WO2002021503A1 - Ensemble de batteries electroniques analogiques, piece pour ensemble de batteries electroniques analogiques, et unite a pedales - Google Patents

Ensemble de batteries electroniques analogiques, piece pour ensemble de batteries electroniques analogiques, et unite a pedales Download PDF

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Publication number
WO2002021503A1
WO2002021503A1 PCT/JP2001/003135 JP0103135W WO0221503A1 WO 2002021503 A1 WO2002021503 A1 WO 2002021503A1 JP 0103135 W JP0103135 W JP 0103135W WO 0221503 A1 WO0221503 A1 WO 0221503A1
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WO
WIPO (PCT)
Prior art keywords
sound
drum set
microphone
analog electronic
electronic drum
Prior art date
Application number
PCT/JP2001/003135
Other languages
English (en)
Japanese (ja)
Inventor
Shingo Tomoda
Original Assignee
Shingo Tomoda
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 Shingo Tomoda filed Critical Shingo Tomoda
Priority to AU2001248754A priority Critical patent/AU2001248754A1/en
Priority to PCT/JP2001/007682 priority patent/WO2002021504A1/fr
Priority to JP2002525636A priority patent/JP3434509B2/ja
Priority to EP01963425A priority patent/EP1326229A4/fr
Priority to CNB018153275A priority patent/CN1253850C/zh
Priority to AU2001284427A priority patent/AU2001284427A1/en
Publication of WO2002021503A1 publication Critical patent/WO2002021503A1/fr
Priority to US10/383,699 priority patent/US7015391B2/en

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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
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/146—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a membrane, e.g. a drum; Pick-up means for vibrating surfaces, e.g. housing of an instrument
    • 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
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • G10H2210/265—Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays
    • G10H2210/295—Spatial effects, musical uses of multiple audio channels, e.g. stereo
    • G10H2210/305—Source positioning in a soundscape, e.g. instrument positioning on a virtual soundstage, stereo panning or related delay or reverberation changes; Changing the stereo width of a musical source
    • 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
    • G10H2220/341—Floor sensors, e.g. platform or groundsheet with sensors to detect foot position, balance or pressure, steps, stepping rhythm, dancing movements or jumping
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/275—Spint drum
    • G10H2230/281—Spint drum assembly, i.e. mimicking two or more drums or drumpads assembled on a common structure, e.g. drum kit
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/275—Spint drum
    • G10H2230/285—Spint drum tomtom, i.e. mimicking side-mounted drums without snares, e.g. in a drumkit
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/275—Spint drum
    • G10H2230/291—Spint drum bass, i.e. mimicking bass drums; Pedals or interfaces therefor
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/275—Spint drum
    • G10H2230/305—Spint drum snare, i.e. mimicking using strands of snares made of curled metal wire, metal cable, plastic cable, or gut cords stretched across the drumhead, e.g. snare drum, side drum, military drum, field drum
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/321—Spint cymbal, i.e. mimicking thin center-held gong-like instruments made of copper-based alloys, e.g. ride cymbal, china cymbal, sizzle cymbal, swish cymbal, zill, i.e. finger cymbals
    • G10H2230/331—Spint cymbal hihat, e.g. mimicking high-hat cymbal; Details of the pedal interface, of the pedal action emulation or of the generation of the different sounds resulting from this pedal action

Definitions

  • the present invention relates to an analog electronic drum set and an analog electronic drum set, and more particularly to an analog electronic drum set and an analog electronic drum that reproduce an impact sound of each part of a raw drum set by performing electrical processing without performing digital conversion processing. It is related to ram set parts. Background art
  • Fig. 28 shows the basic structure of such an electronic drum.
  • a player strikes a pad 10 made of rubber or resin as shown in the figure, the impact is output as an electric signal. You. This striking electrical signal is sent to a MIDI “musical instrument digital interface” converter 12.
  • This MIDI is a well-known standard for interconnecting electronic musical instruments and personal computers and exchanging music data. The pitch, size, length, They convert information such as timbres and effects into “numerical data” to express music.
  • the MIDI converter 12 converts the electrical signal corresponding to the hit of the pad into MIDI, and sends the MIDI signal to the sound source section 16 via the photocoupler 14.
  • the sound source section 16 holds various sounds, and outputs a sound of a type selected and set based on the input MIDI signal in accordance with the MIDI signal.
  • the sounds stored in the sound source section 16 are not limited to actual various instrument sounds, but also engine sounds and various sound effects. That is, in such an electronic musical instrument, since the sound signal is once converted into a digital signal, the sound quality generated when the pad is hit has no relation to the reproduced sound.
  • the sound signal output from the MIDI converter 12 is subjected to various adjustments by a so-called effector 18 and then sent to the reproducing means 20 to be reproduced.
  • a so-called effector 18 When using the low-pitched sound function that is a feature of electronic musical instruments, headphones are used for this reproduction, and it is possible to prevent the generation of loud sounds outside.
  • VCO VoltageClontrollEdOsci111ater
  • VCF VoltageContRolledFi1 11 ter
  • Amp 1 ifier tremolo, vibrato, etc. are applied to determine the volume.
  • processing by EG (Envelope Generator) is performed, and the attack time 'delay time' sustain Time / Release time is set, i.e., the time to complete the rise, the time from the peak to the sustained sound, the time to extend, the time of the remaining sound after the OFF, etc. It is said to be output from the output through a function that can be added.
  • FIG. 1 is a snare drum
  • 2 is a 1st tom drum
  • 3 is a 2nd tom drum
  • 5 is a floor tom
  • 6 is a bass drum
  • 7 is a foot pedal for striking a bass drum.
  • 8 is a hi-hat symper
  • 9 is a crash symper
  • 10 is a ride symper.
  • Reference numeral 1 denotes a foot pedal for operating the closing and opening of the hi-hat cymbal.
  • the “raw drum set” is not limited to the configuration of the drum set shown in FIG.
  • the “raw drum set” may be composed only of the drum system or the cymbal system, and may include elements other than the drum system and the sympal system. That is, it is sufficient that at least one of the taiko system and the cymbal system is included.
  • the term "raw drum set” is based on the premise that a performance is performed only with the impact sound generated from the drum set itself without performing electrical processing using an amplifier or other amplifier and speed. The created drum set.
  • the drum set is only a tapping sound, that is, an electrical If it was created on the premise that a performance would be performed without any processing, it would be the “raw drum set” here.
  • drums shown in Fig. 29 it is not necessary to include all of the drums shown in Fig. 29, but it is sufficient if a part of them is included. Drums other than the drums shown in FIG. 29 may be included.
  • Fig. 29 As for the sympal system, all of the sympals shown in Fig. 29 are included. It is not necessary to include a part of these. It should be noted that other simpals than those shown in FIG. 29 may be included.
  • the performance sound is played back irrespective of the pad hitting sound, as described above.
  • sounds that are completely different from those of a live drum set such as the sound of other musical instruments such as a piano, as well as the sounds of animals and the engine of a car.
  • the difference in the generated sound can be obtained by changing the way of hitting, for example, the grip strength of the stick, or by finely adjusting the contact time between the stick and the hit part. The more advanced players can make use of such subtle touches.
  • synth drums agree in that MIDI is not used.
  • the sound quality of the first hitting sound is not used as the basis for playback. That is, the first tapping sound only serves as a trigger for turning on the switch. Therefore, the problem that the player's subtle hitting technique could not be used remained.
  • the synthesizer only output the electronic sound created from the beginning.
  • the present invention has been made in view of the above-described various problems, and an object of the present invention is to be able to generate a reproduced sound by following a delicate playing style of a player, and to perform the operation of the player and generate the reproduced sound. Another object of the present invention is to provide an analog electronic drum set and parts for an analog electronic drum set that are not aware of a time lag. Disclosure of the invention
  • an analog electronic drum set corresponding to each part of a raw drum set, includes a first original sound generating unit having a striking surface and no resonance chamber, A microphone that converts a tapping sound from the original sound generation unit into an electric signal, a sound adjustment unit that performs sound quality adjustment of the electric signal from the microphone-phone as an analog signal without digital conversion, and the sound adjustment. And a reproducing unit for performing reproduction based on an output signal from the unit.
  • the first original sound generator that does not have a resonance chamber generates an original sound of each part of the raw drum set, that is, a striking sound that is smaller than the sound of each part of the live drum, so that the first original sound generator is The sound produced when struck can be not as loud as a real live drum.
  • the tapping sound generated by hitting the first original sound generation unit is received by the microphone and converted into an electric signal. Then, the electric signal is subjected to various sound quality adjustments by the sound adjustment unit as an analog signal.
  • This sound adjustment is an adjustment that does not perform digital processing, which is conversion into numerical data. Based on the signal, electrical processing for various analog sound quality adjustments is performed. After this adjustment, the sound is reproduced by loudspeakers, headphones, or the like.
  • playback is not performed completely irrespective of the actual sound that occurs when the pad is hit, but the tap sound generated when the first sound source is hit is generated. Since it is used as it is, the subtle hitting technique of the player, that is, the playing technique can be directly reflected in the playback sound. In other words, it is possible to reproduce the sound by the same operation as when using a normal raw drum set, such as how to grip and hit the stick, and the generation of a fricative sound, and the reproduction that follows the skill level is achieved.
  • the sound adjustment unit is configured by, for example, a main effector including an input gain, an equalizer, a harmonizer, a compressor, and the like, and a sub-effector including a reverb, a chorus, a delay, and the like.
  • amplification, enhancement of various sound quality, adjustment of pitch, adjustment of power, and the like are performed without conversion to a digital signal.
  • the sound adjustment unit can reproduce a sound that can be used for actual performance, for example, a powerful sound with a tone close to the actual sound of a live drum, from the small sound of the first original sound generation unit It becomes possible.
  • the first original sound generation unit is made of a material that generates a percussion sound having a sound quality close to the original sound quality of the parts corresponding to the actual raw drums. It is to be formed.
  • the sound quality can be more easily adjusted by the sound adjuster. That is, it is possible to easily perform operations such as strengthening a sound portion close to the sound quality of the actual drum parts so as to approximate the sound of the actual raw drum.
  • the parts for an analog electronic drum set according to the present invention are provided in a drum set in a raw drum set.
  • a first original sound generator having a striking surface and no resonance chamber, and converting a tapping sound from the first original sound generator into an electric signal.
  • And a microphone are provided.
  • the striking surface is formed by using a member including a metal member, and the microphone phone is attached to the striking surface by magnetic force. I have.
  • the microphone surface phone can be directly attached to the surface by magnetic force by forming the hitting surface using a member including a metal member, which not only prevents noise pickup but also improves sound adjustment. Suitable good original sound can be obtained.
  • the analog electronic drum set part according to the present invention corresponds to the pass drum in the raw drum set, and has a hitting surface that can be hit directly by the sole and has no resonance chamber.
  • the pass drum is configured to be hit via a foot pedal in a normal live drum set.
  • a foot pedal when the foot pedal is depressed, a rotating drumstick hits the striking surface of the pass drum which stands almost perpendicular to the floor surface.
  • the part according to the present invention has a configuration in which the hitting surface is directly hit with the sole. Therefore, compared with the case of using a foot pedal, by installing a cushioning material at the lower part of the main body, it is possible to easily prevent the vibration and noise due to the impact. In other words, a large-amplitude striking operation unlike the case of using a foot pedal is not performed, and a small impact is sufficient. Also, hitting the striking surface at a specified location on the sole Therefore, it is possible to easily perform a hitting operation that is thinner than an actual pass drum.
  • the foot pedal unit used for the analog electronic drum set parts includes a pulley urged in a predetermined rotation direction, a foot pedal for turning the pulley against a biasing force by stepping down.
  • a striking rod attached to the pulley and positioned on a side of the foot pedal, and configured to move downward by the rotation of the pulley and to strike a striking surface. it can.
  • two pulleys may be provided in parallel to rotate synchronously.
  • the microphone mouth phone is a pickup microphone that converts vibration of a magnetic body into an electric signal
  • the pickup surface includes a vibration source made of a magnetic material and vibrating in accordance with the vibration of the hitting surface.
  • a microphone may be provided corresponding to the microphone, and the pickup microphone may convert the vibration of the vibration source into an electric signal.
  • the vibration source can be adhered to the back surface of the hitting surface or pressed against the back surface of the hitting surface.
  • the pickup microphone may be provided so as to be able to approach and move away from the vibration source.
  • the microphone mouth phone is a pickup microphone that converts vibration of a magnetic material into an electric signal
  • the hitting surface is formed of a member including a magnetic material
  • the pickup microphone converts the vibration of the hitting surface into an electric signal. You can do so.
  • the pickup microphone can be provided so as to be able to approach and separate from the hitting surface.
  • the analog electronic drum set part according to the present invention corresponds to a cymbal part in the raw drum set, and includes a first original sound formed by a metal cylinder having both ends opened. A generating unit; and a microphone mouth phone for converting a blow sound from the first original sound generating unit into an electric signal.
  • Sympal parts usually have loud sounds, but with such a structure, small sounds that can be played even in places without soundproofing facilities are obtained, and when the main body is struck, good sound action is achieved in the main body and space. To get a good original sound. Wear. It should be noted that a metal disc-shaped member that generates a striking sound smaller than the original cymbal-based patter can be used for the first original sound generating section.
  • the microphone opening phone is a pickup microphone that converts vibration of a magnetic body into an electric signal
  • the first original sound generation unit made of metal is formed of a member including a magnetic body.
  • the vibration of the original sound generating section can be converted into an electric signal.
  • the pickup microphone can be provided so as to be able to approach and separate from the first original sound generation unit.
  • the pickup microphone mounting structure described above can also be used for a live drum set. As a result, a sufficient volume can be delivered to the audience at the performance venue where a large volume is required.
  • An analog electronic drum set part according to the present invention in the above-described invention, is a sound adjusting unit that performs sound quality adjustment of an electric signal from the microphone-mouth phone as an analog signal without digital conversion, and an output from the sound adjusting unit.
  • a reproduction unit that performs reproduction based on the signal.
  • FIG. 1 is a schematic diagram showing a drum set according to an embodiment of the present invention.
  • FIG. 2 is an explanatory diagram showing a configuration of parts corresponding to the drum.
  • Fig. 3 is an explanatory diagram showing how to attach the head of the parts corresponding to the drum.
  • Figure 4 is an illustration of how to attach the microphone phone to the parts corresponding to the drum.
  • FIG. 5 are explanatory diagrams showing a snapper used for a part corresponding to a snare drum and its attachment.
  • FIGS. 6A and 6B are explanatory diagrams showing the configuration of parts corresponding to the pass drum.
  • FIG. 6A is a perspective view
  • FIG. 6B is a perspective view
  • FIGS. 6 and 10 are explanatory diagrams showing tools used when playing the bass drum-compatible pads shown in FIGS. 6 and 10.
  • FIG. 8 is a perspective view showing an example of foot pedal lunit used for parts corresponding to the bass drum of the present embodiment.
  • FIG. 9 is an explanatory diagram of the operation of FIG.
  • FIG. 10 is a perspective view showing a drum hit with the foot pedal unit of FIG.
  • FIG. 11 is an explanatory view showing a fixture used when the foot pedal unit of FIG. 8 is used with the drum of FIG.
  • FIG. 12 is an explanatory diagram showing an example of a usage form of the foot pedal unit of FIG. 8.
  • FIG. 13 is another example of a foot dull unit used for a part corresponding to the pass drum of the present embodiment.
  • FIG. 14 is an explanatory view showing an embodiment of parts corresponding to a cymbal
  • FIG. 15 is a perspective view showing parts corresponding to a drum system.
  • FIG. 16 is an explanatory diagram showing an example of a mounting structure of the pickup microphone provided in FIG.
  • FIG. 17 is an explanatory diagram showing another example of the mounting structure of the pickup microphone provided in FIG.
  • FIG. 18 is an explanatory diagram showing an example of a mounting structure of a pickup microphone provided on a part corresponding to a cymbal system.
  • Fig. 19 shows the pick-up microphones installed on the parts corresponding to the cymbal system. It is an explanatory view showing another example of the attachment structure and a foot pedal,
  • FIG. 20 is a perspective view showing another example of a foot dull unit used for a part corresponding to the bass drum of the present embodiment
  • FIG. 21 is an explanatory diagram showing an example of a mounting structure of a pickup microphone provided in a raw drum set.
  • FIG. 22 is an explanatory diagram illustrating an example of an operation panel in the sound adjustment unit according to the present embodiment.
  • FIG. 23 is an explanatory view showing a storage member for an analog electronic drum set and a seat for performance in which drum-type parts and cymbal-type parts in this embodiment are stored.
  • FIG. 24 is an explanatory view showing a state in which small drum system parts are fixed in the storage member for the analog electronic drum set of FIG.
  • FIG. 25 is an explanatory diagram showing a state in which large drum-type parts are fixed in the storage member for the analog electronic drum set of FIG. 23.
  • FIG. 26 is an explanatory view showing a state in which cymbal parts are fixed in the analog electronic drum set storage member of FIG. 23.
  • FIG. 27 is a perspective view showing a drum set according to the embodiment of the present invention
  • FIG. 28 is an explanatory view showing a main configuration of a conventional electronic drum.
  • FIG. 29 is an explanatory diagram showing a configuration of a general raw drum set.
  • FIG. 1 is an explanatory diagram showing a configuration example of an analog electronic drum set according to the present invention.
  • a microphone (not shown) attached to the first original sound generation unit 100 provided with a striking surface and provided for each part of the raw drum set, generates the first original sound. It receives the sound of hitting the part 100 and sends the sound as an electrical signal to the sound adjusting part 26.
  • the first original sound generator 100 generates a striking sound that is smaller than the actual sound because the drum-type part has no resonance chamber.
  • the cymbal parts are downsized, they also produce a lower impact sound than the actual sound.
  • the resonance chamber refers to a closed space having a hollow structure formed by a hitting surface and a housing. And even if it has a hitting surface and a housing, a resonance chamber is not necessarily formed. In other words, although it has a hitting surface and a housing, a closed space cannot be formed if an opening is formed in the housing.
  • the first original sound generating section 100 of the drum system is provided with a mechanism for adjusting the tension of the striking surface.
  • a mechanism for adjusting the tension of the striking surface need not be provided.
  • the sound adjusting unit 26 is composed of, for example, a first effector 28 as an original sound adjusting unit and a second effector 30 separately provided at a subsequent stage.
  • a first effector 28 as an original sound adjusting unit and a second effector 30 separately provided at a subsequent stage.
  • an electric signal from each microphone is first passed through an input gain 28a, which is an input section of the first effector 28, for example, an equalizer 28b, a harmonizer 28c, and a compressor 2c. Sent to 8d etc.
  • the signal from the first effector 28 is sent to a second effector 30 including, for example, a re-perp, a chorus, a delay, and an ambient.
  • the sound adjuster 26 does not convert the electric signal of the original sound from the microphone into a digital signal, that is, without converting it into numerical data, ⁇ enhances the width, enhances various sound qualities, adjusts the pitch, Adjustment of power etc. is performed. Then, the sound adjusting unit 26 converts the small sound of the first original sound generating unit 100 into a sound that can be used for actual performance, for example, a powerful sound having a tone close to the actual sound of a live drum. Can be reproduced.
  • the input gain 28a is obtained by various microphones. It has the function of aligning the basic volume of the blow sound of each part converted to electrical signals.
  • the default value set for each part is adjusted, and, for example, the original sound is finished to the sound closest to each live drum part.
  • the "monizer 28c" portion is configured so that it can be adjusted by a knob that changes the pitch.
  • each of the tom drums 1 to 3 has a pitch difference of about 4 degrees.
  • the default value is set stepwise to a value that gives the atmosphere that the original sound is the most raw sound.
  • five levels of knobs are set, for example, 1 default, 2 flashy sound, 3 tight feeling, 4 loaf eye feeling, 5 soft tone, etc. It is like that.
  • a sound elongation adjusting section 28e for adjusting the sound elongation is provided so that the sound can be lengthened or cut tightly.
  • a configuration is possible in which one component is output from the direct parameter jack 28f for each parameter, that is, for each sound of each part. This makes it easier to decorate each sound, such as during actual recording.
  • PAN is set, and this determines which phase of the speaker is to be deployed in each speaker.
  • the second effector 30 for example, an adjustment is made to give a range to the reproduced sound such as reverb (addition of reverberation), chorus (expands the sound), and delay (repetition).
  • the volume is determined by the master volume, and the stereo set outputs the entire set sound. This is the external Anne It is amplified by the amplifier 32 and output from the speaker (reproducing unit) 34.
  • a headphone 36 or the like can be applied as the reproducing unit.
  • the sound adjustment unit 26 performs analog adjustment using the sound quality of the sound generated by the first original sound generation unit 100 without performing digital conversion of the sound signal. Therefore, since there is no digital conversion, that is, the process of reproducing the pre-recorded sound by converting it to MIDI, the player is not conscious of the time lag from the striking operation to the playback.
  • the sound generated by the first original sound generation unit 100 is only a very small sound. Therefore, when playback is performed using headphones or earphones instead of speakers, noise problems will not occur even in places without soundproofing equipment.
  • the actual hitting sound of the first original sound generating unit 100 since the actual hitting sound of the first original sound generating unit 100 is used, there is a difference in the performance sound due to the delicate stick operation. The difference is used for regeneration. Therefore, a change in the sound to be reproduced is caused by a change in the type of the stick and the type of the stick.
  • the first original sound generation unit 100 which is an individual part of the drum set, will be described.
  • FIG. 2 shows an example of a drum (drum) system part, for example, a part 40 which is a first original sound generation unit corresponding to a snare drum.
  • the hitting surface of the part 40 is formed by, for example, a flat surface including a metal member or a net-like small sound head 42 including a metal member.
  • FIG. 3 shows an example of how to attach the low-pitched sound head 42.
  • a small sound head 42 is attached to the housing, and a key portion 48a formed on the rim 48 and a key portion 43 formed on the body of the housing corresponding thereto.
  • the string-like body 45 is wrapped around, and the roller 47 around which the string-like body 45 is wound is rotated and tightened, and stopped by the lock 49.
  • the thickness is about 3 mm
  • the length is about 40 to 45 cm (about 90% of a normal stick)
  • the mass is about 15 g
  • the material is elastic like bamboo, and it has excellent durability It is preferable to use a device that emits a low-volume impact sound.
  • a bridge 44 is suspended inside the body of a hollow part 40, and a pickup microphone (microphone) 46 is attached at a substantially central part thereof. Therefore, the pickup microphone 46 is held inside the part 40.
  • the elasticity of the bridge 44 is not particularly limited, but various methods can be adopted, from a flexible support to a firm and stable support.
  • Figure 4 shows another example of microphone installation.
  • three poles 82 are erected in the drum system part 80, which is the first original sound generator, and a pickup microphone (microphone) is attached to the pole 82 using an elastic string-like body 84. Mouthphone) 8 6 is hung. As a result, the pickup microphone 86 is flexibly supported.
  • the elasticity of the suspension is not limited to the original sound, doubling coming from impact, or resonance sound of the original sound generator itself. In order to avoid secondary transmission and pick-up, the elasticity should be high enough to absorb vibration and stable enough to keep the distance from the sound generating point tight. Is preferred.
  • FIG. 5 shows an example of the configuration
  • FIG. 5A shows the configuration of the snappy 81 itself.
  • a plurality of coiled wires 85 are attached to the base member 83 to form a snappy 81.
  • This snapper 81 is set so that the wire 85 can touch the striking surface 42, and is attached so that the degree of contact with the striking surface 42 can be adjusted with the adjusting screw with spring constituting the adjusting portion 87. ing.
  • the snare drum compatible par A suitable original sound can be obtained.
  • FIG. 6 shows a part 50 which is a first original sound generation unit corresponding to the pass drum.
  • (A) is an external view
  • (B) is a schematic sectional view.
  • the pass drum corresponding part 50 is formed in a box shape, and has a flat hitting surface 52 on the upper surface of which a player can directly hit with a foot.
  • a plywood is used as the material of the striking surface 52 of the part 50, and the striking surface 52 has a thickness of about 4 mm.
  • the material is not limited to such a plywood, but other members such as a resin that generates a striking sound close to the striking sound of the original drum parts can be used.
  • a cushion pad 54 is provided below the main body 51 of the box to absorb impact. In this way, the player directly hits the striking surface 52 with the sole of the player's feet, so that it is transmitted to the floor compared to conventional bass drums, which use a foot pedal to apply a stronger impact to the club. The resulting shock is extremely small.
  • the striking surface 52 is horizontal, it is possible to directly play on the striking surface 52 with the foot and rub the striking surface 52 with the sole of the foot. This makes it possible to use the same playing style as the brush used in jazz paradise.
  • the hitting surface 52 can be directly depressed with the sole of the foot, the hitting sound is softer than the playing method using a foot pedal, and a soft nuanced drum performance can be performed. This makes it possible to create a quiet and soft rhythm with a quiet habitat that only allows percussion.
  • microphone mouth phone in pass drum compatible part 50 according to the present embodiment This is done, for example, by installing a pickup microphone (microphone) 56 in the space inside the main body 51.
  • the pickup microphone 56 is set in the internal space by a bridge 58 spanned between the inner surfaces of the main body 51.
  • the elasticity of the bridge 58 can be variously selected.
  • FIG. 7 shows an example of a batting tool on the player side suitable for playing the bass drum corresponding parts 50 and 117 as shown in FIG. 6 or FIG.
  • it is a tool for attaching a striking member 60 for striking the striking surface 52, 117a to the sole on which the player plays.
  • the same figure (A) shows a shoe or sock-like attachment 62 with a hitting portion 60 attached to the back side
  • the same figure (B) shows a sandal-shaped belt member 64 with a preferable sole portion.
  • the punching section 60 is attached at a suitable position.
  • the impact portion 60 various hardnesses can be selected, and various materials such as metal or resin can be used.
  • the conventional foot pedal unit for a bass drum is connected via a chain or band by depressing the foot pedal downward as shown in the relationship between the bass drum 6 and the foot pedal 7 in FIG. 29.
  • the pulley rotates, and the striking rod (beater) attached to the pulley rotates, hitting the striking surface that stands vertically.
  • the downward force of depressing the foot pedal was converted to the vertical force of hitting the hitting surface with a hitting bar.
  • Such a change in the direction of force creates a gap between the feeling of actually stepping on the ground and the feeling of the striking bar striking the striking surface, due to the presence of the foot pedal. Is greatly influenced by Was.
  • the foot pedal unit 110 of the present embodiment includes two pulleys 1 1 2 urged in a predetermined rotation direction by a spring 111. And a foot pedal 1 13 attached to the pulley 1 1 2 via the arm 1 1 4 to turn the pulley 1 1 2 against the biasing force by stepping down.
  • a striking rod 115 is located on the side and swings downward by the rotation of the pulley 112 so as to strike a striking surface (not shown).
  • the striking rod 1 15 moves in the direction in which the foot pedal 113 is depressed, so that the movement of the foot and the movement of the striking rod 1 15 are linked, and the foot pedal 1 1 The feeling of stepping on 3 and the interval of hitting the striking surface match.
  • the foot is moved immediately after hitting with the foot pedal 113, and the hitting surface is directly hit, stepped on, or touched with the foot as described above, or conversely, immediately after the direct playing method with the foot is performed. It is possible to continuously perform playing techniques hit with the pedals 1 1 and 3. This allows the performer to perform in a wider variety than ever before.
  • FIG. 10 shows a drum 1 17 which is a first original sound generation unit which is hit by the foot pedal unit 110.
  • the drum 1 17 shown in FIG. 10 has a striking surface 1 17 a which is a horizontal bass drum installed horizontally.
  • the drum 1 17 is attached to a rim 1 17 b and given a predetermined tension and a hitting surface 1 17 a, and the hitting surface 1 17 a is, for example, at a height of about 8 cm from the installation surface. It has three legs 1 17 c that support it horizontally.
  • FIG. Fig. 11 shows 124.
  • the fixture 1 2 4 shown is a hole into which the leg of the foot pedal unit 110 is inserted.
  • a portion 124a and a hole 124b into which the leg 117c of the drum 117 is inserted are formed.
  • the foot pedal unit 110 can be installed and used on both sides of the drum 117, or can be installed and used only on the left side of the drum 117. In these cases, if the hole 124a corresponding to the foot pedal unit 110 on the installation side is formed in the above-mentioned fixing member 124, the positional deviation due to the fixing member 124 is made. Prevention can be achieved. At this time, it is needless to say that, in the left foot pedal unit 110, the hitting bar 1 15 is installed on the opposite side to the right foot pedal unit 110.
  • the pulley 111 of the foot pedal 110 is urged in the rotational direction by a spring force, but may be urged by another urging force such as a rubber force.
  • the impact bar 1 15 is attached to the pulley 112 via the arm 114, it may be attached directly to the pulley 112.
  • two pulleys 112 are provided in parallel and are synchronously rotated in order to stabilize the foot pedal unit 110 during the performance, but may be one.
  • the conventional foot pedal unit is improved so that the striking rod 1 15 is mounted on the opposite side of the pull pedal 1 13 from the foot pedal 11 as shown in Fig. 13. It is also possible to configure 1 16 and swing the pulley 1 12 downward to strike the striking surface 1 17 a of the drum 1 17.
  • FIG. 14 shows an example of a part 70 which is a first original sound generation unit corresponding to a simpal.
  • the part 70 corresponding to the sympal has a main body 72 formed in a cylindrical shape by a metal such as iron, for example. Both ends are open. It is supported by holding members 74.
  • the pickup microphone (microphone) 76 is attached by suspending it with a plurality of cords 71 stretched from both ends as shown in the figure, and is installed so as to be located almost at the center of the main body 72. ing.
  • the performance is performed by hitting the main body 72 from outside, and it is preferable that the diameter and the length of the main body 72 are variously set according to the required sound quality.
  • a conventional disc-shaped sympal may be downsized to generate a lower impact sound than the original cymbal-based parts.
  • the term “sympal” includes not only a cymbal that strikes a single metal disk with a stick, but also a hi-hat sympal that emits sound by striking two disks.
  • drum refers to tom drums, snare drums, pass drums, etc., as well as percussion (conga, bongo, tabla, suldo, janbe, timbales, etc.), Japanese drums, pachi, etc.
  • percussion conga, bongo, tabla, suldo, janbe, timbales, etc.
  • Japanese drums pachi, etc.
  • Various musical instruments that emit sound by hitting the hitting surface with a hitting member or directly by hand or foot are included.
  • a pickup microphone is a microphone that converts the vibration of a substance that reacts to magnetism such as iron, that is, a magnetic substance, into an electric signal.
  • a pickup microphone is a coil in which a coil is wound around a magnet and iron bonded to each other. When a magnetic body provided corresponding to such a pickup is vibrated, an induced current corresponding to the vibration flows through the coil. Flows. Then, a loud sound is output from the speaker by amplifying the induced current with an amplifier.
  • iron is cited as the magnetic material, but it is also possible to use a variety of other magnetic materials, as well as to use a plurality of magnetic materials together. Monkey
  • a hum packer is a series of two single coils connected in series and has a lower noise level than a single coil type because hum (noise and noise) is backed out (eliminated by eliminating them). Is the feature.
  • the back surface of the striking surface 101a is separated by a predetermined distance (for example, about 2 to
  • the pickup microphone 102 is installed at a position with a gap of 3 mm).
  • the vibration source 103 which is a thin metal plate, is adhered to the back surface of the hitting surface 101a with an adhesive or an adhesive such as a double-sided tape.
  • the vibration source 103 is made of a magnetic material such as iron.
  • the vibration source 103 does not need to be composed of only a magnetic material, and may include a substance other than the magnetic material.
  • the striking vibration of the striking surface 101a causes the vibration source 103 to vibrate, and the vibration is picked up by the pickup microphone 102.
  • the vibration is converted into an electric signal, and a large sound volume can be obtained from the speed force 105 by widening the vibration with the amplifier 104.
  • the vibration source is formed so as to bulge toward the striking surface 101 a.
  • the vibrating source 103 may be brought into pressure contact with the back surface of the striking surface 101 a by extending the strut 103 across the strut 106 and stretching the striking surface 101 a. Even in this case, the striking vibration of the striking face 101a causes the vibration source 103 to vibrate, and the vibration is picked up by the pickup microphone 102.
  • the vibration source 103 is bonded or crimped to the back surface of the striking surface 101 a as described above. It may be attached so that it can be held. That is, the vibration source 103 is the striking surface 101a It is only necessary to vibrate following the above vibration.
  • the striking surface 1Ola itself may be constituted by a member containing a magnetic material.
  • the striking surface 101a of the drum part 101 is generally made of synthetic resin (plastic), and a magnetic material such as iron is mixed in this resin material. As a result, sound can be picked up by the pickup microphone 102 by hitting the hitting surface 101a.
  • the first original sound generation unit 108 made of metal is attached to a member including a magnetic material.
  • the pickup microphone 102 is mounted at a position (in this embodiment, the stay) at which vibration of the first original sound generation unit 108 can be detected.
  • a sponge-like elastic body may be arranged between the pickup microphone 102 and the first original sound generation unit 108.
  • a pickup microphone 102 near the lower sympal which is a fixed portion, is attached.
  • the sound generated by the parts 101 and 107 alone can be used in the space without picking up sounds generated around the parts 101 and 107 such as human voices. Since it can be picked up directly without passing through, clear and clear sound can be obtained.
  • the adjustment of the microphones becomes complicated if a large number of small microphones are installed in a narrow space because the air vibrations are picked up.
  • the pickup microphone 102 is used as in the present embodiment, the phase can be handled freely, so that complicated adjustment is not required and the convenience can be improved.
  • the pickup microphone 102 has a single coil microphone. There is a double coil microphone, but a single coil microphone and a double coil microphone may be combined using one or more of them.
  • these pickup microphones 102 are attached to the vibration source 103, the striking surface 101a, or the first original sound generator 108, which is a cymbal, so as to be able to approach and move away from it. May be adjusted appropriately.
  • a spring 1 is urged around the mounting axis of the upper and lower cymbals which are mounted so as to be able to contact and separate vertically.
  • 25 can be installed as a source of elasticity for opening and closing.
  • a sponge-like elastic body may be disposed between the sponge and the thin pal.
  • the hi-hat stand 126 by fixing the hi-hat stand 126 to the main stand 127 as shown, the length of the pipe as the hi-hat stand 126 can be reduced. In other words, since the springs 125 are arranged between the upper and lower cymbals, the height of the hi-hat stand 126 is sufficient to the fixed portion with the main stand 127. If the wire 1 28 for raising and lowering the upper sympal is extended downward from the hi-hat stand 126 and the key at the lower end is locked to the ring provided on the foot pedal 113, the foot pedal 111 3 allows the opening and closing operation of the sympal. In addition, setting can be performed with one touch.
  • the foot pedal 113 is fixed to and integrated with the main stand 127. That is, the base 12 9 to which the foot pedal 113 is movably attached is directly fixed to the main stand 127, and further fixed via the link 130, so that the displacement during the performance can be prevented. Is prevented.
  • Such an integrated structure can be applied not only to a hi-hat cymbal but also to a foot pedal unit 110 (FIG. 8) for hitting a horizontal pass drum as shown in FIG.
  • the mounting structure of the pickup microphone 102 can be used for a raw drum set and the above-mentioned percussion. That is, as shown in FIG. 21, the mounting structure corresponding to FIG. 16 is formed by the resonance of the hitting surface 109 a and the hollow structure formed by the hitting surface 109 a and the housing 109 b.
  • the vibration source 103 is adhered to the back of the hitting surface 109 a of the drum unit of the raw drum set (second original sound generator) 109 with an adhesive with an adhesive, and the housing 1 0 9
  • Pick-up microphone 102 is mounted on the installation plate 1 3 1 installed inside b, and the sound picked up by the pickup microphone 102 is amplified by the amplifier 104 and amplified by the speaker 105. Make it play. According to this, a sufficient volume can be delivered to the audience at the performance venue where a large volume is required.
  • the pickup microphone 102 may be attached so as to be able to approach and separate from the hitting surface 109a.
  • a metal disk-shaped member including a magnetic material serves as the second original sound generation unit.
  • pickup microphone 102 using a coil is used, but a piezo microphone that is a pickup microphone using a piezoelectric element may be used supplementarily or partially.
  • various other forms of microphone mouth phones such as microphone mouth phones that convert air vibrations into current waves, such as those used for sound pickup of human voices, may be used to assist or partially. Is also good.
  • a plurality of types of microphones may be used. For example, two microphones are set up on the left and right sides of the drum set, and their presence is reproduced in stereo. To achieve this effect, microphones that convert air vibrations into current waves are used for these microphones, and the space is picked up simultaneously.
  • a usage mode in which the pickup microphone 102 is used for sound pickup of each part can be adopted.
  • a striking surface is formed using a member including a metal member in a part corresponding to a drum system part in a raw drum set, and a microphone opening is formed.
  • FIG. 22 shows an example of the operation panel in the sound adjustment unit 26.
  • HT, MT, LT decorative performance drums and group them into three.Specify the original sound adjustment effect, space creation effect, and decorative effect for each of these groups and save them as data. Like that. This makes it possible to adjust the ef excursion by switching for each song. It should be noted that such a connection between the sound adjustment unit 26 and other devices may be made with a plurality of wires, for example, with a single wire called IEEE1394.
  • FIG. 23 shows a storage member for an analog electronic drum set and a seat for performance in which the drum-based parts and the sympal-based parts described above are stored.
  • the storage member 1 18 for the analog electronic drum set is composed of a plurality of plates 1 19 on which drum-type and sympal-type parts are placed, and a stack of these plates 1 19.
  • the plurality of (three in this embodiment) holding members 120 and the parts placed on the plates 119 are fixed, and the parts storage space is located between the plates 119 so as to be located between the plates 119.
  • a fixing member 121 to be formed That is, as shown in FIG. 24 to FIG. 26, a ring 122 through which the holding member 120 penetrates is attached to each plate 119, and a plate is formed using the fixing member 121.
  • Fig. 24 shows a state where small drum parts such as a tom drum and a snare drum are fixed
  • Fig. 25 shows a state where large drum parts such as a pass drum are fixed
  • Fig. 26 shows cymbal parts. The state in which is fixed is shown.
  • FIG. 27 shows the drum set according to the present embodiment described above.
  • the tom size is set to 6 inches / 8 inches. 10 inches, the bass drum is set to 12 inches, the snare drum is set to 8 inches, and the hi-hat is set to 6 inches. The crash is set at 8 inches and the ride is set at 10 inches.
  • a commercially available raw drum set has a standard specification of a tom of 12 inches ⁇ 13 inches' 16 inches, a pass drum of 22 inches, a snare drum of 14 inches, and a hi-hat of 14 inches. Inches, crash set to 16 inches, ride set to 20 inches. Therefore, in this embodiment, the diameter of all parts is clearly smaller as a whole as compared with a standard raw drum. This is a design for the convenience and portability of this analog electronic drum and for reducing the volume of the original sound generator, but is not necessarily limited to this caliber. In other words, it may be set to a smaller diameter or a slightly larger diameter.
  • drum system parts and the sympal system parts can be accommodated, but it is sufficient if any of the parts can be accommodated.
  • the sound adjusting section 26 may be further housed.
  • a seating portion 123 is attached to the upper surface when the fixing members 121 are arranged in the up-down direction. This allows the analog electronic drum set storage member 118 to be used as a chair.
  • the fixing member 1 2 1 when the fixing member 1 2 1 is arranged vertically, If a roller is attached to the end, the storage member 118 for the analog electronic drum set can be rolled and carried. Furthermore, if the handle is attached to the side, it can be carried by hand. In addition, the holding member 120 can be adjusted to a height suitable for the player's sitting height when used as a seat chair by using a method such as a rotary screw type detachable / tripod type expansion and contraction. The length of time can be reduced.
  • each pad does not require a loud volume unlike a live drum set, but rather has parts as low as possible. This means that you can do this with small sounds that will not disturb others around you during practice. On the other hand, this means that the whole can be made smaller, which makes it easier to carry and saves space.
  • the present invention is not limited to raw drums, and can be regarded as a unique new analog instrument based on the impact sound of the first original sound generator 100.
  • the present invention is configured as described above, and the player is aware of the time lag between the performance operation and the reproduction while maintaining the characteristic of the conventional electronic drum that the actual hitting is a small sound that does not require soundproofing equipment.
  • the reproduced sound can be generated by following the change of the stick operation of the player in detail.

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Electrophonic Musical Instruments (AREA)
  • Auxiliary Devices For Music (AREA)

Abstract

Selon la présente invention, un son d'impact issu d'une première unité de production de son d'origine (100) disposée de manière à correspondre à chaque partie d'un ensemble de batteries naturel, est reçu par un microphone tel qu'un microphone d'enregistrement, et une unité de régulation sonore (26) régule la qualité sonore des signaux analogiques électriques issus du microphone, sans conversion numérique. Une reproduction est faite par une unité de reproduction (34) en se basant sur les signaux de sortie issus de l'unité de régulation sonore (26). Aucune des opérations telle qu'une conversion numérique, une transmission de signal via un photo-coupleur, et la sélection et la reproduction de sons enregistrés préalablement, n'est réalisée. Le délai entre l'impact et la production du son joué, n'est pas détecté, et de ce fait, le son d'impact produit lorsque la première unité de production de son d'origine (100) est frappée, est utilisé en tant que son d'origine pour réaliser la reproduction accompagnant également le talent de frappe du joueur.
PCT/JP2001/003135 2000-09-07 2001-04-11 Ensemble de batteries electroniques analogiques, piece pour ensemble de batteries electroniques analogiques, et unite a pedales WO2002021503A1 (fr)

Priority Applications (7)

Application Number Priority Date Filing Date Title
AU2001248754A AU2001248754A1 (en) 2000-09-07 2001-04-11 Analog electronic drum set, part for analog electronic drum set, and foot pedal unit
PCT/JP2001/007682 WO2002021504A1 (fr) 2000-09-07 2001-09-05 Batterie electronique analogique, parties pour baguette de batterie, batterie electronique analogique et pied de grosse caisse
JP2002525636A JP3434509B2 (ja) 2000-09-07 2001-09-05 アナログ電子ドラムセット、アナログ電子ドラムセット用パーツ、生ドラムセット、生ドラムセットに対する収音方法、生ドラムセットのドラム系パーツに対する収音方法、生ドラムセットのシンバルに対する収音方法および生ドラムセットのハイハットシンバルに対する収音方法
EP01963425A EP1326229A4 (fr) 2000-09-07 2001-09-05 Batterie electronique analogique, parties pour baguette de batterie, batterie electronique analogique et pied de grosse caisse
CNB018153275A CN1253850C (zh) 2000-09-07 2001-09-05 模拟电子鼓组以及模拟电子鼓组用零件
AU2001284427A AU2001284427A1 (en) 2000-09-07 2001-09-05 Analog electronic drum set, parts for drum stick, analog electronic drum set andfoot-pedal unit
US10/383,699 US7015391B2 (en) 2000-09-07 2003-03-07 Analog electronic drum set, parts for drum stick, analog electronic drum set and foot-pedal unit

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
JP2000-271954 2000-09-07
JP2000271954 2000-09-07

Related Child Applications (2)

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PCT/JP2001/007682 Continuation WO2002021504A1 (fr) 2000-09-07 2001-09-05 Batterie electronique analogique, parties pour baguette de batterie, batterie electronique analogique et pied de grosse caisse
US10/383,699 Continuation US7015391B2 (en) 2000-09-07 2003-03-07 Analog electronic drum set, parts for drum stick, analog electronic drum set and foot-pedal unit

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JP6597346B2 (ja) 2016-02-01 2019-10-30 ヤマハ株式会社 ドラムヘッド
JP6520807B2 (ja) * 2016-04-20 2019-05-29 ヤマハ株式会社 収音装置および音響処理装置
CN107195289B (zh) * 2016-05-28 2018-06-22 浙江大学 一种可编辑的多级音色合成系统及方法
US10679591B2 (en) * 2016-12-21 2020-06-09 Gewa Music Gmbh Trigger tray for percussion instrument
JP7163600B2 (ja) * 2018-03-16 2022-11-01 ヤマハ株式会社 楽器用ピックアップ及び楽器
CN109215621B (zh) * 2018-11-08 2023-10-24 罗应星 一种架子鼓及其使用方法
TWI739311B (zh) * 2020-02-19 2021-09-11 宏寰貿易股份有限公司 鋼索傳動式木箱鼓擊槌機構
US20210287647A1 (en) * 2020-02-21 2021-09-16 Rare Earth Dynamics, Inc. Hi-hat controllers and pedal accessories

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CN1454379A (zh) 2003-11-05
CN1253850C (zh) 2006-04-26

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