US3610806A - Adaptive sustain system for digital electronic organ - Google Patents

Adaptive sustain system for digital electronic organ Download PDF

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US3610806A
US3610806A US872600A US3610806DA US3610806A US 3610806 A US3610806 A US 3610806A US 872600 A US872600 A US 872600A US 3610806D A US3610806D A US 3610806DA US 3610806 A US3610806 A US 3610806A
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decay
tone
note
notes
rate
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Ralph Deutsch
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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; CALCULATING OR 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; CALCULATING OR 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

  • a set of note, or tone, generators with [56] References Cited availability assignment control means for capturing a pulse in UNITED STATES PATENTS the multiplexed signal are each rendered responsive to a given 2,401,372 6/1946 Rienstra 84/ 1.26 captured pulse for generating the tone represented by that 2,601,265 6/1952 Davis 84/1.28 pulse.
  • 84/1.24 envelope are simulated by appropriately scaling the amplitude 3,358,068 12/1967 Campbell 84/l.01 samples at the leading and trailing portions of the waveform 3,515,792 6/ 1970 Deutsch 84/1.03 envelope.
  • An adaptive sustain operating mode is provided by 3,519,723 7/1970 Wiest 84/1.26 which thelength of decay is varied according to the availabili- 2,918,576 12/ 1959 Munch 84/1 .26 X ty of tone generators where the number of tone generators is 3,383,453 5/1968 Sharp 84/1.26 limited.
  • organ is used throughout this specification and the claims thereof 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, an electric piano, an electric accordion, and so forth, and in fact, the principles of the present invention are applicable to any musical instrument in which musical sounds are generated in response to the actuation of key switches, regardless of whether the switches are actuated directly, or indirectly in response to actuation of other, associated elements.
  • key is also used in a generic sense, to include depressible levers, actuable on-ofi switches, touch or proximity responsive devices (such as capacitance or inductance-operated elements), closable apertures in a fluidic system adapted to produce a tonal response, and so forth.
  • Each time slot of the multiplexed signal corresponds to a specific key of the organ to, permit identification of the notes associated with the respective keys and thereby to result in the generation of appropriate sounds in response to the playing of multiplexed signal tobring forth the appropriate tones corresponding to those keys that have been actuated are effective to produce digital amplitude samples of a waveform of the desired sounds at a frequency corresponding to the desired note frequency.
  • the number of such tone generators available in the organ is much fewer than the number of notes which can be produced.
  • Each of the limited number of tone generators provided is associated with tone generator assignment logic constructed and arranged to assign an available tone generator to data in I an incoming time slot in the multiplexed signal, so long as that data has not yet captured a tone generator.
  • Each tone generator includes or has access to a memory means storing digital vthe keys. The tone generators which respond to the incoming representations of amplitude of the waveshapes to be synthesized, at a large number of sample points. When the tone generator iscapt ured by incoming data, the memory means associated with that tone generator is accessed to read out the amplitude samples in accordance with the frequency of the tone to be generated.
  • Such an arrangement does not readily admit of the type of attack and decay systems which have been used with prior art types of electronic organs, unless the waveshape in its digital form is first converted to an analog waveform.
  • an attack and decay system for use in a digital electronic organ of the type disclosed in the aforementioned Watson application, and in which the duration of the attack or decay is controlled by a counter which may be selectively enabled to count timed pulses having a rate independent of the note'frequency, or to count cycles or half cycles of the specific note frequency.
  • the counter serves to determine the abscissa in a graph of amplitude versus time for the attack or decay.
  • the ordinate or amplitude scale of the graph is provided by a plurality of amplitude scale factors stored in a fixed memory accessed by the counter.
  • the scale factors are read from the fixed memory as required and supplied to a multiplier which receives as a second input the digital amplitude samples being read from the tone generator memory, the multiplier forming the product of these two inputs to scale the leading and trailing portions of the note waveform.
  • sustain fea ture by which a keyed note is selectively caused to have a relatively longer decay time, typically on the order of.2 seconds,- than would otherwise occur.
  • the purpose of the sustain provision is to cause the note sound to dieaway gradually after the key is released.
  • one manual such as the upper manual, is operated in the sustain mode at any given time. Because of the limited number of tone generators available in the digital electronic organ briefly described above, a problem arises when sustain is used if'the organist should key several notes very quickly in succession byrunning a finger or fingers down the manual, to produce a glide or glissando effect. in
  • sustain feature is provided in the digital electronic organ to provide automatic variation of the durationof decay, when The adaptive sustain mode is always available but is entered.
  • tone generator operation follows the normal assignment, decay, and release sequence so long as an unassigned tone generator is idle and available.
  • the system automatically enters the adaptive sustain mode in which any tone generator assigned to a note associated with a key on the manual having sustain effect, and which generator is supplying the waveform that has had the longest duration of decay, is switched immediately from a long decay (i.e., the normal sustain) to a relatively shorter decay (which may be the normal decay in the absence of the use of sustain). Quite clearly, this expedites the availability of a tone generator for capture of the next note request as in a glissando situation.
  • a long decay i.e., the normal sustain
  • a relatively shorter decay which may be the normal decay in the absence of the use of sustain
  • the adaptive sustain feature aptly reflects the fact that average sustain is a function of the rapidity with which the notes are successively keyed. That is to say, the faster the keying sequence, the smaller is the effective sustain interval.
  • I2 note generators provided in the digital electronic organ and that at present a pedal note is being played in addition to a three note chord on a lower manual, and further, that the organist now begins a glissando on the upper manual on which sustain is being used.
  • n (total number of tone generators) (number of tone generators committed to keyboards other than that using sustain)
  • the adaptive sustain feature of the present invention is extremely desirable because it very rapidly damps out the older notes, which appear only to provide a noiselike background masking the current notes.
  • FIG. I is a simplified block diagram of a system for producing a time division multiplexed signal containing a recycling sequence of time slots, each slot associated with a particular key of the organ, and in which each time slot contains data 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 multiplexed waveform developed by the system of FIG. 1 and responsive to actuation of selected keys; 4
  • FIG. 6 is a simplified block diagram of a 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;
  • FIG. 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 system of the preceding figuresof drawings.
  • FIG. 11 and 12 are block diagrams of a preferred embodiment of an adaptive sustain unit for use with the electronic musical instrument of the type shown and described with reference to the preceding figures of drawing.
  • 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 is divided into three separate sections (or separate counters) designated 2, 3 and 4.
  • the first section (designated 2) is constructed 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 encom- ,passed 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 have 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 such that when section 2 reaches its maximum count it advances the court 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.
  • A-total of four lines emanate from counter 4, one line connected to each ring counter stage, to permit sensing of the specific keyboard which is presently being scanned.
  • eight lines are connected to the eight ring counter stages, respectively, of octave counter 3 to detect the octave presently being scanned.
  • a total of 12 lines extend from counters 3 and 4, and these twelve 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 composed of 32 AND gates designated 8-1, 8-2, 8-3,. 8-32 (FIG.
  • the 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 counter 4. Distinct and different ones of the eight lines from counter 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 number 10, to a keyboard switching array 1 1.
  • 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 12 notes (and hence, the twelve 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 occur'sb'tween 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 ofthe 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 may itself constitute a respectivekey 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,
  • Switch 14 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.
  • Positive pulses occurring at the rate of approximately 200 per second, for example, according to the timing established by master clock 5, are transferred from input bus 10 to output bus 12 via the respective diode 13 and closed switch 14 when the associated key is depressed.
  • the diode When a switch alone (i.e., without the series connected diode) would serve the basic purpose of transferring a signal between the input and output linesof array 11,-the diode provides a greater degree of isolation from sources of possible interference (noise) and acts to prevent feedback from output to input lines.
  • 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 areconveniently arranged in a specific sequence in the switching array 1]. Assume, for example, that a specific output bus 17of the switching array isto be associated with note A of any-octave, a second output bus 18 is to be associated with note 8 of any octave, and so forth.
  • switches 14 in the row corresponding to output bus 17 in array or matrix 11 are associated with the keys corresponding to the note A in each octave of keys in the organ-
  • the column position of each switch 14in 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, 18, and so forth, is connected to one of the two input ports or terminals of a respective AND gate of the 12 AND gates 20-1, 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 1 1 output lines 16 of counter section 2 with respect to the AND gates 20 and the output buses 12.
  • 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 sensedin 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 having l2 cascaded stages designated SR1, SR2, SR3, SR12, each connected to a respective output bus 12 of switching matrix 1 l 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-com mand 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. In other words, it is extremely desirable. that the data to be entered into the shift register from the switching array be stabilized to the greatest possible extent, and this is achieved by allowing the counters whose scanning develops this data, to settle at least immediately prior; to loading.
  • 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 con-- tents 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 a parallelto-serial conversion of the information on output buses 12 to a time-division multiplexed waveform on the output line 25 of encoder l5.
  • 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.
  • This waveform contains all of the note selection information, in serial digital form on a single output line, that had heretofore required complex wiring arrangements.
  • 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.
  • C appears in the appropriate time slot of the multiplexed signal emanating from encoder l5 and will repetitively appear in that time slot in each scan of the keyboards of the organ as long as that key is depressed. That is to say, a pulse appears on output line 10 of decoder 7 associated with the second octave in the manual being played, in accordance with the scan provided by master clock 5, as the counter stage associated with that octave is energized in keyboard counter octave section 3 and the counter stage associated with that manual is energized in section 4 of the keyboard counter.
  • 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 receiving the signal level on output bus 12, and a pulse is delivered to OR gate 23.
  • 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 availability), 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 12 (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 difi'er from one tone generator to the next. These three states are as follows:
  • the tone generator is presently uncaptured (i.e., unclaimed or available), but will be captured by the next incoming pulse in the multiplexed signal associated with a note which is not presently a tone generator captor;
  • the tone generator is presently available, and will not be captured by the next incoming pulse.
  • 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). For example, if
  • tone generator 04 is unavailable to the next inture. If all of the tone generators are captured, that is, all are in I state (1) as described above, then the organ is saturated and not 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 above.
  • 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 his not already claimed.
  • 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. 73), 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.”l"hat 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. The latter gate produces a shift pulse on line 32 upon simultaneous occurrence of the output pulse from OR gate 40 and a clock pulse from master clock 5. Accordingly, the logical l" is advanced one bit position, from stage 02 to stage 03 of shift register 30, in preparation for the claiming of the next tone generator.
  • tone generator 28 corresponding to stage 03 isalready 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 1 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.
  • 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 associated tone 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 obtainedby 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. If the zero V, count coincides with a pulse in the multiplexed signal. the in-' rently 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.
  • the key release signal results in the key release" signal. Scanning of the keyboards is sufficiently rapid thatany 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. Furthermore, the generation of a false key release" signal when the tone generator is presently unclaimed, as a result of the occurrence of a zero count from counter 55 synchronized with the zero count of the keyboard counter and the simultaneous absence of a pulse in the TDM signal, 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. In any case, the "key relase" signal deriving from AND gate 62 is supplied to attack/delay 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 toevery 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 form in FIG. 8 is employed.
  • sample points are preferably uniformly spaced because such a fonnat 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 a tone 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, single 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.
  • 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 aclock rate provided by a master sampling clock, successive clock pulses of which are directed to the series of tone generators.
  • 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 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 is instructed to determine 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. 73) 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 1 and supplies a number representative of the difierence, 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 difierence 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 a least count, i.e., zero.
  • calculator 100 On the basis of the difference count supplied by comparator 107, calculator 100 is informed as to the note for which the phase angle calculation is to be performed, i.e., the note and thus the frequency to be produced by the tone generator.
  • phase angle 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 alternative 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 ofi.
  • phase angle thus developed is supplied to and 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 the operation of the comparator 107 and, in turn. the phase angle determination function ofthe phase angle calculator 100 for the given note frequency to be generated, for supply of that phase angle to the register 101. Since this operation mustprecede the addressing function, a delay may be provided (as by use of a delay multivibrator 106) to actuate a switch 108 for passage of pulses from the sampling clock source 105 (which may be an appropriately gated pulse from a master sampling clock source) to the registers 101 and 102.
  • sample point address register 102 may be cleared when claim flip-flop 53 reverts to a noncaptured state
  • 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 101 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 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.
  • a one bit position in the register positions by means of decoder 103a, the frequency of the note reproduced may be readily adjusted to different octaves. That is, a one bit positional shift constitutes division or multiplication by 2, 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 the 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 same complex periodic waveform is to be reproduced for each note played, the only difference being the frequency at which the complex waveform is reproduced.
  • the wave may be sampled at a multiplicity of points, shown as vertical lines 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 ,zerb level at'time axis 111). ln that event, the digital amplitude data successively read from the memory may be applied directly to an appropriate 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-to-analog 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 US. Pat. No. 3,377,513, issued Apr. 9, i968, 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 8 bit binary word at each of 48 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. 1
  • a gate 103b (shown dotted in FIG. 8) is positioned in the output line of memory 103 preceding accumulator 104 if in-- cremental values are utilized.
  • Gate 103k 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 102a 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 accessedseveral times in sue.- cession, 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 if 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 microminature 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 if each sample is a whole value,'or may be applied via an accumulator 104 if each sample is an incremental value. Alternatively, accumulation of incremental values may be performed after shaping, if desired.
  • an embodiment of the attack and decay unit associated with each tone generator includes a mu]- tiplier 120 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 mu]- tiplier 120 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.
  • 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 readout of scale factors on the basis of each count (or timed, separated counts) of counter 122.
  • the counter may be of the reversible, up-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. 7B), 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 sufficient 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 (i.e., seven periods) of the lowest frequency note is quite adequate for multivibrator 130 to ensure this positive attack.
  • 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), if earlier.
  • This full intensity value may be preset into the attack/decay control logic or it may be determinedby 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 former 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 up down 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 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 cap ture 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 attack regardless of whether or not the key remains depressed.
  • the duration of attack depends on whether the note frequency mode or the fixed time mode is employed.
  • address decoder 126 With each count of counter 122 (or less frequently, by use of suitably timed enabling commands), address decoder 126 developes 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 the amplitude samples being read from tone generator 28 of FIG. 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.
  • 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,
  • flip-flop 138 may be switched to its attack state upon full completion of decay, by the not claimed signal of associated flip-flop 53.
  • 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.
  • FIGS. 1 1 and 12 A preferred embodiment of the adaptive sustain mode control unit according to the present invention is shown in FIGS. 1 1 and 12. Referringfirst to FIG. 11, there is provided means by which to apprise the system of the particular information required to initiate the adaptive sustain mode. In particular, it is required to know which note generators have been committed to the manual demanding organ sustain, which of those note generators committed to sustain is generating the waveform furthest along on its decay curve (as provided by the decay control unit of FIG. and which, if any, tone generators are presently idle.
  • a keyboard select signal is applied to a modulo 384 counter 150 which is synchronized with keyboard counter 1 by pulses from the master clock.
  • the keyboard select signal is effective to cause counter 150 to supply pulses in only those time slots associated with keys corresponding to the manual selected to use the normal sustain.
  • counter 150 may include a multiplicity of AND gates each having an input from a respective stage of the counter, and all of those gates associated with stages corresponding to the particular manual which has been selected to have the sustain receiving a second input by virtue of the keyboard select signal applied to the counter.
  • the output of the modulo 384 counter 150 is supplied to an AND gate 152 which receives as a second input the multiplexed signal from encoder 15, so that the output of AND gate 152 is a waveform in which signals appear for keyed notes in only those time slots associated with the keyboard selected to have sustain.
  • the output of AND gate 152 is supplied to a unit 153 for producing signals indicative of the tone generator assignments;
  • Unit 153 includes a plurality of AND gates 155-1, 155-2. 155-12, each of which has the output signal of AND gate 152 applied in parallel thereto and each receiving as a second input the output signal of a respective one of AND gates 35 in the tone generator assignment logic of FIG. 7A.
  • the output of each of AND gates is a signal indicative that the associated tone generator has been claimedor captured by a note associated with the manual on which sustain is being used. This indication is obtained because the signals from gates 35 each indicate that the associated tone generator is claimed (and are synchronized with the instant of claiming or continued claiming), and the signals in the output of AND gate 152 each indicate that a note associated with the manual selected to have sustain has been keyed (and occurs synchronously with the claim signal).
  • the output pulses deriving from tone generator designating gates 155 are applied to respective AND gates 157-1, 157-2, 157-12, to which are applied as an additional input the output signal of the respective AND gate 62 (FIG. 7B) for the assignment logic associated with a respective tone generator.
  • the output of AND gate 62 is the key release signal, and hence the pulse output of each AND gate 157 is indicative of the instant of release of a key for the note that has captured one of the tone generators committed to the manual demanding organ sustain.
  • the occurrence of an output pulse from one or more of the AND gates 157 may therefore be utilized to trigger an associated counter 158-1, 158-2, 158-12, respectively, so as to provide an indication of the extent of decay undergone by the waveform generated by the respective note generator, such decay having been impressed thereon by the decay control unit of FIG. 10.
  • the outputs of counters 158 are detected in cyclic sequence by a commutator 160 to supply a serial format of decay counts for the tone generators assigned to the selected manual.
  • Each of counters 158 preferably also produces a signal indicating the number of the tone generator with which it is associated so that the serial format of decay counts emanating from commutator 160 contains tone generator number information for identifying each decay count.
  • decay counts are supplied in sequence to acomparator 162, to which is also suppliedthe present count stored in a monitor register 165.
  • Register is utilized to store the tone generator number and the decay count for the tone generator which has the highest present decay count, and is.
  • an AND gate is provided with 12 input terminals each connected to a respective one of the claim flip-flops and in particular to the claimed output lead of a flip-flop 53 (FIG. 73) associated with the respective tone generator.
  • AND gate 170 If each input of AND gate 170 is active, i.e., if each has a signal thereon, it is an indication that all of the tone generators are presently assigned, so that the resulting output signal of AND gate 170 is indicative of the unavailability of any tone generators.
  • This output signal is used to actuate recognition logic '172 which responds to the tone generator number data read from monitor register 165 and, on the basis of that data, supplies an output signal on the appropriate output line thereof to change the mode of operation of the decay control unit of FIG. 10 by resetting a mode tlip-flopin that unit.
  • the decay control unit shown in FIG. is modified slightly such that switch 136 is implemented the form of a mode flip-flop 136a, as shown in FIG. 12.
  • the decay mode for the attack and decay control units associated with those tone generators committed to the sustain manual, as detected upon capture, may normally be set so that decay time is based on a preset time as fixed by master clock pulses.
  • the receipt of a signal from recognition logic 172 (HO. 1]) by a respective mode flip-flop 136a is effective to switch that flip-flop to control the count of counter 122 on the basis of the frequency of the note being produced by the tone generator, which results in a substantially shorter decay interval.
  • the frequency mode is also the normal decay mode for those tone generators which are not committed to the manual using sustain.
  • the register may be reset when the tone generator with which the count therein is associated has completed the decay, by supplying the decay complete signal applied to flip-flop 53 (FIG. 78) as the reset signal for the register.
  • each of said tone generators being capable of generating all of said notes
  • control means further responsive to said information in accordance with release of the keying means for effecting a decay of the generated tones over desired time periods of decay, and
  • An electronic organ constructed and arranged to emit sounds corresponding to notes of the musical scale in response to the keying of desired notes, said organ comprising:
  • tone generating means responsive to the keying of notes for generating digital amplitude samples of the waveform of the respective note at a rate related to the frequency of the keyed note
  • weighting means comprises: 7
  • said decay rate changing means is operative to change the rate of decay for only said preselected notes, thereby to adapt the sustain effect to the availability of tone generating means.
  • said weighting means includes means for establishing nonnal rates of decay related to the frequency of the notes to be generated.
  • said decay rate changing means is operative to vary the rate of decay of only one of the preselected notes from the predetermined and fixed, longer rate of decay of the sustain mode to the normal rate of decay determined in relation to the frequency of that note.
  • An electrical keyboard instrument in which keys are actuated and released to call forth and to terminate, respectively, sounds associated with the notes of the musical scale to which said keys are assigned, said instrument including:
  • each of said' means being operable for cyclically reading out said digital amplitude samples at a rate related to the frequency of the note to which a respectively corresponding, actuated key is assigned, and
  • said rate varying means is constructed and arranged to vary the rate of termination of sounds associated only with those notes selected to have sustained decay.
  • An adaptive sustain system for an electronic musical instrument comprising:
  • keying means actuable for selecting notes to be generated
  • tone generator means each selectively operable for generating any of the notes capable of being generated by said instrument, assignment control means for individually assigning said tone generating means to generate the notes as selected by said keying means and for determining the availability of further said tone generating means for further assignments in response to successive note selections,
  • decay control means for selectively establishing a normal time interval of decay of said notes and for establishing sustained time intervals of decay fornotes preselected to have sustained decay, upon release of the corresponding keys, and

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US87259969A 1969-10-30 1969-10-30
US87259769A 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 (xx) 1969-10-30 1971-09-20
DE2149104A DE2149104C3 (de) 1969-10-30 1971-09-28 Verfahren zur Erzeugung elektrischer Schwingungen
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US872598A Expired - Lifetime US3610805A (en) 1969-10-30 1969-10-30 Attack and decay system for a digital electronic organ
US872597A Expired - Lifetime US3610799A (en) 1969-10-30 1969-10-30 Multiplexing system for selection of notes and voices in an electronic musical instrument
US872599A Expired - Lifetime US3610800A (en) 1969-10-30 1969-10-30 Digital electronic keyboard instrument with automatic transposition
US875178A Expired - Lifetime US3639913A (en) 1969-10-30 1969-11-10 Method and apparatus for addressing a memory at selectively controlled rates
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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
US872599A Expired - Lifetime US3610800A (en) 1969-10-30 1969-10-30 Digital electronic keyboard instrument with automatic transposition
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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US3844379A (en) * 1971-12-30 1974-10-29 Nippon Musical Instruments Mfg Electronic musical instrument with key coding in a key address memory
US3854365A (en) * 1971-07-31 1974-12-17 Nippon Musical Instruments Mfg Electronic musical instruments reading memorized waveforms for tone generation and tone control
US3908504A (en) * 1974-04-19 1975-09-30 Nippon Musical Instruments Mfg Harmonic modulation and loudness scaling in a computer organ
US3910150A (en) * 1974-01-11 1975-10-07 Nippon Musical Instruments Mfg Implementation of octave repeat in a computor organ
US3913442A (en) * 1974-05-16 1975-10-21 Nippon Musical Instruments Mfg Voicing for a computor organ
JPS5143121A (en) * 1974-10-11 1976-04-13 Nippon Musical Instruments Mfg Denshigatsukino torankeetokairo
US4014238A (en) * 1974-08-13 1977-03-29 C.G. Conn, Ltd. Tone signal waveform control network for musical instrument keying system
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GB1317385A (en) 1973-05-16
NL174997C (nl) 1984-04-02
DE2149104A1 (de) 1973-04-12
NL7112290A (xx) 1973-03-09
US3743755A (en) 1973-07-03
NL174997B (nl) 1984-04-02
DE2149104B2 (de) 1980-10-09
US3610805A (en) 1971-10-05
US3639913A (en) 1972-02-01
US3610799A (en) 1971-10-05
US3610800A (en) 1971-10-05
BE772689A (fr) 1972-01-17
AU449757B2 (en) 1974-06-20
AU3277671A (en) 1973-03-01
FR2153149A1 (xx) 1973-05-04
DE2149104C3 (de) 1981-06-11
CH559956A5 (xx) 1975-03-14
FR2153149B1 (xx) 1975-08-29

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