EP3586328B1 - Instrument de musique acoustique augmenté avec actionneurs de rétroaction et d'injection . - Google Patents

Instrument de musique acoustique augmenté avec actionneurs de rétroaction et d'injection . Download PDF

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Publication number
EP3586328B1
EP3586328B1 EP17793990.7A EP17793990A EP3586328B1 EP 3586328 B1 EP3586328 B1 EP 3586328B1 EP 17793990 A EP17793990 A EP 17793990A EP 3586328 B1 EP3586328 B1 EP 3586328B1
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EP
European Patent Office
Prior art keywords
radiating structure
transfer function
sound
feedback
actuator
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Active
Application number
EP17793990.7A
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German (de)
English (en)
French (fr)
Other versions
EP3586328A1 (fr
Inventor
Adrien Mamou-Mani
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Hyvibe
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Hyvibe
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    • 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
    • G10H1/043—Continuous modulation
    • G10H1/045—Continuous modulation by electromechanical 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
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/46—Volume control
    • 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
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/22—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using electromechanically actuated vibrators with pick-up means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00—General design of stringed musical instruments
    • G10D1/04—Plucked or strummed string instruments, e.g. harps or lyres
    • G10D1/05—Plucked or strummed string instruments, e.g. harps or lyres with fret boards or fingerboards
    • G10D1/08—Guitars
    • G10D1/085—Mechanical design of electric guitars
    • 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
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • 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
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • G10H2210/265—Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays
    • 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
    • G10H2220/461—Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • 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
    • G10H2220/461—Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • G10H2220/525—Piezoelectric transducers for vibration sensing or vibration excitation in the audio range; Piezoelectric strain sensing, e.g. as key velocity sensor; Piezoelectric actuators, e.g. key actuation in response to a control voltage
    • 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
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/24—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument incorporating feedback means, e.g. acoustic
    • G10H3/26—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument incorporating feedback means, e.g. acoustic using electric feedback

Definitions

  • the present invention relates to a processing of acoustic data picked up on a musical instrument having an acoustically radiating structure. More specifically, provision is made to supply one or more actuators of the radiating structure of the instrument with a signal generated from the acoustic data captured and processed, with a view to enriching the vibratory properties and in particular the sound resulting from the instrument with desired sound effects (echo, reverb, distortion, equalization, etc.).
  • desired sound effects echo, reverb, distortion, equalization, etc.
  • string musical instruments have a radiating structure (soundboard and possibly sound box) coupled to a bridge carrying the strings. It is then proposed in the context of the present invention to cause the radiating structure to resonate with a particular effect, in addition to the playing of the musician. For example in the case of an echo (or "delay" in English), the musician plays a note which the radiating structure amplifies and diffuses, but in addition, one or more actuators acting on the radiating structure then apply a vibration to the structure to replay this note at regular time intervals with a decrease in amplitude to simulate the echo effect.
  • a radiating structure soundboard and possibly sound box
  • WO 2016/209143 A1 describes a method and process for determining the parameters of a control algorithm to synthesize and generate a variety of sounds and vibrations not normally available on a stringed instrument.
  • WO 97/12359 A1 describes a hybrid active vibration attenuation technique for noise canceling headphones.
  • WO 2016/209143 A1 And WO 97/12359 A1 do not, however, describe the aforementioned transformations of the signal.
  • the radiating structure of the instrument itself (typically the CAI resonance box of a guitar for example), is used as a "diffuser” or "high- speaker” of the sound signal transformed by a device DEV of the “effects pedalboard” type.
  • one or more MIC sensors are mounted on the sound box of the guitar (for example at the soundhole). This (these) sensor(s) capture(s) the acoustic vibrations of the radiating structure.
  • the digital signal corresponding to this acoustic signal is transmitted to the input E of a device DEV applying the desired effect(s) and controlling, via its output S, actuators ACT applied against the resonance box CAI to make the box vibrate according to the effects chosen by the user of the device DEV.
  • the sound radiated by the instrument is thus the sum of the acoustic sound played by the musician and its transformations by the DEV device (without the need to pass the captured signal through an amplification chain, as done conventionally and illustrated on the figure 1 ).
  • the transformations thus applied are generally digital audio effects (reverberation (or “reverb”), chorus, distortion, equalization) injected in “feedforward", that is to say that the processing does not take into account the feedback emitted by the actuators on the sensors.
  • the sound radiated has a poor quality, for example compared to another instrument or to that obtained by a conventional amplification chain of the type illustrated in the figure 1 .
  • the physical latency of processing does not exceed a few microseconds.
  • the vibroacoustic transfer function H2 between the actuators and one or more acoustic microphones positioned at any point in space can be estimated in real time.
  • the aforementioned preselection of a particular processing for a sound effect chosen by the user can be carried out statically by an application on a smartphone, typically via a wireless connection (bluetooth for example), or dynamically directly on the instrument (for example with potentiometers like on electric guitars but to directly adjust effects and not volumes).
  • the acoustic pressure p presented on the figures 3 to 6 can be measured by a microphone (that of the smartphone used as a user interface for example). This measurement can then be used (in addition to the transfer function H1) in the determination of the gains of the feedforward, or even for the determination of the gains coupled in feedback/feedforward, for an enrichment of the final rendering, to the ear of the musician.
  • the feedback control mode is not represented on the picture 3 simply illustrating "acoustic paths", but rather on the figure 6 illustrating an implementation of the invention.
  • the transfer function H1 between the sensor and the actuators is measured initially with muted strings (without the musician playing on the strings).
  • This transfer function presents a series of peaks in the frequency space, as well as a average amplitude per frequency band (nine bands for example). It is thus a measurement of the transfer function between actuators and sensors, in open loop, the vibratory properties of the radiating structure then being estimated (frequencies, resonance quality factors, amplitudes at the sensors and at the actuators, and /or other properties). Then, from these measurements, it is deduced from the characteristics of vibration to the CAP sensor which make it possible to refine the control of the feedback to be applied (thanks to methods of automatic estimation of parameters described later). The feedback controller is then programmed from these measurements and estimates. As will be seen below, it is also reprogrammed automatically for each new feedforward processing.
  • the feedforward type gains are adjusted.
  • the values of these gains update the transfer function as explained above (since the characteristics of the sound at the pickup will be influenced by the type of effect chosen, such as for example an echo causing the structure to vibrate after the musician's attack ), which also updates the gains of the controller by feedback.
  • the controller adjusts the feedback type gains (linked to the 6dB increase of each control gain for example) to obtain stable control. Indeed, if this feedback was not taken into account, the control would generally be unstable. If the musician further changes his sound level by transforming the feedforward gain, the feedback gain is recalculated and applied to the system (device and actuators/sensor).
  • the transfer function is estimated dynamically, in particular as a function of the effect or the combination of effects chosen by the user.
  • the amplitudes by bands of this better guitar are targeted by the feedforward gains, these gains updating by elsewhere the characteristics to the sensor.
  • the frequencies and dampings of the best guitar are then targeted by the feedback type controller on the device integrating these gains, by placing the pole of the closed loop system for example. Without the feedback/feedforward combination, the frequencies and dampings are accessible but not the amplitudes per band and instabilities can be generated.
  • the instrument can "sound to the ear" of the user as a chosen target instrument.
  • This system depends on each radiating structure, the position and quantity of sensors and actuators, and the disturbance.
  • the capture is carried out using a single piezoelectric sensor (ceramic PZT or PVDF or even MFC for example) under the saddle of the bridge of a guitar or at the interface between the strings and the bridge of a violin.
  • a single piezoelectric sensor ceramic PZT or PVDF or even MFC for example
  • Another embodiment may provide multiple separate pickups on the bridge, one at the interface with each string.
  • actuation is such that it produces radiated sound of the quality of a good loudspeaker while allowing the vibration characteristics of the body to be measured.
  • the position and the quantity of actuators can be determined by optimization on a numerical simulation by multi-physics finite elements for example.
  • actuation is at the bridge, using two ACT inertial electrodynamic actuators mounted in parallel on either side of the bridge with controllable phase shift or mounted to accommodate a stereo signal.
  • the parameters A, B, C and G are estimated for example from numerical calculation on the simulation of the complete electromechanical system with the finite element method.
  • Another approach consists in estimating them experimentally, from the transfer function in open loop between sensor(s) and actuator(s) for A, B and C and an admittance measurement at the easel with an impact hammer or “ vibrating pot” and accelerometer for G. The estimation is then done for example with the Rational Fractional Polynomial (RFP) method.
  • RFP Rational Fractional Polynomial
  • x(t) not being directly accessible (since the measurement gives only y(t)), it is estimated at any time, for example using state observers, like the Luenberger observer.
  • / w VS id ⁇ HAS ⁇ BK G ⁇ 1
  • Id represents the identity function
  • the controlled vibration of the radiating structure thus has the dynamics of (A - BK) and no longer that of A alone.
  • the K vector is calculated to reach a certain vibrational target, such as resonance frequencies and dampings.
  • the proposed controller introduces, in addition in the command, the characteristics of the vibration taken into account at the sensor (allowing to inject a gain in feedforward transforming the radiated acoustic pressure p but generating feedback).
  • an average per frequency band of the transfer function H1 (and potentially of the transfer function H2 illustrated in the drawings) is carried out.
  • nine bands (Hz) can be chosen: [20, 100]; [100, 200]; [200, 400]; [400, 800]; [800, 1600]; [1600, 3200]; [3200, 6400]; [6400, 12800]; [12800, 20000].
  • the modification of each of these bands thus constitutes the target of the feedforward command. Once this command has been determined, the vector C is calculated.
  • the feedback command is calculated differently compared to the aforementioned first approach, called “classic” (in the sense that it could appear immediately).
  • this is an exemplary embodiment to illustrate the characteristics taken into account at the CAP sensor, as illustrated in the figure 6 , directly for the CTL FF feedforward control, but indirectly also for the CTL FB feedback control and vice versa.
  • the feedforward control is considered here as applying a modification of the vibration characteristics to the sensor.
  • step S1 aiming for example at the connection of the device DIS to the instrument/sensor/actuators system, it is measured, in practice, the transfer function H1 in open loop feedforward at step S2, which makes it possible to deduce at step S3 the parameters vibrations of the radiating structure and in particular the shape of the transfer function H1 and, from there, in step S4 the parameters of the feedback control.
  • step S5 the musician can program a particular sound and/or effect setting, in which case the parameters of the feedforward control are updated at step S6, as well as the other parameters estimated at steps S3 and S4.
  • the sound adjustment can be carried out automatically, for example according to the particular attack of the musician, or other.
  • the effect may not be chosen directly and restrictively by the musician, but may be programmed dynamically according to the playing of the musician.
  • the device DIS can perform real-time processing in step S7 to apply the sound and/or effect setting programmed by the user, for playback at step S8 by the instrument itself.
  • the method above takes particular account of the feedforward control parameters in the estimation of the vibration parameters and the calculation of the feedback control gains.
  • the present invention then makes it possible to drastically reduce the instabilities and to obtain the sound level and more generally the targeted acoustic qualities, thanks to a hybrid feedback/feedforward controller, that is to say that the conventional digital audio effects and the processing of the intrinsic feedback to the instrument are calculated together to feed back the vibration signal to one or more ACT actuators of the radiating structure of the instrument.
  • a radiating structure has been described above, of the resonance box type of a stringed instrument (guitar type, or even violin or piano).
  • the invention can also be applied to other musical instruments such as, for example, drum skins and drums, or even wind instruments.
  • the invention can be applied to any radiating structure (having a radiating plate or table coupled possibly but not necessarily to a sound box), or more generally to any electroacoustic system. It can be for example a loudspeaker, a computer case (or even a mobile device (smartphone or portable speaker) broadcasting sounds and music) conventionally having a sensor and a driven actuator within the meaning of the present invention.

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Electrophonic Musical Instruments (AREA)
EP17793990.7A 2017-02-22 2017-10-10 Instrument de musique acoustique augmenté avec actionneurs de rétroaction et d'injection . Active EP3586328B1 (fr)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
FR1751403A FR3063173B1 (fr) 2017-02-22 2017-02-22 Instrument de musique acoustique, perfectionne
PCT/FR2017/052778 WO2018154188A1 (fr) 2017-02-22 2017-10-10 Instrument de musique acoustique augmenté avec actionneurs de rétroaction et d'injection

Publications (2)

Publication Number Publication Date
EP3586328A1 EP3586328A1 (fr) 2020-01-01
EP3586328B1 true EP3586328B1 (fr) 2023-09-06

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US (1) US10783864B2 (ja)
EP (1) EP3586328B1 (ja)
JP (1) JP7004733B2 (ja)
CN (1) CN111108547B (ja)
FR (1) FR3063173B1 (ja)
WO (1) WO2018154188A1 (ja)

Families Citing this family (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
FR3063173B1 (fr) * 2017-02-22 2019-06-07 Hyvibe Instrument de musique acoustique, perfectionne
FR3069932B1 (fr) 2017-08-01 2019-09-06 Hyvibe Restitution sonore perfectionnee a partir d'un dispositif a actionneur mecanique vibrant
CN111210800B (zh) * 2020-02-21 2022-09-09 京东方科技集团股份有限公司 乐器消音系统及方法

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Also Published As

Publication number Publication date
JP2020508495A (ja) 2020-03-19
US20200058278A1 (en) 2020-02-20
EP3586328A1 (fr) 2020-01-01
CN111108547B (zh) 2023-08-01
CN111108547A (zh) 2020-05-05
WO2018154188A1 (fr) 2018-08-30
FR3063173A1 (fr) 2018-08-24
JP7004733B2 (ja) 2022-01-21
FR3063173B1 (fr) 2019-06-07
US10783864B2 (en) 2020-09-22

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