US3480718A - Organ percussion system providing percussive harmonic synthesis - Google Patents

Organ percussion system providing percussive harmonic synthesis Download PDF

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Publication number
US3480718A
US3480718A US559829A US3480718DA US3480718A US 3480718 A US3480718 A US 3480718A US 559829 A US559829 A US 559829A US 3480718D A US3480718D A US 3480718DA US 3480718 A US3480718 A US 3480718A
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harmonic
lead
percussion
organ
percussive
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US559829A
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Norman R Kohls
Clarence A Nykl Jr
William R Ayres
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Marmon Co
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Hammond Corp
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/04—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation
    • G10H1/053—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only
    • G10H1/057—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only by envelope-forming circuits
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/06—Circuits for establishing the harmonic content of tones, or other arrangements for changing the tone colour
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/06—Circuits for establishing the harmonic content of tones, or other arrangements for changing the tone colour
    • G10H1/08—Circuits for establishing the harmonic content of tones, or other arrangements for changing the tone colour by combining tones
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/06—Circuits for establishing the harmonic content of tones, or other arrangements for changing the tone colour
    • G10H1/14—Circuits for establishing the harmonic content of tones, or other arrangements for changing the tone colour during execution

Definitions

  • This invention relates to an organ percussion system, and more particularly to a percussion system which combines the synthesis approach, which adds selected harmonics to the output as required, with the formant, bright wave system so as to give an appropriate optional response as required by the organist.
  • Another object is to provide a novel system of the above described character which will provide percussive tones having a complex harmonic structure, depending upon what is suitable for the purpose, and which harmonies are selected in a simple fashion by the organist.
  • FIG. 1 is a diagrammatic box representation of a system which embodies the present invention.
  • FIG. 2 is a more detailed representation of the major portion of the system.
  • percussive keyers are available, such that the playing of a key has the effect of supplying a tone signal called for to the organ output system With a percussive envelope.
  • a tone signal called for to the organ output system With a percussive envelope.
  • organ tone generator structure is available to provide all desired tone signals in the form of bright waves and that, to provide a complete instrument, there will be auxiliary means for providing sustained organ tones in addition to the percussive system which forms the subject of this invention.
  • Both the customary sustained tone system and the present percussion system may, of course, use the same basic tone generators, or optionally, they may separate.
  • a generator of bright Wave signals is shown at 10.
  • the generator system may be of any type which supplies bright Waves; that is, tone signals which have present a full series of both even and odd harmonics. Such signals commonly are of sawtooth waveform.
  • the generator system may also supply square wave signals Without appreciable even harmonies, or even sine waves, which may be variable in the musical instrument organization; the frequencies supplied may be less or exceed the range of tone signals from 13 to 96 which are indicated.
  • this disclosure will be based upon the assumption of a source of bright wave signals from 13, which is C at about 65.4 Hz., to 96, which is B at about 7902 Hz.
  • Each of the signal leads from the generator 10 is connected through its individual percusion keyer at 12 and thek outputs from the keyers are collected in groups and passed to filter drivers at 14.
  • the percussion keyers are under the control of the individual playing keys and certain accessories at 16, so far as selection of the note to be sounded is concerned.
  • a harmonic selector system a portion of which is at 18, is used to choose the finally synthesized harmonic content of the tone signals fed to the output. Control over the percussion keyers is also exercised so as to give short, medium, or long decay to the percussive envelope.
  • Contacts which are a portion of the harmonic selector are actuated by the tab controls at 20, and supply the information to the harmonic selector portion at 18 to determine the choice of harmonics.
  • Other tab actuated contacts control keyers 12 to determine the choice of a short, medium, or long decay envelope.
  • the tab controls 20 also perform other control functions as will appear presently.
  • the filter drivers 14 are amplifiers and boost the signals prior to filtration. Filtration is accomplished, with the exception of the low frequency group 13 to 24, by the joint treatment of half octave segments. These half: ⁇ octave segments are: to 30, 3l to 36, 37 to 42, 43 to 48, 49 to 54, 55 to 60, 61 to 66, 67 to 72, 73 to 78, 79 to 84, 85 to 90, and 91 to 96. Since the bright wave signals contain both even and odd harmonics, and since the closest harmonic to the fundamental is the second at twice the frequency, it will be seen that single filters can be used to strip all bright wave signals over a half octave range of all harmonic structure and pass only the fundamental sine waves.
  • the group of signals 13 to 24 covers a full octave, and complete filtration to leave only sine waves is not necessary with this group, since at these low frequencies the lack of discrimination of the listener makes such full treatment of the signals unnecessary. If desired, this group could be split and passed through separate filters.
  • the leads 2-4 from the filter drivers 14 are also connected to individual piano and banjo formants 32.
  • These formant corcuits do not act to remove all harmonics of the fundamental as do the filters 22, but, in the usual formant fashion, remove or attenuate certain frequencies and enhance or peak certain others, so as to give the type of tone coloration desired by the particular designer. It is not the purpose of this explanation to dictate what formants should be used for this purpose, although a suitable example will be given presently. Rather, what is important is that the percussion system of this invention provides both for the obtaining of percussion effects by formanting of bright waves and by the synthesis of sine waves, together with appropriate control of the percussion envelope in both cases.
  • the piano tones taken from the formant 32 by way of lead 34, pass through a piano preamplifier 36 to the output terminal 30 ⁇ under control of the tab system at 20.
  • the banjo signal is taken through lead 38 and banjo preamplifier 40 to the output by way of the cab control system 20'.
  • the piano and banjo tones taken from the formants 32 through separate leads 34 and 38, respectively, pass through respective preamplifiers 36 and 40, and thence to the tab control system 20 on their way to the output terminal 30.
  • the frequency groups 79 to 84, 85 to 90, and 91 to 96 have no piano and banjo formant connections, since note No. 73 is the uppermost fundamental tone at so-called 8-ft. pitch.
  • the higher frequency signals are used for the synthesis of certain percussive tones requiring upper harmonic structure.
  • the box 16 labeled keyboard and accessories includes, among the accessories, an arrangement for reiteratng the percussion envelope, and also a mechanism which facilitates the playing of arpeggios. It will be appreciated that these particular effects and the particular percussive stops used in the more detailed explanation to follow are not intended to be limitative; rather, they are for the purpose of illustrating how the system of this invention frees the designer to obtain a wider variety of musically useful percussive effects than have been available heretofore.
  • the generator 10 for signal 13- which is the frequency to be used, for example only, in most of this description-supplies its percussion keyer 12 by way of lead 50.
  • lead S0' is connected through capacitor 52 to the emitter of transistor 54, the emitter also being connected to ground by way of resistor 56.
  • the collector is connected to the output at 58 to which also are connected the outputs of the other keyers in the signal group 13 to 24, and this lead is also connected through a resistor 59 to a source of potential at +15 v.
  • the base circuit of the transistor 54 is arranged to controlthe conduction cycle, or in other words, the percussive envelope of the signal passed therethrough, and these connections are as follows.
  • the base is connected through resistor 60 to a lead 62 which, as will be seen, is established remotely either at a potential of [-03 v. or at 0 potential by a connection to ground.
  • the base is also connected through resistor 64 to the anode of diode 66, the cathode of which is connected to lead 68.
  • lead 68 may be at either O or at -l v. potential.
  • Each of the percussion keyers in the system is similarly connected to leads 62 and 68, these two leads, by a selection of the potentials set forth above, conditioning all of the keyers for short, medium, or long decay as required for the particular percussive effect.
  • the decay is ata medium rate, and this rate is used in this specific example for harp, glockenspiel, and piano.
  • lead 68 is grounded and lead 62 is at -l-O.3 v.
  • the decay rate is long and this rate is used for chime.
  • lead 62 is at +03 v. andV lead 68 is at -1 v.
  • the decay is short, and this is used for Xylophone, Marimba, and Banjo.
  • the keyer is turned on, so as to cycle once, by a keying signal of about - ⁇ -2 7 v. supplied through lead 70.
  • This lead is connected to ground through resistor 72 and through capacitor 74 to the cathode of diode 76 and the anode of diode 78.
  • Diode 76 anode is grounded, and the cathode of diode 78 is connected to the transistor base through resistor 80, the base also being connected to ground through capacitor 82.
  • Values used in this specific circuit are as follows, with resistors stated in ohms and capacitors in microfarads: Capacitor 52, 100; Capacitors 74 and 82, 33.
  • Resistor 80 is variable depending upon the frequency, and is as follows: Frequencies 13 to 24, 120.0; 25 to 72, 820; 73 to 96, 390.
  • the filter drivers at 14 need not particular description since they are simply voltage amplifiers which provide the desired gain and may be entirely conventional.
  • output lead 24 from the driver passes to the sine wave'A filter for the group indicated at 22 and to the piano and banjo format at 32.
  • the sine wave filter consists of a series connection through a resistor 90, capacitor 92, choke 94, choke 96, and resistor 98 to the output 26. There is also a connection between ground and the junction of chokes 94 and 96 by way of choke 100 and capacitor 102 in parallel. Choke 96 is bridged by capacitors 104 and 106 in series, and the common point between these capacitors is connected to ground through capacitor 108.
  • resistor 90 has a value of 2.2K; and 98, 15K.
  • the chokes and capacitors vary with frequency and are as set forth in the following table, capacitors being indicated in microfarads and chokes in henrys.
  • the bright wave signal to the piano and banjo formant passes through capacitor 112 and to the banjo preamplifier through resistor 114 and then-ce to the banjo lead 116 which extends to the tab switches 20.
  • the piano connection leads from capacitor 112 through series resistors 118, 120, ⁇ and 122 to the piano preamplier 36, and by way of amplifier output lead 124 to the tab switches 20.
  • capacitor 126 is connected from ground to the junction ibetween resistors 118 and 120
  • capacitor 128 is connected from ground to the junction between resistors 120 and 122.
  • resistor 114 has a value of 100K, except for note 73 Where its value is 33K.
  • the tab controlled system 20 comprises a plurality of gang switches actuated in groups by tabs labeled as follows: Chime, Xylophone, Harp, Marimba, Glockenspiel, Piano, and Banjo. All switches are shown in their off positionsthat is, With the particular stop silentand are turned on by pressing the appropriate tab. Leaving this group of switches to the left are a group of leads labeled in order from the bottom by the designations Fund., 1%, 2nd, 4th, 5th, 10th, and 3rd.
  • the matrix or harmonic selector 18 consists of seven transistors, one for each harmonic (including the fundamental) it is desired to include in the synthesis, for each note within the compass of the percussion system. Some transistors may, of course, be omitted in the interest of cost-saving if less performance can be tolerated in a particular design.
  • the row of seven transistors shown, therefore, is for the purpose of giving, as they are needed, the fundamental and the harmonics named above for the playing key for fundamental note number 13. An additional row will be used for each of the other playing keys for which synthesis type percussion is required.
  • transistors preferably are of the silicon type, and types 2N3395 or 2N3565 are satisfactory for the purpose. They are indicated in order from the left by the numerals 130, 132, 134, 136, 138, 140, and 142. Each has its base connected to the center of a voltage divider made up of resistors 144 and 148, the former of which is connected to lead 146 While resistors 148 are connected individually to the various harmonic selecting leads as follows: 130 to the fundamental lead, 132 to the 1%, 134 to the 2nd, 136 to the 4th, 138 to the 5th, 140 to the 10th, and 142 to the 3rd leads. In the circuit shown, resistors 144 have a value of 10K and those at 148, 4.7K. The collectors are connected together and to a source of potential at +3 v., represented by the terminal 147. The lead 146 is connected such, as will appear, that the playing of keyboard key for note 13 will apply a potential of +11 v. thereto.
  • Each of the emitters is connected to the lead 70 for its particular percussion keyer.
  • the transistor 130 for instance, which is for the fundamental for frequency 13, has its emitter connected to lead 70 for the keyer for signal 13, which, for this particular row of transistors, is of course the fundamental.
  • the emitter for transistor 132 is connected to the load 70 of the keyer Which is for the appropriate frequency to give the 1% harmonic to accompany fundamental 13, and so on.
  • the potential at the base will be about 4.5 v., which saturates the transistor such that it acts as a switch.
  • the lower end of the voltage divider is at -S v., the base will be at about zero volt, which is not enough to switch the transistor. Since the fundamental lead is connected to all of the transistors, one for each playing key, which control the various fundamentals, playing any key will activate the percussion keyer for its fundamental, providing the fundamental lead is grounded, and similarly with the various harmonics.
  • the keyboard and accessory system 16 which applies the +11 v. potential to the appropriate leads 146, is shown toward the left of FIG. 2.
  • a bus bar is indicated at 150. It is connected through a normally closed switch 152 to switch contact 154 which can be moved to form a connection to a +11 v. supply 156. This is the usual switch condition, and places the bus at +11 v. Contacts 158, one for each of the leads 146, are arranged to engage the bus 150 whenever the appropriate key is played, thereby placing the proper lead 146 at +11 v.
  • the switch 154 can be shifted from the constant +11 v. source 156 to the output of a reiterator 160 ⁇ which supplies an interrupted +11 v. at whatever rate is desired.
  • the switch 154 may be connected to be actuated by a separate control tab, not shown. Also, the voltage reiteration system 160, which needs no special description, may have means to control the reiteration rate if desired.
  • An arpegg only tab 162 when pressed, opens the switch 152 and removes the +11 v. potential from the bus 150, so that playing the organ keys no longer actuates the percussion system through the circuits just described. The key will, of course, still play the organ sustained tones through systems which form no portion of this invention.
  • Another set of playing key actuated contacts 170 cooperate with a second bus bar 172 which is maintained at +11 v. These contacts are interconnected at octave intervals as shown, so that contact for playing key 1 is connected to l3, 25, 37, 49, and 61, Whereas contact 2 is connected to 14, 26, 38, and 50, and so on.
  • arpeggiator switch 178 The twelve leads thus provided, represented by the two at 174 and 176, extend to an arpeggiator switch 178.
  • a preferred form of arpeggiator is described in Young patent application Ser. No. 415,682.
  • This device is essentially a miniature keyboard in which the individual keys are about an eighth of an inch wide, with all the keys the same length. It preferably extends over a several octave span as shown, and has a set of contacts 180 for each key. On the input side the contacts are connected together in octave groups, with the appropriate groups connected to the appropriate leads 174-176, and so on.
  • any single note or chord such as CEG for example, at the main keyboard 170-172 energizes all CEG contacts 180 at the arpeggiator switch 178.
  • the output side of the switches 178, indicated at 182, are connected individually by leads, six of which are shown at 184, 186, 188, 190, 192, and 194, directly to the appropriate percussion key contacts 158. Therefore, whenever any arpeggiator key is touched, it will energize its lead 146, provided that the key for that note or any octavely related note is being held in the main keyboard. If no such key is held in the main keyboard, the corresponding arpeggiator keys will be dead.
  • FIG. 2 Along the bottom of FIG. 2 is a row of percussion stop tabs which will serve as examples of what can be accomplished with this system. Others could be added or some subtracted, but a description of those shown will be suicient for the purpose. They are labeled from left to right: Chime, Xylophone, Harp, Marimba, Glockenspiel, Piano, and Banjo. Each of these provides a different combination of harmonics, either obtained by synthesizing sine waves or by formanting bright waves, and/ or a different percussive envelope. Each tab actuates a switch gang and the switches are shown in the positions they assume with the stops cancelled. Pressing a tab shifts all switches in a vertical line to their alternate positions. The switches are in two groups. Those in the lower group are of single-pole double-throw configuration, and control the harmonic content of the stop. Those in the uppery group are single-pole single-throw on-off switches, and control the stop envelope and serve other control functions.
  • next row there is only one similar switch, at 206, which alternatively connects the 1% harmonic lead to -5 v. or to ground.
  • This switch is actuated by the Chime stop tab, and thus the 1% harmonic is keyed only when the Chime tab is pressed.
  • the next row connected to the 2nd harmonic lead, shows such series connected switches 208 for Chime and for Xylophone.
  • the row for the 4th harmonic lead has such switches, at 210, for Chime, Marimba, and Glockenspiel,
  • the 5th harmonic lead has a switch 212 for Xylophone only.
  • the 10th harmonic lead has switch 214 for Glockenspiel only, and the 3rd harmonic lead has switch 216 for Chime only.
  • the keyers lactivated for the various percussion stops is, therefore, as follows: Chime, 1%, 2nd, 4th, and 3rd; Xylophone, 2nd and 5th; Harp, Fundamental only; Marimba, Fund. and 4th; ⁇ Glockenspiel, Fund., 4th, and 10th; Piano and Banjo, Fundamental only.
  • switches 220 Above the row of contacts 216 for the 3rd harmonic is la row of single-pole single-throw switches 220 shown in open position. These switches are connected in parallel between the -l v. percussion envelope control lead 68, previously mentioned, and ground.
  • the lead 68 normally is xed at -l v. by the voltage connection at 222 and the voltage divider 224-226, but drops to ground potential whenever any of switches 220 is closed.
  • These switches are arranged to be operated by the tabs for the stops Chime, Harp, Glockenspiel, and Piano.
  • the next row of switches at 228 are similar and are connected between the +0.3 v. percussion envelope control lead 62 and ground. This lead 62 receives its +03 v.
  • FIGURE 2 depicts a representative and preferred complement of synthesized percussive voices.
  • the harmonic makeup is conventional, with the exception of Glockenspiel which here is given an unusually effective treatment.
  • the waves representative of the desired harmonics as called 5 strike tone is produced with appropriate choice of notes for by the switches 200, 206, 208, 210, 212, 214, and 216. 85 to 96. This is a frequency range from about 4185 Hz.
  • the Harp may be considered as an exception to arrangement, fundamental and harmonics through the the above in that it its tone is almost a sine wave. 5th are of equal amplitudes, W-hile the Glockenspiel strike Some percussive instruments owe their characteristic to@ 1S made 10 .db Stronger The h 1ghf V01tage 0f the tonal quality to rather peculiar combinations of only a Strlke tone constituent can be obtained 1n varlous well few harmonics. This situation is a natural for the synknol/VH.
  • WhlCh Ways, WhlCh are IIO the sub1@ct 0f the Present thesis approach and, for all practical purposes, imposmventlonsible-at least in most instances-for the formant ap- While the emphasized strike tone constituent is essenproach.
  • the Chime has no fundamental, tial to the improved Glockenspiel sound as herein debut has a 1% harmonic of the missing fundamental, plus scribed, suc-h a constituent is not desirable for other the 2nd, the 3rd, and the 4th.
  • the 30 synthesized percussive voices, especially such as marimba Xylophone has the 2nd and 5th harmonics, but no fundaand Xylophone.
  • the Glockenspiel has the constituent tones only up through note No. 84 are used fundamental and 4th harmonic, plus a high frequency for percussive voices other than Glockenspiel.
  • the strike tone the latter giving the instrument its peculiar lower end of the keyboard, one may end the strike tone ringing quality.
  • impractreatment Iwherever desired including full coverage all tical of achievement by a formant approach, while a the iway to the bottom note.
  • the harmonic synthesis approach can simulate the desired efprototype sound does not extend that low in pitch; note fect to a striking degree. No. 17 is a convenient stopping point.
  • the word harmonic is used in its generic sense and includes the rst harmonic or fundamental as well as harmonics which are partials of the fundamental.
  • a system of playing key actuated contacts a source of complex wave tone signals representative of notes of the musical scale, a percussive keyer for each of said tone signals, circuit means collecting the outputs of said keyers in adjacent semitone groups, means for filtering each of said groups to obtain the substantially uncontaminated fundamentals of said tone signals, means for connecting the outputs of said tilters to an output system, a switching matrix having a multiplicity of switching elements each adapted to connect an individual tone signal to the output when activated, said switching elements adapted to 4be activated when a pair of leads connected thereto are activated jointly, a harmonic selector having means for activating one set of said pair of leads, said playing key operated switches adapted to activate the other set of said pair of leads, the playing key leads for each playing key extending to each matrix element to be controlled by the particular key, the harmonic selector having a plurality of positions each controlling a different combination of selected harmonics and activating sets of leads for the harmonics selected, the last said sets extending to the matrix
  • the organ percussion system as called for in claim 2 including formanting means adapted for selected connection to the group outputs of said percussion keyers for formanting the grouped bright wave signals from said keyers and for connecting the outputs of said formanting means to the output system means.
  • organ percussion system as called for in claim 3, including means actuated coincidentally with said formanting means for activating said harmonic selector lead for the fundamental keyers only.
  • organ percussion system as called for in claim 1 in which there is a group of adjacent semitone tone signals from said source which have a higher voltage level than others of said tone signals.
  • the organ percussion system as called for in claim 5 in which the group of higher voltage tone signals comprises atleast the highest frequency octave available from said source.
  • a system of playing key actuated contacts a source of tone signals representative of notes of the musical scale, a percussive keyer for each of said tone signals, circuit means collecting the outputs of said keyers, means for connecting the outputs of said keyers to an output system, a switching matrix having a multiplicity of switching elements each adapted to connect an individual tone signal to the output when activated, said switching elements adapted to be activated when a pair of leads connected thereto are activated jointly, a harmonic selector having means for activating one set of said pair of leads, said playing key operated switches adapted to activate the other set of said pair of leads, the playing key leads for each playing key extending to each matrix element to be controlled by the particular key, the harmonic selector having a plurality of positions each controlling a different combination of selected harmonics and activating sets of leads for the harmonics selected, the last said sets extending to the matrix switching elements controlling the selected harmonics, and circuit means connectedfrom said matrix to said keyers for actuating the appropriate keyer whenever
  • the organ percussion system as called for in claim 8 in which the group of higher voltage tone signals comprises at least the highest frequency octave available from said source.
  • the organ percussion system as called for in claim 1 in which a second keyboard is provided and in which one keyboard selects the note within an octave to be sounded and the second keyboard selects the octave in which said note is to be sounded, and in which coincident action of the playing keys in both keyboards is required to sound a note.

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Cited By (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3557295A (en) * 1968-01-18 1971-01-19 Nippon Musical Instruments Mfg Wind instrument sound producing system for electronic musical instruments
US3565998A (en) * 1968-10-16 1971-02-23 Baldwin Co D H Banjo simulation system
US3571481A (en) * 1968-01-18 1971-03-16 Nippon Musical Instruments Mfg Marimba tone forming system for an electronic musical instrument
US4137809A (en) * 1970-12-30 1979-02-06 D. H. Baldwin Company Arpeggio system for electronic organs
US4290334A (en) * 1980-07-22 1981-09-22 Justin Kramer Electronic wave sharing synthetic sound system

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Publication number Priority date Publication date Assignee Title
US2841043A (en) * 1956-01-31 1958-07-01 Werk Fur Fernmeldewesen Veb Electric organ
US2953958A (en) * 1958-11-25 1960-09-27 Thomas J George Electronic musical instrument control system
US2986964A (en) * 1956-11-13 1961-06-06 Baldwin Piano Co Electronic musical instrument
US3207835A (en) * 1961-04-14 1965-09-21 Wurlitzer Co Rhythm device

Patent Citations (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US2841043A (en) * 1956-01-31 1958-07-01 Werk Fur Fernmeldewesen Veb Electric organ
US2986964A (en) * 1956-11-13 1961-06-06 Baldwin Piano Co Electronic musical instrument
US2953958A (en) * 1958-11-25 1960-09-27 Thomas J George Electronic musical instrument control system
US3207835A (en) * 1961-04-14 1965-09-21 Wurlitzer Co Rhythm device

Cited By (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3557295A (en) * 1968-01-18 1971-01-19 Nippon Musical Instruments Mfg Wind instrument sound producing system for electronic musical instruments
US3571481A (en) * 1968-01-18 1971-03-16 Nippon Musical Instruments Mfg Marimba tone forming system for an electronic musical instrument
US3565998A (en) * 1968-10-16 1971-02-23 Baldwin Co D H Banjo simulation system
US4137809A (en) * 1970-12-30 1979-02-06 D. H. Baldwin Company Arpeggio system for electronic organs
US4290334A (en) * 1980-07-22 1981-09-22 Justin Kramer Electronic wave sharing synthetic sound system

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NL6708700A (ref) 1967-12-27
GB1124549A (en) 1968-08-21
BE700369A (ref) 1967-12-22

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