WO1992017878A1 - Emulateur d'instrument de musique a cordes et procede associe - Google Patents

Emulateur d'instrument de musique a cordes et procede associe Download PDF

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Publication number
WO1992017878A1
WO1992017878A1 PCT/US1991/001988 US9101988W WO9217878A1 WO 1992017878 A1 WO1992017878 A1 WO 1992017878A1 US 9101988 W US9101988 W US 9101988W WO 9217878 A1 WO9217878 A1 WO 9217878A1
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WO
WIPO (PCT)
Prior art keywords
notes
note
signals
chord
guitar
Prior art date
Application number
PCT/US1991/001988
Other languages
English (en)
Inventor
James Spencer Letts
Randy Dale Picolet
Original Assignee
Gibson Guitar Corp.
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
Application filed by Gibson Guitar Corp. filed Critical Gibson Guitar Corp.
Publication of WO1992017878A1 publication Critical patent/WO1992017878A1/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
    • G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
    • 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
    • G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
    • G10H1/0041—Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
    • G10H1/0058—Transmission between separate instruments or between individual components of a musical system
    • G10H1/0066—Transmission between separate instruments or between individual components of a musical system using a MIDI interface
    • 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
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord

Definitions

  • This invention relates to electronic music emulati and more particularly to an emulator for changing an inp performance style to a different output performance styl
  • chord style input ranging somewhat more th about an octave from a keyboard controller can be changed the strum style of a fretted string instrument, such as t guitar, complete with its characteristic flam (arpeggiatio ranging over several octaves.
  • the purpose of the present invention is to provide means whereby musicians who possess facility with a keyboa instrument can simulate the techniques associated with stringed instrument performance such as a guitar.
  • stringed instrument performance such as a guitar.
  • the guitar has at least t particular characteristic features about its performan which differ from a performance conducted on a keyboard.
  • guitar can be strummed and notes of a particular cho become an output as a timed sequence of notes rather than simultaneous presentation of the notes of the chord.
  • the width of the voices of any particular chord played on guitar is much broader than those of a corresponding chor played on a keyboard.
  • a guitar musician in voicing a chord, can strum th notes of the chord as a time sequence. This is contraste to a keyboard where the notes are played simultaneously wit the five fingers of a hand. Thus, in playing a chord on keyboard, normally all of the notes constituting the chor will be played simultaneously, or if sequence, much slower as contrasted to the time sequence presentation of thes notes with the guitar.
  • the delay in strumming a chord on a guitar is of th order of 10 to 15 milliseconds and is audibly distinct fro either a simultaneous chord or a slow fingering.
  • the nuanc of strumming the notes or arpeggiating the notes rather than playing them simultaneously or slowly as a chord constitutes a very important musical characteristic of the guitar. This particular characteristic, while not impossible, is extremely difficult to mimic on a keyboard. Attempts to mimic guitar strums on a keyboard require a quick rolling motion of the hand. Many keyboard players at some point in their careers have attempted to learn this technique; however, it is extremely difficult and unnatural. Further, in strumming a guitar the strum can either be down, up, bi-directional or repeated.
  • the keyboard is limited in the width of the voice of a chord because of the constraints placed on it by the size of the hand. At best, the spread of a keyboardist's hand limits the individual notes of a chord to slightly over one octave. In contrast, the voices of a guitar cover a range of at least four octaves much of the time.
  • the natural tuning of a six string guitar ranges across two full octaves from the lowest E string to the highest E string. Further each string ranges across essentially a further two octaves.
  • the present invention to provide a method in an emulator apparatus for a keyboard musician or other music source, such as computer, horn controller or other polyphonic instrument play as though they had a guitar technique, including t altered voicings particular to the guitar and other stri instruments and the arpeggiation or flam associated with t strum technique of a guitar.
  • a keyboard musician or other music source such as computer, horn controller or other polyphonic instrument play as though they had a guitar technique, including t altered voicings particular to the guitar and other stri instruments and the arpeggiation or flam associated with t strum technique of a guitar.
  • the characterist guitar sound through an emulator, can be directly includ within the group of instruments that can be simulated wi a keyboard; so that, if a song or piece of music is writt to call for or include a guitar, it is possible to emula the guitar sound.
  • the emulator or guitar emulating device of t invention is capable of producing guitar style performanc from signals received from non-guitar style input devic and includes input means for receiving input electron signals from the input device source, such as a keyboa controller.
  • Emulator means is connected to the input mean
  • the emulator means is capable of generating signa representing altered signals from the input signal with t altered signals having characteristics of a guitar styl
  • the output of signals of the emulator are connected to t rest of the system through an output means.
  • the emulator means alters the signals to introdu arpeggiation into the signals for successive production signals representing strumming of the notes of a chord a can provide chord extension for constructing new not related in a defined manner to the notes of an input chord.
  • new notes are introduced into the output signal th new notes would be related as to their pitch to the note comprising the input chord notes and they can be furthe selected from notes in the same octave or different octave from the octave or range of octaves of the input chor notes. For instance, new output notes could be selected t range in an octave range of two to four octaves whereas th input notes were in a range essentially below 1.3 octaves.
  • the means for outputing the altered signals can comprise a digital output device for outputing MIDI signals to a synthesizer which will then generate audio or can comprise a dedicated guitar voicing audio generator for directly outputing audio.
  • Signals from the input device, i.e., keyboard controller are received by the input means at a first input rate.
  • arpeggiation flaming or strumming
  • these signals are to be outputed at an output rate wherein the signal indicative of the individual notes are separated in time by an increased time increment compared to input signals.
  • a stream of input signals can be concatenated during a threshold time window which selects signals at a first input rate.
  • the signal is collected as notes in a note list.
  • the notes thus collected in the note list are then outputed at another signal rate to introduce guitar nuances into the further output signal.
  • the signal indicative of notes of a chord in the output signal can be outputed serially, in particular orders indicative of guitar strummings, from low notes to high notes, or from high notes to low notes or even bi- directionally including both high and low strums. Further, signal can be outputed in response to both the receipt of signal from the input device and the termination of signal from the input device.
  • a guitar like strum can be introduced into the output signal corresponding to the first striking of keys on a keyboard input device and also when pressure on these keys is released.
  • notes in the note list from either the input signal or further notes generated in the note list in response to input signal can be transposed to emulate the configuration of the basic tuning of guitar strings or "barring" of these guitar strings.
  • the basic tuning of the guitar strings would altered.
  • each string in a basic configurati would be increased or decreased by a constant amount reconfigure all of the strings by a constant increment.
  • This invention further includes a method f electronically generating a guitar like sound which includ generating input signals in response to input of chorus a keyboard input type device. These signals are collect within a time window and assembled in a note list. output signal is generated from the note list a transferred to an output device as a time displaced seri signal stream wherein the time displacement of this outp signal is greater than the time window selected f collection of the input signal.
  • the method can furth include outputing the signal from the note list in an ord which is based upon the pitch of the notes in the note li and further, by expanding the note list to include furth notes. The further notes would have the same pitch as t notes collected from the input but they would be displac to a higher or lower note with respect to the octaves of t notes in the notes list.
  • the electroni digital output signals will characterize the notes, th velocity, and the rhythmic pattern of a guitar styl performance. This can be achieved by defining chords fro the received input signal and generating output digita electronic signal defining predetermined guitareran including the number of frets, the strings, and the ope tuning of each string and for converting each chord into a least one guitar strum over at least a portion of the ope guitar voicing.
  • Program means for selecting performanc parameters can be selected from input note selection grouping criteria, receiving modes, output note order, rat and MIDI channel selection.
  • circle entries identify functions, steps or processes, arrow identify data flow between functions and parallel line identify data storage.
  • Figure 1 is an overall flow diagram illustrating th method of musical event interpretation in accordance wit the present invention
  • Figure 2 is a flow diagram of the input window and note selection process of the present invention
  • Figure 3 is a flow diagram of the output window and note grouping process of the present invention.
  • Figure 4 is a block diagram of a computer circuit adapted for use in executing the procedure of •the present invention
  • Figures 5A, 5B, 5C, 5D and 5E are detailed schematic diagrams of electronic circuits corresponding to the block diagram of Figure 4 for storing and implementing the procedures of the present invention.
  • MIDI provides the standard interface for interconnection, i.e., local area communication network (LAN) for emulators.
  • LAN local area communication network
  • the MIDI specification is set forth as a standard in the MIDI 1.0 Detailed Specification Document (160 pages) including addendum revision 3.3 (1 September 1986) which is incorporated herein in its entirety by reference.
  • a MIDI interface contains at least a receiver or a transmitter.
  • a receiver interface receives messages through an optoisolator and a UART (Universal Asynchrono Receiver/Transmitter) .
  • the receiver recognizes MIDI form signals and executes MIDI commands contained therein.
  • transmitter originates messages in MIDI format and transmi through a UART and line driver.
  • the guitar emulator of t present invention contains both the MIDI receiver secti which is connected to a source such as a keyboard controll and a MIDI transmit section which is connected to the MI receiver of a sound generator.
  • the guitar emulator of th invention contains programmed computer hardware for carryi out transformation procedures of the invention as will explained.
  • MIDI itself operates to specify the character digitized messages transmitted between as, for instanc emulators and related devices.
  • Such messages include syst messages, channel mode messages, and channel voice message
  • the channel voice messages include note off, note o polyphonic key pressure/after touch, control change, progr change, channel pressure/after touch, and pitch ble change.
  • the voice messages are modified in the guit emulator of the present invention.
  • MIDI operation t standardized voice messages in particular are capable carrying considerable musical information from one digit electronic device to another.
  • the note on message signal the beginning of a note and is sent when the musician firs presses down a key.
  • the data includes in its message no only which key has been pressed but the attach velocity wit which it is played.
  • the polyphonic key pressure message is used when th musician holds a key down. It relates how hard the touch i pressed into the key during the after touch.
  • the note off message designates when a musicia releases a key and includes data on how quickly the key wa released, i.e. the release velocity.
  • the control change message provides a variety o information about switch settings of the emulator. Also i the emulator has a foot pedal, a control change message ca indicate when the pedal is depressed and when it is release to control various devices.
  • MIDI also defines a particular channel number so tha messages can be identified both as to their source an destination when several MIDI devices are connected i sequence.
  • selecting o different pre-sets for example, can be transmitted on specific channel selecting a specific pre-set and an instrument listening to that channel would be switched to that selected pre-set.
  • controller 1 There is also information for controlling pedals and pitch bend levers and modulation controllers, some of which are well specified as, for example controller 1 almost invariably designates a modulation vibrato effect.
  • controllers There are a variety of controllers, however.
  • the MIDI interface is defined as though all controllers are keyboards.
  • controllers may actually be similar to wind instruments, guitars or a variety of any other keyed instruments, but the pitch information from such controller is converted into an equivalent note number and transmitted as though a note had been pressed on a keyboard.
  • the source of this control information could, of course, be a computer, so that a score written to a computer would be converted into a series of note on, note off events together with ancillary information all of which is transmittable by the MIDI specification.
  • At the other end from the transmitter are any of a variety of receivers most of which will make a sound, although not always. They usually take the note information and cause a tone generator inside the receiver to produce an electronic signal, or in some cases a mechanical signal that produces sound, thereby controlled by the MIDI information.
  • the destination might even be a lighting control. While the receiver usually produces pitched sound, it should be realized that the MIDI signal in its usual form identifies a frequency at which certain audio complements should make a signal, even though that signal may itself not be pitched. For example the note number might specify the rate at which the signal ge louder and softer, although the signal itself is just nois such as sh-sh-h-h. As a further extension the signal cou result in switches being turned on and off at some specifi rate or frequency, thus the MIDI specification does n dictate what must be done with the MIDI information but i a guideline for its use.
  • MIDI emulators do not have to operate i real time, and the data that comes in need not be one-to-on in correlation with the data that is to go out.
  • This guitar emulator provides an electronic device fo musicians to produce guitar style performance from pian style keyboards utilizing piano style voicings an techniques. This allows for the achievement of guitar lik sounds including strumming or arpeggiation as well as chor extension which include individual voicing over the range o octaves of the guitar.
  • a piano type keyboard will be utilized fo generation of the original chord voicing, however it i realized that other sources could be utilized, as fo instance, any polyphonic instrument including other keyboar instruments, wind instruments, horn instruments and eve co puter generated chords. Irrespective of the source, th guitar emulators of the invention allows for altere voi ⁇ ings and arpeggiation of the input.
  • the keyboard or other input device can communicate directly to hardware thus creating a dedicated instrument wherein guitar performance is created from a keyboard or output can be transferred via MIDI to other devices.
  • the invention can be incorporated into complex devices wherein the guitar emulation only constitutes a portion of the operation of the device. Such devices would include the option to select guitar emulation or to bypass guitar emulation. Thus, transformation of input can be made to select the guitar emulation or signal can simply be passed through without generation of guitar emulation. Further, special effects can also be achieved with the invention, as for instance a one shot arpeggio of an input signal or the like.
  • a piano keyboard is utilized, by way of example, to generate input and this input is transferred to a device of the invention utilizing the MIDI standard.
  • voicing information will be transferred utilizing standard MIDI communication protocol with a 1 start bit, 8 data bits and 1 stop bit. This communication is done over a serial communication line and is unidirectional from the input device to the output device. This is done utilizing standard UARTs as a communication controller.
  • the command specifications include note on/note off corresponding to the individual keys pressed on the input key board as well as reference to one of the 16 allowed particular channels in the MIDI protocol.
  • the notes on and notes off also include velocity codes to indicate how quickly the key was depressed or released.
  • preset information can be transmitted to the different channels allowing for any particular channel to listen and interact under its own preset selected parameters.
  • Output from the guitar emulator of the invention is to a further emulator or sampler creation of the actual guitar like audio. As such, out of the guitar emulator of the invention will contain au information to be used by a downstream emulator or sampl It is understood, of course, that the guitar emulator of invention could be built into a dedicated device which wo include means for directly generating an audio output.
  • a chord is defined by at least three voices.
  • a nor guitar includes six strings, e.g., E, A, D, G, and E.
  • a technique of the invention hereinafter refer to as chord extension, takes advantage of all or part of six strings of a guitar.
  • chord extension of invention a three note input to the guitar emulator of invention is expanded to an output of six notes, i.e. a voice output, to include all six strings of the emula guitar in the chord. Because of certain fingerings other characteristics of particular chords, for cert chords not all of the strings may be utilized. Thu combinations of 6, 5, 4 or 3 strings might be output by t guitar emulator depending upon the particular chord playe the location of the fingering on the frets of the guitar for the emulated guitar chord and the like.
  • a time window is established wherein receipt of signal for individual notes of a chord within the time window is considered as being generated simultaneously and the guitar emulator of the invention then process the signal received in the time window.
  • signal characteristic of these individual notes is output, output is also serially but it is effected utilizing a delay between the notes characteristic of that necessary to achieve an audibly perceivable strumming effect of the guitar.
  • the three notes or voicings which make up a chord and which are received during the time window can be expanded to six by the chord extension of the invention and while only three notes were played, the output signal will include up to six separate voices separated in time.
  • a sound input from a keyboard to a guitar emulator of the invention utilizing MIDI protocol will be first analyzed to see if the channel on which the guitar emulator is on has been selected. Assuming that channel select is for guitar emulation, the data in the serial is for guitar emulatio the data in the serial data stream will then be furth processed to determine if individual notes of a chord a within a threshold setting of a selected time window. T time window is selected to be indicative of the individu notes of a chord being played essentially simultaneously the keyboard and then received serially over the MI connected line within the selected threshold setting.
  • the guitar emulator of the invention can furth include means for checking for notes within a certain rang This allows a keyboardist to play chords with one hand whi will be converted to guitar like sounds by the guit emulator while playing notes on the other hand, which wi not be converted, as for instance, bass notes and the lik Thus, the bass notes being out of a preset range of not will be transferred to the output MIDI line in an unalter state and only those notes within the selected note ran will be altered by the guitar emulator.
  • the notes are then accumulated into a play note list.
  • the first note coming into the guitar emulator i echoed out immediately in order not to induce time delay between the keyboard and the output device. This firs transition from a no note state to an on note state thu gets played immediately. The other notes, however, ar accumulated during the time window in the note list until a indication comes over the MIDI transfer line of a further n note state.
  • a normal guitar can be played in either open tuning o in barred tuning.
  • the lowest note fo each string would be that of the unfretted string.
  • barred tuning the lowest note of each string would be set t a particular fret.
  • Chord extension of the invention can include,emulating both open tuning or barred tuning of a guitar. Incoming signal is analyzed not only to ascertain the presence of a chord and which specific chord is being played, but if in fact, the chord is being played higher up on the neck of the virtual guitar which is being emulated on the keyboard. This is achieved by looking at each of the theoretical strings of an emulated guitar and deciding what of the actual notes which have been input to the guitar emulator should be played on which strings and on what fret.
  • the base tuning of the guitar would be utilized for note and octave selection. If it is desirous to play the emulated guitar higher up on the virtual neck of the emulated guitar, the fret at which the guitar is to barred is entered into the protocol of the guitar emulator of the invention and all notes then transposed with respect to this base.
  • the guitar emulator of the invention works in a range of transposition of about four semi-tones.
  • a received note is compared to see if it corresponds to an open string and if it does not correspond to an open string then it is transposed up along the string to find the correct note. This is done of each of the notes received. This matches the pitch, but not necessarily the octave. The pitch is simply the note number modulo 12.
  • the octave can be determined by assigning one of the emulated strings as a control string, as for instance the first string corresponding to a note received over MIDI, the lowest string or the highest string. Its- pitch is then assigned and from this the assignments to the other strings can be made accordingly. Thus, if for instance, using the lowest string as the controlling string, its pitch is assigned to the third fret. The guitar chord indicated would thus be a barred chord at fret 3 and all other strings could be transposed with respect to achieving the desired chord barred at fret 3.
  • the guitar emulator of the invention can all for selective tuning of the strings.
  • the strings will change in predictab ways for a given chord and accommodate transposing up transposing down of the chord. This allows for cho extension to achieve pitch and octave number fro information extracted from the note play list.
  • the strings are simultaneousl transposed by a certain amount with additiona transpositions on certain of the strings to generate th desired chord.
  • either the lowest or th highest numbered note can be assigned as a first note in th base note list. From this an initial transposition i calculated and then this transposition is added to all othe notes in the base note list. The remaining' notes in th list are taken in turn and for each the cl ⁇ sest pitch in th play note list is generated such that only positiv transpositions less than the above referred to 4 semi-tone for the modified base note list is used.
  • a guitar like instrument can be strummed with a ascending or descending stroke, down or up, that is from lo to high or from high to low.
  • a scanning direction ca be involved.
  • the guitar emulator of the invention can modify the scanning direction by inverting it, repeating it, or changing it in real lime with the use of an auxiliary pedal or other input device.
  • a chord played on the input keyboard instrument can be output either as a high to low strum or a low to high strum or a series of transformations of low to high, high to low and the like.
  • the guitar emulator of the invention is responsive both to notes on and to notes off.
  • a first strum can be output in response to receipt of notes on and upon receipt of notes off, a further strum can be output.
  • These can both be in the same direction, such as down - down or they can be reversal such as down - up.
  • This allows for the input of a single key stroke on the keyboard being output by the guitar emulator of the invention as multiple guitar strumming sounds of either down strokes, up strokes or bi-directional reversals to achieve various guitar strumming effects. Such effects would be all but impossible to directly achieve on a keyboard and in the absence of the guitar emulator of the invention can only be achieved on an actual guitar instrument.
  • the MIDI standard allows for input of velocity information over the connecting cable between an input and an output instrument. This can be used by the guitar emulator of the invention. Thus, it is possible to select either the highest velocity of the cluster of notes in a particular chord played on a keyboard input device or the lowest velocity to govern the output of the guitar sound from the guitar emulator. If the low velocity was selected the softer the musician played on the keyboard the slower would be the strumming speed of the guitar sound output by the guitar emulator. Conversely, if the highest velocity was selected the opposite effect is output.
  • the velocity of the notes generated by chord extension can also be scaled. This is effected according to their proximity to actual notes. The notes closest to those actually found in the play note list are loudest while further notes which have been synthesized are quieter. Th reference point for this can be defined as the first not which is scanned in the play note list and thus it can b made to be dependent upon the scan direction.
  • Output information for emulating a guitar can b propagated to an appropriate output device for creation o acttaal audio characteristic of the guitar. Output can b effected utilizing MIDI.
  • the principles of the invention can also be utilize with a dedicated guitar emulator which would allow fo emulation of further guitar characteristics such a hammering on, note decay produced by the guitar string string harmonics and other particulars of a guitar such a typical finger squeakings and the like which are typical o guitar performances. While a standard emulator utilizing MIDI protocol will respond to start of note, stop of note blend of pitch, sustainment of the note, the addition o vibrato and changing pitches, other characteristics can b implemented in a dedicated guitar emulator. If a guita emulator of the invention is built into a sampler o emulator, further guitar nuance can be incorporated int such a dedicated device. This allows for highl sophisticated guitar voicing utilizing standard keyboar input.
  • the note interval between note is timed and at 2.3 the notes are selected within the tim window which are within the range to be processed.
  • Revoicing is done at 3 for selected pitch, stru direction and other revoicing variable.
  • the output not stream is generated at 4 ( Figure 3) with the clock rat specifically generated at 4.1, the note order at 4.2 an corresponding notes off and string status is updated at 4.3.
  • the program is particularized by the user before performance by setting of front panel switches on a device running the same.
  • Sufficient memory is utilized for multiple performance sub-programs, each having three main parts; normal performance parameters, alternate performance parameters and instrument definition.
  • the normal and alternate performance parameters are identical in structure, but the alternate parameters are invoked during performance in real time by the use of an external pedal or a MIDI controller.
  • the performance parameters define output notes, selection and group criteria, revoicing modes and output note order rate and MIDI channels.
  • the instrument definition allows the specification the number of frets and strings as well as the op (unfretted) tuning of each string.
  • the us selects a program from the front panel of a device runni the program or via a MIDI controller and then the us enables/disables the processing of the MIDI performance da from the front panel or by an external pedal or MIDI signa While enabled, all performed note data (on the selected MI channel) is scanned and transformed according to the norm or alternate parameters of the selected program, appropriate. The musician then simply plays familiar cho voicings in the desired rhythmic pattern on the keyboard a the present invention converts the performance into that a string instrument. When disabled the apparatus simp echoes all incoming MIDI data to the output so as to provi a bypass mode.
  • an operating progr can be set forth as per the hierarchical pseudo code Appendix B.
  • the program of the present invention set for in the hierarchical pseudo code is structured for rea implementation in a specific high level language such Pascal or C which may then generate machine code with suitable compiler.
  • FIG 4 is a block diagram of hardware for a guit emulating device 10 for implementing the above referred operating program of the invention.
  • the device 10 is bas upon a microprocessor 12.
  • Suitable for the microprocess 12 is an Intel 8031 which is an 8 bit IC with 128 bytes internal RAM and on device input and output UARTs.
  • Input corresponds to a standard MIDI input device shown in great detail in Figure 5D.
  • Output 16 corresponds to a standa MIDI output device shown in Figure 5E. Since the input a output devices 14 and 16 follow the MIDI standard they all for connection of the device 10 to other devices as, for instance, a keyboard input device and an audio output device based upon the MIDI standard.
  • the device 10 utilizes a bus 18 which is an 8 bit bus corresponding to the 8 bit microprocessor 12.
  • Program control is stored on EPROM 20 which can be as, for instance, a 32K 27256 device.
  • a CMOS RAM 22 can be selected as a 32K
  • Address latch 24 is used .to select low addresses for the ROM 20 and the RAM 22 for separating data information from message information on the MIDI.
  • An address decoder 26 is utilized for selecting RAM 22, an LED driver 28, a switch buffer 30 or an optional secondary memory as, for instance, a cassette card or floppy drive generally indicated at 32.
  • the LED driver 28 is an appropriate multiplex LED driver for controlling a LED array 34 for signaling output from the device and the switch buffer 30 interfaces with a switch array 36 for selecting different protocols for implementation the guitar emulator on the device 10.
  • Figures 5A, 5B, 5C, 5D and 5E show a more detailed layout of hardware corresponding to the device 10.
  • Source Note # (0 -127)
  • Source Attack Velocity (0 - 127)
  • Source Release Velocity (0 - 127)
  • Pushbutton and external pedal inputs from the user.
  • Use keyed pitches associated with that pattern to define the keyed pitch of all notes in the Group Use the analysis of the Group along with the Revoicing Mode Variables an the Instrument Definition to select a best choice from among potential voicing (combinations of String assignments which utilize only pitches present in t Group), based on a Measure of Goodness test, analyzing each feasible Ha Position (defined by the Chord Style (bar or open] and a Fret #) which satis the Voice Leading.
  • Alternate Performance Parameter Selection Provide visual feedback to the user of:

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Abstract

L'invention se rapporte à un émulateur d'instrument de musique (10), qui utilise la technique de l'émulation pour simuler des sons de guitare et cela au moyen d'un clavier de piano. L'entrée (14) dans une fenêtre de temps est définie comme étant simultanée et introduite dans une liste de notes. Un signal est dérivé de la liste de notes indiquant l'accord joué. Les notes contenues dans la liste de notes peuvent être étendues pour former un accord complet, de sorte qu'un nombre de pas plus de trois notes formant un accord est étendu à un nombre de notes plus grand, comme par exemple dans une guitare à six cordes. Le signal est produit à la sortie (16) à une cadence qui est étendue par rapport à la fenêtre de temps entrée, de sorte que le son produit à la sortie simule par émulation le pincement des cordes d'une guitare en arpège ou en frappé. On obtient l'extension de l'accord en analysant les notes contenues dans la liste de notes du point de vue de leur hauteur et en produisant d'autres notes qui se trouvent en dehors de la plage d'une seule octave, dans laquelle se situe généralement un accord de clavier, et occupent une amplitude étendue à quatre octaves qui est typique de la guitare.
PCT/US1991/001988 1988-06-23 1991-03-26 Emulateur d'instrument de musique a cordes et procede associe WO1992017878A1 (fr)

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US21075988A 1988-06-23 1988-06-23

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Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3967520A (en) * 1974-11-18 1976-07-06 Drydyk Lawrence A Guitar chording device for keyboard instruments
US4154131A (en) * 1977-06-21 1979-05-15 D. H. Baldwin Company Digital arpeggio system
US4658690A (en) * 1983-05-10 1987-04-21 Synthaxe Limited Electronic musical instrument

Patent Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3967520A (en) * 1974-11-18 1976-07-06 Drydyk Lawrence A Guitar chording device for keyboard instruments
US4154131A (en) * 1977-06-21 1979-05-15 D. H. Baldwin Company Digital arpeggio system
US4658690A (en) * 1983-05-10 1987-04-21 Synthaxe Limited Electronic musical instrument

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