EP0281214A2 - Dispositif de commande de données acoustiques et méthode de fonctionnement - Google Patents

Dispositif de commande de données acoustiques et méthode de fonctionnement Download PDF

Info

Publication number
EP0281214A2
EP0281214A2 EP88300023A EP88300023A EP0281214A2 EP 0281214 A2 EP0281214 A2 EP 0281214A2 EP 88300023 A EP88300023 A EP 88300023A EP 88300023 A EP88300023 A EP 88300023A EP 0281214 A2 EP0281214 A2 EP 0281214A2
Authority
EP
European Patent Office
Prior art keywords
data signal
control system
acoustic
acoustic data
pitch
Prior art date
Legal status (The legal status 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 status listed.)
Withdrawn
Application number
EP88300023A
Other languages
German (de)
English (en)
Other versions
EP0281214A3 (fr
Inventor
Peter Kellock
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Zyklus Ltd
Original Assignee
Zyklus Ltd
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority claimed from GB878703908A external-priority patent/GB8703908D0/en
Priority claimed from GB878716398A external-priority patent/GB8716398D0/en
Application filed by Zyklus Ltd filed Critical Zyklus Ltd
Publication of EP0281214A2 publication Critical patent/EP0281214A2/fr
Publication of EP0281214A3 publication Critical patent/EP0281214A3/fr
Withdrawn legal-status Critical Current

Links

Images

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • 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

Definitions

  • This invention relates to acoustic data signal control systems and their methods of operation.
  • Acoustic signals can be employed for a variety of purposes, including music, sound effects, and the like, particularly for entertainment.
  • Proposals have been made for equipment such as sequencers which will control the synthesis of an audio signal by electronic or computer-based sound generators and processors such as oscillators, filters and the like, or will control the replay of electronically-­sampled sounds of natural origin, such as the sounds of traditional musical instruments.
  • Such previously proposed equipment tends to be limited in that having created or recorded a composition note-by-note, the user of such equipment is generally restricted in its performance to a substantially unmodified reproduction of the composition.
  • an acoustic data signal control system comprising:-
  • controller of the present invention can be regarded as a system for the performance of pre-recorded musical or other acoustic data sequences in which the sequences can be triggered or controlled independently in real time.
  • the acoustic data signal control system may be operated in conjunction with compatible musical instrument control interfaces, such as music keyboards with the conventional piano/organ key arrangement (as found on the majority of music synthesisers) or other controllers such as guitar, drum, or wind instrument interfaces.
  • Such interface devices transmit data signals to the control input of the acoustic data signal control system, the keys or other operational controls of the interface device constituting, or providing an extension to, the physical controls of the acoustic data signal control system.
  • Such interface devices may be housed externally to the acoustic data signal control system or may be incorporated within a single integrated control system.
  • the signal generation or processing devices may be any known forms of acoustic signal generators or processors, such as synthesisers, computer music systems, sound sampling devices, automatically-controllable audio mixers, reverberation simulators, other audio effects devices and the like.
  • Such signal generation or processing devices may be housed externally to the acoustic data signal control system or may be incorporated within an integrated system for the control, generation, and/or processing of acoustic signals.
  • Stored polytonal acoustic control data signal segments are preferably accompanied by identification data by which each stored polytonal acoustic control data signal segment may be individually indentified, thereby to facilitate its selection and separate retrieval; such identification data may comprise a name or a number.
  • the music performance system 10 has a number of control data signal inputs 12, 14 and 16.
  • the system input 12 receives acoustic control data signals from a compatible music synthesiser keyboard 18.
  • the system input 14 receives synchronisation data or clock signals from an external tape recorder 20. Such clock signals may be formed by or derived from a recording from a remote source (such as a musical performance in another location), or have been created earlier on the equipment illustrated in Fig. 1 and fed to the recorder 20 through a synchronisation data or clock signal output 22.
  • the system input 16 receives external ancillary control signals from a footswitch 24, or other external devices and systems (not illustrated).
  • Polytonal acoustic control data signals are input to the system 10 through the input 12.
  • the basic musical data represented by these input signals are entered and edited in a manner which is superficially similar to the operation of a conventional music sequencer but differs substantially in that data representing individual phrases, chords, rhythmic patterns and the like are stored as separate sequences (musical segments) and are each allocated an identifying number or name.
  • a large number of these polytonal acoustic control data signal segments or sequences are stored to form a library of sequences for subsequent independent retrieval, modification and output. Each such sequence is normally of greater duration and greater information content than a single musical note, but normally of lesser duration and lesser information content than a complete musical work.
  • a musical composition is created out of these stored sequences by initiating their selection and playback as and when required by operation of one or more selected controls, either in the system 10 or in the external keyboard 18.
  • the desired sequences are retrieved in "real time", i.e. at the moment that reproduction of a desired sequence is required.
  • the previously stored sequences are retrieved in any desired order, independently of the order in which they were stored. Retrieved sequences may be reproduced without modification, or they may be modified in respect of any one or more of the parameters that characterise polytonal acoustic data signals. These modifications may include variations of timing, pitch and loudness.
  • Such operational flexibility and rapidity of operational mode variation provide at least two major advantages over conventional music sequencers; firstly, the resulting composition can be instantaneously altered in a subtle or drastic fashion to suit the spontaneous demands of a live performance; and secondly, the various possibilities of a musical idea or set of ideas can be explored much more rapidly and thoroughly than is feasible with conventional equipment.
  • a new composition can be stored internally or externally for subsequent performance, with or without further editing.
  • Storage of the new composition can be carried out by recording the identity and timing of the triggerings or initiations of the selected sequences, plus other associated actions; these may include changes in the tempo, trigger profile (see below) and configuration number (see below).
  • a mode of storage is efficient in usage of electronic memory and is a form of data compression since a significant amount of music is composed from a relatively small number of ideas or concepts repeated at different pitches and timings.
  • This mode of storage also facilitates editing of the compostion.
  • the data format used to store such a performance is similar to that used to store sequences so that, once recorded, musical material may be easily transferred from a sequence to a performance and vice versa.
  • the system 10 has several acoustic control data signal outputs 26, 28, 30 and 32 coupled with external signal generation or processing devices 34, 36, 38, 40, and 42.
  • external signal generation or processing devices 34, 36, 38, 40, and 42 could alternatively be integrated within the main sequencer 10 instead of being external devices as illustrated, in which alternative case the system outputs would deliver audio signals which could be directly applied to external loudspeakers or to amplifiers.
  • Such units as are coupled together to form a selected one of the various possible assemblies that meet the objectives of the invention preferably all conform to a common musical instrument digital interface communications standard such that the units are compatible and interchangable; (such compatability is illustrated in Fig. 1 by use of the communications standard acronym "MIDI").
  • a control panel 50 holds an array of several groups of electrical switches (or their functional equivalents) which are variously labelled with identification numerals and acronyms as detailed below.
  • the control panel 50 conveniently forms an integral part of the system 10 described with reference to Figure 1.
  • a group of three keys 52 control the overall functional modes, namely record/edit mode ("REC/EDIT”); sequence selection, retrieval, and playback mode ("PLAY”); and performance record/edit and playback modes ("PERF").
  • REC/EDIT record/edit mode
  • PLAY sequence selection, retrieval, and playback mode
  • PROF performance record/edit and playback modes
  • the simplest case of the playback mode can be reproduction without variation, though with the option of modification when required.
  • a set of twelve control keys 54 is used to control triggering (initiation) or selection of individual sequences in the "PLAY” and "PERF” modes. Any twelve sequences from the library of sequences held in the store of the sequencer 10 can be assigned at any one time to the keys 54.
  • a group of thirteen keys 56 arranged either singly or in small sub-sets are individually and collectively used to set up various alternative functional modes in the "PLAY" and "PERF” modes as will be subsequently detailed.
  • a key 58 (“CONFIG") is used for recalling previously configured (and automatically stored) configurations of control settings for rapid return to some previous set-up from a current set-up of the controls.
  • Various keys 60 arranged individually or in groups are used for controlling conventional functions of a sequencer such as editing, and for selecting, initialising or modifying operational parameters which do not require to be manipulated in real-time. These parameters are generally accessed using a series or "menus” or “pages”, in a manner similar to that of other control equipment.
  • a rotary control 62 is employed for controlling various functions, particularly editing.
  • a display 64 provides visual information to the person operating the control panel 50.
  • the group of thirteen keys 56 are used to set up a sequence triggering mode or "trigger profile". Individual parameters of the trigger profile can be set on or off in any combination by use of these keys 56, and although some combinations may be redundant, the keys 56 provide several hundred distinct triggering modes.
  • the trigger profile is altered in real-time, the alterations have no effect on currently active sequences and only affect what will happen subsequent to following initiations.
  • the trigger profile applies primarily to the action of the system during replay mode, but may also be used to control certain aspects of beahviour at the time of recording - for example in respect of sequences which are being monitored while recording a new sequence.
  • MOM "MOMENTARY"
  • EXCLUSIVE EXCL:- if this key 56 is on, initiation of a sequence will cause automatic de-activation of other sequences; either all other active sequences or the other active sequences within the same group (as detailed below).
  • EXTERNAL TRIGGER "EXT TRIG":- if this key 56 is off, sequences are initiated only by the control keys 54. On the other hand, if this key 56 is on, the control keys 54 are used to select or prepare individual sequences which are then initiated by an external source such as the keyboard 18 coupled to the input 12, or a footswitch coupled to the auxiliary input 16. When initiation is carried out from the keyboard 18, several versions of each sequence can be run simultaneously at different pitches corresponding to different keys on the keyboard 18, and thus each sequence has a set of control pitches associated with it. If the "Group" key 56 is on simultaneously, the keyboard 18 will behave as four independent ranges with three sequences controllable from each range.
  • each sequence can have only one control pitch associated with it, and new control pitches transmitted to the system 10 by depressing a key on the keyboard 18 will replace existing control pitches.
  • this key 56 is on, several versions of a single sequence can be run simultaneously at different pitches as described above, and individual control pitches can be toggled on and off by pressing the same key on the keyboard 18 several times.
  • NICK PITCH TRIGGER (“NP TRIG):- if this key 56 is off, pressing a key on the keyboard 18 initiates certain trigger functions only if all other keys on the keyboard have previously been released (these functions being “Step”, “Restart”, “Build off”, and “Cycle”). If this key 56 is on, every key depression (control activation) will initiate these functions independently of how many keys are already held down.
  • Such a configuration can be set up in advance of required use by means of the selection pages and menus mentioned above, in conjuction with other front-panel keys and the rotary control 62.
  • the data constituting the configurations is stored automatically. Any configuration can be recalled rapidly when required by combined operation of the "CONFIG” key 58, the "ENTER” key 60 and the rotary control 62. This can be done prior to playback and at any time during playback without stopping the performance system. Furthermore, such configuration changes can be stored as part of a performance so that they will occur automatically during performance replay.
  • a further feature of the performance system is the ability to store a number of "pitch masks" which may be applied to the polytonal acoustic data transmitted on the outputs 26, 28, 30 and 32.
  • the principle underlying these masks is that most styles of music consist of a series of periods varying in length from a few seconds to several minutes of which, during any single period, the musical pitches conform to a single "scale", typically consisting of from five to eight notes which constitute a subset of the twelve available semitones of the musical octave. During such a period, a pitch emanating from a musical instrument will sound reasonably correct or pleasing if it conforms to the current scale but incorrect or displeasing if it does not conform to the current scale.
  • the function of a pitch mask is to alleviate this problem by inhibiting unwanted pitches or by shifting them up or down to the nearest pitch present in the mask.
  • the detailed structure of the resultant sound may not always be easy for the user to predict particularly during an improvised performance or in complex cases where several polyphonic sequences are triggered from more than one pitch.
  • the main purpose of the mask is to facilitate real-time manipulation of the general characteristics of a musical effect or texture without incurring the unpleasant effect of obviously incorrect pitches.
  • the mask is entered into the music performance system 10 by the user at some time prior to replaying sequences; this is achieved simply by playing the required scale or other pitch pattern on the external synthesiser keyboard.
  • sequences assigned to the twelve control keys 54 one of four possible masking techniques must also be selected. These are:
  • the mask takes effect during live or performance replay. Normally the mask remains fixed while the sequence pitches and control pitches vary, but the mask may itself be transposed up or down at any point in the music by switching on the "TRANSPOSE" key described above and pressing a key on the external synthesiser keyboard.
  • This allows a single mask to be used for all scales of a similar type; for example a single mask consisting of the diatonic major scale could be used in any of its twelve transpositions without recalling a different configuration to invoke a new mask.
  • a pitch mask typically takes the form of a musical scale consisting of from five to eight notes, it can equally consist of a smaller or greater number of pitches.
  • the mask might consist of the three notes of a major chord or even a single pitch; in this latter case only the rhythm of the masked sequence plus any pitch information spanning more than one octave will be retained.
  • a mask consisting of eleven pitches might be defined in order to mask out one particular pitch.
  • a further use of the pitch mask is its application to through sequences as described above.
  • the mask will remove wrong notes played accidentally on the synthesiser keyboard, a feature particularly useful during live improvisation.

Landscapes

  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Selective Calling Equipment (AREA)
  • Electrophonic Musical Instruments (AREA)
EP88300023A 1987-02-19 1988-01-05 Dispositif de commande de données acoustiques et méthode de fonctionnement Withdrawn EP0281214A3 (fr)

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
GB878703908A GB8703908D0 (en) 1987-02-19 1987-02-19 Acoustic data signal processors
GB8703908 1987-02-19
GB878716398A GB8716398D0 (en) 1987-07-11 1987-07-11 Acoustic data signal controllers
GB8716398 1987-07-11

Publications (2)

Publication Number Publication Date
EP0281214A2 true EP0281214A2 (fr) 1988-09-07
EP0281214A3 EP0281214A3 (fr) 1989-10-18

Family

ID=26291930

Family Applications (1)

Application Number Title Priority Date Filing Date
EP88300023A Withdrawn EP0281214A3 (fr) 1987-02-19 1988-01-05 Dispositif de commande de données acoustiques et méthode de fonctionnement

Country Status (1)

Country Link
EP (1) EP0281214A3 (fr)

Cited By (8)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
FR2643739A1 (fr) * 1989-01-13 1990-08-31 Mosaic Batisseurs Images Inter Instrument de musique numerique
DE3902580A1 (de) * 1989-01-28 1990-09-27 Harald Ambrusch Microprozessorgesteuertes geraet zur verwaltung und steuerung aller arten von elektronischen musikinstrumenten und peripheriegeraeten
EP0379181A3 (fr) * 1989-01-18 1992-07-08 Casio Computer Company Limited Instrument de musique électronique ayant plusieurs modes de génération de son
GB2261763A (en) * 1991-11-05 1993-05-26 Sarah Lyle Music teaching aid
EP0484047A3 (fr) * 1990-11-01 1994-02-23 Ibm
EP0484043A3 (en) * 1990-11-01 1994-06-08 Ibm Translation of midi files
EP1047044A1 (fr) * 1999-04-22 2000-10-25 France Telecom Dispositif d'acquisition et de traitement de signaux pour la commande d'un appareil ou d'un processus
EP1225562A3 (fr) * 2000-12-25 2004-02-18 Yamaha Corporation Méthode et dispositif pour gérer la transmission et la réception de données sur un réseau

Family Cites Families (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US4160399A (en) * 1977-03-03 1979-07-10 Kawai Musical Instrument Mfg. Co. Ltd. Automatic sequence generator for a polyphonic tone synthesizer

Cited By (14)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
FR2643739A1 (fr) * 1989-01-13 1990-08-31 Mosaic Batisseurs Images Inter Instrument de musique numerique
EP0379181A3 (fr) * 1989-01-18 1992-07-08 Casio Computer Company Limited Instrument de musique électronique ayant plusieurs modes de génération de son
US5206446A (en) * 1989-01-18 1993-04-27 Casio Computer Co., Ltd. Electronic musical instrument having a plurality of tone generation modes
DE3902580A1 (de) * 1989-01-28 1990-09-27 Harald Ambrusch Microprozessorgesteuertes geraet zur verwaltung und steuerung aller arten von elektronischen musikinstrumenten und peripheriegeraeten
EP0484043A3 (en) * 1990-11-01 1994-06-08 Ibm Translation of midi files
EP0484047A3 (fr) * 1990-11-01 1994-02-23 Ibm
GB2261763A (en) * 1991-11-05 1993-05-26 Sarah Lyle Music teaching aid
GB2261763B (en) * 1991-11-05 1996-06-05 Sarah Lyle Music teaching aid
EP1047044A1 (fr) * 1999-04-22 2000-10-25 France Telecom Dispositif d'acquisition et de traitement de signaux pour la commande d'un appareil ou d'un processus
FR2792747A1 (fr) * 1999-04-22 2000-10-27 France Telecom Dispositif d'acquisition et de traitement de signaux pour la commande d'un appareil ou d'un processus
US6281830B1 (en) 1999-04-22 2001-08-28 France Telecom System for acquiring and processing signals for controlling a device or a process
EP1225562A3 (fr) * 2000-12-25 2004-02-18 Yamaha Corporation Méthode et dispositif pour gérer la transmission et la réception de données sur un réseau
US7224690B2 (en) 2000-12-25 2007-05-29 Yamaha Corporation Method and apparatus for managing transmission and reception of data over a network
US7684353B2 (en) 2000-12-25 2010-03-23 Yamaha Corporation Method and apparatus for managing transmission and reception of data over a network

Also Published As

Publication number Publication date
EP0281214A3 (fr) 1989-10-18

Similar Documents

Publication Publication Date Title
US6177624B1 (en) Arrangement apparatus by modification of music data
EP0281214A2 (fr) Dispositif de commande de données acoustiques et méthode de fonctionnement
JP3470596B2 (ja) 情報表示方法および情報表示プログラムが記録された記録媒体
JP3821103B2 (ja) 情報表示方法および情報表示装置、並びに、情報表示プログラムを記録した記録媒体
US6031175A (en) Music performing apparatus capable of calling registrations for performance and computer readable medium containing program therefor
JP3707300B2 (ja) 楽音発生装置用拡張ボード
JP3533972B2 (ja) 電子楽器の設定制御装置
JPH10214083A (ja) 楽音生成方法および記憶媒体
US12039960B2 (en) Resonance sound signal generation method, resonance sound signal generation device, non-transitory computer readable medium storing resonance sound signal generation program and electronic musical apparatus
JP3398554B2 (ja) 自動アルペジオ演奏装置
EP1653441B1 (fr) Dispositif et procédé pour déterminer le style d'interprétation de sons
JP2001022354A (ja) アルペジオ生成装置及びその記録媒体
JP3649014B2 (ja) 演奏データファイルの再生設定制御装置
JP3312939B2 (ja) 電子楽器
JP3430895B2 (ja) 自動伴奏装置及び自動伴奏制御プログラムを記録したコンピュータ読み取り可能な記録媒体
JP3379098B2 (ja) 演奏装置、および該装置に係るプログラムまたはデータを記録した記録媒体
JPH0728462A (ja) 自動演奏装置
JP3791784B2 (ja) 演奏装置
JP2972364B2 (ja) 音楽的情報処理装置及び音楽的情報処理方法
JP3837994B2 (ja) 楽譜データ変換装置、及び記録媒体
JPH07104745A (ja) 自動演奏装置
JP3399333B2 (ja) 楽音制御装置
JP2026046137A (ja) 情報処理装置、電子楽器、方法およびプログラム
JP4835434B2 (ja) 演奏パターン再生装置及びそのコンピュータプログラム
JP3931460B2 (ja) 音源装置

Legal Events

Date Code Title Description
PUAI Public reference made under article 153(3) epc to a published international application that has entered the european phase

Free format text: ORIGINAL CODE: 0009012

AK Designated contracting states

Kind code of ref document: A2

Designated state(s): AT BE CH DE ES FR GB GR IT LI LU NL SE

RBV Designated contracting states (corrected)

Designated state(s): DE FR GB IT

PUAL Search report despatched

Free format text: ORIGINAL CODE: 0009013

AK Designated contracting states

Kind code of ref document: A3

Designated state(s): DE FR GB IT

STAA Information on the status of an ep patent application or granted ep patent

Free format text: STATUS: THE APPLICATION IS DEEMED TO BE WITHDRAWN

18D Application deemed to be withdrawn

Effective date: 19900419