GB2596380A

GB2596380A - Digital music instrument

Info

Publication number: GB2596380A
Application number: GB2102214.0A
Authority: GB
Inventors: Stefan Clarke Tom
Original assignee: Arterfacts Ltd
Current assignee: Arterfacts Ltd
Priority date: 2020-02-19
Filing date: 2021-02-17
Publication date: 2021-12-29
Also published as: GB202102214D0; GB202002283D0

Abstract

A digital music device 10 comprising an elongate body being dimensioned to enable one or more virtual styles of music instrument performance. The device has an input configured as a curved touchscreen 16, whose length is at least 75% of the length of the device and which allows a user to perform inputs in order to generate an audio output. The body may be a rigid plastic or thermoplastic and is preferably generally oval in cross-section along its longitudinal axis. The body may also include an integrally formed and ergonomically shaped mouthpiece 18 in the shape of a hemispherical dome which includes an air flow sensor for generating an audio output based on a user’s breath input and user inputs contacted on the radiused touchscreen. The device may include a logic board 36 housing a processor and communications module, and a battery 48. Output signals may be audio-visual, alphanumeric and/or haptic information. The device may simulate a keyboard, bowed or plucked string, aerophone or percussion instrument.

Description

DIGITAL MUSIC INSTRUMENT

TECITVIC1LF11-1,1)01- ATENT/ON This invention relates to a digital music instrument. In particular, the present invention relates to a digital music instrument for composing, reading and playing multiple virtual instruments on a creative, educational and entertaining platform. The present invention enabling the use of different styles of input, rather than the traditional scheme of for o example, a physical or virtual keyboard.

BA( 'KGROUND For many years, multi-instrument music products utilising a Music Instrument Digital Interface (MIDI) have been known. These usually utilise a single input interface to play musical instruments and typically feature a keyboard arrangement, which is designed to resemble the keys of a piano. However, this method of input is required to be used for all of the instrument sounds contained within that device. This negatively impacts the user's experience and creative expression, as they are unable to accurately replicate the performance techniques that give each instrument its signature sound and play style.

Instead, these sounds are all performed through similar actions and interfaces; a physical keyboard and software that simulates a keyboard, or a MIDI device capable of sending and receiving instructions with customisable "trigger" buttons Likewise, computer apps embodied on smartphones and tablet computers are limited to the ergonomic and aesthetic design choices of the linked smart device. Similar to using physical buttons, a user would learn few transferable skills between "tapping", for example, to make the sound of a violin, and actually using a real violin.

Whilst the market for multi-instrument music products (that is music devices that encourage the use of separate or different styles of input, rather than the traditional scheme of a keyboard) continues to grow, there is no other product available in the marketplace that uses the same technologies and the combinations of such to create the type of user experience that the present invention affords. Equally, a smartphone or tablet computer of the type mentioned above, does not feature a curved touchscreen-LCD, aspect ratio, ergonomic design nor operating system designed specifically for music performance.

Multi-instrument products that aim to provide different input methods largely focus on MIDI compatibility. That is, the device itself is a controller that is designed to be interfaced with another computing device, which is a host for the sound library. This is in contrast to the present invention, which provides both the sound library and variety of input methods in one unit.

It is an object of the present invention to provide a digital music instrument which overcomes or reduces the drawbacks associated with known products of this type. It is an object of the present invention to provide an instrument that can simulate the techniques used for performing different music instruments, so that users will be more inclined to explore different creative opportunities from a single device.

It is a further object of the present invention to provide an instrument that is compact, since space-saving is an important consideration for musicians, and which is why the single device of the present invention can replace several other products, which is a compelling feature for travel and live performance. Furthermore, with the combination of traditional performance techniques and unique visual aids, there is the potential for cross-media artistry from a range of different performance styles. There is currently no means to access different music instrument experiences without firstly acquiring those products. Doing so can be expensive and impractical as most musicians have a limited budget and storage space. Furthermore, a user must consider the costs of their learning experience, particularly if they do not find traditional notation and scripting intuitive. These, and other, objects are accomplished by the instrument of the present invention.

By combining clear pedagogy at a competitive price point, there is an opportunity to adopt a common visual language that is not just easier to interpret, but may also promote cross-learning between different instrument timbres. For group musicians in particular, this affords a wealth of new opportunities to exchange creative ideas based off of simple visual reference points. It is a further object of the present invention to provide a simple product paradigm that appeals to consumers and professionals, children and adults.

SDDL,1R I" OF i'HF ATTATION The present invention is described herein and in the claims.

According to the present invention there is provided a digital music device, comprising: an elongate body being dimensioned to enable one or more virtual styles of music instrument performance and having an input configured as a radiused touchscreen which allows a user to perform inputs in order to generate an audio output.

An advantage of the present invention is that it provides the user with the capability to reproduce virtual sounds and behaviours of a selection of real-life music instruments and performance categories, and enables the use of separate different styles of input, rather than the traditional scheme of a keyboard.

Preferably, the body is rigid and is generally oval in cross section along its longitudinal axis Further preferably, the body has a first end that is configured as a mouthpiece and an opposite second end that is configured generally as a hemispherical dome.

In use, the mouthpiece may be ergonomically shaped.

Preferably, the mouthpiece is integrally formed with the body and is visible as a cut-out or opening Further preferably, the device further comprises an air flow sensor being proximate to the mouthpiece, the air flow sensor for monitoring the user' s exhaled breath entering the mouthpiece and a generating an audio output based on the monitored air flow and user inputs contacted on the radiused touchscreen.

In use, situated on, or near to, the second end of the device may be an input/output data port and/or a charging port.

Preferably, the elongate body is formed from a synthetic plastics material and/or a thermoplastic and/or thermoset material.

Further preferably, the elongate body is formed from two complementary shaped parts.

In use, the elongate body may define an opening into which a logic board and battery is contained and enclosed by the touchscreen Preferably, the longitudinal length of the touchscreen is least around 75% of the total o longitudinal length of the device.

Further preferably, a processing module and communications module are located on the logic board.

In use, the processing module may be implemented in a low-power microcontroller.

Preferably, the processing module receives a wake-up signal from user input buttons and/or from one or more sensors connected to the microcontroller.

Further preferably, the processing module outputs at least one output signal to a user via audio-visual, alphanumeric and/or haptic information.

In use, the one or more sensors may be selected from the group consisting of photodiode, photoresistor, photodetector, resistance temperature detector, thermocouple, thermistor, piezoelectric, potentiometer, strain gauge, air flow sensor, anemometer, microphone, proximity sensor, motion sensor, Hall effect sensor.

Preferably, the radiused touchscreen comprises a touch digitiser and a LED/LCD panel.

Further preferably, the virtual styles of music instrument performance are selected from the group consisting of keyboard, bowed string, plucked string, aerophone, balance, percussion.

In use, the user may perform inputs in response to one or more visual signs displayed on the touchscreen, each of the visual signs represent triggers for different sounds.

Preferably, each of the visual signs feature a colour which denotes the selected music note and/or each of the visual signs feature a shape that denotes the selected virtual music instrument.

Further preferably, the shape of the one or more visual signs on the touchscreen expands and contracts as it is contacted or keyed by the user.

In use, the device may further comprise an external peripheral device that can be configured as a bow or drum stick for interacting with the touchscreen of the device.

Preferably, the peripheral device is provided in two parts, each of which is identical in form and function, and configured for use as a mating pair.

Further preferably, the peripheral device is elongate and has a radiused or cylindrical member which extends to form a handle at one end thereof, and is assemblable via magnetic attraction In use, the contact surface of the peripheral device may be formed from a plurality of conductive segmented projections that are spaced-apart from neighbouring projections via non-conductive channels Preferably, the peripheral device has a surface constructed of a conductive silicone material.

Further preferably, the peripheral device is used to perform bowed input gestures with any of the one or more visual signs on the touchscreen in order to generate a bowed string audio output.

In use, the peripheral device may be used to perform beating input gestures on any of the one or more visual signs on the touchscreen in order to generate a percussion or keyboard audio output.

Preferably, the user performs contact or keyed input gestures on any of the one or more visual signs on the touchscreen in order to generate a keyboard, percussion or plucked string audio output.

Further preferably, the user blows into the mouthpiece, whilst making contact or keyed input gestures on any of the one or more visual signs on the touchscreen in order to generate an aero audio output.

ID In use, the user may tilt or orientate the device in a plurality of different orientations in order to generate a balance audio output.

It is believed that a digital music instrument in accordance with the present invention at least addresses the problems outlined above.

It will be obvious to those skilled in the art that variations of the present invention are possible and it is intended that the present invention may be used other than as specifically described herein.

BRIEF DESCRIPTION OF THE DRAWINGS

The present invention will now be described by way of example only, and with reference to the accompanying drawings, in which: Figure 1 shows an isometric view of a digital music instrument in accordance with the present invention; Figure 2 is a high-level schematic diagram showing how the hardware of the digital music instrument of the present invention is configured; Figure 3 illustrates top, front and side plan views of an external peripheral device that can be embodied as a bow or drum stick for interaction with the digital music instrument of Figure 1, Figure 4 shows a side perspective view of the external peripheral device of Figure 3 when embodied as a bow, and shows how the external peripheral device interacts with the curved touchscreen of the digital music instrument of the present invention; Figure 5 is a magnified cross-sectional view of the segmented conductive sections disposed along the long axis of the external peripheral device of Figure 3; Figures 6a to of are various screenshots displayed on the curved touchscreen of the digital music instrument which show how traditional notation elements and inputs are replaced o with a graphical sign system and show how the present invention can be played as an aero, bowed strings, keyboard, percussion, plucked strings and balance virtual instrument, respectively; and Figure 7 illustrates a screenshot displayed on the curved touchscreen of the digital music instrument and shows how the digital music instrument can additionally be utilised in a synthesiser mode.

DEMILTDDESCRIPTION OF THE PREFERRED IBOIMA IEVIS

The present invention has adopted the approach of utilising a digital music instrument which provides different styles of input, rather than the traditional scheme of a keyboard. Advantageously, the present invention provides an instrument that can simulate the techniques used for performing different music instruments, so that users will be more inclined to explore different creative opportunities from a single device Further advantageously, the present invention also provides an instrument that is compact, since space-saving is an important consideration for musicians, and which is why the single device of the present invention can replace several other products, which is a compelling feature for travel and live performance. Furthermore, with the combination of traditional performance techniques and unique visual aids, there is the potential for cross-media artistry from a range of different performance styles. There is currently no means to access different music instrument experiences without firstly acquiring those products. Doing so can be expensive and impractical as most musicians have a limited budget and storage space. Furthermore, a user must consider the costs of their learning experience, particularly if they do not find traditional notation and scripting intuitive. These, and other, advantages are accomplished by the instrument of the present invention.

By combining clear pedagogy at a competitive price point, there is an opportunity to adopt a common visual language that is not just easier to interpret, but may also promote cross-learning between different instrument timbres. For group musicians in particular, this affords a wealth of new opportunities to exchange creative ideas based off of simple visual reference points. Further advantageously, the present invention also provides a simple product paradigm that appeals to consumers and professionals, children and adults.

Referring now to the drawings, a digital music instrument 10 according to the present invention is shown in Figures 1 and 2. The digital music instrument 10 enables the composing, reading and playing of multiple virtual instruments on a single device. The digital music instrument 10 therefore offers an "all-in-one" solution for playing a variety of renowned music instruments, within a creative, educational and entertaining virtual experience.

The digital music instrument 10 is a self-contained, standalone device which has the ability to process input data without a requirement for external peripherals, apart from an AC power lead 46 (not shown in Figure 1) for recharging an internal battery 48.

At its core, a user can reproduce instrument sounds on the instrument 10 through several methods or modes of input, namely via a curved touchscreen-LCD 16, a mouthpiece 18, bow and drum sticks 50, which are each dimensioned to conform to, and closely resemble, the instruments' real-life counterpart techniques The digital music instrument 10 of the present invention utilises graphic notation, a concept whereby contextual images are used to illustrate the input targets and causality of specific instrument sounds. This notation system features two signs; the colour of a graphic denotes the selected music note, and its shape denotes the selected instrument, as illustrated in Figures 6a to of The instrument 10 is embodied as an elongate housing having a first end 12 arid an opposite second end 14. Running much of the length of the instrument 10 is curved touchscreen-LCD 16 on which input targets and signs are displayed, as will be described in further detail below. It is considered important that the touchscreen 10 must be adequately dimensioned so as to ensure that a multiplicity of user inputs are possible, so as to accurately replicate the performance techniques of each instrument. In order to achieve this, it is envisaged that the longitudinal length of the touchscreen 16 must extend to at least around 75% of the total longitudinal length of the instrument to.

The first end 12 of the instrument 10 is defined as a mouthpiece 18 which is built in to the instrument's 10 casing or housing and is only visible as a cut-out or opening 24; not a protruding accessory or component. When played as a virtual aerophone, for example, the device 10 has an intuitive design ergonomic, and it is entirety evident where/how a user may interact with the device 10. The is true when the instrument 10 is used to reproduce sounds from a selection of real-life music instruments and performance categories.

The first end 12 defines sharp angles, which appear as a mouthpiece 18 from the side projection and is designed to sit nicely between a user's lips, whereas the second end Ul is rounded off to almost a hemispherical dome at the second end 14 for ergonomic reasons.

Disposed along the sides of the instrument 10 are a series of speaker grilles 20.

Located at the second end 14 of the instrument 10 is the I/0 port 22 which, in a preferred embodiment, is a USB Type-C port. In one embodiment, this port 22 is connected directly to the logic board 36 (see Figure 2), which will be housed inside the space at the second end 14 of the instniment 10 On the first end 12 of the instrument 10, a sensor (not shown) monitors the user's exhaled breath from the mouthpiece 18 and this is wired along the length of the device 10 to the second end 14, where it connects to the logic board 36. As users may wish to use an aero instrument whilst also using the USB connectivity 22 for power or audio output, the skilled person will appreciate that it would not be convenient to have multiple ports positioned adjacent to each other.

The six buttons 30a to 30f on the side-centre of the device 10 are selectors for the instrument categories. When a user presses a button, it then activates the respective instrument. These include keyboard, bowed string, plucked string, aero, balance and percussion. The buttons 30a to 30f are labelled with a graphic for the particular instrument category.

The two buttons 32a, 32b on the left-side of the device 10, nearer to the second end 14, are volume controls.

The single button 34 on the left-side of the device 10, nearer to the second end 14, is the power On/Off control, as described in further detail below.

When the instrument 10 is used in aero mode, for example, the user selects the appropriate selection button 30a to 30f and draws the mouthpiece 18 of the instrument 10 to their mouth. On making the appropriate selection, the display 16 would present the instrument inputs on the touchscreen 16 (see Figure 6a). Simply pressing the inputs alone will not create sound; the user needs to also blow into the mouthpiece 18 of the device 10. As this happens, the exhaled breath passes a sensor adjacent to the cut-out 24. The sensor, which can be an air flow sensor, such as a pressure transducer or an ultrasonic sensor, senses the amount of breath that is passed by it, which is then analysed by the system software programmed in the microcontroller 38 and which registers the volume of breath on a scale.

The volume of air data is then translated into a level of actual audible volume, so that the user can control how loud or soft the aero instrument is by how hard or soft they blow into the mouthpiece 18.

The exhaled breath passes through the instrument 10 from the opening 24 and passes out of an outflow 26 at the underside of the instrument 10, as best shown in Figure 1. In addition, a cosmetic window 28 is also included, which is entirely for aesthetic purposes. For other modes of playing the instrument 10, the skilled person will appreciate that the touchscreen 16 can be used with external peripheral devices 50, very much like that described in relation to Figure 3 below.

Figure 2 is a high-level schematic diagram showing how the hardware that operates the instrument 10 of the present invention is configured. The hardware being mounted on a logic board 36 which is located, in a preferred embodiment, towards the second end 14 of the instrument 10.

Figure 2 is a schematic diagram showing how the digital instrument 10 can be implemented in a small, low-power hardware configuration that includes a central processing unit (CPU), graphics processing unit (GPU) or Accelerated Processing Unit (APU) microcontroller package 38. As shown in Figure 2, the microcontroller package 38 receives a number of inputs generally indicated at the lowermost side of Figure 2. The microcontroller package 38 can be considered a self-contained system with CPU, GPU (or APU), memory and peripherals, and can be used to output information to the user via a number of outputs generally at the left-and right-hand sides of Figure 2.

Figure 2 is a schematic diagram and, in order to aid clarification, many other circuit elements are not shown. For example, although not shown in Figure 2, the analogue signal received from one or more sensors or accelerometers connected to the printed circuit board 36, or external sensors remote to the microcontroller 38, is first converted to a digital form by any type of analogue-to-digital converter (ADC) available in the art. Equally, one or more of the digital outputs of the microcontroller of 38 can be converted to analogue form using any form of digital to analogue converter (DAC) available in the art. For example, such an analogue output signal can be used to energise the audible output 44.

In operation a set of instructions or algorithm written in software in the microcontroller 38 are configured to program the microcontroller 38. In use, the microcontroller 38, including the processer, memory and peripherals, can be firstly placed in a low-power standby mode, awaiting a wake-up signal. The wake-up signal can be received from the any of the buttons 30a to 30f, 32a, 32h, 34 and/or from one or more sensors connected to the microcontroller 38. In its most basic mode of operation, the microcontroller 38 can be effectively woken-up from a standby mode by the user pressing the On/Off button 34 located on the device 10. In addition, or alternatively, the microcontroller 38 could effectively be woken up from a standby mode by any number of input stimuli. When the internal battery 48 has been charged or a power supply 46 is present, the device 10 may be in any one of the following states: On, Off, Awake, Sleep[ing], as detailed below.

Awake/On As the device 10 is docked on a charging station (not shown) or connected directly to an AC outlet 46, it maintains a low-power Sleep state. Removing the device 10 from its dock or disconnecting it from an AC outlet 46 will take it out of this state and allow it to become operational to the user (Awake). The device 10 may also be woken by pressing any of the instrument buttons 30a to 30f, 32a, 32b, 34; this may be convenient if the device 10 has slept without being replaced on the docking station. Sleep

The device 10 will enter a Sleep mode after a duration of inactivity, causing the display 16 and speakers 44 to turn off Off Either following a further duration of inactivity or from pressing and holding the Power button 34 for a pre-determined duration, the device 10 will shut down and power off. On

The device will turn on after the Power button 44 is pressed from an Off state.

The microcontroller 38 also includes flash memory to store the operating system.

An accelerometer module embedded in the microcontroller 38 measures the device's 10 orientation in space, for use with instruments that require the simulation of gravitational impact, i.e. as a -shaker".

Wireless connection to other input peripherals and/or other wirelessly-connected devices is enabled using wireless transmission protocols, such as, for example, Wi-Fi (IEEE 802.11 standard), Bluetooth or a cellular telecommunications network would also be appropriate, and/or by utilising near-field communication (NEC) protocols. In addition, the skilled person will appreciate that the instrument 10 could be connected to other peripherals and/or other external digital devices, via wired connection 22.

Updates or further content to the software can be downloaded to the microcontroller 38 via USB Type-C port interface 22, or wirelessly using Wi-Fi, Bluetooth, or NEC antennas. In a preferred embodiment, the microcontroller 38 is powered by an external AC power source 46 and lithium-ion rechargeable battery 48. Of course, the skilled person will appreciate that as battery technology develops, other forms of battery are possible, including, for example, nickel-cadmium (NiCd) or nickel-metal hydride (NiNIE1) batteries. The above list is in no way intended to be limiting and exhaustive.

The curved capacitive touchscreen display 16 is the main input component for the present invention The curved radius of the display 16 is a key requirement, since bowed string instruments can only be played when each individual "string' being accessible on its own (which would not be possible on a flat screen).

The instrument 10 enables haptic (tactile) feedback to be provided to the user by an arrangement of linear actuators 40, which are activated in tandem with the corresponding input. This helps to simulate a tactile emission of sound to the user through the vibration of the outer easing Other outputs include the speaker drivers 42 and acoustic chamber 44 and a bass and treble speaker are each situated on either side of the device 10, creating an even balance of sound.

They are contained within a cabinet that precisely alters the acoustics to ensure a high quality of output. The output of the speakers is through grilles 20, as shown in Figure 1.

Figure 3 shows that the digital music instrument 10 of the present invention can also be used with an external input peripheral 50 In the embodiment shown in Figures 3, the input peripheral 50 takes the form of a solid, non-computing device that may be assembled to function as either a "bow" for string instruments (as illustrated in Figure 4), or as "drum sticks" for percussion instruments. The peripheral 50 is provided in two parts, each of which is identical in form and function The input peripheral 50 is elongate and has a rad used or cylindrical member 52 which extends to form a handle 54 at one end.

The actual conductive area of the bow 50, which is the elongate cylindrical section 52, is configured to allow free movement in any direction whilst performing the bowing movement. The reason a real string instrument bow can move quite freely despite having a flat surface is because the horse hair, or similar synthetic material, introduces some flexibility for orientation, it is not a rigid surface, and the bow 50 of the present invention aims to emulate this.

To operate the peripheral 50 as "drum sticks", the pair of disassembled peripherals 50 are held separately in each hand where the user makes contact with the screen's 16 input target 68 (see Figure 6d) To operate the peripheral 50 as a "bow", the pair of disassembled peripherals 50 are first combined together. To do this, either end 54 of the peripherals 50 are held closely to one another, and a magnetic connection 56 draws the two together, forming a new single accessory. The user then places the -bow" in contact with the touchscreen-LCD 16, and ID can perform sounds by moving the "bow" across different strings 58 displayed on the touchscreen 16, as shown in Figure 4 The handle 54 has a convex internal face 57 so that each of the handle ends 54 snap together under magnetic attraction. Without this, the connection would be unstable and therefore an assembled pair of peripherals 50 would struggle to stay straight when used as a bow. Such a flat-faced convex internal face 57 ensures the handle ends 54 of the two components 50 remain together as far as possible.

The end of the handle 54 is rounded and does not have a flat face; it is bulbous so that it sits in the palm of a user's hand comfortably. The section at the underside of the handle 54 does not have a completely flat face, so that when a user's index finger grips the handle, it provides a comfortable precise grip like a "trigger", and sits inside an indent or recess 59.

In an alternative embodiment of the invention, the skilled person will appreciate that a unitary input peripheral 50 can be provided with the exact same functionality for bowed instruments, but without the option of taking it apart as two drum sticks. In this case, the instrument 50 can be supplied with, or a user can purchase, two of such unitary input peripherals 50 which can function as drum sticks, for example.

Figure 5 shows an exploded view of the bow's 50 cylindrical contact surface 52. The projection shown in Figure 5 is of the surface of the bow 50 from a side view; that is, if you laid the bow 50 flat on a surface then Figure 5 is a magnified image which shows the segmented areas of the bow 50 which can contact with the touchscreen 16, when in use.

As shown in Figure 5, the cylindrical contact surface 52 of the peripheral 50 is made up of a plurality of segmented projections or islands 62 that are spaced-apart from neighbouring proj ecti on s via indents or channels 64. The conductive surfaces 66 of the raised projections 62 are approximately 2mm in width, while the channels 64 are approximately 1 mm in width. The entire circumferential area 60 of the bow 50 interacts with the touchscreen 16, but such a configuration of projections 62 and channels 64 ensures that the speed and direction of the bow 50 against the touchscreen 16 can be used to reproduce sounds from a real-life bowed instrument.

The basis of this technology is regulation of on/off signals between the peripheral 50 and the touchscreen 16 of the instrument 10. As mentioned, the peripheral 50 features a surface constructed of a conductive silicone material, which is used to form a segmented arrangement of projections 62 and channels 64. Such a segmented arrangement causes the separation of individual contact signals between the peripheral 50 and the touchscreen 16, when in use.

Moving the bow 50 in a given direction causes the individual contacts to repeatedly initiate on-off signals with the touchscreen 16, which is translated as a positive (intentional) input. The speed at which the bow 50 is moved creates faster or slower on-off signals, which is translated in the form of audio volume output by the instrument 10 Where the bow 50, or any other conductive surface or device, does not initiate this on-off sequence, the software interprets this action as a "hold", whereby the string 58 is not being used for friction but for a stationary purpose, i.e., to alter pitch/note/tuning using a finger to hold a string in place.

The software will also interpret this -hold" action for plucked string instruments, whereby the user can initiate a stationary input signal with one or more fingers, whilst also initiating a "strum" (through a single action, the target string is "held", dragged and then released in a lifelike fashion) on the same virtual string(s).

In a preferred embodiment, the tubular section 52 of the bow 50 will measure approximately 600mm in length.

The touchscreen 16 is comprised of two components, namely a touch digitiser and a LED/LCD panel.

The software running on the device 10 is interfaced by means of a software operating system (OS), which is installed on the device's 10 system storage. The purpose of the OS is to manage and provide an interface for the user to control the hardware and software functions of the device 10.

The OS is intuitive and is beneficial to a broad demographic of users, particularly those io who are not already familiar with multi-instrument features, and may otherwise struggle to fully understand computational commands.

To this end, the skilled person will notice that traditional notation elements and inputs are replaced with input targets 68 and/or a sign system which is represented graphically and illustrated from the screenshots shown in Figures 6a to 6f.

To play a music note/sound, the user interacts with the device 10 using one of the following methods: -by making contact with any of the available note graphics 68 on the touchscreen 16, without an additional accessory or input (keyboard, percussion, plucked string); - by making contact with any of the available note graphics on the touchscreen, using the drum sticks (keyboard, percussion); - by making contact with any of the available note graphics on the touchscreen, using the bow (bowed string); - by blowing into the mouthpiece, whilst making contact with any of the available note graphics on the touchscreen (aero); or - by tilting the device in a variety of different orientations (balance).

At the point of contact, the chosen music note will be heard through the speakers 44, the respective graphic 68 will grow in size on the touchscreen 16 (for visual feedback), and a vibration (specifically calibrated to that instrument category) will be produced by the linear actuator motors 40 (for tactile feedback) The music notes can be played through a variety of input methods as the instruments are divided into separate categories; keyboard (Figure 6c), percussion (Figure 6d), bowed strings (Figure 6b), plucked strings (Figure 6e), aero (Figure 6a) and balance (Figure 60. This being designed to closely resemble the instrument's original methods of performance.

These six categories of music instrument for the user to choose from using the selection buttons 30a to 30f Keyboard instruments are performed by making finger contact with the touchscreen 16.

The graphics 68 for these instruments appear in the form of a rectangle with rounded corners, as shown in Figure 6c. As shown in Figure 6c in the screenshot denoted "Before input", in its idle state, the keys 68 all have equal dimensions and an equal shape. In the screenshot denoted "During input", during input the respective key changes from having rounded corners to 90° right-angled corners 84. The screenshot denoted "With 'Source' colours" shows the option to have colours enabled, so that each note is assigned its own unique hue. This feature is designed for cross-learning, so that a user may create aural connections of one note across the timbres of different instrument categories. It also raises the opportunity to use colours in music composition, which could simplify the creative process for those who do not wish to, or do not know how to, script. Figure 6c also shows in the screenshot denoted "With neutral colours" that there is the option to have traditional colours enabled, with each note being represented as one would expect from a regular keyboard instrument; white major keys and black minor keys.

Percussion instruments are performed either by making finger contact with the touchscreen 16 or using the drums sticks 50 to do so. As shown in Figure 6d in the screenshot denoted "Before input", in its idle state, the keys 68 all have equal dimensions and an equal shape with rounded corners. In the screenshot denoted "During input", during input all graphics retain their original colour, but grow in scale and develop sharp corners 86. For cymbals 88, the scaling effect occurs with an elastic band effect, where the original idle graphic flickers against the larger active graphic. The banding is timed to the duration of the sound.

Bowed string instruments are performed by assembling the drum sticks into the bow 50, as described herein, and performing a traditional "bowing" action Plucked string instruments are performed by making finger contact with the touchscreen 16 and using a traditional -plucking" action.

Aero instruments are performed through breath control. The user simply blows through the built-in mouthpiece 18 to create a sound once a note 68 is simultaneously pressed. Whereas traditional aerophone instruments use a combination of valves to organise music notes into specific input patterns ("fingering"), the notes in this aero category of music instrument 10 are laid out in a logical scale. Therefore a user can press just one button 68 to activate a note, rather than opening/closing different holes to create the same sound. As shown in the top right-hand image of Figure 6a, three octaves are present; the middle (2) is the default, with upper (1) and lower (3) being playable when they are pressed and held by either the left-or right-hand buttons 80. A minor note button 82 switches the notes to minor when pressed and held.

Balance instruments are performed by moving the device itself rather than utilising the touchscreen 16 for input. The accelerometer within the device 10 recognises the axis at which the device is being held in any given space. The selected balance instrument responds with a gravity-like effect, meaning that as the user moves the device, the speed and angle of their movements effects the timbre and volume of sounds that are generated, and the visual reference point 68.

The present invention is not intended to emulate sound timbres in a complete like-for-like fashion. In-keeping with the form and function, the present invention will instead produce marginally different nuances of sound that are designed to overcome the imperfect nature of synthesis and sampling by, instead, embracing an aural output that is distinctive to the product 10.

Audio is amplified through the built-in speakers 44 on either side of the device 10. Depending on the selected instrument, audio can be panned between either speaker housing to reflect the physical position of the note that has been played (creating the illusion that the audio is being generated from that area of the device).

As shown in Figures Ga to 6f, the input targets 68 to create sounds feature a distinctive shape, which is unique to the instalment 10. The music note/sound that is created following input features a distinctive colour, which is the same regardless what instrument category is selected.

The benefits of this are that the system distils notation into two distinct criteria, which are designed to be more easily translated than traditional notation, regardless of the user's age or background. Cross-learning is also promoted, as the graphics' colours remain the same for each music note regardless of which instrument is selected.

The skilled person will notice that design elements 68 featuring linguistics for input mechanisms are limited. Instead, gestures, graphics and physical buttons take preference. The shape and scale of each music note input graphic 68 expands and contracts as it is pressed and depressed. As shown in Figure oa in the screenshot denoted "Before input", in its idle state, the keys 68 all have equal dimensions and an equal shape. In the screenshot denoted "During input", during input the button 80 expands in scale, but retains its original shape and colour. When the minor button 82 is pressed and held, the keys change colour to their minor counterparts and the unused major keys disappear from the screen until the button 82 is released.

For example, a shaker instrument (Figure 60 would have graphical obstacles 68 that are strategically placed in order to create collisions with animated characters, and thus, generate a unique sound. A multi-plane effect (calculated by the gyroscope) helps to create the illusion of a 3D environment by moving the angle of the environment artwork as the user holds the device 10 in various positions. As shown in Figure 6f, in the screenshot denoted "Before input -Neutral position/idle", in its idle state, the side whistle is constructed from pellets 68. With this imagery, air passes through each pellet 68, thus creating different sound effects based on velocity and pitch. In the screenshot denoted "During input", the animation is based on the horizontal position of the instrument 10. If the instrument 10 is tilted towards the right, the momentum causes the pellets to reform into an aerodynamic shape 90, where the energy of the movement leads from the centre of the arrangement.

The screenshot denoted "Return to neutral position/idle" shows what appears on the display 16 when the instrument 10 is repositioned to a neutral-horizontal state. As shown, the pellets 68 move back and return to their original position, with a small elasticated-bounce effect stopping them from moving either left or right again. This elastication is prevented/delayed whenever the instrument 10 is not held in its neutral state, which causes In the pellets 68 to continue moving in the respective direction. This helps provide a middleground or base from which to begin a new sound, though this may change depending on the possibility of using the instrument 10 as a "balance game".

Figure 6f also shows in the screenshots denoted "Shaker -Rainmaker" that there is Imagery or environment artwork 92 which has a mixture of simple geometric shapes that take subtle cues from objects and places which may turn the sound of rain into a pleasant rhythm, for example. In the illustrative example shown in Figure 6f, the particular environment looks like a vine, with stands and leaves sprouting from it. The impact that the sound objects 68 have against this environment 92 determines the final sound output. In particular, the water droplets 68, which are represented by small circles, scatter and move around the space with real environmental effects: bouncing, colliding, etc. Since the environment has a 2.5D plane on the display 16, the droplets can move both in front and behind the objects 92.

Contrastingly, an aero instrument (Figure 6a) has clearer pathways for the "air-to channel through, creating an altogether different timbre.

User interface elements that exist to control features other than performance (i.e., hardware settings) are presented in their own uniform style and colour to easily distinguish the values from performance inputs.

The graphic notation 68, which describes the method of using visual signs to represent the triggers for different sounds appears on the touchscreen 16 both as a target for input and as a result of the user' s performance.

With an instrument selected, the touchscreen previews all the available music notes through a series of graphics. The colour of a graphic denotes the music note, and the shape of a graphic denotes the selected instrument category. (In addition, the texture of the said graphics represent the selected instrument within that category). Alternatively, the user can select for music notes to be represented in a "flat'', more traditional, colour scheme The number of musical octaves available to an instrument on-screen is dependent on the category of instrument that is selected. Within an instrument category, different sounds (variations of that instrument category) may be selected to perform with.

Once a different instrument category is selected, the graphics on the touchscreen 16 can reanimate and contextualise to reflect the change in instrument In addition to playing different instruments, as noted above, the digital music instrument 10 can also be operated in a synthesiser mode, which in essence uses the existing on-screen virtual keyboard to playback sounds that have been modified on a synthesiser user interface.

There are three interfaces in synthesis mode, including "Memory", "Build" and "Play", are selected by user interface 70 "Memory" mode stores any sounds that have previously been saved, for future selection. "Build-(shown in further detail in Figure 7) enables the user to create a sound in the traditional mode of using variables to alter the characteristics of an audio sample or waveform preset. "Play" enables a user to perform with these sounds using the keyboard user interface In use, a microphone can be connected to the instrument 10, which will enable it to record samples. The initial audio sample or waveform is then displayed on the touchscreen 16 as a graphical element 72 (or number of graphical elements 72a, 72b, 72c etc.) which is itself the main form of sound manipulation. In particular, the waveform graphic 72 resides in the middle of the screen 16 where it is surrounded by a number of spatial customisation elements 74, which are the primary variables for sound customisation The user performs gesture controls to manipulate the shape of the audio sample or waveform displayed as graphical element 72 in different ways, moving it closer to, or further away, from selected spatial customisation elements 74 in order to increase or decrease their influence on the final sound, once it is played back.

The spatial customisation elements 74 are stored in a portion or bank 76 on one side of the screen 16 (shown as the left-hand side of Figure 7), and can be dragged in, or out, of the surrounding spatial area of the graphical element 72 intuitively by the user. On the opposite side of the screen 16 (shown as the right-hand side of Figure 7), a number of further customisation elements are stored in a voice portion bank 78, and they too can be activated by dragging the target into the middle of the screen 16.

The voice bank elements 78 are themed differently, providing a range of audio controls that differ greatly.

Once the user is happy with the sound they have created, the user can choose to perform the sound either through a MIDI input device or by switching to the 'Play' mode using buttons 70, where a virtual keyboard appears.

Therefore, the digital music instrument according to the present invention enables the composing, reading and playing of multiple virtual instruments on a creative, educational and entertaining platform When used in this specification and claims, the terms comprises" and "comprising" and variations thereof mean that the specified features, steps or integers are included. The terms are not to be interpreted to exclude the presence of other features, steps or components The features disclosed in the foregoing description, or the following claims, or the accompanying drawings, expressed in their specific forms or in the terms of a means for performing the disclosed function, or a method or process for attaining the disclosed result, as appropriate, separately, or in any combination of such features, can be utilised for realising the invention in diverse forms thereof The invention is not intended to be limited to the details of the embodiments described herein, which are described by way of example only. It will be understood that features described in relation to any particular embodiment can be featured in combination with other embodiments.

It is contemplated by the inventor that various substitutions, alterations, and modifications may be made to the invention without departing from the spirit and scope of the invention as defined by the claims.

Claims

CLAIMSA digital music device, comprising: an elongate body being dimensioned to enable one or more virtual styles of music instrument performance and having an input configured as a radiused touchscreen which allows a user to perform inputs in order to generate an audio output.
2. The device as claimed in claim 1, wherein the body is rigid and is generally oval in cross section along its longitudinal axis.
3 The device as claimed in claims 1 or 2, wherein the body has a first end that is configured as a mouthpiece and an opposite second end that is configured generally as a hemispherical dome.
The device as claimed in claim 3, wherein the mouthpiece is ergonomically shaped
5. The device as claimed in claims 3 or 4, wherein the mouthpiece is integrally formed with the body and is visible as a cut-out or opening.
6. The device as claimed in any of claims 3 to 5, further comprising an air flow sensor being proximate to the mouthpiece, the air flow sensor for monitoring the user's exhaled breath entering the mouthpiece and a generating an audio output based on the monitored air flow and user inputs contacted on the radiused touchscreen
7. The device as claimed in claim 3, wherein situated on, or near to, the second end is an input/output data port and/or a charging port
8. The device as claimed in any of the preceding claims, wherein the elongate body is formed from a synthetic plastics material and/or a thermoplastic and/or thermoset material.
9. The device as claimed in any of the preceding claims, wherein the elongate body is formed from two complementary shaped parts.
10. The device as claimed in any of the preceding claims, wherein the elongate body defines an opening into which a logic board and battery is contained and enclosed by the touchscreen,
11. The device as claimed in claim 1, wherein the longitudinal length of the touchscreen is least around 75% of the total longitudinal length of the device
12. The device as claimed in claim 11, wherein a processing module and I() communications module are located on the logic board.
13 The device as claimed in claim 12, wherein the processing module is implemented in a low-power microcontroller.
14. The device as claimed in claims 12 or 13, wherein the processing module receives a wake-up signal from user input buttons and/or from one or more sensors connected to the microcontroller.
15. The device as claimed in any of claims 12 to 14, wherein the processing module outputs at least one output signal to a user via audio-visual, alphanumeric and/or haptic information.
16. The device as claimed in claim 14, wherein the one or more sensors are selected from the group consisting of photodiode, photoresistor, photodetector, resistance temperature detector, thermocouple, thermistor, piezoelectric, potentiometer, strain gauge, air flow sensor, anemometer, microphone, proximity sensor, motion sensor, Hall effect sensor.
17. The device as claimed in any of the preceding claims, wherein the radiused touchscreen comprises a touch digitiser and a LED/LCD panel.
18. The device as claimed in claim 1, wherein the virtual styles of music instrument performance are selected from the group consisting of keyboard, bowed string, plucked string, aerophone, balance, percussion.
19. The device as claimed in claim 1, wherein the user performs inputs in response to one or more visual signs displayed on the touchscreen, each of the visual signs represent triggers for different sounds.
20. The device as claimed in claim 19, wherein each of the visual signs feature a colour which denotes the selected music note and/or each of the visual signs feature a shape that denotes the selected virtual music instrument.
21. The device as claimed in claim 19, wherein the shape of the one or more visual signs on the touchscreen expands and contracts as it is contacted or keyed by the user.
22. The device as claimed in any of the preceding claims, further comprising an external peripheral device that can be configured as a bow or drum stick for interacting with the touch screen of the device.
23. The device as claimed in claim 22, wherein the peripheral device is provided in two parts, each of which is identical in form and function, and configured for use as a mating pair.
24. The device as claimed in claim 23, wherein the peripheral device is elongate and has a radiused or cylindrical member which extends to form a handle at one end thereof, and is assemblable via magnetic attraction.
25. The device as claimed in claim 24, wherein the contact surface of the peripheral device being formed from a plurality of conductive segmented projections that are spaced-apart from neighbouring projections via non-conductive channels.
26 The device as claimed in any of claims 22 to 25, wherein the peripheral device has a surface constructed of a conductive silicone material
27. The device as claimed in any of claims 22 to 26, wherein the peripheral device is used to perform bowed input gestures with any of the one or more visual signs on the touchscreen in order to generate a bowed string audio output.
28. The device as claimed in any of claims 22 to 27, wherein the peripheral device is used to perform beating input gestures on any of the one or more visual signs on the touchscreen in order to generate a percussion or keyboard audio output.
29. The device as claimed in claim 19, wherein the user performs contact or keyed input gestures on any of the one or more visual signs on the touchscreen in order to generate a keyboard, percussion or plucked string audio output.
30. The device as claimed in claim 19, wherein the user blows into the mouthpiece, whilst making contact or keyed input gestures on any of the one or more visual signs on the touchscreen in order to generate an aerophone audio output.
31. The device as claimed in claim 19, wherein the user tilts or orientates the device in a plurality of different orientations in order to generate a balance audio output.