US3610799A - Multiplexing system for selection of notes and voices in an electronic musical instrument - Google Patents

Multiplexing system for selection of notes and voices in an electronic musical instrument Download PDF

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US3610799A
US3610799A US872597A US3610799DA US3610799A US 3610799 A US3610799 A US 3610799A US 872597 A US872597 A US 872597A US 3610799D A US3610799D A US 3610799DA US 3610799 A US3610799 A US 3610799A
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signal
voices
notes
organ
sounds
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George A Watson
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MUSICCO LLC
Boeing North American Inc
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North American Rockwell 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
    • G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
    • G10H7/02—Instruments in which the tones are synthesised from a data store, e.g. computer organs in which amplitudes at successive sample points of a tone waveform are stored in one or more memories
    • G10H7/04—Instruments in which the tones are synthesised from a data store, e.g. computer organs in which amplitudes at successive sample points of a tone waveform are stored in one or more memories in which amplitudes are read at varying rates, e.g. according to pitch
    • G—PHYSICS
    • G06—COMPUTING OR CALCULATING; COUNTING
    • G06F—ELECTRIC DIGITAL DATA PROCESSING
    • G06F1/00—Details not covered by groups G06F3/00 - G06F13/00 and G06F21/00
    • G06F1/02—Digital function generators
    • G—PHYSICS
    • G06—COMPUTING OR CALCULATING; COUNTING
    • G06F—ELECTRIC DIGITAL DATA PROCESSING
    • G06F1/00—Details not covered by groups G06F3/00 - G06F13/00 and G06F21/00
    • G06F1/02—Digital function generators
    • G06F1/03—Digital function generators working, at least partly, by table look-up
    • G06F1/0321—Waveform generators, i.e. devices for generating periodical functions of time, e.g. direct digital synthesizers
    • G06F1/0328—Waveform generators, i.e. devices for generating periodical functions of time, e.g. direct digital synthesizers in which the phase increment is adjustable, e.g. by using an adder-accumulator
    • 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
    • G10H1/0575—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 using a data store from which the envelope is synthesized
    • 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
    • G10H1/18—Selecting circuits
    • G10H1/182—Key multiplexing
    • 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
    • G10H1/18—Selecting circuits
    • G10H1/20—Selecting circuits for transposition

Definitions

  • Hirshfield 54 MULTIPLEXING SYSTEM FOR SELECTION OF NOTES AND VOICES IN AN ELECTRONIC Attorneys-L. Lee l-lumphries, H. Fredrick l-lamann and MUSICAL INSTRUMENT Edward 42 Claims, 20 Drawing Figs.
  • ABSTRACT in an electric organ, the actuation of keys in acllll- Cl Glob l cordance with corresponding, audible tones to be reproduced 0t efl'ects the gating of pulses into time slots of a time division 1'24, multiplex signal, the time slots of the multiplex signal being structured in accordance with a desired assignment sequence [56] Rem-mm Cited to correspond to the keys and to be representative thereof for UNITED STATES PATENTS identifying each note capable of being generated by the organ.
  • a second mul- Re.26,521 2/1969 84/1 03 tiplex system having time slot pulse assignments additionally 3,006,228 10/1961 84/ 1.01 provides for generation of a time division multiplex signal for ,06 /1967 84/ 1.03 control of voices and other characteristics to be imparted to 3,417,188 12/1968 8411.01 the reproduced tones.
  • organ is used throughout the specification and claims in a generic sense (as well as in a specific sense) to include any electronic musical instrument having a keyboard such as an electronic organ, electric pianos and accordions, and the principles of the present invention are, in fact, applicable to any musical instrument in which musical sounds are generated in response to the actuation of key switches regardless of whether those switches are actuated directly, i.e., by the musician's fingers, or indirectly, e.g., by the plucking of strings.
  • key is also used in a generic sense, to include depressible levers, actuable on-ofi I switches, touchor proximity-responsive (e.g., capacitanceor inductance-operated) devices, closable apertures (e.g., a hole in a keyboard" of holes which when covered by a musician's finger closes or opens a fluidic circuit to produce a tonal response), and so forth.
  • depressible levers actuable on-ofi I switches
  • touchor proximity-responsive e.g., capacitanceor inductance-operated
  • closable apertures e.g., a hole in a keyboard" of holes which when covered by a musician's finger closes or opens a fluidic circuit to produce a tonal response
  • a simple electronic organ may have a pair of hand-operated keyboards, conventionally tenned manuals, and a set of pedals, referred to as a pedal board or keyboard, or division. More complex organs may have as many as five manuals and two pedal keyboards. Moreover, it is not unusual for each manual to have keys encompassing four or more octaves, while each pedal keyboard may range from one octave to two or more octaves.
  • each manual may be adapted to permit play of the same note
  • the note produced by each has its own distinctive or characteristic sound.
  • a typical electronic organ has several stops or tabs associated with each keyboard, including the manuals and the pedal boards, to permit selection of specific organ voices (particularly tone quality and timbre, or color).
  • tone When a key on any keyboard is depressed, it should call forth an audiofrequency tone corresponding to the appropriate note of the musical scale.
  • the tone must be controlled as to its waveshape to produce the desired characteristics, or quality thereof and amplified and fed to an electroacoustic transducer (e.g., a loudspeaker) to develop the audio output.
  • an electroacoustic transducer e.g., a loudspeaker
  • the subsystem of the organ for performing these functions is typically called a tone, or note, generator which may include, or have associated therewith, additional control circuits for controlling the note characteristics and for providing related functions.
  • tone generators and associated circuitry must be available to produce the respective signals having the specific frequencies for every note in every octave to be covered by the organ.
  • a variety of conventional methods have been employed to achieve this objective, the particular method utilized depending in part on the type of tone generator utilized.
  • the tone generators may not be entirely electronic in nature. Any one of three principal forms of tone generator may frequently be found in the modern organ, viz, electronic,electromechanical, or mechanicoacoustical generators.
  • tone generator used is immaterial to the applicability of the present invention, as will be better understood from further consideration of this specification, although a specific form is preferred. Since electronic tone generators are achieving greater popularity than the other generator forms, primarily because of lower cost, absence of moving parts, and greater variety of species, the electronic tone generator will be discussed as representative, and will indicate another aspect of the problem to which the present invention is directed.
  • Some organs include a separate electronic tone generator (oscillator) for each note on the keyboard, to achieve the desired tone range.
  • oscillator electronic tone generator
  • This approach may require several hundred oscillators in a single organ, but it has some advantages. For example, each generator need be activated into oscillation only when its associated key on the keyboard is depressed; greater flexibility is available in timbre, than with other methods. No special scheduling or selection technique is required to permit access to a tone generator upon actuation of a key on a keyboard.
  • Still another approach involves the sharing of a set of generators, much smaller in number than the total number of notes to be available for play, each generator capable of developing any one of the frequencies in a sequence of two or more adjacent frequencies in accordance with appropriate selection of frequency detennining elements of the oscillator of the generator by actuation of a key.
  • This arrangement is quite popular in small electronic organs.
  • a small instrument may have well over keys, only a dozen or so tone generators may be available; hence, only the latter number of tones can be developed in any given instant.
  • the problem to which the present invention is addressed is twofold.
  • every key of every keyboard of the organ is scanned in cyclic sequence, and the actuation of a key or keys on any keyboard is entered as information in a parallel digital format indicative of the order and combination of keys that have been actuated and deactuated.
  • the parallel format is continuously converted to a serial format comprising pulses in appropriate time slots, preassigned to corresponding keys, of a time division multiplexed signal to provide information regarding key actuation.
  • the multiplexed signal is supplied to the tone generating section of the organ for bringing forth the tones corresponding to those keys that have been actuated, in the order and combination of actuation.
  • this aspect of the present invention serves to overcome the difiiculties encountered as a result of faulty or dirty contacts on any key switch that would otherwise lead to intermittent electrical contact and discontinuity of tone in the conventional electronic orgamBy using a time division multiplex signal, the problem of intermittent contact is overcome since the presence of a pulse in a particular time slot is sufficient to represent the actuation of the corresponding specific key actuation (note selection). This pulse is repeatedly recognized, as the keys of the organ are scanned in cyclic sequence, by the system for producing the desired audio tone.
  • the actuation of stop tab switches for selecting desired organ voices and footage or pitch lengths is also accomplished on the basis of a scanning of the stop switches and related components in a cyclic sequence.
  • Information relating to the specific stop switches that have been actuated is furnished in a parallel format based on organ voices, to a voicing computer for accepting the incoming voice control data and for accessing a related memory to compute the desired composite voicing information for entry into a serial digital format in a time division multiplexed waveform.
  • This stop tab multiplexing aspect of the invention shares the same advantages as the keyboard multiplexing system.
  • each of these features and aspects of the invention is applicable to substantially any key or switch operated electronic musical instrument, although the advantages of the invention'are realized to a greater extent as the size or capacity of the instrument, and its capability of tone generation. increases.
  • the invention may be utilized to provide multiplexed signals in an electric accordion or an electric guitar, for example, by scanning the keyboard or the set of strings, respectively, of such instruments although only a sin gle octave or perhaps less than one octave is available.
  • miniaturized, reliable logic circuitry can be employed which provides certain benefits over prior art circuit arrangements in nonmultiplexed instruments, but the extent of these benefits is less than in an electronic organ having several keyboards.
  • FIG. 1 is a simplified block diagram of a system for producing a time division multiplexed signal containing a recycling sequence of time slots each associated with a particular key of the organ and in which each time slot containing a pulse is indicative of the actuation of the associated key;
  • FIG. 2 is a circuit diagram of an exemplary decoder for use in the system of FIG. 1;
  • FIG. 3 is a more detailed circuit diagram of the switching array and encoder used in the system of FIG. 1;
  • FIG. 3A is a circuit diagram of an alternative encoder to that shown in FIG. 3, for use in the system of FIG. 1;
  • FIG. 4 is a circuit diagram of the input-output bus connecting means at each intersection of the switching array of FIG. 3;
  • FIG. 5 is illustrative of a multiplex waveform developed by the system of FIG. 1 in response to actuation of selected keys;
  • FIG. 6 is a simplified block diagram of generator assignment and tone generating apparatus for processing the multiplexed signal produced by the system of FIG. I to develop the desired tones as an audible output of the organ;
  • FIGS. 7A and 78 together constitute a circuit diagram of one embodiment of the tone generator assignment logic for the system of FIG. 6;
  • FIG. 8 is a block diagram of a tone generator suitable for synthesizing the frequency of every note capable of being played in the organ, for use with the assignment logic of FIGS. 7A and 7B in the system of FIG. 6;
  • FIG. 9 is illustrative of a complex waveshape of the type produced by a pipe organ, and of the sample points at which amplitude values are taken, for simulation at selected note frequencies;
  • FIG. 10 is a block diagram of an attack and decay control unit for use in the instrument
  • FIG. 11 is a block diagram of a percussive control or keying system to provide appropriate percussion sound accompaniment in the instrument.
  • FIGS. 12 through 18 are block diagrams of an overall stop rail multiplexing system and subsystems thereof, according to the invention.
  • the keyboard multiplexing system or note selection system includes a keyboard counter l which is implemented to provide a specified count for each key of each keyboard (including manuals and pedal divisions) of the organ. If, for example, the electronic organ in which the multiplexing system is used has four keyboards, such as three manuals and a pedal board, each encompassing up to eight octaves, then keyboard counter 1 should havethe capability of generating 4x8xl2- 384 separate counts (digital words). It is essential that the counter be capable of developing a count representative of every key on every keyboard of the organ; however, it may be desirable to provide a counter that can produce a count greater than the number of available keys in order to have available certain redundant counts not associated with any keys. Such redundancy is readily provided by simply utilizing a counter of greater capacity than the minimum required count.
  • keyboard counter 1 be divided into three separate sections (or separate counters) designated 2, 3 and 4.
  • the first section (designated 2) is constructed and arranged to count modulo 12 so as to designate each of the 12 keys associated with the 12 notes in any octave.
  • The-second'section (designated 3) is adapted to count modulo 8, to specify each of the eight octaves encompassed by any of the four keyboards.
  • the last section (designated 4) is designed to count modulo 4 to specify each keyboard of the organ. Therefore, the overall keyboard counter is arranged to count modulo 384, in that at the conclusion of every 384 counts, the entire set of keyboards has been covered (scanned) and the count repeats itself.
  • each counter section may be composed of a separate conventional ring counter, the three counters being connected in the typical cascaded configuration (see, e.g., Ledley, Digital Computer and Control Engineering, McGraw Hill, 1960, pp. 488 et seq.) such that when section 2 reaches its maximum count it advances the count of counter section 3 by one, and will automatically initiate a repetition of its own count. Similarly, attainment of its maximum count by counter section 3 is accompanied by advancement of the count of section 4 by one, and is immediately followed by a repetition of the modulo 8 count.
  • a total of four lines emanate from counter section 4, one line connected to each ring counter stage, to pennit sensing of the specific keyboard which is presently being scanned.
  • eight lines are connected to the eight ring counter stages, respectively, of octave counter section 3 to detect the octave presently being scanned.
  • a total of 12 lines extend from sections 3 and 4 of keyboard counter 1, and these 12 lines can carry signals indicative of 32 (8X4) possible states of the keyboard counter.
  • the specific one of the 32 states, representative of a particular octave on a particular keyboard, which is presently being scanned is determined by use of a decoder circuit 7.
  • decoder 7 may be composed of 32 AND gates designated 8-1, 8-2, 8-3, 8-32 (FIG. 2), each with two input terminals and an output terminal.
  • the 32 gates are arranged in four groups of eight each, with every gate of a particular group having one of its two input terminals (ports) connected to one of the four lines of keyboard counter section 4. Distinct and different ones of the eight lines from counter section 3 are connected to the other input terminal of respective ones of the eight AND gates of that group.
  • the decoder logic designates every octave of keys in the organ by a respective driver pulse when a count corresponding to that octave is presently contained in the counter.
  • the output pulses deriving from the AND gates (or drivers) of decoder circuit 7 are supplied on respective ones of 32 bus bars (or simply, buses), generally designated by reference numeral 10, to a keyboard switching array 11.
  • array 11 has one input bus 10 for every octave of keys in the organ (including every octave on every keyboard), and that a drive pulse will appear on each input bus approximately 200 times per second, the exemplary rate of scan of the keyboards, as noted above, for obtaining adequate resolution of operation of the keys.
  • Switching array 11 also has 12 output buses, generally designated by reference number 12, each to be associated with a respective one of the l2 notes (and hence, the l2 keys) in any given octave.
  • Array 11 is basically a diode switching matrix, in which spaced input buses 10 and spaced output buses 12 are orthogonally arranged so that an intersection or crossing occurs between each input bus and each output bus (see FIG. 3), for a total of 384 intersections, one for each count of the keyboard counter 1.
  • the crossed lines or buses are not directly interconnected. Instead, a jump" diode, such as that designated by reference number 13 in FIG. 4, is connected between the input bus 10 and the output bus 12 at each intersection, the diode poled for forward conduction (anode-to-cathode) in the direction from an input bus 10 to an output bus 12.
  • each diode 13 Wired in series circuit or series connection with each diode 13 is a respective switch 14 which is normally open circuited and is associated with a distinct respective one of the keys of the organ, such that depression of the associated key produces closure (close circuiting) of the switch 14 whereas release of the associated key results in return of the switch to its open state.
  • each of switches 14 mayitself constitute a respective key of the various keyboards of the organ.
  • switch 14 is shown schematically as being of mechanical single-pole, single-throw (SPST) structure, it will be understood that any form of switch, electronic, electromechanical, electromagnetic, and so forth, may be utilized, the exact nature of the switch depending primarily upon the nature ofthe energization produced upon operation of the associated key.
  • Switch 14, then, is adapted to respond to the particular form of energization or actuation produced upon operation of a key on any keyboard (or, as observed above, may itself constitute the key), to complete the circuit connecting associated diode 13 between a respective input bus 10 and a respective output bus 12 at the intersection of those buses, when the key is depressed, and to open the circuit connecting the diode between respective input and output buses at that intersection when the key is released.
  • SPST mechanical single-pole, single-throw
  • the output buses 12 from switching array 11 are connected to an encoder circuit 15 to which are also connected the 12 output lines, generally designated by reference number 16, from keyboard counter section 2.
  • the switches 14 associated with the respective keys are conveniently arranged in a specific sequence in the switching array 11. Asume, for example, that a specific output bus 17 of the switching array is to be associated with note A of any octave, a second output bus 18 is to be associated with note B of any octave, and so forth.
  • switches 14 in the row corresponding to output bus 17 in array or matrix 1 1 are associated with the keys corresponding to the note A in each octave of keys in the organ.
  • the column position of each switch 14 in matrix 11 corresponds to a specific octave of keys in the organ, and hence, to a specific octave encompassed by a specific keyboard of the organ.
  • Each of the output buses 12, including 17, I8, and so forth, is connected to one of the two input ports or terminals of a respective AND gate of the 12 AND gates 20-2, 20-3, 20-12, of encoder circuit 15.
  • An output lead 16 of counter section 2 associated with the ring counter stage designating the count for a particular note (key) in a given octave is connected to the remaining port of an encoder circuit AND gate having as its other input a pulse on the output bus 12 associated with that same note.
  • a similar arrangement is provided for each of the remaining l 1 output lines16 of counter section 2 with respect to the AND gates 20 and the output buses 12.
  • output bus 17 associated with e row of switches 14 in matrix 11 for note A
  • output line 22 from the stage of counter 2 designating the count associated with note A is connected to the remaining input terminal of gate 20-1.
  • each of AND gates 20 is connected to a respective input terminal of OR gate 23, the output of the OR gate constituting the output signal of the encoder circuit.
  • encoder circuit 15 is effective to convert the parallel output of array 11 to a serial output signal in accordance with the scanning of output buses 12 as provided by the advancing and repeating count sensed in the form of pulses (at a rate of about 200 per second) appearing on output lines 16.
  • the end result of this circuitry is the production of a time-division multiplex (TDM) signal on a single conductor 25 emanating from encoder 15.
  • TDM time-division multiplex
  • the encoder may have the circuit configuration exemplified by FIG. 3A.
  • the encoder includes a shift register 80 having 12 cascaded stages designated SR1, SR2, SR3, SRl2, each connected to a respective output bus 12 of switching matrix 11 to receive a respective output pulse appearing thereon.
  • the shift register stages are loaded in parallel with the data read from switching array 11 on output buses 12, in response to each of the pulses appearing (i.e., each time a pulse appears) on one of the 12 output leads 16 of note counter 2.
  • That one output of the note counter which is to supply the load command for all 12 stages of shift register 80 is selected to permit the maximum amount of settling time to elapse between each advance of octave counter 3 and keyboard counter 4 and the loading of the shift register.
  • the first note counter stage or one of the early stages, is selected to provide load pulses to shift register 80.
  • Shift pulses are supplied to the shift register by master clock 5, which also supplies note counter 2, to shift the contents of each shift register stage to the next succeeding stage except during those bit times when the shift pulse is preempted by a load pulse from the note counter. Accordingly, shift register 80 is parallel loaded, and the data contents of the register are then shifted out of the register in serial format on encoder output line 25 until a one-bit pause occurs when another set of data is parallel loaded into the shift register, followed again by serial readout on line 25.
  • This serial pulse train constitutes the time-division multiplexed output signal of encoder 15 just as in the embodiment of FIG. 3, except that with the FIG. 3A configuration, decoder 7 (and the counters 3 and 4 supplying pulses thereto) undergo a greater amount of settling time.
  • this operation constitutes parallelto-serial conversion of the information on output buses 12 to a time-division multiplexed waveform on the output line 25 of encoder 15.
  • each key has a designated time slot in the 384 time slots constituting one complete scan of every keyboard of the organ.
  • the TDM waveform (shown by way of example in FIG. 5) is initiated about 200 times per second.
  • the development of this waveform itself constitutes a principal feature of the present invention in that the waveform contains all of the note selection information, in serial digital form on a single output line, that had heretofore required the complex wiring arrangements previously discussed.
  • This waveform development will be more clearly understood from an example of the operation of the circuitry thus far discussed. It should be observed first, however, that all of the counter and logic circuitry described up to this point can be accommodated within a very small volume of space by fabrication in integrated circuit form using conventional microelectronic manufacturing techniques.
  • connection between the appropriate input bus 10 and output bus 12 of switching array 11 for the particular octave and keyboard under consideration is effected by the depression and continued operation of the key associated with the switch 14 for that intersection in the array. Since, as previously stated, each switch is associated with a particular note (key) and is positioned in a specific row of the switching array, a signal level is thereby supplied to the appropriate output bus 12 of the switching array arranged to be associated with that note.
  • a second input is provided to the AND gate 20 receiving the signal level on output bus 12, and a pulse is delivered to OR gate 23.
  • the, pulse which appears at the output of OR gate 23 always appears in the identical specified time slot in the multiplexed signal for a specific note associated with a particular key on a particular keyboard of the organ.
  • FIG. 5 An example of the multiplex signal waveform thus generated is shown in FIG. 5. While the pulses appearing in the time slots associated with the specific notes mentioned above are in a serial format or sequential order, their appearance is repetitive during the interval in which the respective keys are actuated. Hence, the effect is to produce a simultaneous reproduction of the notes as an audio output of the organ, as will be explained in more detail in connection with the description of operation of the tone generation section.
  • the multiplexed signal arriving from encoder 15 is supplied to generator assignment logic network 26 which functions to assign a tone generator 28 to a depressed key (and hence, to generate a particular note) when the associated pulse first appears in its respective time slot in the multiplexed signal supplied to the assignment logic.
  • generator assignment logic network 26 which functions to assign a tone generator 28 to a depressed key (and hence, to generate a particular note) when the associated pulse first appears in its respective time slot in the multiplexed signal supplied to the assignment logic. If only 12 tone generators 28 are available in the particular organ under consideration, for example, the assignments are to be effected in sequence (order of availabili y), and once particular pulses have been directed to all of the available generators (i.e., all available tone generators have been "captured by respective note assignments), the organ is in a state of saturation. Thereafter, no further assignments can be made until one or more of the tone generators is released.
  • the availability of l2 (or more) tone generators renders it extremely unlikely that the organ would ever reach a state of saturation since it is quite improbable that more than 12 keys would be depressed in any given instant of time during performance of a musical selection.
  • the output waveforms from the captured tone generators at the proper frequencies for the notes being played are supplied as outputs to appropriate waveshaping and amplification networks and thence to the acoustical output speakers of the organ. If the tone generators 28 supply a digital representation of the desired waveform, as is the case in one embodiment to be described, then the digital format is supplied to an appropriate digital-to-analog converter, which in turn supplies an output to the waveshaping network.
  • each tone generator 28 may be in only one of three possible states, although the concurrent states of the tone generators may differ from one tone generator to the next. These three states are as follows:
  • any number of the tone generators provided (12, in this particular example) may be in one or the other of the states designated (1) and (3), above, but that only one of the tone generators can be in state (2) during a given instant of time. That is, one and only one generator is the next generator to be claimed.
  • the specific tone generator in state (2) is claimed by an incoming pulse, the next incoming pulse which is not presently claiming a tone generator is to be assigned to the generator that has now assumed state (2).
  • tone generator 04 is unavailable to the next incoming pulse, and the privilege of capture must pass to the next tone generator which is not presently in a state of capture. If all of the tone generators are captured, that is, all are in state (l) as described above, then the organ is saturated and no further notes can be played until at least one of the tone generators is released. As previously observed, however, the saturation of an organ having 12 (or more) tone generators is highly unlikely.
  • Generator assignment system 26 is utilized to implement the logic leading to the desired assignment of the tone generators 28, and thus to the three states of operation described abovev
  • An exemplary embodiment of the generator assignment logic is shown in FIGS. 7A and 7B.
  • a ring counter 30, or a 12-bit recirculating shift register in which one and only one bit position is a logical 1" at any one time is used to introduce a claim selection, i.e., to initiate the capture, of the next available tone generator in the set of tone generators 28 provided in the organ.
  • a shift signal appearing on line 32 advances the 1" bit from one register or counter stage to the next, i.e., shifts the l to the next bit position.
  • Each bit position is associated with and corresponds to a particular tone generator, so that the presence of the logical l "in a particular bit position indicates selection of the tone generator to be claimed next, provided that it is not already claimed.
  • a claim select" signal appears on the respective output line 34 associated with the stage.
  • This claim select" signal is supplied in parallel to one input of a respective one of AND gates 35, on line 36, and to further logic circuitry (to be described presently with reference to FIG. 78), on line 37.
  • the output line of each of AND gates 35 is connected to a separate and distinct input line of an OR gate 40 which, in turn, supplies an input to an AND gate 42 whose other input constitutes pulses from the master clock 5.
  • shift register stage 02 contains the logical l That stage therefore supplies "claim select 2" signal to the respectively associated AND gate 35 and, as well, to further logic circuitry on line 37. if this further logic circuitry determines that the associated note generator may be claimed, a claimed" signal is applied as the second input to the respectively associated AND gate 35. Since both inputs of that AND gate are now true,” an output pulse is furnished via OR gate 40 to the synchronization gate 42.
  • tone generator 28 corresponds to stage 03 is already claimed by a previous note pulse in the multiplexed signal.
  • a claimed signal appears as one input to the associated AND gate 35 and with the claim select" signal appearing as the other input to that gate by virtue of stage 03 containing the single logical l another shift pulse is immediately generated on line 32 to advance the logical 1" to stage 04 of the shift register. Similar advancement of bit position of the 1" continues until an unclaimed tone generator is selected.
  • the l bit remains in the shift register stage associated with the selected tone generator until such time as a claimed" signal is concurrently applied to the respective AND gate 35, i.e., until the selected tone generator is claimed, because until that time no further shift signals can occur.
  • each tone generator also has associated therewith a respective portion of the generator assignment logic as shown in that figure.
  • An AND gate 50 has four inputs, one of which is the multiplexed signal deriving from encoder (this being supplied in parallel to the AND gates 50 of the remaining identical portions of the assignment logic for the other tone generators, as well), a second of which is the claim select" signal appearing on line 37 associated with the r'th stage of shift register 30 (FIG.
  • a modulo 384 counter 55 is employed to permit recognition by the respective portion of the generator assignment logic of the continued existence in the multiplexed signal of the pulse (time slot) which resulted in the capture of the associatedtone generator.
  • counter 55 is synchronized with keyboard counter 1 (also a modulo 384 counter) by simultaneous application thereto of clock pulses from master clock 5.
  • the count of each counter 55 associated with an uncaptured tone generator is maintained in synchronism with the count of keyboard counter l by application of a reset signal to an AND gate 58 each time the keyboard counter assumes a zero count, i.e., each time the count of the keyboard counter repeats.
  • that reset signal is effective to reset counter 55 only if the associated tone generator is uncaptured.
  • the latter information is provided by the state of flip-flop 53, i.e., a not claimed" signal is supplied as a second input to AND gate 58 whenever flip-flop 53 is in the unclaimed" state.
  • the flip-flop (and hence, the associated tone generator) is claimed, however, it is desirable to indicate the time slot occupied by the pulse which effected the capture, and for that reason a reset" signal is applied'to counter 55 at any time that an output signal is derived from AND gate 50.
  • a reset signal is applied'to counter 55 at any time that an output signal is derived from AND gate 50.
  • the zero count of counter 55 occurs with each repetition of the capturing" pulse in the TDM waveform.
  • Such information is valuable for a variety of reasons; for example, to prevent capture of an already captured tone generator when the zero count continues to appear simultaneously with a pulse in the TDM waveform, and to provide a "key released" indication when the zero count is no longer accompanied by a pulse in the TDM waveform.
  • Capture prevention is effected by feeding a signal representative of zero count from counter 55 to the appropriate input terminal of an OR gate 60 associated with all of the tone generators and their respective generator assignment logic.
  • the logical l supplied to OR gate 60 is inverted so that simultaneous identical logical inputs cannot be presented to AND gate 50.
  • a "key release" indication is obtained by supplying the "zero count” signal to an AND gate 62 to which is also supplied any signal deriving from an inverter 63 connected to receive inputs from the TDM signal.
  • the inversion of the latter pulse prevents an output from AND gate 62, and this is proper because the coincidence of the zero count and the TDM pulse is indicative of continuing depression of the key which has captured the tone generator. Lack of coincidence is indicative that the key has been released, and results in the "key release signal. Scanning of the keyboards is sufiiciently rapid that any delay which might exist between actual key release and initiation of the key release signal is negligible, and in any event is undetectable by the human senses.
  • the generation of a false "key release" signal when the tone generator is presently unclaimed can have no effect on the audio output of the organ since the associated tone generator is not captured and is therefore not generating any tone.
  • the "key release" signal deriving from AND gate 62 is supplied to attack/decay decay logic of the tone generator to initiate the decay of the generated tone.
  • the set claim signal output of AND gate 50 that occurs with the simultaneous appearance of the three input signals to that gate is utilized to provide a key depressed" indication to the attack/decay circuitry of the tone generator (and to percussive controls, if desired), as well as to provide its previously recited functions of setting flip-flop 53 and resetting" counter 55.
  • the assignment logic embodiment of FIGS. 7A and 78 may be associated with only a small number of tone generators 12, in the example previously given), the exact number being selected in view of the cost limitations and the likely maximum number of keys that normally may be actuated simultaneously. In that case, each tone generator must supply every desired frequency corresponding to every note in every octave that may be played on the electronic organ. To that end, a digital tone generator of the exemplary configuration shown in block diagrammatic fonn in FIG. 8 is employed.
  • sample points are preferably uniformly spaced because such a format permits the most direct analysis, and therefore the most direct synthesis, of the desired waveform.
  • the uniform spacing of sample points may be such that there is provided an integral number of samples per cycle for each note frequency to be generated.
  • Such a technique requires a sampling rate that varies directly with the frequency.
  • the samples may be spaced uniformly in time, in which case the phase angle between samples points varies with the frequency of the note to be generated.
  • the preferred frequency synthesis technique is that in which the phase angle between the sample points varies with frequency, i.e., in which the sampling rate is fixed for all note frequencies to be generated, and the various generated note frequencies are produced as a result of the different phase angles.
  • FIG. 8 shows, in block diagram form, a specific exemplary structure of atone generator for generating the required note frequencies of the organ from a memory containing amplitude samples of the desired waveform obtained at uniformly spaced points in time.
  • the sample points are accessed at a fixed, signal clock frequency for all note frequencies to be generated and the phase angle between the sample points thereby varies with the frequency of the note to be generated.
  • the tone generator includes, as basic components, a phase angle calculator 100, a phase angle register 101, a sample point address register 102, a read-only memory 103, an address decoder 103a, an accumulator 104, a sampling clock 105, and a comparator 107.
  • the phase angle calculator 100 and the read'only memory 103 may be shared by all of the tone generators 28.
  • each tone generator is addressed or accessed individually and in sequence and thus once in each cycle of addressing all tone generators.
  • the sampling clock 105 may comprise a clock rate provided by a master sampling clock, successive clock pulses of which are directed to the series of tone generators.
  • the sampling clock addressed to a given tone generator is thus at a rate comprising the pulse repetition rate of the master sampling clock divided by the number of tone generators provided in the system.
  • the accumulator 104 may be a composite structure associated with appropriate gating circuitry related to each tone generator for accumulating the information read from the memory 103 in response to accessing thereof by a given tone generator.
  • phase angle calculator 100 When a claim flip-flop of the tone generator assignment logic, such as flip-flop 53 (FIG. 7B), is switched to the claimed state in accordance with capturing of a pulse in the incoming multiplexed waveform by a given tone generator 28, the phase angle calculator 100 is instructed to determine V the appropriate phase angle for the frequency of the note to be reproduced as identified by the captured pulse. A determination of the value of the phase angle constant, and hence, of the particular note corresponding to the key that has been actuated, is initiated by supplying both the count from the main keyboard counter 1 and the count of the modulo 384 counter 55 (e.g., of FIG. 78) associated with the captured flip-flop, and which is reset to zero upon that capture, to a count comparator 107.
  • Comparator 107 subtracts the count of counter 55 from the count of the keyboard counter l and supplies a number representative of the difference, and hence, representative of the time slot position corresponding to a particular note (i.e., that note which captured the flip-flop), to phase angle calculator 100.
  • the difi'erence computed by comparator 107 will always be positive, or zero, because the computation is elicited from the comparator only when the associated flipflop 53 is captured and at that moment counter 55 is reset to zero, whereas the keyboard counter probably has some greater count or contains at least count, i.e., zero.
  • calculator 100 On the basis of the difference count supplied by comparator 107, calculator 100 is infonned as to the note for which the hase angle calculation is to be performed, i.e., the note and thus the frequency to be produced by the tone generator.
  • the calculator 100 may compute the phase angle as a function of the frequency of the note to be reproduced and of the number of memory sampling points of the waveform in storage and thus as approximately equal to the phase angle of the fundamental between adjacent memory sampling points for the frequency to be produced.
  • An alternatively embodiment of the phase angle calculator 100 is a conventional storage unit with look-up capabilities, or simply a memory from which the correct phase angle is extracted when the memory is suitably addressed with the identification of the count of the captured pulse.
  • a combination of a memory with look-up capabilities and of a calculator capable of computation for determination of the phase angles may be employed.
  • the synthesis of note frequencies in accordance with the digitally stored waveform sample points may be arbitrarily as accurate as desired and, in effect, provides a true equally tempered scale of the synthesized note frequencies wherein the notes within the scale differ by the power of 2".
  • the degree of accuracy in a practical system must be realized within a finite maximum information content and thus the stored phase angles are quantized and rounded off.
  • phase angle thus developed is supplied to the stored in the phase angle register 101.
  • a command control means such as flip-flop 53 which establishes the captured state of the tone generator controls of the operation of the comparator 107 and, in turn, the phase angle determination function of the phase angle calculator for the given note frequency to be generated, for supply of that phase angle to the register 101. Since this operation must precede the addressing function, a delay may be provided (as by use ofa delay multivibrator 106) to actuate a switch 108 for passage of pulses from the sampling clock source (which may be an appropriately gated pulse from a master sampling clock source) to the registers 101 and 102.
  • the sample point address register 102 may be cleared when claim flip-flop 53 reverts to a noncaptured state, so that it is prepared for entry of information from the phase angle register 101 upon each calculation.
  • the rate at which the value of register 102 increases and not the absolute value thereof which is significant in the control of the rate of read out of the memory 103 and thus the cyclic frequency of read out of the memory and, ultimately, the frequency of the note reproduced by the given tone generator.
  • phase angle value stored in phase angle register 101 is added to the previously stored value of the sample point address register 102.
  • An address decoder 103a decodes preselected bit positions of the count established in register 102 to effect accessing, or addressing, of the memory 103.
  • the transfer from the register 101 to the register 102 is a nondestructive transfer such that the phase angle value is maintained in the register 10] as long as that tone generator is captured by a given pulse.
  • the phase angle register value comprising a digital binary word
  • the memory location corresponding to the sample point address then existing in the register 102 is accessed.
  • the registers such as 101 and 102 must be of a finite, practical length. In particular, the length of the phase angle register 101 is determined by the accuracy with which the frequency of the note is to be generated. The frequency actually produced will be exactly the value of the phase angle in register 101 times the memory sampling rate.
  • the sample point address register 102 must be sufficiently long to accept data from the phase angle register 101.
  • the register 102 preferably includes additional bit positions which are not used, or not used at all times, for accessing the memory.
  • one bit position in the register 102 is scaled at one cycle of the fundamental of the frequency of the note to be generated.
  • a set of next successive less significant bits may therefore specify the sample point address in accordance with the function of the decoder 103a.
  • the more significant bits of the register 102 may be used to count numbers of cycles of the waveform for various control functions not here pertinent.
  • the frequency of the note reproduced may be readily adjusted to different octaves.
  • a onebit positional shift constitutes division or multiplication by two, depending upon direction of shift. For example, if the most significant bit is numbered 1 and thus bit positions 2 through 6 comprise the sample point address bits normally used for an 8-foot voice, then a 16-foot voice can be obtained by using bits 1 through 5 as the sample point address source. correspondingly, a 4-foot ,voice can be obtained by using bits 3 through 7 as a sample point address bits.
  • the read-only memory 103 contains digital amplitude values of a single cycle of the complex periodic waveform to be reproduced for all note frequencies. That is to say, the
  • the wave may be sampled at a multiplicity of points, shown as verticallines in the Figure, to provide the amplitude data for storage in memory 103. If absolute amplitude data is stored in memory 103, then the data accessed is the actual amplitude of the output waveform at the respective sample points (i.e., with respect to a zero" level at time axis 111). In the event, the digital amplitude data successively read from the memory may be applied directly to an appropriately digital-toanalog conversion system.
  • each of the sample points of the memory 103 may comprise a digital word of approximately seven or eight bits.
  • the digital words thus read out from the memory 103 are supplied to the accumulator 104 which provides a digital representation of the waveform at selected sample points over a cycle of the waveform and at a frequency corresponding to the note to be reproduced.
  • this digital waveform representation may itself be operated upon for waveshape control, e.g., attack and decay, and subsequently is supplied to a digital-twanalog converter for producing an analog signal suitable for driving the acoustical output means, such as audio speakers, of the organ.
  • Memory 103 may be a microminiature diode array of the type disclosed by R. M. Ashby et al. in U.S. Pat. No. 3,377,513, issued Apr. 9, 1968, and assigned to the same assignee as is the present invention.
  • the array may, for example contain an amplitude representation of the desired waveform in the form of an eight bit binary word at each of 408 or more sample points.
  • Such a capacity permits the storage of up to I28 amplitude levels in addition to a polarity (algebraic sign) bit. In any event, the capacity of memory 103 should be sufficient to allow faithful reproduction of note frequencies.
  • each increment can be read out only once during each cycle of the waveform. This is because an accumulation of incremental values is required, and repetition will produce a significant error in the accumulation and the ultimate waveform to be generated, regardless of the note frequency. Since the same sample point may be read out of memory 103 several times in succession depending upon the note frequency to be produced, just as in the whole value sample point case noted above, for incremental values all but one readout for each sample point must be inhibited to prevent repetitive application to accumulator 104. To that end, a gate 103! (shown dotted in FIG. 8) is positioned in the output line of memory 103 preceding accumulator 104 if incremental values are utilized. Gate l03b is preferably enabled to pass the sample value being read from the memory only when the least significant bit in address register 102 changes.
  • a bit change sensor 1020 may be used to detect the change and to enable gate 103b at each advancement to a new address. The same sample point may still be accessed several times in succession, but only'one such value will be "read out” (i.e., will be passed by the gate since it is disabled at all other times).
  • phase angle calculations should be such that the highest note playable is that note for which a sample point value is read out each time the memory is addressed. Since the ratio between adjacent notes on the equally tempered musical scale is an irrational number, it is preferable that the largest number in the phase angle register be slightly smaller than the least significant bit in the address register. If the phase angle number were larger, it would be necessary to occasionally skip a sample point and this would lead to inconsistency in the note frequency, whereas if the phase angle number were equal to the least significant bit in the address register the note frequency would be slightly higher (i.e., about one-half of a halftone higher) than the highest note that can be played. By requiring the phase angle number to be slightly smaller, the highest note capability of the instrument will not be exceeded.
  • the same read-only memory 103 may be shared by all of the tone generators 28 of the data words (amplitude values of sample points) read therefrom are gated to respective wave shapers in synchronism with the addressing of the memory for the respective notes being played. In other words, simultaneous or concurrent play of two or more notes requires that these be distinguished as separate sets of sample points, if a single memory is to be shared for all tone generators.
  • each tone generator has its own memory (and, incidentally, memories composed of microminiature diode arrays of the type disclosed in the aforementioned Ashby et al. patent are readily fabricated with more than 5,000 diode elements per square inch), which supplies its digital output to a respectively associated attack and decay control unit.
  • the binary-valued amplitude samples are applied directly to the attack and decay circuitry of each sample is a whole value, or may be applied via an accumulator 104 of each sample is an incremental value. Alternatively, accumulation of incremental values may be performed aftershaping, if desired.
  • an embodiment of the attack and decay unit associated with each tone generator includes a multiplier to which the sample values from memory 103 are applied for multiplication by an appropriate scale factor to control the leading and trailing portions of the note waveform envelope.
  • a multiplier to which the sample values from memory 103 are applied for multiplication by an appropriate scale factor to control the leading and trailing portions of the note waveform envelope.
  • attack and decay controls may be avoided entirely, or the scale factor supplied to multiplier 120, and with which the amplitude samples are to be multiplied, may be set at unity. More often, however, attack and/or decay are desirable for or in conjunction with special effects, such as percussion, sustain, and so forth.
  • the multiplying scale factor is varied as a function of time to correspondingly vary the magnitude of the digital samples, with which it is multiplied, on a progressive basis to simulate attack and/or decay.
  • the total time duration and the time constant(s) for the attack or decay are controlled by a counter 122 which may be selectively supplied with uniformly timed pulses that are independent of the specific note frequency under consideration, such as pulses obtained or derived from the master clock, or with pulses having a repetition rate representative of or proportional to the note frequency.
  • the counter 122 may be considered as determining the abscissa of a graph of envelope amplitude versus time and representative of the attack or decay.
  • the ordinate or amplitude scale of the graph is represented by the series of scale factors stored in a read-only memory 125 to be accessed by the counter itself, or by an address decoder 126 which addresses the memory for readoutof scale factors on the basis of each count (or timed, separated counts) of counter 122.
  • the counter may be of the reversible, tip-down (forwardbackward) type in which it is responsive to incoming pulses to count upwardly when its "up” (here, attack) terminal is activated, and to count downwardly when its down” (here, decay) terminal is activated.
  • the attack mode of the overall control unit is entered when the associated tone generator is captured by a hitherto unclaimed note pulse in the multiplexed signal.
  • the capture of a tone generator is accompanied by a signal indicative of a key having been depressed (see FIG. 78), from the assignment logic, and it is this signal which initiates the attack count of counter 122.
  • the first key depressed" signal (and possibly the only one) that occurs upon capture of a tone generator 28 is effective to produce a count in the first stage of ring counter 128, thereby supplying a trigger signal from that stage to a monostable delay multivibrator 130 which is set to have an ON time (delay time) of sufiicient duration to ensure that the attack is completed despite release of the key prior to the normal end of the attack interval. It has been found that a delay time equal to or greater than approximately the time occupied by seven cycles (e.g., seven periods) of the lowest frequency note is quite adequate for multivibrator 130 to ensure this positive at- I tack.
  • the up" control of counter 122 is activated by the quasi-stable state of multivibrator 130 and the counter continues to count incoming pulses until the multivibrator spontaneously returns to its stable state, or until the note envelope reaches the full desired intensity (magnitude), it earlier.
  • This full intensity value may be preset into the attack/decay control logic or it may be determined by logic circuitry responsive to such factors as the force with which the respective key is struck (i.e., to velocity-responsive or touchresponsive device outputs).
  • the fonner arrangement is utilized in which a maximum desired count is set into a fixed counter 131 for continuous comparison in comparator 133 with the present count of updown counter 122. If the latter exceeds the former, a "disable" command is applied to the counter to terminate the attack.
  • Pulses to be counted by counter 122 may be obtained at a rate which is a function of note frequency, as by supplying the output of phase angle calculator 100 to a phase-tO-frequency converter 135, or at a rate based on the master clock rate, whichever is desired. Selection of either rate is accomplished by appropriately setting a switch 136 coupled to an associated switch or key on or adjacent to one of the keyboards.
  • the pulses to be counted appear at the input of counter 122 but no count is initiated until a key is depressed and the associated pulse in the multiplexed signal from the keyboard results in the capture of a tone generator 28.
  • the key depress" signal from the generator assignment logic initiates a count in ring counter 128, which had been reset by completion of decay the immediately preceding time the attack/decay control unit had been used.
  • the latter reset signal is obtained upon switching of the claim flip-flop 53 in the assignment logic 26 to the not claimed" (delay complete) state.
  • the up count of counter 122 is thereby enabled and continues through completion of attach regardless of whether or not the key remains depressed. 1f the count pulses are a function of note frequency, the duration of attack is based upon note frequency as well; otherwise, the positive attack interval is fixed regardless of note frequency.
  • address decoder 126 With each count of counter 122 (or less frequently, by use of suitably timed enabling" commands), address decoder 126 develops a related address code for accessing a digital scale factor'stored in the appropriate address of read-only memory unit 125, to be combined as a product in multiplier with theamplitude samples being read from tone generator 28 of Figure 8.
  • address decoder 126 By presetting memory such that the scale factors stored therein are logarithmically increasing (up to the equivalent of unity) with addresses decoded according to progressively increasing count in counter 122 (up to the maximum desired count, representing full note intensity), a logarithmic attack is provided in the note being played. Furthermore, since the initial attack is positive, i.e., continues to completion regardless of the present condition of the key which was struck to produce the attack, the logarithmic rise at the leading edge of the note waveform continues smoothly to full intensity of the note.
  • a key release" signal is applied from AND gate 62 of assignment logic 26 (FIG. 78) to a flipflop 138 to initiate the decay mode of the attack/decay control unit by enabling the decay" (down) count of counter 122. Accordingly, incoming pulses to the counter are counted downwardly from the count representative of full intensity, until a zero count is obtained unless decay is terminated earli er.
  • the count of counter 122 is periodically decoded (e.g., once each count) by unit 126 for addressing the memory 125, there supplying logarithmically decreasing scale factors, from unity to zero, for multiplication with amplitude samples from the tone generator in multiplier 120. This procedure the desired fall in note intensity at the trailing portion of the note waveform.
  • scaler control logic may be implemented to signal completion of the decay mode.
  • a "decay complete” signal is applied to the claim flip-flop 53 (FIG. 7B) of the respective assignment logic unit to cause that flip-flop to return to its not claimed" state, and thereby to release the tone generator for claiming by another note.
  • the "decay complete signal may be supplied by the zero count of counter 122 or by any conventional detector for sensing the absence of further output from multiplier 120.
  • a keying system for use with percussive tone generators (e.g., noise generators) to selectively produce sounds simulating those of percussion instruments.
  • percussive tone generators e.g., noise generators
  • various types of pipe organs such as theater organs
  • miniature reproductions of different percussion instruments such as drums, cymbals, wood blocks, temple blocks, brush, and so forth, which could be actuated by the organist according to the desired rhythm accompaniment for the organ.
  • the natural sounds of the miniature instruments were amplified to produce a percussion level consistent with the intensity of tones produced by the organ itself.
  • the toy counter logic or percussion control logic of FIG. 11 is suitable for actuation of either the miniature percussion instruments or the percussion sound tone generators, depending upon which of these forms are provided, in conjunction with a keyboard multiplexing digital electronic organ of the type which has thus far been described herein.
  • keying signals may be developed in the keyboard multiplexing system for use in generating the desired special percussive effects. Two types of keying signals, transient and steady state, are provided independently for each keyboard in the embodiment of FIG. 11.
  • the transient signal consists of a pulse which occurs upon depression of a key on any keyboard of the organ, and only upon depression of a key.
  • the set claim signal (or "key depressed” signal) that occurs as an output of AND gate 50 in the tone generator assignment logic (FIG. 78) upon coincidence of input signals to that gate, is used to indicate the depression of a key on one of the organ keyboards.
  • the "set claim” signal can be produced only when a tone generator 28 is available (and results in capture of that tone generator), no such signal can occur if the organ is saturated, i.e., if all tone generators are in use, regardless of depression of a key. Except in the event of saturation, which is unlikely,
  • OR gate 150 each time a key is depressed a signal is supplied to an OR gate 150 of the percussion control logic.
  • 12 tone generators are provided and hence 12 "set claim signals, each associated with a separate and distinct tone generator assignment logic unit, can be produced.
  • OR gate 150 has an input terminal for each set claim" signal, for a total of 12 input terminals.
  • Each time a signal appears as an input to the OR gate, indicating depression of a key, an output signal is supplied by the OR gate in parallel to four AND gates 152-1, 152-2, 152-3, and 1524, for the specific example of an organ having four keyboards (three manuals and a pedal board).
  • Sequential gating signals are supplied to the four AND gates 152 over the respective intervals in which the associated keyboard is being scanned by connecting the second input terminal of each AND gate to a respective output load of keyboard counter section 4 (FIG. 1).
  • the transient keying signal that occurs upon depression of a key is gated on an output line associated with the keyboard on which that key is located.
  • This signal in the form of a pulse, may be used to actuate actual miniature percussion instruments or to actuate ercussion sound generators.
  • the specific manner in which the keying signals are employed for that purpose may follow conventional practice, using conventional percussion systems. Reference is made, by way of example, to US. Pat. Nos.
  • the other type of keying signal is derived directly from the multiplexed signal appearing as an output from encoder 15 (FIG. 1).
  • the multiplexed signal is applied in parallel to four AND gates 156-1, 156-2, 156-3, and 156-4 (again, for the specific case in which four keyboards are available), and the pulses associated with keys on each respective keyboard are gated only during the occurrence of gating signal for that keyboard as supplied from keyboard counter section 4 to the other input terminal of each of the AND gates 156.
  • An output'from any one of the AND gates is applied as a set signal to a respective one of four flipflops 158-1, 158-2, 158-3, and 158-4.
  • each flip-flop 158 is set by the occurrence of a pulse in the multiplexed signal during the time period provided for the corresponding keyboard. All of flip-flops 158 are reset simultaneously upon occurrence of the keyboard counter reset signal.
  • flip-flop 158 of its set state results in a signal applied to a respective one of a set of AND gates 160, and similarly, the resetting of flip-flops 158 results in signals representative of that state of the flip-flops to others of the AND gates 160.
  • Each pair of AND gates 160 associated with a specific flip-flop 158 is also associated with one of a further set of flip-flops 161-1, 161-2, 161-3, 161-4, so that upon occurrence of the keyboard counter reset signal the respective states of flip-flops 158 are transferred to corresponding ones of flip-flops 161.
  • the effect is that of a sample and hold system, to provide the desired steady state percussion keying 'signals from each keyboard, each such keying signal being taken only from the set" state output terminal of the respective flip-flop 161.
  • the steady state keying signals may also be utilized to supply desired percussion sounds by known techniques.
  • Each keyboard of the organ usually has associated with it a set of stops or tabs, alternatively referred to as stop tabs, stop keys, or stop switches.
  • stop tabs stop keys
  • stop switches the stops as well as the keys of each keyboard may be referred to as switches.
  • the stops associated with each keyboard are utilized to select appropriate pitch length or footage and the desired organ voice, including the tonal quality, or timbre, and the harmonic content of the sound to be reproduced by the electronic organ.
  • Stops may be actuated in various combinations, if desired, and may also be preset or programmed to permit the organist to reactuate one or more stop combinations during performance of a particular musical piece, by means of a so-called combination action.”
  • the terminology stop rail is also used to refer to a set of stop or tab switches by which the organist may select particular voices prior to and/or during play of the organ.
  • the stop rail multiplexing system includes a stop rail counter 200, a stop rail decoder 201, a stop rail switching array 202, a stop rail encoder 203, a set of voice memories 204, a voice memory selector 205, an address decoder 206, a voicer 207, a set of registration memories 208, and a set of couplers 209.
  • the stop rail counter 200 comprises four separate sections as is indicated with greater clarity in FIG. 13.
  • the most significant section or portion of the stop rail counter is referred to as the registration memory (RM) counter 211 and the remaining stop rail counter portions are of decreasing significance, from the RM address counter 212 and voice group counter 213, down through the voice counter 214 which constitutes the least significant portion of stop rail counter 200.
  • Voice counter portion 214 is a modulo-4 ring counter which is advanced by pulses derived from the master clock and which sequentially energizes its output leads, designated V1, V2, V3, V4, in accordance with advancement of its count. All four output leads of voice counter 214 are connected to encoder 203 and to voice memory selector 205, whereas only the last stage, V4, is connected to voicer 207, for a-purpose to be described presently.
  • the next more significant portion of the stop rail counter 200 namely, the voice group counter 213 is a modulo-l0 ring counter, having 10 stages and associated output leads designated GSF, GGF, GSl, G82, G83, 6G1, 662, GM. GP2, and GP3, advancing from the least to the most significant stage of that counter portion.
  • the first letter of each of these designations indicates group," and the next two characters indicate particular voice groups such

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US872597A 1969-10-30 1969-10-30 Multiplexing system for selection of notes and voices in an electronic musical instrument Expired - Lifetime US3610799A (en)

Applications Claiming Priority (12)

Application Number Priority Date Filing Date Title
US87259769A 1969-10-30 1969-10-30
US87259969A 1969-10-30 1969-10-30
US87260069A 1969-10-30 1969-10-30
US87259869A 1969-10-30 1969-10-30
US87517869A 1969-11-10 1969-11-10
US17099271A 1971-08-11 1971-08-11
GB3994671 1971-08-25
AU32776/71A AU449757B2 (en) 1969-10-30 1971-08-26 Method and apparatus for addressing a memory at selectively controlled rates
NLAANVRAGE7112290,A NL174997C (nl) 1969-10-30 1971-09-07 Inrichting om een geheugen met selectief bestuurde snelheden te adresseren.
FR7133790A FR2153149B1 (cs) 1969-10-30 1971-09-20
DE2149104A DE2149104C3 (de) 1969-10-30 1971-09-28 Verfahren zur Erzeugung elektrischer Schwingungen
CH1505971A CH559956A5 (cs) 1969-10-30 1971-10-15

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US872597A Expired - Lifetime US3610799A (en) 1969-10-30 1969-10-30 Multiplexing system for selection of notes and voices in an electronic musical instrument
US872598A Expired - Lifetime US3610805A (en) 1969-10-30 1969-10-30 Attack and decay system for a digital electronic organ
US872599A Expired - Lifetime US3610800A (en) 1969-10-30 1969-10-30 Digital electronic keyboard instrument with automatic transposition
US872600A Expired - Lifetime US3610806A (en) 1969-10-30 1969-10-30 Adaptive sustain system for digital electronic organ
US875178A Expired - Lifetime US3639913A (en) 1969-10-30 1969-11-10 Method and apparatus for addressing a memory at selectively controlled rates
US00170992A Expired - Lifetime US3743755A (en) 1969-10-30 1971-08-11 Method and apparatus for addressing a memory at selectively controlled rates

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US872598A Expired - Lifetime US3610805A (en) 1969-10-30 1969-10-30 Attack and decay system for a digital electronic organ
US872599A Expired - Lifetime US3610800A (en) 1969-10-30 1969-10-30 Digital electronic keyboard instrument with automatic transposition
US872600A Expired - Lifetime US3610806A (en) 1969-10-30 1969-10-30 Adaptive sustain system for digital electronic organ
US875178A Expired - Lifetime US3639913A (en) 1969-10-30 1969-11-10 Method and apparatus for addressing a memory at selectively controlled rates
US00170992A Expired - Lifetime US3743755A (en) 1969-10-30 1971-08-11 Method and apparatus for addressing a memory at selectively controlled rates

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AU (1) AU449757B2 (cs)
BE (1) BE772689A (cs)
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US3743755A (en) 1973-07-03
FR2153149A1 (cs) 1973-05-04
GB1317385A (en) 1973-05-16
AU3277671A (en) 1973-03-01
BE772689A (fr) 1972-01-17
DE2149104A1 (de) 1973-04-12
CH559956A5 (cs) 1975-03-14
US3610800A (en) 1971-10-05
FR2153149B1 (cs) 1975-08-29
DE2149104C3 (de) 1981-06-11
NL174997C (nl) 1984-04-02
US3610805A (en) 1971-10-05
US3639913A (en) 1972-02-01
DE2149104B2 (de) 1980-10-09
AU449757B2 (en) 1974-06-20
US3610806A (en) 1971-10-05
NL7112290A (cs) 1973-03-09
NL174997B (nl) 1984-04-02

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