG. 16 is a close up perspective view of an embodiment of the present invention showing an array of LEDs identifying under which notes a loop is stored and the string bending system of the invention.
• FIG. 17 is a close up top view of an embodiment of the present invention showing a printed template identifying under which notes a loop is stored
• FIG. 18 is a close up front view of an embodiment of the present invention showing a panel used to indicate the choice of voices available along with the status of various control functions.
• FIG. 19 is a timing diagram showing the timing by software of loops to synchronize such timing.
• the musical device of the present invention is shown in Figures 1 — 19 generally labeled 10.
• the musical device 10 in the preferred embodiment shown in Figures 1 - 7, has a main body 12 with a fingerboard 14.
• the main body 12 has a front 16 and a top 18.
• the fingerboard 14 is located on top 18 of the main body 12.
• the fingerboard 14 resembles a conventional fret board on a guitar that has been placed on its back. Consequently the fingerboard 14 has a series of frets 20 equally spaced along the fingerboard 14 with the same spacing that is used on conventional computer keyboards. This equal spacing is in contradistinction to the spacing of frets on guitars whose frets are spaced with progressively smaller intervals with higher pitches.
• the function of the frets 20 is both to provide feedback as to the note position on the fingerboard 14 and to make an electrical contact with strings 22 as will be described hereafter.
• the frets 20 are preferably spaced from each other in a parallel configuration.
• frets 20 producing 24 fret pairs (i.e., frets 1 & 2, frets 2 & 3, frets 31 & 32 and frets 32 & 33).
• frets 1 & 2, frets 2 & 3, frets 31 & 32 and frets 32 & 33 Although the preferred embodiment of the musical device has 25 frets 20, the musical device could have fewer or more than 25 frets 20.
• the fingerboard 14 has a series of metal strings 22 that are installed across the length of the fingerboard 14 at right angles to the frets 20.
• there are four strings 22 although there could be fewer or greater than four strings 22. These strings 22 are tensioned and positioned a short distance above the metal frets 20. The function of the strings 22 is to help the user locate a note on the fingerboard 14, provide tactile feedback to the user and to make electrical contact with the frets 20.
• Each of the frets 20 and the strings 22 are electrically connected to a microprocessor 24 ( Figure 9).
• Microprocessor 24 through software programming, directs the note identification process as will be described hereafter, generates sounds in response to the user's playing of notes and in accordance with the user's selection of functions and voices, stores and plays loops and controls the LED arrays and displays that aid the user in identifying and playing functions, loops and voices.
• Microprocessor 24 is preferably an integral part of the musical device 10. But, in an alternate embodiment, microprocessor 24 may also be the microprocessor of a computer 26, such as a laptop computer, that is connected to the musical device 10.
• the musical device 10 operates using the MIDI interface standard although other interfaces as will occur to those skilled in the art that allow the musical device 10 to interact with other devices may be used as well.
• the MIDI interface standard allows for a great deal of flexibility in that messages from the fingerboard 14 and a bar 28 or bars 28, as will be described hereafter, to control the playing of musical notes or can be used to control a variety of other functions, loops or voices, also as will be described hereafter.
• a certain key on the fingerboard 14 can be used to generate a musical note such as middle C, or can be "mapped" to instead trigger a pre- stored sequence of musical notes (e.g., loops) for accompaniment.
• a software program similar to the programs commercially available for managing MIDI interfaces is executed on an external processor such as that in a personal computer 26.
• the microprocessor 24 inside the music device 10 manages the note detection and generation of MIDI note commands
• the program will normally play the middle C note when the associated key is pressed. But, when a bar 28 is depressed as described hereafter, the micprocessor 24 generates a different note command that is communicated via the MIDI interface to an external device and that can be e assigned by the external software programs to trigger a function, loop or voice that is under control of the program. This allows for a range of keys to not only be available to play musical notes, but also to be assigned to trigger background patterns, functions or voices.
• the musical device 10 contains both the microprocessor 24 or similar circuitry and a microprocessor or similar circuitry for running programs or otherwise generating musical notes in response to the user's interaction with the fingerboard 14 as determined and communicated by the microprocessor 24, the functions of interacting with the fingerboard 14 and producing corresponding notes or running corresponding activities would all be accomplished in a single musical device 10.
• the musical device 10 is normally played with the fingerboard 14 face up with the user facing the musical device 10.
• the musical device 10 can be played with both hands as with a piano. Notes are played by tapping lightly on the string 22 in the space between the frets 20.
• the musical device 10 is sensitive to the velocity of how the fret 20 was tapped for expanded expression.
• the preferred embodiment of the invention includes electrically connecting the frets 20 and strings 22 to a microprocessor 24
• other embodiments of the invention include electrically connecting the frets 20 and strings 22 to discrete analog or digital circuitry or a combination of discrete analog or digital circuitry with a microprocessor 24 to produce the logic level signals on each string 22 and scan the array of frets 20 to determine contact between the frets 20 and strings 22.
• discrete analog or digital circuitry or a combination of discrete analog or digital circuitry with a microprocessor 24 may be used to produce the desired "note" in response to a detected electrical connection between the frets 20 and strings 22.
• the present invention includes a fingerboard 14 having just frets 20 and strings 22 coupled to a microprocessor 24 as described above and is an embodiment of the invention
• this embodiment of the invention having a fingerboard 14 with just frets 20 and strings 22 is not the preferred embodiment.
• This embodiment has several drawbacks.
• One is that the mechanical alignment is critical in that any small difference in height among the frets 20 will result in false contact closures.
• a second problem arises when there are multiple contact closures on the same string 22 as would happen if a string 22 is pressed between two frets 20 and the same string 22 is pressed two positions to the right or left of these two frets 20. In this case there will be a contact closure across three positions and it will be impossible to distinguish which two of the three notes are the intended ones to be played.
• a third problem is that it is desirable to include information that relates to the volume of the note to be played (called velocity in MIDI), and this is not provided in the simple contact sensing arrangement described above.
• an array of infrared sensors 32 is employed ( Figures 7 and 8). As shown schematically in Figure 8, the sensors 32 are installed on the face or top 18 of the fingerboard 14. A sensor 32 is installed at each note position (i.e., each position corresponding to the intersection of a string 22 and the space between adjacent frets 20). Each sensor 32 includes a IR LED transmitter 34 that transmits IR light from the
• Receiver 36 is preferably a photodiode but may be any device that, upon receipt of IR light, completes or actives a circuit.
• Each transmitter 34 is located on the face of the fingerboard 14 so that the IR light is transmitted from the transmitter 34 essentially perpendicular to the face of the fingerboard 14 (i.e., at a 90- degree angle along with some amount of beam spread).
• Each receiver 36 corresponding to a particular transmitter 34 is located next to its partner transmitter 34 and is also directed essentially perpendicular to the face of the fingerboard 14.
• IR light transmitted by a transmitter 34 is detected by its corresponding receiver 36.
• the microprocessor 24 sequentially activates each transmitter 34 and simultaneously checks each corresponding receiver 36 to see if the receiver 36 is detecting light transmitted by transmitter 34 and reflected off of the user's finger ( Figures 10 and 11). This detection indicates the presence of the user's finger and is then used in conjunction with the contact closure between the frets 20 and strings 22 previously described to provide confirmation that the finger position and consequently a desired note is sensed properly.
• microprocessor 24 detects that a particular note has been selected by the user to be played by sensing a contact between a string 22 and a pair or adjacent frets 20, the detection of a signal by receiver 36 at that same note location confirms that the detected note is in fact the note that the user intends to be played.
• This confirmation of note eliminates the ambiguity in note position described above that might occur if the string 22 were inadvertently to contact a fret 20 on either side of a pair of frets 20 corresponding to the note the user actually intended to play as described above.
• This array of sensors 32 is arranged in banks (1-8 in Figure 10 - this schematic shows a total of 64 sensors 32 but in a preferred embodiment, there are 96 although the invention could be practiced on more or less banks).
• Each of the sensors 32 is connected to a multiplex circuit 38 as shown in Figure 10.
• One embodiment of the multiplex circuit, as shown in Figure 10, contains discrete electronic elements.
• U9 is an analog multiplexor IC that provides power to one of the 8 banks of LEDs transmitters 34, while UlO selects which LED transmitter 34 within the bank will have a path to ground. Where there are 96 notes, when a digital address from 0-95 is applied to the two ICs, one of the 96 IR transmitters 34 will be turned on.
• discrete electronic elements UI l and Ul 2 select the output of one of the 96 IR receivers 36.
• Each receiver 36 has a corresponding transmitter 34 located adjacent to it so that these are both selected simultaneously via the analog multiplex circuit 38.
• This multiplex circuit 38 and method offers several advantages in that a higher current can be provided to the LED transmitters 34 than a static method could provide, resulting in greater sensitivity to finger sensing. Also, total power consumption is greatly reduced since only one of the arrays is active at any one time. This reduces the overall system cost.
• the preferred embodiment of the invention includes sensors 32 as described above. However, it may be desirable to place a light barrier 40 between each transmitter 34 and its corresponding receiver 36 to block any stray light from the transmitter 34 from contacting its corresponding receiver 36 and inadvertently be detected and interpreted as being the user attempting to activate the note corresponding to that position.
• Figure 8 illustrates such a light barrier 40 as a low wall between a transmitter 34 and its corresponding receiver 36 to physically block stray light from the transmitter 34 from contacting the corresponding receiver 36.
• the light barrier 40 is a LED in the LED array 58 as will be described hereafter.
• the IR LED sensors 32 alone are inadequate for detecting the user selecting specific note selections in musical applications because it is impractical to calibrate the IR thresholds to be uniform across the array of sensors 32 and tactile feedback is very important in a musical instruments.
• the combination of sensors 32 with the electronic configuration of frets 20, strings 22 and microprocessor 24 described above produces a musical device 10 that is robust in accurately determining that a particular note has been selected by the user to be played.
• a user is playing a note located on the first string 22 and between the 2 nd and 3 rd frets 20.
• the microprocessor 24 sends a "high" logic signal to this first string 22, as the user contacts the string 22 and moves it into electrical contact with the 2 nd and 3 rd frets 20, this "high" logic signal is communicated to the 2 nd and 3 rd frets 20 and sensed by the microprocessor 24.
• This electrical contact will produce a closed current loop from the first string 22 to the 2 nd and 3 rd frets 20 so long as the user's finger maintains the string 22 in contact with the 2 nd and 3 rd fret 20 and so long as the "high” logic signal is sent to the first string 22. But, because the microprocessor 24 cycles the "high” logic signal from one string 22 to the next string 22, periodically the "high” logic signal will appear on the 2 nd and 3 rd frets 20 at the same time as the "high” logic signal is sent to the first string 22.
• Circuitry or digital signal processing will consequently identify that a note is being played at the location of the intersection of the first string 22 and the space between 2 nd and 3 rd frets 20 when a "high" logic signal is detected on the 2 nd and 3 rd frets 20 at the same time as the "high” logic signal is sent to the first string 22.
• the multiplex circuit 38 and microprocessor 24 is confirmed by the multiplex circuit 38 and microprocessor 24. This is accomplished, as shown in the example of Figures 10 and 11, by the microprocessor 24 directing the multiplex circuit 38 to sequentially active each transmitter 34 and simultaneously check to see if the light produced by the transmitter 34 is being detected by its receiver 36 pair.
• the transmitter 34 corresponding to the note located on the first string 22 and between the 2 nd and 3 rd frets 20 will eventually be activated as the microprocessor 24 directs the multiplex circuit 38 to cycle through the transmitters 34.
• the IR sensors 32 allow for additional expressivity parameters such as note velocity. Note velocity can be used to indicate the loudness of the note being produced as takes place when a piano note is struck or a guitar string plucked. Note velocity can also be used to control other MIDI parameters other than the loudness of the note such as a preset or user determined filter setting that changes the characteristic sounds of the note.
• This detection of note velocity is accomplished by starting a timer, preferably an electronic timer 42 on microprocessor 24, when an initial threshold is sensed by the receiver 36 (i.e., IR light above a certain threshold is detected by the receiver 36) and ending the timer at a higher threshold (i.e., a higher level of IR light is detected).
• the difference in thresholds of IR light detected by the receiver 36 corresponds to an increase of reflected IR light received by the receiver 36 as the user's finger approaches the sensor 32 to hit the string 22 and reflects IR light from the transmitter 34 to its corresponding receiver 36.
• the time between these two threshold events is proportional to the speed of the finger that hits the string 22 and so velocity information can be sent to and determined by the microprocessor 24 when the playing of a particular note is detected and transmitted. With the time between these two thresholds, the microprocessor 24 can make the determination of the speed of the finger by direct calculation or by looking up the speed in a lookup table.
• the embodiment of the musical device 10 described above is a method and device for sensing the fingertip location in the context of a musical instrument through a combination of an infrared transmitter 34 and a corresponding receiver 36. This embodiment works well in most environments.
• the ambient light may negatively interact with the receiver 36 to make it difficult for the musical device 10 to accurately sense when a particular note has been played by the user.
• tungsten light bulbs emit strongly in the IR spectrum. So, if a tungsten lamp is placed near the receivers 36, the IR light emitted from the lamp can be detected by one or more receiver 36 and consequently interfere with the proper operation of the musical device 10. This ambient IR light can be accounted for in the embodiment described above and removed by varying the sensitivity of the receiver 36.
• there is an alternate embodiment of the musical device that has another method of detecting and compensating for this unwanted IR radiation exposure. The embodiment of the musical device.
• each IR phototransistor receiver 36 is selected with all IR LED transmitters 34 in an off state (i.e., where each transmitter 34 is not transmitting IR light).
• the voltage level produced on each receiver 36 indicates the amount of ambient infrared light contacting each receiver 36. If the amount of IR light received by a receiver 36 is above a certain threshold at this time, this indicates that a fingertip is not at the location of this receiver 36, but instead indicates that the receiver 36 is just reading ambient light (a condition we will call "condition 1").
• condition 2 This relatively low voltage reading could be produced at the receiver 36 because the room has low ambient IR light or because a fingertip is present near the receiver 36 and is therefore mostly blocking ambient IR light impinging on the receiver 36.
• condition 2 When condition 2 is detected for a particular receiver 36, the software programming will activate the LED IR transmitter 34 associated with that particular receiver 36 (i.e., will cause the transmitter 34 to emit IR light).
• This process of looking at the voltage levels of the receivers 36 and then activating the transmitters 34 is preferably repeated many times a second (e.g., from about several thousand times a second to about a few times a second). In this way, the movement of a fingertip near to or away from a receiver 36 will be rapidly detected.
• condition 3 If after this transmitter 34 is activated, there is a voltage level detected at the receiver 36 corresponding to the transmitter 34 that exceeds a set threshold, there is confirmation that the prior low voltage detection at the receiver 36 is due to a fingertip being near the receiver 36 (a condition we will call “condition 3") and not a low level of ambient IR light since if the fingertip were not in proximity to the receiver 36, there would be very little IR light reflected off the fingertip and into the receiver 36.
• each receiver 36 By activating each receiver 36 to determine a level of IR light impinging on each respective receiver 36 and thereafter activating each transmitter 34 and seeing the result on the voltage level detected by the corresponding receiver 36, a robust method of avoiding false detection of a note by ambient light is provided. It is preferable, but not absolutely required, that each transmitter 34 be activated in a sequence (a sort of strobing action).
• a condition 3 immediately following a condition 1 means there is a high background level of ambient IR light. Consequently, thresholds levels for the ambient IR light can be set accordingly in the software programming. Automatic calibration of IR light levels can be accomplished by leaving the transmitter 34 IR LEDs in an off condition and reading, individually or in a group or of the entire receiver 36 array at the same time, to measure background ambient IR. Automatic calibration of condition 3 is also possible by keeping a history of the upper and lower thresholds of IR light detected at receivers 36 when the fingertip is placed on the location in proximity of the receiver 36.
• the musical device 10 may also take the form of a traditional guitar shape ( Figure 12) having a guitar body 72, neck 74 and a fretboard 76.
• the transmitters 34 and receivers 36 are built into the fretboard 76 of the guitar neck 74 so that the transmitters 34 and receivers 36 are located between what appears to be traditional frets and are located at the approximate location of a string on a traditional guitar.
• a user of the musical device 10 who is familiar with playing a guitar would also be able to play the musical device 10 which would play like a traditional guitar. It is recognized that so • called "traditional guitars" come in a wide variety of sizes and configurations.
• a preferred embodiment of this variant of the musical device 10 has the fretboard 76 being made of plastic or other material that is transparent to IR, but opaque to visible light. In this way, the transmitters 34 and receivers 36 are present and function but cannot be easily seen on the guitar neck 74.
• the musical device i 0 in one or more embodiments can detect finger position in advance of the actual placing the finger on the fingerboard 14. Similarly, and by the same technique, in this variant of the musical device 10, the user's finger position on the fretboard 76 can be determined prior to the picking of the string. As a result, because the user's finger position on the string on the fretboard 76 has already been detected before the string is plucked (and consequently the corresponding note identified), when the string is plucked (and is detected) the note already identified by the user's finger position can be almost instantly played.
• This detection is accomplished as follows.
• An analog signal typically from the electromagnetic pickup on the guitar, is put through a buffer and signal amplifier 78, half- wave or full wave rectifier and amplifier circuit 80 and applied to the analog-to-digital converter 82 input of a microprocessor 24 ( Figure 13).
• the resulting numbers can then be analyzed by the microprocessor to look for indicators that the string has been picked. For example, in the most simple case, the string is at rest and is then picked by the user.
• the digital values corresponding to the string vibration will then go from relatively low values and consistent series (when the string is at rest) to a higher-valued and varying series that follow the analog waveform (corresponding to the string vibrating as a result of being plucked). As soon as this condition is detected from a rest state, the digital code for the note previously detected by the user's finger position can be released.
• the musical device 10 combines some of the best aspects of a piano and guitar without the difficulty associated with learning to play these instruments.
• a piano unlike a guitar, has a logical and accessible layout of a piano keyboard that can be played with both hands. Learning a guitar requires twisting the left hand in awkward positions while hitting notes with the right hand. So, in this regard, a piano is more accessible.
• an advantage of a guitar is that once a scale or pattern of notes is learned in one position (i.e., a chord), it is easy to convert into any other key by simply moving the position up or down by a number of frets - the musical pattern stays the same.
• the same situation on a piano requires memorizing a different pattern or scale for every key owing to the layout of the black and white keys.
• the musical device 10 of the present invention combines the ease and accessibility of piano keys with the ability to move patterns and scales as in a guitar.
• having multiple strings 22 provides a dimension that the piano lacks. Instead of having to cover an entire range of notes horizontally, the musical device 10 adds an up and down vertical dimension that allows for a much greater range of notes to be located in a compact size.
• Note bending on the present musical device 10 is preferably accomplished by using infrared sensors 44 similar to the infrared sensors 32 to transmit IR light from a transmitter 46 that is reflected off a reflector 48 that is attached to one or more of the strings 22 back to a receiver 50 similar to receiver 36 ( Figure 14).
• a separate sensor 44 and reflector 48 is associated with each string 22.
• Each transmitter 46 is directed toward its corresponding reflector 48 so that as its associated string 22 is moved from a rest position to a stretched or "bent" position, the amount of light reflected off of the reflector 48 to the receiver 50 is changed. That is, as the string 22 is moved up or down, more or less reflected light is reflected off the reflector 48 and received by the receiver 50.
• the microprocessor 24 detects this change in the receipt of reflected IR light. As the amount of IR light detected by receiver 50 decreases, the microprocessor 24 interprets this reduction as a note being "bent” and decreases the note pitch in accordance to the amount of reduction in received IR light at the receiver 50.
• the reflector 48 can be a small piece of material such as a square of white that is mounted or painted on a piece of plastic. This piece of plastic has a groove in it that the string 22 goes through so that the reflector 48 moves when the string 22 moves. Some amount of hysteris can be added either mechanically (by using a slot slightly wider than the string 22) or by a software algorithm that is executed on the microprocessor 24
• the musical device 10 has the advantage of being able to be produced at a lower cost than either a piano or guitar. This is because the techniques employed in the musical device 10 design utilize very low-cost components and there is not a critical mechanical aspect as on either a guitar or piano. Even an electronic keyboard will ordinarily cost more to produce because of the requirement to have so many moving parts (the keys), while on the musical device 10, there are few moving parts. Sensors 32 (IR transceivers) are also low cost because they are in mass production for use in applications such as consumer remote controls.
• the preceding description of the musical device 10 provides many advantages over current musical instruments and produces an interesting and easy to play musical instrument.
• the musical device 10 also has several other innovative features that make the musical device 10 very easy to learn to play and offer advanced users an unprecedented level of control.
• any note on the keyboard 14 may be assigned a function.
• the musical device 10 also has a button or switch that performs the same function as the bar 28 described hereafter.
• the musical device 10 may have a button on the guitar body 72 or use an external switch such as a foot-operated switch to switch the context from the normal mode of playing notes to a function activation mode. But, in ordinary use- on any embodiment of the musical device 10, activating a note by whatever method appropriate for that musical device 10 is intended to produce the corresponding musical note.
• the musician takes action to place the music device 10 in a function mode (e.g., depressing the bar 28 or simultaneously activating an obscure combination of notes).
• a function mode e.g., depressing the bar 28 or simultaneously activating an obscure combination of notes.
• activating a note does not produce the corresponding musical note.
• activating a note activates the function assigned to that note.
• the note corresponding to the musical note middle "C" could be assigned the function of initiating a drum loop, and the action to put the • music device 10 into the function mode could be the depressing of the bar 28.
• the bar 28 may be a button, thumb bar, foot switch or roller bar.
• a particular advantage of using a bar 28 or bars 28 as described herein is that the use of such bars 28 eliminates the problem described above of removing notes from being able to be played to produce music in order to make them available to activate functions, loops or voices. Accordingly, the musical device 10 addresses this problem by temporarily providing an alternate function to the musical keys in a similar fashion to the common "shift" or "alt” keys on a computer ASCII keyboard. The use of a single shift key doubles the effective number of notes and functions and each additional shift key adds another complete set. In the musical device 10, the bars 28 act as these "shift” or “alt” keys. Consequently, it is expected that the invention will have multiple bars 28.
• the thumb bar 28 preferably takes the form of a metal rod located on the front 16 of the main body 12 that is sensitive to touch along its length.
• the thumb bar 28 is a capacitive switch.
• the bar 28 is a contact switch.
• the bar 28 is a roller bar. It is clear that other types of switches could be used for the bar 28 as will occur to those skilled in the art so long as contact with the user's thumb and the bar 28 produces an electrical contact.
• the bar 28 is a foot switch
• the foot switch is a standard device that can be plugged in to the musical device 10 and used to control the alternate functions. It may be desirable to have several bars 28 in similar form (e.g., all thumb bars or all foot switches) or a combination of forms (e.g., several thumb bars and one or more foot switches).
• each bar 28 functions as a kind of "shift key".
• note keys available (i.e., the intersections between the strings 22 with the spaces between adjacent frets 20) that essentially operate like switches.
• a reference to a "note” or “playing a note” in connection with the activation of a function means a user placing his or her finger on a string 22 in a location between a pair or frets 20.
• the size of the array formed by the strings 22 and frets 20 can be any desired size as formed by increasing or decreasing the number of strings 22 and the number of frets 20 or both.
• Chords - depressing a bar (e.g., the top thumb bar 28a) while playing a note could play a major chord that has the root of the depressed note.
• This function is an assigned function.
• any function could be assigned to the combination of playing a particular "note” and simultaneously activating the top bar 28a.
• the middle thumb bar 28b could be assigned to play the corresponding minor chord, and the bottom thumb bar 28c could be assigned to play a diminished chord.
• Playing an additional note along with the root note could be assigned to allow for all the common chord combinations. For example, placing one finger on a C while another finger holds a note two frets 20 down could be assigned to play a 7 th chord. This makes it simple to play the chord accompaniment to most popular songs by learning a few easy to place finger positions. Any key can then be played simply by shifting the position left or right an appropriate amount. This allows users of the musical device 10 to have the ability to play chords for accompaniment and to play a melody on top of the chords. By contrast, it typically takes years of guitar lessons and practice to become proficient to this point; the musical device 10 shortens this process to a small fraction of the time.
• the bars 28 may also operate in a control mode.
• the thumb bars 28a-d are used in a different way than in the chord mode described above.
• the top thumb bar 28a may be used to trigger "loops" which are pre-stored patterns of notes or drums.
• the historical problem with this method of making music is that 1) It is not geared to a live performance and 2) the controls are either a keyboard/mouse or a separate control panel that is used to trigger the loops.
• the musical device 10 makes it possible to play back sophisticated sounding melodies that have the elements and expression of a live performance.
• any user of an electronic piano or synthesizer knows, the ability to play loops is not unique in that many keyboards have ways to active pre-stored melodies.
• the main difference here is that, by simply activating a bar (e.g., the top thumb bar 28a), 96 loops (or whatever the number of notes available on the musical device 10) can be easily accessed in the course of playing a melody.
• a bar e.g., the top thumb bar 28a
• 96 loops or whatever the number of notes available on the musical device 10.
• the user can activate a pre-stored song through contacting a separate switch then playing a live, user produces melody on top. This tends to sound boring and repetitive as the background is always the same and so is rarely used, especially in a live setting as it appears the user is simply activating a button to listen to "canned" music.
• the musical device 10 retains the ability to easily produce songs in this way, but adds creative and dynamic control since, instead of a single setting for a song, there are up to 96 loop patterns that are easily accessible through the use of the thumb bar 28 while in the course of playing a piece. For example, there might be eight different drum patterns and eight bass patterns assigned to 16 note positions that can be selected during playback by activating a bar 28 while playing a note. These patterns can be made to automatically come in at the right time or can be triggered at any arbitrary moment while in the course of playback without moving the hands from the playing position. This is because the thumb is located near the thumb bars 28 so that a note can be played and then easily followed by a loop change by placing the thumb on the bar 28 and pressing another note on the fingerboard 14.
• a second method is to have a "MIDI control box" connected to the instrument that is an array of buttons, knobs and sliders that can be assigned to the loop trigger functions.
• the addition of these boxes is to get around the limitation of sacrificing a finite number of keys to activate these functions.
• these buttons are integrated on a synthesizer.
• external devices incorporating these arrays of buttons, knobs and sliders that can be used while playing a keyboard.
• use of the control box requires removal of the hands from the playing position.
• MIDI controls Those familiar with MIDI music generation know that the MIDI standard allows for a variety of controls that can be assigned to user-selectable functions. In a typical synthesizer, these controls consist of slide potentiometers or knobs mounted on the keyboard enclosure and there are separate MIDI controllers that can also provide an array of these knobs. While some musicians have become adept at moving sliders and pushing buttons with one hand while playing with the other, it is once again a non- musical interface that is difficult to smoothly integrate into a performance, especially for a novice.
• the bars 28 on the musical device 10 can be used to quickly select pre-defined switch functions during the course of playing a melody, as there are 96 functions available when the bars are depressed.
• a unique and important feature of the musical device 10 is that, instead of the note positions being just switches when the control bar 28 is depressed, any note.position can also be a analog control that can function like a rotary knob or slide potentiometer.
• One function that is particularly useful to musician performing electronically produced music is the ability to control a particular parameter with an analog to a potentiometer or a slider switch. For example, it may be desirable to make a note or series or group of notes louder at a particularly desired time.
• Volume switches made of a potentiometer or a slider switch are well known for controlling volume. However, these switches have the disadvantage that they are discrete elements that perform only a single function, take up space and are expensive In addition, these hardware slider controls can wear out over time. In the present music device 10, a volume function can be assigned to a note or a pair of notes.
• the function "Increase Volume” could be activated.
• the music device 10 is put in the function activation mode, for example by again depressing the thumb bar 28b, and a particular note paired to the first note is depressed, the function "Decrease Volume” could be activated.
• These functions could either be the move to or away from a preset volume level or could move toward or away from a volume level for as long as the bar 28 is activated.
• the musical device 10 thus produces a virtual slider switch since, in the mode where the longer the user activates the note while in the function mode, the higher or lower the volume will be.
• volume could be increased or decreased during a performance by the simple act of depressing a thumb bar 28 and a particular note.
• This method has the advantage of not requiring the addition of a discrete volume switch but instead uses the hardware already present in the music device 10.
• functions such as functions normally controlled by potentiometers or slider switches
• virtual switches can be controlled by virtual switches as described. But, it is desirable to be able to know where in the range of the virtual potentiometer or slider switch the switch is at any given moment. In the preferred embodiment, this is done by including an RGB LED array 52 ( Figure 14). These are specialized LEDs that can be controlled to be any of a wide range of colors and intensities. This color range can be used to indicate the current level or position of the slider. For example, dark blue could be used to indicate the bottom of a range of values, while moving through the color spectrum to red will correspond to increasing values. A color mapping chart could be printed on the instrument.
• the preferred embodiment of displaying the current "setting" of the virtual potentiometer or slider switches is an LED array 52
• other methods of displaying these current settings include, but are not limited to an alphanumeric display such as an LCD screen 54 ( Figure 15).
• the computer screen 56 can serve a number of display functions that are controllable by the musical device 10.
• a more expensive embodiment of the musical device 10 may include a larger LCD screen 54 as is commonly used in laptop computers. It is intended that any system that visually displays the current setting of the virtual potentiometer or switch may be used in the present music device 10.
• MIDI electronic music makes it possible to select a variety of "voice" or instrument sounds.
• Modern computing power has made it possible to create completely realistic samples of actual instruments and because of the inexpensive memory now included in personal computers, a vast array of conventional and alternative sounds can be produced.
• the ability to select voices on a MIDI instrument is certainly not unique to the musical device 10, but as with loops, it is the ability to select up to 96 voices "on the fly" while playing that is an advantage of the present music device 10. This is accomplished by using the bars 28 in a control mode.
• the bars 28 may be used to trigger the activation of a voice which is a particular sound such as a trumpet or a violin associated with the playing of a note.
• a voice which is a particular sound such as a trumpet or a violin associated with the playing of a note.
• any user of an electronic piano or synthesizer knows, the ability to select and play voices is not unique in that many keyboards have ways to select and play notes using voices.
• the main difference here is that, by simply activating a bar 28, 96 voices (or whatever the number of notes available on the musical device 10) can be easily accessed in the course of playing a melody.
• the user could select a particular voice (e.g., trumpet) for the notes at the beginning of a musical piece.
• the user could desire to switch to another voice (e.g., trombone) at some point in the performance. This is easily accomplished by simply activating an appropriate bar 28 and playing a "note” corresponding to the trombone voice while that bar 28 is depressed.
• a particular voice can be made to automatically come in at the right time or can be triggered at any arbitrary moment while in the course of playback without moving the hands from the playing position. This is because the thumb is located near the thumb bars 28 so that a note can be played and then easily followed by a voice change by placing the thumb on the bar 28 and pressing another note on the fingerboard 14.
• the playing of a note on the fingerboard 14 combined with activating a bar 28 can be used to trigger a large variety of loop patterns.
• these loops patterns provided with the musical device 10 and these patterns will be pre-arranged so as to be harmonious with each other.
• An example of these patterns would be a set of drum, bass, guitar, and keyboard phrases that are harmonious with each other.
• the complete beginner will start with triggering the template loops, functions or voices for different musical sounds and styles as described above that will be included with the instrument.
• the user can select among the patterns in real time and choose a set that is harmonious to the user.
• the combination of patterns can be stored in memory. This storage operation can be accomplished through the use of the thumb bars 28 that provide an alternate function (e.g., activation of the storage function) for a note.
• the top row of notes can be dedicated to storing patterns when one of the thumb bars 28 is pressed. This ability to store a sequence of patterns is similar in concept to the use of "macro" keys in a computer context. This macro pattern can then be recalled when an assigned note is pressed in conjunction with the appropriate bar 28. It can be seen that creating a sequence of these macro patterns can result in a complete song.
• the top row of notes can be set to scan each stored pattern in sequence and an underlying LED as part of an LED array 58 will be illuminated to indicate progress through the song. Patternl would be the intro to the song, followed by pattern 2 immediately to the right and so on.
• the scanning sequence can be interrupted at any point to edit the song by substituting an alternate set of patterns in the correct scan position. This can be accomplished by choosing a desired pattern, voice, etc. and inserting it into the sequence, replacing one sequence with this new sequence or otherwise modifying the existing sequence with the new sequence. This method allows for complete beginners to create a song. This process of determining which LED in the LED array 58 to light and when is preferably controlled by the microprocessor 24 and associated software.
• the user can create individual patterns instead of using the templates included with the instrument. This is done through the easy-to-play method of • entering and storing chords or individual notes as described above. Further, LEDs in the underlying LED array 58 associated with each note could be made to light up at appropriate times to suggest what notes will be harmonious with the current song being played (these indicators can also give a note-by-note sequence for those who wish to memorize a particular melody). As part of this skill level, notes that will not be harmonious with the current structure in the song can be disabled so as to eliminate musical "mistakes". This function can be disabled as the user advances
• the beginning and ending of the patterns that are input and optionally stored by the user can be easily done because of the thumb bars 28 (or foot pedals) that provide a method of control without lifting the fingers from the playing position. It can be seen that a completely original song can be created by making patterns of the different notes, and instruments in this way and voices and other expression can be added while performing or during the editing process.
• a microphone jack can also be included on the musical device 10 so as to allow for external voice or sound input to be included in the available patterns. While much of this functionality is available by combining other instruments and equipment, the advantage of the musical device 10 is that is contains a multiplicity of these functions in one compact and easily accessible way that can be easily accessed in the context of a live performance.
• the musical device 10 is able to "bend" notes to mimic the action of note bending that is able to be performed on a guitar.
• the musical device 10 accomplishes this note bending through the use of sensors 32 with transmitters 34 and receivers 36 associated with each string 22 that can detect the amount that the string 22 is "bent” or pushed one way or another.
• this note bending may be accomplished through the activation of an assigned "note bending" function that is preferably activated through a control bar 28.
• control bar 28 is depressed or otherwise activated, the note that is being played by the user at the time the bar 28 is varied in pitch by a predetermined amount or may be bent and unbent over time according to the parameters assigned to the note bending function. Further, the amount, timing and direction of the note bending achieved by activating a first control bar 28 may itself be controlled by activating and maintaining activation on a second bar 28. Apart from the usefulness of the bars 28 to allow a larger amount of control sliders and switches available than are known to be found on any other device, this feature opens up new creative possibilities for the more advanced user. For example, during the course of playing a melody, the string 22 bend function can be used in the conventional way of altering the pitch as described above.
• the first problem identifying under which note a loop, function or voice is stored, is preferably addressed through an array of LEDs 58 ( Figure 16) that are located beneath each note positions (one for each note position). These LEDs 58 are preferably different colors so as to more easily locate and arrange loop, function or voice categories. In the preferred embodiment, there are 12 different-color sets of 8 LEDs 58 (that have the same color within the set). These are used to group similar loops, functions or voices in an easy-to-locate way. For example, there might be 8 drum loops stored within the array of 8 blue LEDs
• this display 60 consists of a sheet of paper, cardboard, plastic or metal that is organized in the same grid pattern that is in the fingerboard 14 and is a one-to-one mapping of the note position with a loop, function or voice description.
• Pre-printed sheets or templates of paper, cardboard, plastic or metal can be marked by the user on a note with descriptive information 62 about the loop, function or voice and inserted in this area or such a template could be provided to a common printer associated with a personal computer-based word processor to make a user-customizable description of favorite loop patterns, functions or voices.
• a separate panel 64 (Figure 18) may be used to indicate the choice of loops, functions or voices available along with the status of various control functions. Since the user can define most of these functions, there must be a way to easily change this information. This can be done through the computer 26 the musical device 10 may be connected to. But, alternately, a small panel 62 may be available located on the top 18 of the main body 12 that will be lit with indicator status lights 66. The actual functions shown will be on a template 68 that is a normal piece of paper, cardboard, plastic or metal that can be marked on or printed by the user with a template that is provided. A beginner will not initially need to define custom functions so that a standard template for beginners can be provided. Alternately, the separate panel 64 could take the form of an LCD screen or similar sreen.
• the ability to synchronize the loop patterns is a key component of the loop playback and creation function previously described. An advanced user might not want to use this function. Consequently, it is possible for the user to disable the synchronization functions. But, it is believed to be too much to expect that a beginner will initially have the skill to synchronize these loop functions. Accordingly, in the preferred embodiment of the invention, the software that is included with the musical device 10 and implemented by the microprocessor 24 will have the ability to automatically synchronize the loop patterns that are triggered by the user.
• a software time pointer 70 advances through time driven by clock pulses of the microprocessor 24.
• non-activated or non-triggered patterns e.g., Loop 1 and Loop 2
• the timing pointer 70 will advance and be tracked by the software so that when a loop is triggered (e.g., Loop 2 at t
• the volume for the non-triggered loop (Loop 1 in this example) will remain at the zero-volume level.
• loop playback for Loop 1 will commence (i.e., the volume for Loop 1 will be raised so that Loop 1 can be heard) at the time Loop 1 is activated (t3).
• Loop2 in this example is a six measure loop that will continually play for six measures and then repeat. If at some arbitrary time, (e.g., 2:25 measures into this repeat pattern) the Loop 2 pattern is activated by the user playing the appropriate note while at the same time contacting the appropriate bar 28, the software would immediately raise the volume of the Loop 2 pattern until the end of the current pattern. Thereafter, the Loop 2 pattern would repeat at this raised volume until the volume for this Loop 2 is either changed or deactivated.
• the Loop 1 pattern also a six measure pattern
• the master tracking pointer ensures that, as long as the loops are prepared in such a way that they would be synchronized if they are all started with full volume at the same time, they will sound synchronized if they are triggered at any arbitrary point in time by modulating the volume from zero to the desired loudness at that point in time.
• the loop trigger event essentially acts as a volume modulation gate instead of a "loop start" command.
• the instrument has the ability to integrate control functions into note manipulation, it is uniquely easy to "layer" loop patterns in the context of a live performance. Since the beginning and the end of a pattern can be initiated at any time and stored without the hands leaving the playing position, it becomes possible to store a loop "on-the-fly" and then play another loop while the just-stored loop is playing. This makes it possible to create intricate harmonies that are woven together in a live performance.
• the musical device 10 thus allows the user to perform a variety of musically desirable tasks during a musical performance due to the ease of playing the musical notes and accessing the functions, loops and voices of the musical device 10.
• the use of the bars 28 in whatever form allows the user to active these functions, loops and voices in a manner that is not distracting to the user or that requires the user to hunt for the appropriate keys.
• the use of bars 28, including the use of bars 28 through a button or foot switch, applies not only to the fingerboard 14 and fretboard 76 of the present invention, but may also be used on other MIDI controllers including but not limited to MIDI controller associated with keyboards, synthesizers and guitar controllers.
• the musical device 10 by placing the musical device 10 in an appropriate mode by the activation of a bar 28 in whatever form it is present on the musical device 10, the musical device 10 may be connected to and interface with video game controllers (e.g., those sold under the tradenames Xbox®, Wii® and Playstation®2) where activation of "notes" in this mode acts to control the games played on these video games.
• video game controllers e.g., those sold under the tradenames Xbox®, Wii® and Playstation®2
• the musical device 10 could be connected to the Playstation®2 video game controller and used to play the popular video game Guitar Hero®.
• the output (e.g., analog audio, MIDI, video, date) from a game controller 84 could be presented to the musical device 10 so that the output produced by the game controller can be mixed with sound, music or functions produced by the musical device 10 itself or that is modified by the musical device 10 (e.g., with sound originally produced by another instrument such as a traditional electric guitar or MIDI instrument).
• a traditional musical instrument e.g., an electric guitar
• the circuitry of the present invention so that the traditional musical instrument acts as a "switch" to activate the functions described above.
• the analog signal produced by a traditional electric guitar that is presented to the guitar's amplifier may also be presented to, for example, the main body 12 of the musical device 10 so that by playing notes on the traditional guitar (e.g., plucking a string with or without placing a finger on the string) activates desirable functions as described herein.
• This principle applies equally well to any musical instrument capable of producing an electronic signal (either from a note produced by the musical instrument or the activation of a button, lever or switch on the musical device) that may be presented to the musical device 10 to activate functions as described herein.
• the electronics of the musical device 10 including the microprocessor 24, in whatever embodiment of the musical device 10, may be contained entirely within the main body 12 or guitar body 72 or may be located in one or more discrete pieces, including a computer 26, that is attached to the main body 12 or guitar body 72 and more specifically is connected to and interacts with the fingerboard 14 or fretboard 76. Consequently, the location of such electronics or whether an integral device or a series of discrete devices ultimately produce the sounds as a result of a user's interaction with the fingerboard 14 is not intended to be a limitation on this invention. Also, it may be desirable to have more than one microprocessor 24 present in the musical device 10. For example, one microprocessor 24 could do the sampling voltage levels produced by receivers 36 and activating or "strobing" transmitters 34 as described above while the microprocessor 24 could perform all the other functions of the microprocessor 24 described above.

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• Physics & Mathematics (AREA)
• Engineering & Computer Science (AREA)
• Acoustics & Sound (AREA)
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• Electrophonic Musical Instruments (AREA)
• Stringed Musical Instruments (AREA)

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