WO1987002168A1 - Signaux de commande a rayons lumineux pour instruments musicaux - Google Patents

Signaux de commande a rayons lumineux pour instruments musicaux Download PDF

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Publication number
WO1987002168A1
WO1987002168A1 PCT/GB1986/000605 GB8600605W WO8702168A1 WO 1987002168 A1 WO1987002168 A1 WO 1987002168A1 GB 8600605 W GB8600605 W GB 8600605W WO 8702168 A1 WO8702168 A1 WO 8702168A1
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WO
WIPO (PCT)
Prior art keywords
radiation
produce
signals
control signals
beams
Prior art date
Application number
PCT/GB1986/000605
Other languages
English (en)
Inventor
Hagai Sigalov
Original Assignee
Hagai Sigalov
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority claimed from GB858524708A external-priority patent/GB8524708D0/en
Application filed by Hagai Sigalov filed Critical Hagai Sigalov
Publication of WO1987002168A1 publication Critical patent/WO1987002168A1/fr

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Classifications

    • 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
    • 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
    • G10H1/32—Constructional details
    • G10H1/34—Switch arrangements, e.g. keyboards or mechanical switches specially adapted for electrophonic musical instruments
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/135—Musical aspects of games or videogames; Musical instrument-shaped game input interfaces
    • G10H2220/141—Games on or about music, i.e. based on musical knowledge, e.g. musical multimedia quizzes
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/405—Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle
    • G10H2220/411—Light beams

Definitions

  • This invention relates to producing control signals. It has particular application to control signals for producing and/or
  • Figs. 1 to 6B of the accompanying drawings are those of my prior specification, while Figs. 7 to 10 are those relating to my second specification, and Figs. 12 to 20 relate to my third
  • This invention relates to losing all kinds of lights, including laser to trigger electronic musical instruments.
  • This invention uses light sensors connected to electronics which interface to operate existing electronic musical instruments.
  • FIG 1:- shows for TYPE A how a single light sensor element is activated
  • FIG la:- shows the diagram of circuitry used for TYPE A
  • FIG 2:- shows for TYPE B how a single light sensing element is activated
  • FIG 2a:- shows the diagran of circuitry used for TYPE B
  • FIGs 3a, 3b, 3c:- illustrate different arrangements of the elements shown in FIGs 1, la and FIGs 2, 2a.
  • FIGs 4a, 4b, 4c:- show different configurations of elements
  • FIGs f, ⁇ '.- show the construction and circuit block diagram of two light sensing elements featuring ' velocity ⁇ /L, sensitive dynamics.
  • FIGs f, ⁇ &:- show the construction and circuit block diagram of four light sensing elements facilitating sequentially sensitive dynamics.
  • FIG 1 shows that a dedicated, directional light source (10) similar to a pin spot, is mounted approximately 3m above the floor, in a specially constructed ceiling.
  • this light source will be switched on and cast a beam of light downwards, directed onto a "light sensing element" (L.S.E.) (12a), mounted on a spec ally constructed floor.
  • L.S.E. light sensing element
  • This sensor then triggers the electronics shown in FIG la.
  • a lens is used to concentrate the light onto the sensor and this sensor is connected to a pulse generator.
  • the pulse generator creates a 5v 1ms pulse (16) every time the light is stopped frcm falling onto the sensor.
  • FIG 2 shows that a movable light source (13) such as a torch, is used to direct light onto a light sensing element (L.S.E.) (12b) mounted on a specially constructed wall.
  • FIG 2a shows as before, the light beam being concentrated onto a sensor, but the pulse generator will now work in reverse. When light is falling onto the sensor, one 5v 1ms pulse (16) is being generated.
  • FTG 3a illustrates twelve L.S.E. s for TYPE A (12a) arranged in a circle on a pre-fabricated floor. A similar circle of light sources (10) are fixed to a suspended ceiling. The operator can now activate any of these sensors with torso, arm, leg and hand movements.
  • the tvelve L.S.E. s (12a) may either be assigned to the twelve musical notes of tJbe chrcmatic scale, thus enabling a tune to be played, or be assigned to electronically iranufactured drum sounds so that a rythm pattern may be created.
  • FIG 3c suggests another arrangement of L.S.E.s of TYPE B (12b) to trigger synthesizer playing chords.
  • FIG 4a shows the outputs of six L.S.E.s TYPE A (12a) connected to a signal processing unit (14) which converts the signals to drive a M.I.D.I. interface unit (15). Tte output of this M.I.D.I. interface is driving a music synthesizer connected to a Rjblic Address system.
  • FIG 4b is the same as FIG 4a, but for TYPE B L.S.E.s (12b).
  • FIG 4c is a suggested configuration of sets of L.S.E.s, TYPE
  • a and TYPE B connected via M.I.D.I. to various electronic instruments and on into a P.A. system.
  • FIG 51 shows the use of two parallel light beams striking two sensors. (It is likely that laser light will be employed in order to make this design practical to use) ⁇ y interrupting the light beams one after the other,
  • the electronics shown in FIG 5-1 can detect the time difference of the interruptions. Therefore, if a fast movement is used, a small time is detected. The electronics then converts the time inversely to an analog voltage level and a trigger pulse. This can now be interfaced to drive a M.I.D.I. channel with high voltage equalling high volume, and low voltage equalling low volune.
  • the comparator determines which pulse (c or d) occurs first, and outputs 'e' to the Time Ramp Generator.
  • a pulse at *f' will stop the Time Ife ⁇ p Generator, gate the output to OUT A, and provide a trigger pulse at OUT B.
  • the timer will reset the Time Ramp Generator after this process has taken place.
  • FIG ⁇ sh ⁇ ws how four laser light beams (A, B, C and D) may be trained on to four sensors. By interrupting the four beams of light in either direction at different heights above the floor, eight codes of triggering may be obtained:-
  • FIG 6 ⁇ shows the circuit diagram used for de-coding these eight sequences and creating four levels of volume, supplying one analog output and a trigger pulse as before.
  • OPTIMUSIC The concept behind OPTIMUSIC is firstly, to change the way that popular music is performed, secondly to create "D.I.Y.” in music at discos and nightclubs, etc, and thirdly to play music in space conditions, being weightless with no air, even if a sc ⁇ ewhat futuristic view.
  • the artistes are basically the dancers, who with choreography, play the instrum ⁇ ents, by interrupting light beams, and also by directing light onto light sensors to activate electronic instruments via M.I.D.I. ccm ⁇ unication systems.
  • OPTIMUSIC instruments can be used in discos and nightclubs allowing the attendants the chance to be part of "D.I.Y. Music”. By installing OPTIMUSIC instruments on a dance floor, anyone can play drums, synthesizer, bass or percussion etc simply by interrupting the light beams. Special songs can be written and recorded, to be remixed, reproduced and improvised upon by the participants of "D.I.Y. Disco".
  • means for producing and/or controlling music or the like comprise means 10,13 which produce light in a manner controlled by a dancer or the like, by interrupting the light in the case of Figs.l,lA and by directing the light in the case of Figs.2,2A, hence producing radiation signals indicative of the position and/or movement of the body (which term includes one or more parts thereof such as an arm) of the dancer or the like, and means 12A,12B for sensing these radiation signals to produce therefrom control signals by means of the pulse generator shown in Figs.lA,2A for producing and/or controlling music or the like in the manner shown in Figs. 4A,B,C.
  • the radiation signal producing means comprises radiation source means in the form of a torch 13 adapted to be carried by the said body in the case of Fig.2 and the sensing means 12B are arranged to produce the control signals upon receipt of radiation (in the form of light) in the said radiation signals (hitting sensing means 12B).
  • the radiation signal producing means comprise radiation source means 10 arranged not to be carried by the said body and the sensing means 12A are arranged to produce the control signals upon interruption of the light radiation in the said radiation signals by an arm of the body.
  • the sensing means comprise a plurality of sensors 12A, each adapted to produce an individual said control signal for controlling an individual tone or rhythm member as shown particularly in Fig.3B.
  • the radiation signal producing means comprise a plurality of radiation sources 10, as shown in Fig.3A, although it will be understood that the light for all the sensors 12A could come from a single source 10. Likewise, there could be a single sensor 12A co-operating with a plurality of light sources 10, e.g.
  • each said sensor 12A is adapted to be responsive to the said radiation signals produced from a corresponding said radiation source 10.
  • the sensing means comprise a plurality of sensors 12A arranged around, and in particular in a circle around, an area within which the dancer or the like can move.
  • Fig.5A,5B there is shown a velocity sensing arrangement 10,10,12A,12A and output circuits shown in Fig.5B.
  • This arrangement comprises means 10,10 for producing two mutually close beams of the radiation, respective sensors 12A,12A, and the circuitry shown in Fig.5B connected to the latter to measure the time difference between closely successive co-actions of the respective beams with the said body of the dancer shown in Fig.5A in order to produce a signal indicative of a velocity of the body co-acting with the beams, in fact a velocity component from side to side as seen in Fig.5A.
  • a distance sensing arrangement This comprises source means 10,10,10,10, for producing two mutually close substantially parallel beams B,C of the radiation and close thereto two angled beams A,D of the radiation, respective sensors 12A,12A,12A,12A, and circuitry as shown in Fig.6B connected to the sensors to distinguish the order of closely successive co-actions of the four beams with the said body and hence provide an indication of the distance from part, e g. a hand, the sensors of the body/co-acting with the beams, the distance being given in terms of which of the regions "high”, “medium high",
  • the sensing means 12A,12B are adapted to produce the control signals in MIDI compatible code, e.g. the signals available on the "analog level” and “trigger" terminals of the circuitry shown in Fig. ⁇ B.
  • MIDI stands for Musical Instrument Digital Interface which is a standard code among manufacturers all around the world for connecting electronic musical instruments together and to microcomputers.
  • the total control means comprises also music generating means in the form of the music synthesiser shown in Fig.4C connected to receive and be controlled by the control signals.
  • Fig.7 is a side view of a further embodiment of the invention being a development of that shown in Fig.3A and 3B.
  • Figs.8, 9 and 10 are side views of details of the Fig.7 embodiment.
  • Fig.11 is an underneath plan view of the Fig.7 embodiment.
  • retroreflective material in producing the control signals.
  • This is material which has the property of reflecting rays of light incident on the material each back substantially along its own incident path.
  • a source can produce a beam of radiation and a retroreflector will reflect the light back to a sensor in the or alongside the line of the beam, whether adjacent / source or or in front of it or behind it, - i2 " otherwise, the position of the retrorefleetor being non-critical so long as it is within its range of orientation (usually a cone of semi-vertex angle 30 ) and within the beam of light.
  • the source and sensor are mounted adjacent one another, preferably with the sensor in the form of a light-sensitive diode narrow-beam mounted in the centre of the cover glass of a/lamp source.
  • This arrangement has other advantages as will become apparent.
  • means for producing and/or controlling music or the like comprising means to produce radiation signals indicative of position and/or movement of the body (which term includes one or more parts thereof) of a dancer or the like and means for sensing these signals to produce control signals for producing and/or controlling music or the like.
  • means comprising retroreflective means and a plurality of sets of means, each set comprising radiation source and sensing means to co-operate with the retroreflective means, adapted for selective operation of the sets due to positioning and/or movement of the body of a dancer or the like to produce control signals indicative of the positioning and/or movement.
  • Each set may comprise its own retroreflective means.
  • each item 12A is now a piece of retroreflective material and each item 10 is a set of means, each set as shown in Fig.10 comprising radiation source means 20 and sensing means 22 to co-operate with the retroreflector 12A, or considered differently as seen in Fig. 3A as modified by Fig. 10, each set comprising means 20,22 of item 10 and retroreflector 12A, there being a plurality of such sets, the whole being adapted for selective operation of the sets due to positioning and/or movement of the body of a dancer or the like to produce control signals such as 16 Fig.2A (produced upon presence of light) indicative of the positioning and/or movement.
  • retroreflective means and radiation source and sensing means to co-operate therewith, one of these being adapted to be carried by the body of a dancer or the like to produce control signals responsive to positioning and/or movement of the body.
  • a radiation source and sensing means may be carried as a unit by the dancer or the like, e.g. as the torch 13 shown in Fig.2, and can be pointed selectively at any one or more of a plurality of retroreflectors arranged around the dance area.
  • the signals from the latter can be distinguished by sequencing (as described above) or colour, for example, but a much neater arrangement is provided if the retroreflective means is carried by the body of the dancer or the like. Indeed this arrangement offers so many advantages that it represents a substan ⁇ tial advance on the other embodiments described above.
  • the retroreflective means ca, be quite simple and passive and the sensors can be selectively operated in response to the positioning and/or movement of the retroreflective material to provide the said control signals.
  • a sensor may be responsive differently to different colours of retroreflective material, but an elegantly simple arrangement is obtained by/a plurality of sensors, each one/to the retroreflective material when it enters the beam of radiation from the source appertaining to that sensor.
  • a bar 24 is placed on two stands 26 each located outside the dance area. Suspended from the centre of the bar 24 is an arrangement 30 of items 28, each as shown in Fig.10 and comprising a radiation source in the form of a pinspot lamp 20, with a sensor 22 affixed to the centre of the cover glass of the lamp 20, the whole being fronted by a colour filter 32 and suspended by a universal ball joint 34 from an arm 36.
  • the dancer 38 wears retroreflective material 40 adapted to be fastened to the body and/or to the clothing.
  • This is preferably a garment made at least partly of retroreflective material such as gloves 40, hat 42 or shoes 44 but may be simply a piece of material such as epaulettes 46 to be fastened to existing clothing.
  • the retroreflective means may be in the form of retroreflective material adapted to coat the skin and/or hair, as material embodied in a powder 48 to go on the head hair or skin of the arm or as material embodied in a cream 50 to go on the face like make-up.
  • the retrorefleeting constituent will be microbeads or microcube corners. These may be combined with a suitable vehicle such as a cream base.
  • a further advantage is that the distance of the retroreflective means from the source and/or sensor 28 is found to control the intensity of the radiation sensed by the sensor and hence enables the said control signals to provide an indication of that distance.
  • This provides an independent control parameter by which the dancer or the like can control some aspect of the music or the like.
  • the intensity of the radiation sensed by the sensor 22 produces from the latter a corresponding amplitude signal which passes through an analog-digital converter to provide control signals indicative of the distance of retroreflective means 40 from item 28.
  • These signals can be used to control volume so that, for instance, the dancer or the like can move e.g. a hand up and down in the beam from a particular source 20 to produce what is called "after-touch control", i.e.
  • the signal coming from sensor 222 can also be digitally differentiated to provide a control corresponding to the vertical velocity as seen in Fig.7.
  • the radiation from sources 20 will normally be narrow beams directed vertically downwards so that they do not interfere with each other. However, there may be applications in which it is desirable to have beams which spread considerably and even overlap. Furthermore, there could be a second ring of items 281 (shown in broken lines) outside the ring of items 28, enabling special functions to be initiated or carried out by the dancer or the like, while not interfering with the normal co-action with the items 28.
  • the arrangement is intended to be used by a dancer-musician in a disco and therefore the radiation will normally be visible light, and is particularly attractive if the plurality of sources of the radiation are of respective colours, regardless of whether the colours have any other functional use.
  • the radiation may be ultra-violet light or infra-red light, the latter having no visible effect, provided the dancer or the like knows her or his positions accurately enough not to need to see the radiation.
  • the different colours may be used for functional purposes, e.g. one colour for doh and another colour for the other notes of the sol-fah scale, or one colour for tones and another colour for semitones, they may be arranged with one colour to carry out one function such as memory of the ensuing notes until that colour is activated again, or may again be used to produce a coloured teaching device of the whole apparatus, eg for children and/or disabled people. For example, such a person may learn to associate particular coloured lights with respective musical sounds.
  • Colour filters 32 can of course be changed as to colour at will.
  • a further possibility is to have a plurality of the retroreflective means 40 adapted to reflect respective colours.
  • the colour filters 32 of corresponding colour would then allow the associated sensors 22 to be activated but none of the other sensors 22 would be activated.
  • only a foot might co-act with sensors producing low octave notes such as drums while hands would act only with other sensors controlling - - high notes for melody.
  • the sensing means comprises a plurality of sensors at least one of which sensors is connected to modify the effect of the control signals from at least another of these sensors.
  • the arrangement comprises means for producing electronic music responsive to the control signals from a plurality of said other sensors, said one sensor is adapted to change the programming of such production of electronic music.
  • it may introduce, modify or cancel
  • the dancer or the like has a wide range of possibilities for control and can control different parameters simultaneously.
  • the synthesizer may incorporate or be connected to a computer which not only enables different programmes to be used so that the various parameters can control different things but enables the dancer or the like herself (or himself) to change such programme in the course of the performance or the like.
  • memory can be used in any of the ways well-known in music synthesis.
  • one or more arms and/or legs can be used to provide co-action simultaneously with different sensors or to provide selective co-action with sensors (each such arm and/or leg having e.g. a different colour retroreflective means).
  • the whole arrangement may be replicated to enable a plurality of dancers or the like to form a band or orchestra.
  • the output control signals may then be combined to feed together a synthesizer or a network of synthesizers.
  • the outputs from the sensors may be multiplexed into an analog to digital converter using known technology, whether these be the different sensors from a single arrangement 30 or whether from a plurality of arrangements 30 for respective dancers or the like.
  • An effect of particular use in discos is obtained by reserving one or more sensors for sound manipulation, e.g. controlling the effects known as chorus, echo, reverberation, delay, flanger, tremolo, fazing and so on.
  • the arrangement 30 comprises a plurality of units 28, each comprising a source 20 and sensor 22, and means 52 for adjusting the positions of the units in relation to a common axis 54.
  • the means 52 comprise a telescopic arm mounting each unit 28.
  • the arrangement 30 comprising these units 28 also comprises means 56 enabling the arrangement to be collapsible.
  • the units 28 are each on an arm 52, the arms being in radial planes from the common centre axis 54 and hinged thereat by hinge 58, the means 56 comprising the hinges 58 and struts 60 hinged at 62,64,66.
  • a common member 68 acting through strings 70 enables the whole arrangement 30 to be collapsed simultaneously, in the manner of the ribs of an umbrella, although naturally this is done after the telescopic arms have been retracted.
  • Fig. 8 shows the collapsed arrangement 30.
  • Arm 36 extends to 1.5 metre and in use is about 3 metres above the ground.
  • Adjustable strings 72 maintain the spacing apart of arms 36 and their position relative to bar 24 to which arrangement 30 is clamped by clamps 74.
  • Stands 26 can be dismantled so that the whole arrangement is easily transportable.
  • the arrangements described in my prior and second specifications can have applications to schools, dance schools, pop groups, discos, holiday camps, children's groups, party activities, theatres, performing places, home entertainment, therapy and exercise.
  • the arrangements can open new doors in the art of dance, as dancers will now have a tool which can enormously enhance their creativity.
  • the arrangements can combine dance, movement and music in the curriculum at schools, dance studios, holiday camps and various other venues for children's games and activities (and also for adults).
  • visitors can participate in the activities by themselves providing music by means of dancing, eg in conjunction with whatever group is playing the basic music.
  • the arrangements can be used to enhance the visual effects and aspects of the presentation of shows, popular music, cabaret etc.
  • the apparatus could be of great assistance in therapy for the disabled and handicapped, ultimately improving motion, co-ordination and perception.
  • a first beam of light 1 when interrupted, causes a note to play and a second beam of light 2 to be switched on.
  • This when interrupted, does likewise and so on 3, ⁇ .
  • 5- This trains the dancer or the like as to movements, and can be used simply as a trainer, or as a training programme mode of any of the previously described arrangements, (in which case, when the training is finished, this mode is suppressed and the beams are maintained throughout the activity of the dancer or the like).
  • the apparatus can be set up to train a dancer for ordinary dancing. If the movements (and possibly timing) are correct, the beams, suitably placed, will cause a melody to be played correctly and this will enable the dancer or teacher to determine whether the dance is being performed correctly.
  • the dancer may be replaced by a musician, a patient for therapy, an entertainer, even an animal.
  • a horse trained to perform particular movements which will co- act with the beams of radiation in any of the above described arangements to produce music.
  • the apparatus can be incorporated in a clown act in a circus to produce interesting sound effects when the clowns occupy particular places.
  • an important feature is that the operator should be able to affect the sensors selectively and, preferably using perceptible said beams of radiation as a reference system.
  • beams can be visible, or audible, but could be heat, or even ultra-violet light provided the operator carries a flourescing pigment.
  • the artistic effect was considerably enhanced by interspersing the actuable beams with other coloured light beams which were inoperable.
  • a number of the beams, eg of light 282 can be interrupted by a performer
  • the operator's body may be provided with retrore lective material '16, 48 for this purpose. If the latter is on only one side of eg a hand, the beams can be double-ended, ie a light source and sensor can be located at both ends of a radiation path 282 (so that two coincident beams will be radiated in opposite directions along the same path) and that the sensor will be activated towards which the retroreflector faces.
  • a combination of beams 282, eg operated by two hands or two performers simultaneously, or eg a vertical' and horizontal one at a particular crossing point, may produce a further or particular control signal for sounds and/or lights.
  • These features of double-ended beams and simultaneous activation may, of course, be applied to the arrangements described earlier herein, just as can the use of the equipment for operating lights, or indeed 133 movement of objects on a stage, of scenery, of objects external to a stage, of a stage itself, of loudspeakers, of lights etc, or again for controlling colour intensity, flahsing, rotation and other movements, variations or changes of lights, and again for controlling release of stage smoke, odours, temperature control and even releasing stage snow, stage rain or balloons, or any combination of these.
  • the apparatus can be made to respond only to those parts 44, 46, 48, 0 of eg a dancer's body wearing or coated with such material, who can thus choose when position and/ or movement in a particular region will or will not produce a signal , giving an extra degree of control.
  • a single light source 10, Fig 14 producing a number of beams 282, each aligned with an individual sensor 12A.
  • any other known form of distinction could be used, eg by phasing the light sources successively and then sampling a unified sensor output at corresponding times.
  • the cheapest, most fool-proof and most stable apparatus appears to be one in which there is a separate light source and sensor for each output signal required.
  • Each radiation beam is a straight Lino but could be reflected a number of times, eg in neighbouring paths across a plane, as in Fig 3c, so that interruption or reflection at any one path in the plane will operate the corresponding sensor.
  • a neighbouring pair 28 Fig 7 of radiation source 10 and sensor 12A may co-operate with an opposite fixed retroreflector 71 to detect when the beam provided by the radiation source is broken
  • the reftroflector 71 may be stationary, eg in the middle of the floor or ceiling, or elsewhere, or mobile eg on the extremity of a rotary arm 73, Fig 16, to serve each in turn of sets 28 of radiation source 10 and sensor 12A, possibly rotating so rapidly so that it is effectively serving all of the sets continuously, with time division multi-plexing 74 of the signals from the respective sets to enable them to travel along a single information channel 75-
  • One form of sensor device (that may be used to obviate the need for retroreflector means while still allowing of a stable equipment) comprises a sensor at one end of a long narrow tube 12A, Fig 14, or its equivalent. This can avoid detection of spurious reflected light and restrict the region of activation by a dancer etc to a narrow, almost cylindrical region of space 2821 extending co-axially from the tube, which may have Fig 17 (or be replaced by) one or more spaced apart diaphragms 12C, D each with a pinhole 12E or other narrow aperture to give narrow definition of the region. This would be used with a dark background and the sensitivity of the sensor would be adjusted to sense light relected from skin (or a light material).
  • An important function of the beams of suitable radiation can be to act as a reference system 282, 282 Fig 7, and give a position indication to the dancer etc.
  • This reference system can also be used by TV cameras 76.
  • the control signals 131, Fig 18 proceeding from the equipment 28 can be used to control any of the usual functions and movements of TV cameras 76, so that, for example, a dancer can be her own producer and by her co-action with the beams can operate the cameras herself.
  • the relevant camera functions may be translations, rotations, zooming, focusing, switching from one camera to another or "on” and "off”, or image quality, eg image reversal or image quantisation by computer graphics.
  • the control signals 131, Fig 19 from the sensors 12A can be connected (or programmed through a computer 191) to operate their own radiation sources 10 or others of the radiation sources, or any other equipment 192, in any sequence, with or without programming based on what has happened before or what may happen in the future. For example, if the output signal from one of the sensors 12A is connected not only to provide an external signal 192 but also to control the related light source 10 positively, it is possible to obtain an astable, a monostable or a bistable arrangement.
  • the beams of light may be of low intensity but, when one of them is interrupted by a reflector, the corresponding sensor output signal operates to increase the light intensity, which in turn increases the reflected light, which in turn increases the output signal and so on until a maximum brightness is obtained.
  • the beams 282 when there is interaction (eg reflection) with one of the beams 282, Fig 19 that beam switches from low to high intensity, substantially instantaneously or with any built-in rise time or shape of rise curve.
  • the beam may (by using a suitable processing circuit eg 191) change colour or revert to its low level of illumination or remain at its high level of illumination. In the latter case, for example, a stage spotted all over with
  • the beams Fig 12 (each having its sensor) all on low illumination can be made to retain an image of the path 121 traced out by a dancer moving through the beams, 1, 2, 3, 4, , Fig 12 the path being illuminated by high intensity beams. These may switch off after a predetermined delay or upon actuation of a particular further one of the beams or upon the first time that the dancer moves backwards or upon the first time (or second or other number) that the path crosses itself, ie when any one of the sensors is actuated for a second (or other number) time. There can be multiple control.
  • each sensor 12A Fig 19 can detect (a) on/off (b) position in a beam (c) speed along a beam and/or (d) duration in crossing a beam, some examples of which have been given above. Any of these parameters can be made to control 191 any parameters of the controlled quantity 192, whether this is a sound (eg timbre, pitch, loudness), light, movement, release or otherwise.
  • control functions can be operated very conveniently by MIDI interface.
  • MIDI can be used to produce selected sounds 192 which are not musical but may be vocal, eg word elements to compose words, or complete words or phrases.
  • a maze game Fig 20 in which areas 201 of eg a stage or large room are fenced off 202 from each other but with openings 203 between them to constitute a maze. If the subject 204 trying to solve the maze finds it too difficult, they can expose a pieve of retroreflective material 205 which will then react with at least one of the beams 282 in each of the areas to give instructions or to provide a "reward" tune, or lights or the like to indicate the correct path. For children, this could be in the form of a magic wand or sword which is exposed when the child is in difficulty and then produces an audible or visual "key" to guide the child out of the maze.
  • the invention extends also to:-
  • a life-size maze divided into sections, each provided with radiation source and sensing means having a threshold response level so as to produce indicative signals responsive to the presence of retroreflective material in the section and to respond differently or not al all in the absence of such material;
  • Light control means comprising means to produce radiation signals indicative of position and/or movement of the body
  • a method of training comprising use of the above apparatus; 4. A method of performing dance or movement, comprising use of the above means;
  • a method of producing a recording comprising use of the above means or method;

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Toys (AREA)
  • Electrophonic Musical Instruments (AREA)

Abstract

Moyens pour produire et/ou commander la musique ou analogue comportant des moyens de radiation indiquant la position et/ou le mouvement du corps (y compris une ou plusieurs parties de celui-ci) d'un danseur ou analogue et moyen pour capter ces signaux afin de produire des signaux de commande pour la production et/ou la commande de la musique ou analogue. De préférence, les moyens de détection comportent une pluralité de capteurs (12A) disposés en cercle autour d'une zone de danse pouvant être utilisés de manière sélective par le danseur et pouvant détecter la vitesse, la distance et la couleur, et commander tous paramètres d'un synthétiseur musical par un code compatible MIDI. De préférence, des moyens de rétroréflexion (40, 42, 44) sont portés par le danseur et peuvent comporter un vêtement ou un revêtement de la peau et/ou les cheveux sous forme de poudre ou de crème. Des ensembles de sources et de capteurs (28) peuvent être portés sur des bras télescopiques (36), qui sont escamotables à la manière d'un parapluie. Ces agencements peuvent être appliqués à l'éclairage, et ainsi à la rétroaction, aux mouvements, à la synthèse de voix, etc, peuvent servir d'entraînement, de suivi de traces sur une scène et de jeu de labyrinthe, et peuvent utiliser le multiplexage etc. Le rétroréflecteur peut être remplacé par un capteur directionnel utilisé de concert avec une réflexion normale.
PCT/GB1986/000605 1985-10-07 1986-10-07 Signaux de commande a rayons lumineux pour instruments musicaux WO1987002168A1 (fr)

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
GB8524708 1985-10-07
GB858524708A GB8524708D0 (en) 1985-10-07 1985-10-07 Light activated interface
GB8608067 1986-04-02
GB868608067A GB8608067D0 (en) 1985-10-07 1986-04-02 Control signals

Publications (1)

Publication Number Publication Date
WO1987002168A1 true WO1987002168A1 (fr) 1987-04-09

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Family Applications (1)

Application Number Title Priority Date Filing Date
PCT/GB1986/000605 WO1987002168A1 (fr) 1985-10-07 1986-10-07 Signaux de commande a rayons lumineux pour instruments musicaux

Country Status (4)

Country Link
JP (1) JPS63503167A (fr)
AU (1) AU6409986A (fr)
GB (1) GB2183889B (fr)
WO (1) WO1987002168A1 (fr)

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US5081896A (en) * 1986-11-06 1992-01-21 Yamaha Corporation Musical tone generating apparatus
US5159140A (en) * 1987-09-11 1992-10-27 Yamaha Corporation Acoustic control apparatus for controlling musical tones based upon visual images
EP0557111A1 (fr) * 1992-02-19 1993-08-25 Interactive Light Inc. Instrument optique dynamiquement activé pour produire des signaux de commande
US5310962A (en) * 1987-09-11 1994-05-10 Yamaha Corporation Acoustic control apparatus for controlling music information in response to a video signal
EP0667604A2 (fr) * 1994-02-14 1995-08-16 Interactive Light Inc. Dispositif d'actionnement
WO1998026345A1 (fr) * 1996-12-13 1998-06-18 Twosuns Media Development Gmbh Dispositif de commande pour locaux
WO1998033169A1 (fr) * 1997-01-27 1998-07-30 Harmonix Music Systems, Inc. Creation de musique en temps reel
FR2777107A1 (fr) * 1998-04-02 1999-10-08 Jean Joseph Paul Schmutz Instrument optoelectronique d'interpretation de la musique
WO2000017851A1 (fr) * 1998-09-23 2000-03-30 Moshe Klotz Plateau prefabrique incorporant un mecanisme de declenchement de la lumiere
KR100527325B1 (ko) * 2001-12-07 2005-11-15 고나미 가부시끼가이샤 비디오 게임 장치 및 동작 센서 구조체
US9360206B2 (en) 2013-10-24 2016-06-07 Grover Musical Products, Inc. Illumination system for percussion instruments

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US4929826A (en) * 1988-09-26 1990-05-29 Joseph Truchsess Mouth-operated control device
GB9012116D0 (en) * 1990-05-31 1990-07-18 Leapfrogs Ltd Environmental control system
JPH09325081A (ja) * 1996-06-05 1997-12-16 Casio Comput Co Ltd 運動測定装置及び運動測定装置を備えた電子式ゲーム装置
GB9904794D0 (en) 1999-03-02 1999-04-28 Optimusic Limited An attachment for a light unit
WO2001043117A1 (fr) * 1999-12-07 2001-06-14 Moshe Klotz Dispositif desaxe de detection de lumiere
GB2363754A (en) * 2000-04-11 2002-01-09 Moshe Klotz Laminated retroflective sheet and light-actuated triggering equipment comprising the same
JP2002066128A (ja) * 2000-08-31 2002-03-05 Konami Co Ltd ゲーム装置、ゲーム処理方法及び情報記憶媒体
US7858870B2 (en) 2001-08-16 2010-12-28 Beamz Interactive, Inc. System and methods for the creation and performance of sensory stimulating content
US8835740B2 (en) 2001-08-16 2014-09-16 Beamz Interactive, Inc. Video game controller
US8872014B2 (en) 2001-08-16 2014-10-28 Beamz Interactive, Inc. Multi-media spatial controller having proximity controls and sensors
US8431811B2 (en) 2001-08-16 2013-04-30 Beamz Interactive, Inc. Multi-media device enabling a user to play audio content in association with displayed video
GB2391376B (en) * 2001-09-17 2004-06-30 Nick Thompson Interactive light panel
EP1584087A4 (fr) * 2002-12-30 2010-08-04 Body Harp Interactive Corp Interface humaine en espace libre (non tactile) pour musique interactive, instrument de musique integrale, commande de média immersive
US8198526B2 (en) * 2009-04-13 2012-06-12 745 Llc Methods and apparatus for input devices for instruments and/or game controllers

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WO1985004065A1 (fr) * 1984-03-06 1985-09-12 Simon John Veitch Systeme visuel

Cited By (13)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5081896A (en) * 1986-11-06 1992-01-21 Yamaha Corporation Musical tone generating apparatus
US5159140A (en) * 1987-09-11 1992-10-27 Yamaha Corporation Acoustic control apparatus for controlling musical tones based upon visual images
US5310962A (en) * 1987-09-11 1994-05-10 Yamaha Corporation Acoustic control apparatus for controlling music information in response to a video signal
US5442168A (en) * 1991-10-15 1995-08-15 Interactive Light, Inc. Dynamically-activated optical instrument for producing control signals having a self-calibration means
EP0557111A1 (fr) * 1992-02-19 1993-08-25 Interactive Light Inc. Instrument optique dynamiquement activé pour produire des signaux de commande
EP0667604A3 (fr) * 1994-02-14 1996-01-31 Interactive Light Inc Dispositif d'actionnement.
EP0667604A2 (fr) * 1994-02-14 1995-08-16 Interactive Light Inc. Dispositif d'actionnement
WO1998026345A1 (fr) * 1996-12-13 1998-06-18 Twosuns Media Development Gmbh Dispositif de commande pour locaux
WO1998033169A1 (fr) * 1997-01-27 1998-07-30 Harmonix Music Systems, Inc. Creation de musique en temps reel
FR2777107A1 (fr) * 1998-04-02 1999-10-08 Jean Joseph Paul Schmutz Instrument optoelectronique d'interpretation de la musique
WO2000017851A1 (fr) * 1998-09-23 2000-03-30 Moshe Klotz Plateau prefabrique incorporant un mecanisme de declenchement de la lumiere
KR100527325B1 (ko) * 2001-12-07 2005-11-15 고나미 가부시끼가이샤 비디오 게임 장치 및 동작 센서 구조체
US9360206B2 (en) 2013-10-24 2016-06-07 Grover Musical Products, Inc. Illumination system for percussion instruments

Also Published As

Publication number Publication date
GB2183889B (en) 1989-09-13
AU6409986A (en) 1987-04-24
GB2183889A (en) 1987-06-10
JPS63503167A (ja) 1988-11-17
GB8624061D0 (en) 1986-11-12

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