SU1355996A1 - Electronic musical instrument - Google Patents

Abstract

The invention relates to instruments with a uniform temperament of sounds such as an electrobe or electro-accordion. An electronic musical instrument contains the master oscillator 1, the keyboard 2.3 bass and treble keys, respectively. adder 4, sounds of the production system 5, blocks of 6.7 octave frequency dividers, synthesizer 8 violin registers, driver (F) 9 Kronecker code, F 10 attack, dynamic range compressor 11 F 12 bass signal registers, 13 frequency switch, F 14 uniformly tempered frequency, vibrato block 15, twelve-position switch 16 and contactor 17 of the tuning fork mode. In the description of the invention, electrical circuits Φ 14 of uniformly tempered frequency are given. Ф 12 signals of the bass register, block 15 vibrato and synthesizer 8 violin registers. The invention expands the performance capabilities of the instrument. 6 hp f-ly, 19 ill. (L

Description

1, 13

The invention relates to instruments with a uniform temperament of sounds such as an electrobe or an electro-accordion, and may additionally use

to configure any other

tools without exception.

The aim of the invention is to expand the performance capabilities of the instrument.

Fig.1 shows a block diagram of an electronic musical instrument

Taj in FIG. 2 is a structural diagram of a generator of uniformly tempered frequencies; in FIG. 3, a diagram of a generator of a bass register giving an array of basic bass, major, minor and dominant seventh chords; Fig. 4 is a block diagram of a vibrato that implements the effect of vibrato without using an additional generator at an infra-low frequency; FIG. 3 shows an example of the implementation of the limiter-reader; FIG. 6 is a schematic diagram of an electronic frequency switch and an example of the construction of a Kronecker code generator; figure 7 is an example. implementation of the synthesizer six registers on one key; in fig. 8 is an example of the implementation of a tool based on a 32-key system manufactured by Pille, indicating the Plots from which the bass register shaper is started (a large number indicates the key number in an octave and the digital subindex is an octave number) j in FIG. 9 - key diagrams, explaining the principle of weight addition of the main tone and inverse overtones to form a different shape and, therefore, the frequency spectrum of different widths (of the same main current when imitating six different instruments), figure 10 shows the formation of a sig attack ala; in Fig. 11 — a plot of increase — a decline in the fronts at the moments of pressing — the release of a key; FIG. 12 is a diagram of the switchboard of the signal of the violin register, which synchronizes the operation of the entire generator of the bass gQ of the attacker 10, the output of which is the register; Fig. 13 shows a circuit that is connected to the keyboard inputs of the 3 main bass tones,. a treble clef, with three groups of registers; Fig. 14 is a diagram of the shape of the n outputs for the inverter 9 of the code of the dominant seventh chords; FIG. 15 shows diagrams of a former quarto-gg quint moves; FIG. 16 - scheme

Kronecker connected respectively

with three inputs of a switch of 13 frequencies, the fourth input of which is connected to the output of the master oscillator with the fourth group of inputs of the driver 12 signals of the bass register of the major and minor chords; on Fig - implementation scheme of the main bass; Fig. 18 shows a single channel channel tracing scheme for arranging the transmission of bass key signals to an adder in accordance with a standard five-dimensional conventional accordion keyboard} in Fig. 19 an electronic instrument in the form of a ba: a musical accordion based on a simple keyboard of a children's odilleus Pilleus harpsichord , general form.

An electronic musical instrument contains a generator 1, a bass keyboard 2 and a keyboard 3 of a treble clef, an adder 4, the first and second inputs of which are connected respectively to the outputs of bass 2 and treble 3 keyboards, a sound reproducing system 5,

serially connected first block 6 octave frequency dividers, second block 7 octave frequency dividers and synthesizer 8 violin registers, shaper 9 Kronecker code. shaper 10 attacks, dynamic range compressor 11, connected between the output of the adder 4 and the input of the sound reproducing system 5, shaper 12 signals

bass register, connected in series by the switch 13, frequency and shaper 14 uniformly tempered frequency, the outputs of which are connected to the inputs of the first block 6

octave frequency divider, with the first group of p inputs of the driver 12 of the bass output signals and the second group of n inputs of the synthesizer B of the treble register, the third group of n inputs of which is connected to the outputs of the first block of the 6 octave divider and the second group of n inputs of the former of 12 signals of the bass register, group n the outputs of which are connected to the inputs of the keyboard 2 bass key and the third group of p inputs connected to the first group n inputs of the synthesizer 8 violin pe1 Istra5 whose outputs are connected to the n inputs

Forming 10 attacks, the output of which is associated with the inputs of the keyboard 3 treble clef, with three groups of outputs for the transducer 9 code

Kronecker connected respectively

Forming 10 attacks, output I of which is associated with the inputs of the keyboard 3 of the treble clef, with three groups n of the outputs of the forks 9 of the code

with three inputs of a switch of 13 frequencies, the fourth input of which is connected to the output of the master oscillator with the fourth group of inputs of the driver of the 12 signals of the bass register. In addition, the musical instrument contains a vibrato block 15 and a two-position switch 16, the inputs of which are connected to the outputs of the second block of the 7 octave frequency divider, and the output to the first input of the vibrato block 15, the second and fourth inputs of which are connected respectively to the three outputs of the rapper 9 code Kronecker, and the output is connected with the input of the master oscillator 1, the contactor 17 of the mode tuning fork, the input of which is connected to the output of the twelve-position switch 16, and the output with the third input of the adder 4.

The shaper 14 of a uniformly temperature-controlled frequency contains a group of six reference dividers 18 and three groups of additional dividers 19-1 ... 19-3 frequencies, while the group of reference dividers 20-1, .., 20-6 frequencies are combined at the input of the forma- 14 evenly tempered frequency, and the outputs of three groups of additional 19-1, ..., 19-3 frequency dividers are n outputs of the generator 14 of uniformly tempered frequency, with the first and third groups of additional dividers 19-1 and 19-3 containing three dividers 21-1, ..., 21-3, 21-4, .., 21-6, each, and the second group PPA - six dividers 21-7, ..., 21-12 frequency, and the outputs of the first, second, third reference dividers 20-1, ..., 20-3 are connected respectively to the inputs of the first, second, third dividers 21-4 , ..., 21-6 frequencies of the third group of additional dividers 19-3 frequencies and inputs respectively of the first, second, third dividers 21-7, .., 21-9 frequencies of the second group of additional dividers 19-2 frequencies, and outputs of the fourth, The fifth, sixth reference dividers 20–4, ..., 20–6 frequencies are connected respectively to the inputs of the first, second, and third dividers 21–1, ..., 21–3. a group of additional dividers 19-1 frequencies and inputs of the fourth, fifth, sixth dividers 21-10, .., 21-12 frequencies of the second group of additional frequency dividers, with the outputs of dividers 21-1, ..., 21-3 frequencies of the first groups of additional divider 19-1 frequencies form a group of n outputs

shaper uniformly tempered frequency.

Shaper 12 bass register

consists of a switch 22 signals, a restorer 23 basic tones of the bass register, a driver 24 Dominant-seventh chords, a driver 25 basic bass, a driver 26

intermediate quarto-quint moves, a mapper of 27 majors and minors, while the outputs of the switch 22 signals are connected to the inputs of the restorer 23 main tones of the bass register, the outputs of which are connected to the inputs of the mapper 24 of the dominant seventh chords, the inputs of the mapper I 25 main bass, the inputs of the mapper 26 intermediate quarto-quint moves and the first group P of the driver inputs 27 majors and minors, the second group n of the inputs of which is connected to the group n of the outputs of the driver of the intermediate quarto-quint moves, moreover, the outputs of the driver of the 25 main bass, the driver of the 27 major and the minor and the driver 24 of the dominant seventh chords are a group of drivers of the driver 12

bass register.

Vibrato block 15 consists of a frequency divider 28 by sixteen, two serially connected dividers 29 and 30 frequencies into two and in series. Connected integrator 31 with attenuator 32, as well as inverter 33 and first, second, third, fourth and second gates 2I – NO 34-38 wherein the input of the frequency divider 28 to sixteen is the input of the vibrato unit 15, the output is connected to the first input of the first valve 34 and the outputs of the first and second frequency dividers 29 and 30 are connected to the first input of the second and third valves 35 and 36 respectively, the second moves the first, second and third gates 34-36 are connected respectively to the second, third and fourth

the inputs of the vibrato unit 15, the outputs of the second and third valves 35 and 36 are connected to the first and second inputs of the fourth valve 37, respectively, the output of which is connected to the first

and the second input of the inverter 33, and the output of the inverter 33 and the output of the first, valve 34 are connected to the first and second inputs of the fifth valve 38, respectively, the output of which

five

connected to the input of the integrator 31, and the output of the attenuator is the input of the vibrato unit 15.

Fig. 5 shows a stable and at the same time allowing oneself to modulate generator limiter 1. The required generation frequency can be forcibly set in generator part 39 by changing the current of the exciter emitters, and limiting part 40 is built on an analog-digital basis.

In Fig. 6, a diagram of a practical electronic frequency switch 13 is shown, built on the elements AND-NE 41-1, ..., 41-6, forming the OR circuit, and two digital dividers 42-1 and 42-2 frequencies into two, as well as an example of building a Kronecker code 9 generator implemented on three static triggers 43-1, ..., 43-3, a diode encoder 44 and three independent one-contact closures 45-1, ..., 45-3.

The violin register synthesizer (Fig. 7) contains a static trigger 46 with two stable states, two keys 47-1 and 47-2 and an additional shaper 48 Kronecker code and for each key - a resistive adder 49, the first and second switches 50-1 and 50-2, the first of which contains gates 2I-NE 51-1, ..., 51-3, the second - gates 52-1, ..., 52-3, while the outputs of the static trigger 46 are connected respectively to the first the input of the first and third valves 51-1 and 51-3 of the first switch 50-1, the second inputs of which are respectively the third input and the output n 8 violin registers for the given key and the outputs of the first and third valves 50-1 and 50-3 of the first switch 50-1 are connected to the first and second inputs of the second valve 50-2, the output of which is connected to the first inputs of the first the second, third valves 52-1,. ,, 52-3 of the second switch 50-2, the second, the inputs of which are connected respectively to the first, second, third outputs of the additional driver Kronecker 44, and the outputs of the first, second and third valves 52- 1 ... 52-3 second switch 50-2 are connected respectively to the first, second and

6

the third inputs of the resistive adder 49, the fourth input of which is one of the inputs of the second group p. From the n inputs of the synthesizer, there are 8 violin registers for the given key, and the output is the synthesizer output of 8 violin registers, with the closing contacts of the first and second keys

0 47-1 and 47-2 are connected to the first and second inputs of the static trigger 46, respectively, and razkaykayapushche contacts of each key 47-1 and 47-2 are connected to the common bus, and switching - to

5 switching buses of the respective registers 53 and 54.

Electronic musical instrument works as follows.

The master oscillator 1 outputs to the switch 13 a modulated high-frequency voltage, obtained due to the modulation of the infra-low frequency generator 1, formed in the vibrato block 13. Vib5rato unit 15 itself is controlled by the Kronecker code shaper 9, and the signal from the output of the generator frequency switch 13, also controlled by the Kronecker code shaper 9, is fed to the input

0 shaper 14 of uniformly tempered frequencies, giving the 12 octave frequencies of the musical scale in the upper octave, each of which refers to its previous value approximately as

five

 -j -P059463 Thanks to the fact that the blocks .6 and 7 octave frequency dividers are connected in series, at their outputs also

uniformly tempered frequencies are formed, octave decreasing in 2,4,8, etc. time. The number of all frequency dividers by two is determined by a specific keyboard for

treble clef. For example, a full accordion has 41 keys. Therefore, a uniformly tempered shaper gives 12 signals, and the remaining 29 signals should be

formed by two complete blocks of octave frequency dividers (i.e., 24 signals) plus an additional block consisting of 5 frequency dividers by two.

55

The resulting array of output frequencies of 6 and 7 octave divider blocks and frequencies and a uniformly tempered frequency generator 14 along with in71

On the one side, the synthesizer has 8 registers of the treble clef, where weights synthesize the desired shape of the selected pitch, i.e., the output of the first twelve sounds of the first twelve sounds, excluding only the inverse outputs of the first twelve sounds. the desired timbre is formed, and on the other, the shaper of the bass register 12 (without inverse outputs), where the formation of

Finally, since the dialing of the Kronecker code in the shaper 9 of codes 100 or 001, the frequency at the output of the twelve-positivity switch 16 decreases accordingly or increases by 4 times relative to

15 of the central code 010, the passage simultaneously to the adder 4 through the lock 17 of the Camerton mode and simultaneously controlling the operation of the vibrato block 15; infra-low frequency, which covers the interval of 65.4, .. 123.5 Hz notes of salt (98 Hz) in dia- independently from the naminant-seventh chord bass using frequency dividers into two and NAND operations. Moreover, when the shaper 9 Kronecker code shaking code 100 or 001 shrinks or rises, the frequency of the entire signal array of the treble clef is reduced or doubled relative to the central register, to which Kronecker code 010 is assigned.

The operation of the bass register generator 12 is thus constructed in 25 brane codes, 100, 010, or 001. Consequently, under the influence of an infra-low frequency formed from this one, for example, upward

codes 010 and 001 relative to the beginning of the hall

do-si

that in spite of the change in its trigger frequency inputs of two or four

In the vibrato block 15, the generator 1 all the time of the tuning code 100, the main tones and bass register chords remain fixed. At the same time, the entire dp keyboard of the treble clef will increase. This means that when playing a piece of music, another 24 notes can be quickly added to the total number of right-handed keys by octave raising or lowering all frequencies relative to the center register with the house 010,

Extracted in the right violin register signals through the block of attack 10 and the violin keyboard 3 passes

to-

The operation of the electronic switch of frequency 13 is that, depending on the Kronecker code, on switch 13, one cycle of 40 periods of 1, 2, 4 / f frequency is generated, which will be further processed by the shaper of 14 uniformly temporarily frequencies. The inclusion of, for example, a 45-1 closure leads to

further to the adder 4, and formed: 5 education at its output high

the bass register signals are passed to the same adder 4 via the bass keyboard 2. Thus, each signal of the violin register, being subjected to an attack in the shaper 10, for the time of its existence, i.e. the time between pressing and releasing the key takes flat front and back edges, which helps to remove 5 unpleasant clicks from the sound reproduction system (due to differentiation), giving the sound of the synthesized signal a soft effect.

A potential that, through diode coder 44, puts the remaining circuit breakers 45-2, 45-3, to the closed state, i.e. there is a constant com

50 potential 100 and so on.

The synthesizer 8 violin registers (Fig. 7) is determined to have a treble clef specific to viatura 3 (see, for example, the actual keyboard

55 Pille cops, shown in FIG. is controlled by a static trigger common to all keys 46.

Two sotto or static field 46 and three additional states

In turn, the compressor 11 of the dynamic range removes the overload of the sound reproducing system 5 from the 4 emissions that occur at the output of the adder when chords are played in the bass and treble registers together or separately.

Finally, since the dialing of the Kronecker code in the shaper 9 of codes 100 or 001, the frequency at the output of the twelve-positivity switch 16 decreases accordingly or increases by 4 times relative to

the central code 010, the passage simultaneously to the adder 4 through the lock 17 of the Camerton mode and simultaneously controlling the operation of the vibrato block 15, then in the latter the reverse operation of the Vibrato frequency, i.e. infra-low frequency, which covers the interval of 65.4, .. 123.5 Hz notes of salt (98 Hz) in dia- regardless of the dialed code, 100, 010 or 001. Consequently, under the influence of the infra-low frequency formed from this

chase

do-si

braned code, 100, 010, or 001. Consequently, under the influence of an infra-low frequency formed from this

in the vibrato block 15, generator 1 rebuilds all the time

with and the whole system becomes modulated. In this case, the modulation index is determined by the S-position of the twelve-position switch 16, where 2.3 ... 12).

35

The operation of the electronic frequency switch 13 is that, depending on the Kronecker code, the output of the switch 13 is one of; 40 periods of 1,2,4 / f frequency generator 1, which is further calculated by the shaper 14 uniformly tempered frequencies. Switching on, for example, the closure 45-1 results in a: 5 formation at its output high

A potential which through the diode coder 44 puts the remaining contactors 45-2, 45-3 to the closed state, i.e. a constant code potential of 100 arises, and so on.

The synthesizer 8 of the violin registers (Fig. 7) is determined by the specific keyboard 3 of the treble clef (see, for example, the actual keyboard of the Pille instrument 55 shown in Fig. 8) is controlled by a static trigger 46 common to all of the keys.

Two static triggers 46 and three additional states of the 48 Kronecker code generator, identical to driver 9, give six possible combo sound signals or imitate six different violin registers based on weighing addition on the total keyboard load K „- the main key and inverse overtones in the amplitude ratio of 1: 1, 1: 2 or 1: 3.

The search link between the main tone and its overtones (i.e., frequencies 2 and 3 times) on a particular keyboard is defined as follows: first, a quint of a short key, and then an octave signal from an already found quint, for example , find the frequency ratio for key 6f (Fig. 8), Since the quint for key 67 is the signal extracted by key Ij, and the octave output for key Ij is the signal extracted by key 1j, the frequency ratio will be

Look like F ,,: F t, 3: 2: 1 and so on.

Thus, the main tone -Fg goes directly to the output of the keyboard summed: it loads Rj. the first overtone is to the first input of the first circuit OR 50-1, and the second overtone FJ, to the second input of the first circuit OR 50-1. This shows that the main

the tone goes out directly 5 and 57 and 60, the capacitor 56 is veno when the key is pressed, and one or the other overtone is summed with one of the indicated weights, which is determined, in turn, by the typed code of the additional driver 48 .

The pattern of plots of some synthesized registers of the same pitch is shown in FIG. 9. Moreover, the key signals with indices a, b, c, and d correspond to the basic tone, half the amplitude of the first inverse overtone, the full inverse overtone and half the inverse second overtone signal. It is easy to see that plot 1 corresponds to the sum of the signals a and b, t, e. imitates the organ timbre. At the same time, any plot a ... d is separately perceived by ear in the form of a clarinet or saxophone sound. Plot f is the result of combining the signals a and c and simulates a timbre close to the strings. Plot g is the product of the addition of vibrations a and d, and by ear it is perceived as the simultaneous sound of gobo and the English horn. All six registers are obtained by pressing the corresponding closures 47-1, 47-2 and the contactors of the additional form of the 48 Kronecker code trigger.

Before you get to pz. The adder 4 signals of the synthesized violin register are first passed through the sound reproducing system 5 of the attack, an example of the implementation of which is shown in Fig. 10, where I is the input of the 1st key, N is the input of the (last) key). Each signal is exposed to attack as follows: when a key is pressed (moment t, Fig. 11),

the switch 55 is disconnected and the capacitor 56 is charged (Fig. 11, function b) before the voltage of the slider of the bias potentiometer 57. In this connection, the diode 58 is closed and the output signal to the summing

the bus through the resistor 59 does not pass. When the key is lowered, the time t is triggered by the contactor 55 and the capacitor 56 starts to smoothly discharge (Fig. 11, function a) through a resistor.

60. The rate of reduction of the cathode potential at diode 58 and, consequently, the monotony of the increase in the transmission coefficient of the input signal on the sum bus depends on the nominal resistivity of the supply voltage.

Thus, n 1 forcing8 "a decrease in the value of resistor 60 causes an increase in the discharge rate

the capacitor 56 and, therefore, the rate of rise of the leading edge of the transmitted synthetic signal (Fig. 11, function a). On the contrary, when the key is released (moment t)

capacitor 56 is smoothly charged

(Fig. 11, function b) up to the level established by resistor 57, which causes gradual locking of the diode 58 and a gradual decrease on the summing line of the periodic signal of the selected pitch. This means that the decrease in the output of the transmitted signal is directly proportional to the degree of increase in the resistance of the diode 58

or the leading edge 1 depends on the resistor 60, and the rear one - on the resistor 57. Giving aksizesalnom removes the unpleasant effect of clicks when pressing the keys that occur

due to the differentiation of steep fronts by the sound reproducing system 5, especially when chords are played.

In order to finally unload the instrument from amplitude shots when chords are picked up in any of the music keys, the signal array of adder 4 passes through a dynamic range compressor 11 that integrates the total power, which can be an ordinary sound amplifier with automatic gain control (AGC ).

An example of the practical implementation of the signal switch 22 is shown in Fig. 12 (for the specific keyboard shown in Fig. 8).

tones from the fundamental tone and the first overtone.

The corresponding formation scheme

From the majors and basses in the driver 27 through the intermediate driver 26, quinte-quint moves are shown in FIG. 15 and 16. Moreover, the array of major and minor chords is formed from signals l 12 and K ... 12l, and signals 1,

about

, ..., 12 o contain at once two, tones of signals 1, ..., 12, which are located between each other in the following frequency proportions: 3/2 or 2/3 and 4/3 or

15 3/4.

Due to the fact that in the current model (Fig. 8) the sum of all the keys turned out to be a multiple of 12, in the bass register, signals 11 and 12 along

Since in order to form a constant at frequency 20, they do not change in codes 010 and frequency frequencies of the fundamental tones of bass 001, and signals 9 and 10 do not change 30

the register requires the main tones to be halved when code 001 is captured. In the Kronecker code shaper unit 9 and doubled when code 100 is captured, this device (Fig. 12) prohibits the resolution of signal array 1 ,, ..., 8 one of the codes 100,010 and 001.

As a result, one of the signals a of 1, .. s one of the signals b of 2,, and so on up to a hectare of 12, 2, which then proceed to the pitch recovery unit 23, the coaxial circuit This is presented in FIG.

Thus, switching in the switch 22 by coded DC voltage of signals 1,, ...,

c in codes 010 and 100. This means that when you increase (decrease) the frequencies of the violin register, two bass 25 main and additional rows are not

the main tone is changed twice, and the two bass major, minor and dominant seventh bass bass change their order, i.e. with the exception of the aforementioned, all the basses retain their spectrum when changing codes in the former 9. But since the change of the base chords to the reverse triad is perceived without a fake, the hearing

Switching the keyboard of the violin register does not change the whole bass instrument.

If the number of all keys is divisible by 12, then the structure of all bases 8 3 leads to the formation of an intermediate-40 ° C change of the codes of the completely remaining signals a, .m,.,,,. but three would be without movement. Hard at 1 ... 1 .... 3 input subsequent multiplication

(Fig.13) gives twelve basic

The visibility of the bass register to the violin indicates that both registers work synchronously, and the air to the camera (fur) is not needed due to the electronic, method of generating all sounds extracted using one of the simplest contactors.

tones

eleven ,. .., I

by which

Signals for sept-45 chord bass are first generated, shown in FIG. 14, and signals for main and additional bass as shown in FIG. 17, by dividing the frequencies of the reconstructed main tones 50 into two and then multiplying the output with the input signals.

Thanks to these two operations, all

The vista of the bass register to the violin testifies to the fact that both of the two speakers work synchronously, and the air to the camera (fur) is not needed due to the electronic, method of forming all sounds extracted by using one contact simple switch.

 In addition, thanks to the envisioned rearrangement (lowering) of the octave, the performance capabilities of this device are significantly expanded in the whole system, since the main 32 keys of the right hand can be used as

additional and basic bass color- gg add another 24 keys promptly

They are woven into a velvety timbre, characterized by a basic bass tone, a first overtone and a decaying proportional numbers to odd numbers in the game process, which in total greatly exceeds the sound level of the keyboard for a full accordion, usually having 41 keys.

tones from the fundamental tone and the first overtone.

The corresponding formation scheme

The majors and basses in the former 27 through the intermediate former 26 are quinte-quint moves shown in FIG. 15 and 16. Moreover, the array of major and minor chords is formed from signals l 12 and K ... 12l, and signals 1,

about

, ..., 12 o contain at once two, tones of signals 1, ..., 12, which are located between each other in the following frequency proportions: 3/2 or 2/3 and 4/3 or

c in codes 010 and 100. This means that when you increase (decrease) the frequencies of the violin register, two bass of the main and additional rows are not

the main tone is changed twice, and the two bass major, minor and dominant seventh bass bass change their order, i.e. with the exception of the above, all basses retain their spectrum when changing codes in forma- tion. 9. Since the change of the base chords to the reverse triad aurally is perceived without falsehood, then

Switching the keyboard of the violin register does not change the whole bass instrument.

If the number of all keys were a multiple of 12, then the order of all code changes would completely remain motionless. The tight binding of the bass register to the treble clef indicates that both registers operate synchronously, and the air to the camera (fur) is not needed due to the electronic, method of generating all the sounds extracted by using single-contact simple closers.

 In addition, thanks to the envisioned rearrangement (lowering) of the octave, the performance capabilities of this device are significantly significantly expanded, since the main 32 right-handed keys can be

during the game, which in sum significantly exceeds the key sound level. Full accordion tours, usually 41 keys.

The vibrato block 15 operates as follows.

In vibrato block 15, the infra-low frequency is restored, which serves as the pitch of the vibrato block 15 for modulating the master oscillator - limiter 1.

The process of restoring this frequency is due to the fact that the derivative frequencies 4F, 2F and RDD obtained at the output of the frequency divider 28 correspond to the derived frequencies and the frequency of the generator ./4, fl and f that arrive at the uniformly tempered frequency generator 14 to sixteen, and to the given subdivided modulation frequencies at the output of the reducing agent there corresponds a single frequency F. Therefore, parallel to the operation of dividing (multiplying) the oscillator frequency 1 in the vibrato block 15, the opposite operation of multiplying (dividing) the derivatives of the vibrato frequencies occurs and if the modulation circuit is open, popping or decreasing the violin registers does not affect the change in the bass strings. But the change in the resultant frequency of the vibrato, which in this case does not arrive at the modulation input of generator 1, if the code combination 100 arrives at the second, third and fourth inputs of the vibrato block 15, a signal is generated at the input lying in the interval

5 1 3

10 Hz, which is formed directly at the output of the splitter 28. The true value of this frequency is determined by the 3-position of the twelve-position switch 16, which surely overlaps the salt, in the system a modulation frequency of 98/16 and 6.125 Hz is formed. When code 010 is taken, the entire violin register will increase in frequency by 2 times and at the output of the frequency divider 28. In this case, the first vibrato overtone of 12.25 Hz occurs, which is placed in an obvious interval

overtones 10 21 I Hz.

But since the doubled frequency interval now arrives at the output through the first frequency divider 29 by two, the range of possible vibrato tones with an increased violin register

will return to its original state and will occupy the initial interval

o |

Hz

Finally, when code combination 001 is taken, the violin register will increase by 4 times relative to the beginning. The frequency range of vibrato will take a second overtone interval

-one

42 Hz

and immediately the same

This way, it returns to the original one by passing the signal of the frequency divide 28 to sixteen tke through two consecutively connected frequency dividers 29 and 30 by two.

Thus, the method of obtaining vibrato does not require a special generator at an infra-low frequency close to 5, ..., 7 Hz.

The vibrato signal itself is further smoothed by the integrator 31 and passed through the attenuator 32. The following pattern is observed: at the time the signal is given through the attenuator 32 to generator 1, the frequency of the latter is incremented. + F.

Since this frequency is further divided by the shaper 14 of equally tempered frequencies, blocks 6 and. 7 octave dividers and a block of 15 vibratos for some total N coefficient, then the new vibrato frequency takes the form:

F (f, F, J / N,

where N is a fixed division factor of the frequency of the generator 1 to the input of the integrator 31 - an attenuator. 32. The frequency of the generator 1 after exposure to modulation will be equal to:

frFM

f, + (f,

F) / N,

This means that continuous refinement will be observed in the system. oscillator frequency 1, and then vibrato frequency, again generator frequency 1, again vibrato, and so on.

Such a process can be written as follows:

gN

If we consider that at the initial time, the frequency of the vibrato is a subproduct of limiter generator 1, i.e. F fr / N, easy to get effect.

continuous recurring vibrato:

FM

fr

1 +.

+ (1 +

a b and b

In other words, the vibrato frequency itself depends on the parameter N and is also modulated as a result of dividing the modulated frequency of oscillator 1 by a constant coefficient.

. In turn, a periodic change in the frequency of vibrato leads to a significant improvement in the color of the sound: the sound of the instrument is alive and singing, which is not observed when the same frequency is modulated with a fixed frequency in the range of 5,..., 7 Hz. The depth and speed of coloring of melodies can be adjusted during operative operation with the help of an attenuator and a change in the S-position of the two-way switch 16.

Moreover, if the switch 17 is turned on, then without pressing a key on the sound reproduction of the w; system 5, there will pass only one signal of a uniformly tempered frequency scale, which determines the frequency of the vibrato. Changed twice in the code of block 9, you can listen to the same note on three octaves independently. This is how the Cameras-i mode is implemented in this instrument. Thus, with the help of a two-positioned servo switch 16 and a circuit breaker 17, one can simultaneously listen to the uniformity of temperament and the monotony of frequency multiplication. I

5 5 Hz.

1 I 1

vibrato -N2 times, starting

Thus, the instrument, the trace of the button-contactor connections for the bass register and the general view shown in Figures 15 and 16, do not contain the traditional sliding fur and is characterized by complete synchronism of the work of both musical keys (bass and treble), which is not disturbed. when the frequency of the master oscillator.

Claims (7)

Invention Formula 1. An electronic musical instrument containing a master oscillator, bass and treble keyboard five whose adder, iverp and second inputs of which are connected respectively to the outputs of the keyboards of the treble and bass keys, a sound reproducing system, the first and second beacons of the octave frequency dividers in series and the synthesizer of the violin registers, in order to expand the performance capabilities of the instrument, he entered the shaper code Kronecker, shaper attack, dynamic range compressor, on-. between the output of the adder and the input of the audio reproducing system, the driver of the bass register signals connected in series with the chassis switch and the driver 0 evenly tempered frequency, the outputs of which are connected to the inputs of the first block of the octave frequency divider, the first group of n inputs of the bass register generator and the second group of n inputs of the violin register synthesizer, the third group of n inputs of which are connected to the outputs of the first octave divider block and the second groups n inputs 0 bass register driver, group p outputs of which are connected to keyboard bass key inputs, and a third group of n inputs connected to first group n inputs of a violin register synthesizer, outputs of which are connected to n inputs of an attack keyboard, outputs of which are associated with violin keyboard inputs key, while the three groups of outputs of the Kronecker code generator are connected respectively to the inputs of the frequency switch, the fourth input of which is connected to the output of the master oscillator, and the fourth group n inputs shaper signals bass register. 2. A musical instrument according to claim 1, characterized in that, in order to improve the color of the sound and expand the frequency band, the vibrato block and the twelve-position switch are entered into it, the inputs of which are connected to the outputs of the second octave frequency divider and the output from the first the input of the vibrato block, the second, third, fourth inputs of which are connected cooTBTCTBgHHo with the first, second and third outputs of the code generator five 0 five 0 five 17 Kronecker, and the output - with the control input of the master oscillator. 3, Musical instrument according to n.l, characterized in that, in order to provide gaming capabilities, it introduced the Camerton mode lock, the input of which is connected to the output of the twelve-position switch, and the output to the third input of the adder, 4. A musical instrument according to claim 1, characterized in that the uniformly tempered frequency shaper contains a group of reference frequency dividers and three groups of additional frequency dividers, while the group of reference frequency dividers is combined at the input, which is the input of the uniformly tempered frequency shaper and the OUTPUTs of the three groups of additional frequency dividers are the shaper equalizer outputs tempered frequency, with the first and third groups of additional frequency dividers each containing three frequency dividers each, and the second group - six frequency dividers, the outputs of the first, second, third reference frequency dividers are connected respectively to the inputs of the first, second, third frequency dividers of the third group of additional frequency dividers and the inputs of the first, second, third frequency dividers of the second group of additional frequency dividers respectively, and the outputs are fourth first, fifth, sixth, reference frequency dividers are connected respectively to the inputs of the first, second, third frequency dividers of the first group of Additional frequency dividers and inputs the fourth, fifth, sixth frequency dividers of the second group of additional frequency dividers, with the outputs of the frequency dividers representing the group n of the outputs of the generator of a uniformly tempered frequency, while the division factors of the frequency division of the first, second and third groups of additional divisors hl111-I relate to the ratio as 2: 27: 1, the division factors of each of the preceding frequency dividers of the group of porous frequency dividers to the division factor of the next are referred to as - {T. 55996 5. Musical instrument according to claim 1, characterized in that the shaper of the 5th register register is derived from the signal switch, the restorer of the main rutting of the bass register, the former of the dominant septa chords, the former of the main bass, the former 10 quarto-quint moves, shaper makers and minors, while the outputs of the signal switcher are connected to the inputs of the bass register restorer, the outputs of which are connected to the inputs of the dominant-seventh chords, the inputs of the basic bass generator, the inputs of the intermediate quarter-quint moves, and the inputs of the intermediate quarter-quint moves a group of n inputs of a mapper and a minor maker, the second group of n inputs of which is connected with a group n of forg dzhrova tel outputs of intermediate quarto-quint moves, with the outputs of ovatel The 25 main bass, major and minor shapers and the dominant seventh chords are the group n of the bass register shaper outputs. five 0 five 0 five 6. Musical instrument according to Clause 3, characterized in that the vibrato block consists of serially connected frequency dividers for sixteen and frequency dividers into two and subsequently connected integrator and attenuator, and also contains an inverter and the first, second, third, fourth Fifth 2IGE valves, with the input of the sixteen frequency divider being the input of the vibrato unit, the output is connected to the first input of the first valve, the outputs of the first and second frequency dividers are connected to the first inputs of the second and third This valve, the second inputs of the first, second and third valves are connected respectively to the second, third and fourth inputs of the vibrato unit, the outputs of the second and third valves are connected to the first and second inputs of the fourth valve, respectively, whose output is connected to the input of the inverter, and the inverter and output the first valve is connected to the first and second inputs of the fifth valve, respectively, the output of which is connected to the integrator input, gtr ichem output 19 1355996 ra is the output of a block be t u ve l l ne t from 7. Musical instrument according to claim 1, characterized in that the violin register synthesizer contains a static trigger with two stable states, two keys and an additional code generator, Kronecker, and for each key a resistive adder, the first and second switches, each of which contains three valves 2I-NOT, while the outputs of the static trigger are connected respectively to the first inputs of the first and third valves of the first switch, the second inputs of which are respectively the input of the third and the input of the first g n violin SCP registers synthesizer input for this key, and outputs the first and third gates of the first switch are connected respectively to the first M and the second inputs of the second gate, whose output is connected to first inputs of first, second, tre20 the second valve of the second switch, the second inputs of which are connected respectively to the first, second, third outputs of the additional Croieker code generator, and the codes of the first, second, third valves of the second switch are connected to the first, second and third inputs of the resistive adder, the fourth input of which is one from the inputs of the second group of the n inputs of the synthesizer violin registers for this key, and the output by the synthesizer output of the violin pe-i guisters, with the closing contacts of the first and a second key are respectively connected to first and second inputs of the static .triggera, break contacts of each switch are connected to the common bus, and switching - to shift the respective tires registers, with the value of the fourth resistor relates to the resistance values of the first, second and third resistors as 1: 1, 1: 2, 1: 3. 19-1 haa I ff / 77 OffS / X ti figure 2 ttt ffm $ / r. ff X /f.2 ZJ / r. fie. 3 .S .l phyl 58 ff6 / raff f3 ff / n / 5 .AT and 5l any 9 tL ..: 2J "J / jj I h 1.M M ll but / fSj7ir / fl / f4 FI.6 OmSaoHofAOfrrSfTorfoS / fS offylO  00 Ojo aof W.  A 9t Sh Si 6, ten, 12, - / V t  / l " four / 8g / L Lee L Phie.in SXoSi Ш2.10 To Loku11 Vu2.i1 a bz cz f / 3f j / j g h  F miitfi wo I Vmw / J / j 3j 3 fl b, CGS / g oro am 9t fO, jit rzt Tqtltj one t tt.1b-ffiYiWiti TQt 11 f UJ lR f 111 L ai Of QI bt 5 / ъзCf СгСзМ з fie. 13 , JPPLIttiyrt AV , 3 # 3Tttpt r / f3fifths 6 970 fia7 77 Jz 7/0 By / ffo 9o 80 7o 6s So 4v 3o lo fs fTrT TrTrl l (G (№ | «j K &, / 2 ri 70 9 8 7 5 5 З / / Л // j 4 G Z 3 4 5678 9 10 7J 2 5 V ff 9 70 n 12 f & g fie. W n .. FIG. G9 Editor A. Lezhnin Compiled by Dotsenko Tehred I.Popovich Proofreader L. Pilipenko Order 5796/43 Circulation 346 Subscription VNIIPI USSR State Committee for inventions and discoveries 113035, Moscow, Zh-35, Raushsk nab., 4/5 Production and printing company, Uzhgorod, st. Project, 4