EP0802520B1 - Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument - Google Patents

Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument Download PDF

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Publication number
EP0802520B1
EP0802520B1 EP97400837A EP97400837A EP0802520B1 EP 0802520 B1 EP0802520 B1 EP 0802520B1 EP 97400837 A EP97400837 A EP 97400837A EP 97400837 A EP97400837 A EP 97400837A EP 0802520 B1 EP0802520 B1 EP 0802520B1
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Prior art keywords
note
excited
free
notes
sympathetic
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EP97400837A
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French (fr)
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EP0802520A1 (de
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Gérard Assayag
Georges Bloch
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Orange SA
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France Telecom SA
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0091—Means for obtaining special acoustic effects
    • 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
    • G10H2210/271—Sympathetic resonance, i.e. adding harmonics simulating sympathetic resonance from other strings

Definitions

  • the present invention relates to a method of simulation of sympathetic resonances on an instrument of electronic music.
  • the invention finds applications for all electronic musical instrument capable of receiving commands for triggering or releasing notes, either directly or through a interface such as an instrumental interface to MIDI standards, for example.
  • the strings can occupy multiple states. More specifically, they can be excited, that is to say solicited by the musician, suffocated, that is to say retained to avoid their vibration, or even free, i.e. free from resonate.
  • Sympathetic resonance also takes place in a piano in which the corresponding free strings, for example, when pressed, vibrate by sympathy with the harmony of other strings.
  • Electronic instruments do not have strings likely to resonate and do not produce as well as the note corresponding to a key pressed or to an electronic order including a triggering of said note.
  • the sound produced corresponds to the vibration of the strings according to their fundamental harmonics.
  • Each note played by the musician is independent of other notes played simultaneously on the electronic instrument.
  • the object of the present invention is to provide a advanced simulation process allowing realistically reproduce the resonances sympathetic to stringed instruments, and particular of the piano, by an electronic instrument.
  • the invention also aims to provide a solution to autoresonance problems that may arise from sympathy.
  • Another object of the invention is to allow the creation of sympathetic resonance effects on electronic musical instruments using timbres other than those of acoustic instruments strings.
  • An object of the invention is also to propose a sympathetic resonance simulation process allowing sound effects such as those obtained in exciting the strings of an acoustic piano by voice or by another instrument.
  • Yet another object of the invention is its use as control of a synthesis process which take into account the context of the instrument (i.e. notes that are resonating, being excited, to be free).
  • a note is excited when the corresponding key on the keyboard is pressed with a velocity greater than one predetermined velocity. This corresponds, by analogy, at a sufficiently powerful strike with a touch of a acoustic piano to cause a pulse from the corresponding hammer on the rope (s) associated.
  • An excited note can also be compared by pinching a guitar string with a plectrum, or the friction of a bow on the string of a cello.
  • trigger commands or loosening free or excited notes can for example from a sensitive MIDI type keyboard at key attack velocity or sequencer MIDI appropriate.
  • each base note and each sympathetic note can order the set of each base note and each sympathetic note with a volume evolving in the time from an instant defined by the trigger of said note, according to a predetermined envelope user editable.
  • the envelope presents a exponential decay after reaching the maximum volume.
  • the decrease and more generally the form of the envelope may also depend on the height of the note played.
  • V b (t) V O * e -t
  • t is the time elapsed since the moment of excitation
  • V o the power or velocity of the note played.
  • the volume V b (t) is preferably adjusted, not not according to an envelope, but according to commands coming from the instrumental interface.
  • V s (t) V b (t) xP Hey xP hl
  • P he and P hl are respectively the potentials of the corresponding harmonic of the excited note and the free note.
  • the potentials of a harmonic are understood as the ratio of the volume of said harmonic to the fundamental harmonic.
  • the harmonic potentials of each note are predetermined values which can be stored in an instrument or system memory simulation.
  • the volume of this sympathetic note may be the sum of several contributions corresponding to the different free notes.
  • the volume is then where P hli is the potential of the harmonic corresponding to the ith free note taken among n free notes in total, to which corresponds the sympathetic note.
  • the number of free and excited notes becomes large, the number of sympathetic notes can be limited by increasing this predetermined value.
  • each sympathetic note played can correspond to several different free notes.
  • Note pitch sympathetic then corresponds to harmonics of rank different from the different free notes.
  • the note playing sympathetic can be performed with decreased volume Consequently.
  • the volume can be reduced according to the potential of the harmonics of the released free notes corresponding to the pitch of the sympathetic note played. This corresponds to eliminating in the expression of V S (t) the terms P hli corresponding to the harmonics of the released free notes.
  • the sympathetic notes resonate using the same timbre as the base notes.
  • the stamp and / or possibly the envelope of the sympathetic notes can be different from the base notes. This is the case in acoustic reality (the sympathetic resonance sound of a piano has a different attack from the sound of a note excited). But this feature creates original sound effects. It is for example possible to create a sympathetic resonance with the timbre of a clarinet for notes played with a piano stamp.
  • the second sympathetic resonance is simulated at from the trigger as a free note of the whole notes for which the instrument is suitable for generate sounds.
  • the second sympathetic pedal resonance does does not replace the first resonance but is there, at less partially added.
  • the volume of sympathetic notes from first and second resonances can be chosen proportional to the pitch of the notes, and the harmonic potentials, the way outlined above.
  • the volume respective sympathetic notes from premiere and second resonances can also be weighted in depending on a triggering degree or intensity of the pedal control.
  • the volume of sympathetic notes of second resonance can be increased at the expense of the sympathetic notes of first resonance, for an increasing depression of a pedal or control of an instrumental interface comparable to the pedal (right) of a piano, and reciprocally. This allows for half-pedal effects impractical on current synthetic instruments.
  • these can contain in a memory a correspondence table between each note of the electronic musical instrument, and a set harmonics associated with each note.
  • the table can also include harmonics of each note, also the potentials of each harmonic.
  • the potential of a harmonic such as defined above, is understood as a factor characterizing the volume at which a note is to be played sympathetic corresponding to the pitch of the harmonic. This potential can depend not only on the height of the note, but also of the rank of the harmonic of the note.
  • these may include software for calculation of harmonics, and possibly their potential.
  • the means of updating the first and second lists can also include a software.
  • Means for finding harmonics identical in the lists can be means pointer computing also operating according to research software using optimizations classics for this type of data.
  • the device sympathetic resonance simulation can involve means for updating a second first list containing a set of all free notes possible from the instrument.
  • Means for finding harmonics municipalities are then also able to search during each triggering of an excited note and for each harmonic of the excited note, at least one harmonic identical to a note different from the note excited in the second first list to order notes sympathetic corresponding.
  • Figure 1 shows very schematically a device 10 for simulating sympathetic resonances according to the invention.
  • the simulation device 10 includes a entry 16 receiving commands supplied either by the numeric keypad 12, either by a pedal interface 18, either by a voice command system or instrumental 20 described later.
  • the keypad 12 is connected to the device 10 by means of a cable 14 able to convey MIDI standard signals corresponding in particular to trigger and release commands notes that an instrumentalist plays on the keyboard.
  • the signals also include, for each note played, information concerning the attack velocity of the corresponding key on the keyboard.
  • Input 16 allows you to sort the commands for trigger from keyboard 12 in function velocity information and thereby distinguish free notes excited notes.
  • a note is also considered to be excited when the key is pressed with velocity greater than a predetermined value, which can possibly be a parameter of the device 10 adjustable by the instrumentalist.
  • the commands for triggering of excited notes provided by the keyboard 12 are necessarily trigger commands free notes too.
  • the actuation of the pedal 18 makes it possible to provide input 16 of device 10 with a command corresponding to the triggering of all the notes of electronic instrument considered as notes free.
  • the voice-controlled system 20 or instrumental has a microphone 22 and a converter 24 able to convert the signal from microphone in MIDI type commands. These commands are recognized by entry 16 as commands to excited notes (and not as free notes). This arrangement allows to simulate sound effects similar to those obtained by exciting free strings of an acoustic piano by voice, as exposed in the introductory part of this description.
  • the device then has a table or formula to determine the harmonic potential corresponding, for each pitch, to the voice or the instrument picked up by the microphone.
  • the sympathetic resonance excitations by voice can be made for stamps other than that of the piano if the electronic musical instrument permits.
  • Combined use of the keyboard 12 and the system 20 allows to define, for example, free notes exclusively on the keyboard and the notes excited by the system 20.
  • Free notes and excited notes are used to update a list of 26 notes free and a list 28 of excited notes.
  • the notes free and excited are added to lists 26 and 28 when triggered, and removed from it when releasing them on the keyboard.
  • Figure 2 gives an illustration of a set of harmonics and their associated potentials to a note which, in this case, is a DO (C).
  • the harmonics correspond to the modes of vibration of a string corresponding to the free note or excited.
  • Rods associated with each harmonic have a height proportional to the potential of each harmonic. This corresponds, always by analogy with an acoustic instrument, at the amplitude of the vibration of a string according to each of its harmonics.
  • the hour or excited note is the DO (C) which corresponds to the fundamental harmonic with the highest potential.
  • Figure 3 shows, by way of example a set of harmonics associated with three free notes corresponding to a DO (C) agreement triggered on the keyboard 12 (Fig. 1).
  • the process of the invention can take counts all the harmonics of a note or only a limited number of harmonics having the highest harmonic potentials.
  • the reference 30 in FIG. 1 corresponds to a memory containing a set of harmonics and the corresponding harmonic potentials of all notes that it is possible to play on the instrument electronic, or to a calculator capable of calculating harmonics and their potentials from the pitch of the free or excited note.
  • this calculation can be performed taking into account the sensitivity values of each harmonic frequency with respect to the harmonic fundamental, these values being stored in a array of a memory, and by weighting harmonic potential, from this sensitivity and the height of the free (or excited) note considered.
  • a computer system 32 capable of operating according to a programmed algorithm, allows, from first and second lists, determine grades nice that the instrument has to play to simulate sympathetic resonance. It performs two types of calculation, either in case of a new free note, or in case of new excited note.
  • the first calculation performed by the system 32 allows you to search for each trigger of a excited note, and for each harmonic of this note one or more harmonics which are identical to harmonics of all the free notes of the first list, different from the excited note.
  • the system 32 allows you to search for one or more identical harmonics of excited notes different from the free note, in the second list.
  • Harmonics and their potentials in relation to the free and excited notes to which they match, are stored with the free note in a memory 34.
  • the system 32 transmits to one or several sound generators for game controls a nice note worthy of each harmonic determined as described above.
  • system 32 also transmits commands for the corresponding basic note set at the heights of the fundamental harmonics of the notes excited.
  • the base notes correspond to the notes which would be played in the absence of the simulation of sympathetic resonances, i.e. if keyboard 12 was directly connected to the generator sound.
  • the system 10 is connected by electrical connections to two sound generators 36 and 38 to which the orders sympathetic notes and basic notes.
  • System 32 also transmits to generators 36 and 38 of the commands corresponding to the volume and possibly in the envelope for notes 36 and 38.
  • the volumes for the play of sympathetic notes and basic are determined by system 32 of one of previously described ways either with a volume variable for each harmonic pitch, either with a trigger for any harmonic match between a free note and an excited note.
  • the velocity depends on the velocity of the note excited, potentials of the respective harmonics of free and excited notes, and time difference between the moment of excitement and the moment when the note is free (triggering of free and excited notes corresponding).
  • G and D are played with velocity higher than a predetermined velocity and we consider that they correspond to both a free note and an excited note.
  • Envelopes for base notes and sympathetic notes can be the same or different.
  • the sound generators 36 and 38 can also have the same or different stamps. These are for example two different voices of a polyphonic or electronic type instrument electronic instrument sound generators different.
  • Generators 36 and 38 are connected to a 40 speaker loudspeaker system through amplification means 42.
  • system 32 can also include a program to perform a second sympathetic resonance simulation with all harmonics of all available free notes from the instrument, when the pedal 18 is actuated.
  • the sympathetic notes correspond to the identical overtones of the excited notes with one any of the harmonics of the free notes.
  • the system 32 then directs to the generator 36 orders of both sympathetic notes from the first and second resonances, i.e. sympathetic resonance notes from the notes freed from keyboard 12 and sympathetic notes from pedal resonance 18.
  • the volume of sympathetic notes from the first and the second resonances is also weighted by the degree for depressing the pedal 18.
  • a device 32b establishes a balance between the first and second resonances.
  • the two resonances are always ordered (even with zero volume), which allows, if the pedal is released, to hear still the sympathetic resonance of free notes.

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

Claims (22)

  1. Verfahren zum Simulieren sympathischer Resonanzen wenigstens eines elektronischen Musikinstruments, fähig Töne für einen Notensatz bzw. eine Notengruppe zu erzeugen und imstande, Befehle zur Auslösung oder Freigabe sogenannter erregter und/oder freier Noten zu empfangen, bei dem:
    man wenigstens eine erste Liste (26) freier Noten aktualisiert und mit jeder freien Note Harmonische bzw. Obertöne dieser freien Note verknüpft,
    man eine zweite Liste (28) erregter Noten aktualisiert und mit jeder erregten Note Harmonische bzw. Obertöne dieser erregten Note verknüpft, wobei die zweite Liste insbesondere bei jeder Auslösung und jeder Freigabe einer erregten Note aktualisiert wird,
    man bei jeder Auslösung einer freien Note für jede Harmonische dieser freien Note wenigstens eine identische Harmonische einer sich von dieser freien Note unterscheidenden Note der zweiten Liste (28) sucht, und man das Spielen einer sogenannten sympathischen Note mit der Höhe jeder identischen Harmonischen steuert bzw. befiehlt, und
    man bei jeder Auslösung einer erregten Note für jede Harmonische dieser erregten Note wenigstens eine identische Harmonische einer sich von dieser erregten Note unterscheidenden freien Note der ersten Liste (26) sucht, und man das Spielen einer Basisnote genannten Note mit der Höhe einer Grundharmonischen der genannten erregten Note und einer sympathisch genannten Note mit der Höhe jeder identischen Harmonischen steuert bzw. befiehlt.
  2. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man das Spielen jeder Basisnote und jeder sympathischen Note mit einem Volumen steuert, das sich zeitlich entwickelt, ab einem durch die Auslösung der genannten Note definierten Zeitpunkt, nach einer festgelegten Enveloppe.
  3. Verfahren nach Anspruch 2, dadurch gekennzeichnet, dass die genannte Enveloppe eine zeitliche Abnahme nach einer durch den Benutzer modifizierbaren festgelegten Enveloppe aufweist, abhängig von einer Höhe jeder Basisnote beziehungsweise jeder sympathischen Note.
  4. Verfahren nach Anspruch 1 bis 2, dadurch gekennzeichnet, dass man das Spielen jeder Basisnote mit einem zu einer Erregungsleistung der entsprechenden erregten Note proportionalen Volumen Vb steuert.
  5. Verfahren nach Anspruch 4, dadurch gekennzeichnet, dass man das Spielen jeder sympathischen Note mit einem Volumen steuert, das proportional zu dem Volumen Vb der erregten Note ist, die eine Harmonische mit der Höhe der sympathischen Note hat, die mit der einer freien Note identisch ist.
  6. Verfahren nach einem der Ansprüche 1 bis 5, dadurch gekennzeichnet, dass man das Spielen jeder sympathischen Note mit einem Volumen steuert, das proportional zu einem der Höhe der sympathischen Note entsprechenden harmonischen Potential der Harmonischen der erregten Note und proportional zu einem der Höhe der sympathischen Note entsprechenden harmonischen Potential der Harmonischen wenigstens einer freien Saite ist.
  7. Verfahren nach Anspruch 6, dadurch gekennzeichnet, dass man das Spiel jeder sympathischen Note mit einem Volumen steuert, das von der Zeitdifferenz zwischen dem Auslösen der entsprechenden freien Note und dem Auslösen der entsprechenden erregten Note abhängt.
  8. Verfahren nach Anspruch 2, dadurch gekennzeichnet, dass man das Spielen einer Basisnote einstellt, wenn ihr Volumen kleiner bzw. niedriger als ein festgelegter Wert ist.
  9. Verfahren nach Anspruch 2, dadurch gekennzeichnet, dass man das Spielen einer sympathischen Note einstellt, wenn ihr Volumen kleiner bzw. niedriger als ein festgelegter Wert ist.
  10. Verfahren nach Anspruch 2, dadurch gekennzeichnet, dass man das Spielen einer sympathischen Note während eines Freigabebefehls aller freien Noten, mit denen die der Höhe der sympathischen Note entsprechende Harmonische verknüpft ist, einstellt.
  11. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man bei jedem Freigabebefehl einer erregten beziehungsweise freien Note die erste und die zweite Liste aktualisiert, indem man aus diesen Listen die genannte freie Note herausnimmt.
  12. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man bei der Auslösung einer zugleich erregten und freien Note zunächst die zweite Liste aktualisiert und für jede Harmonische der genannten erregten Note wenigstens eine identische Harmonische einer freien Note der ersten Liste sucht, um eventuelle sympathische Noten auszulösen, und erst dann die erste Liste aktualisiert.
  13. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man außer der Simulation einer sympathischen Resonanz nach der Auslösung freier Noten, erste Resonanz genannt, eine zweite sympathische Resonanz als freie Note simuliert, ausgehend von einer Pedalauslösung genannten Auslösung der Gesamtheit der Noten, für die das Instrument Töne erzeugen kann.
  14. Verfahren nach Anspruch 13, dadurch gekennzeichnet, dass man zur Durchführung der Simulation der zweiten sympathischen Resonanz für jede Harmonische jeder erregten Note unter den Harmonischen der Gesamtheit der Noten, für die das Instrument Töne erzeugen kann, identische Harmonische sucht, und man das Spielen einer sympathischen Note mit der Höhe jeder der genannten Harmonischen befiehlt.
  15. Verfahren nach Anspruch 14, dadurch gekennzeichnet, dass man die sympathischen Noten der ersten Resonanz und die sympathischen Noten der zweiten Resonanz mit einem Volumen befiehlt, das in Abhängigkeit von einem Pedalauslösungsgrad gewichtet wird.
  16. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man die Auslösungsund Freigabebefehle der freien Noten und der erregten Noten über ein einziges Instrumental-Interface liefert.
  17. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man die Befehle zur Auslösung der freien Noten und der erregten Noten jeweils über unterschiedliche Instrumental-Interfaces liefert.
  18. Verfahren nach Anspruch 1, dadurch gekennzeichnet, dass man eine Pedalauslösung durch Betätigung eines Interfaces mit Pedalsteuerung liefert.
  19. Vorrichtung zum Simulieren sympathischer Resonanzen für ein elektronisches Musikinstrument, umfassend:
    wenigstens einen Eingang (16) zum Empfangen der Auslösungs- und Freigabebefehlssignale von erregten und/oder freien gespielten Noten,
    Aktualisierungseinrichtungen einer ersten (26) und einer zweiten (28) Liste freier und erregter Noten in einem Speicher, und Verknüpfungseinrichtungen (30) dieser Noten mit Harmonischen, die ihnen entsprechen, wobei die Aktualisierungseinrichtungen fähig sind, bei einem Auslösungs- bzw. Freigabebefehl einer freien Note bei der ersten Liste die freien Noten hinzuzufügen bzw. herauszunehmen, und fähig sind, bei einem Auslösungs- bzw. Freigabebefehl einer erregten Note bei der zweiten Liste die erregten Noten hinzuzufügen bzw. herauszunehmen,
    Einrichtungen (32) um bei jeder Auslösung eine freie Note und für jede Harmonische der freien Note wenigstens eine identische Harmonische einer sich von der genannten freien Note unterscheidenden Note in der zweiten Liste zu suchen, und um bei jeder Auslösung einer erregten Note und für jede Harmonische der erregten Note wenigstens eine identische Harmonische einer sich von der erregten Note unterscheidenden Note in der ersten Liste zu suchen,
    einen Generator (32) des Steuerungssignals zum Spielen einer der Höhe einer Grundharmonischen jeder erregten Note entsprechenden, Basisnote genannten Note und einer der Höhe jeder identischen Harmonischen entsprechenden, sympathisch genannten Note.
  20. Vorrichtung nach Anspruch 19, dadurch gekennzeichnet, dass die Verknüpfungseinrichtungen (30) der Harmonischen mit den freien und erregten Noten in einem Speicher eine Übereinstimmungstabelle zwischen jeder Note aus einer Notengruppe, für die das elektronische Musikinstrument einen Ton erzeugen kann, und einer Gruppe mit jeder dieser Noten verknüpfter Harmonischer enthalten.
  21. Vorrichtung nach Anspruch 19, dadurch gekennzeichnet, dass die Verknüpfungseinrichtungen der Harmonischen mit den freien und erregten Noten ein Programm zum Berechnen der Harmonischen enthalten.
  22. Vorrichtung nach Anspruch 19, dadurch gekennzeichnet, dass sie Aktualisierungseinrichtungen eine zweite erste Liste (26a) umfassen, die eine Gruppe mit allen dem Instrument möglichen freien Noten enthält, und dass die Einrichtungen (32) zum Suchen von Harmonischen außerdem fähig sind, bei jeder Auslösung einer erregten Note und für jede Harmonische der erregten Note wenigstens eine identische Harmonische einer sich von der erregten Note unterscheidenden Note in der zweiten ersten Liste (26a) zu suchen, um entsprechende sympathische Noten zu steuern.
EP97400837A 1996-04-16 1997-04-14 Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument Expired - Lifetime EP0802520B1 (de)

Applications Claiming Priority (3)

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FR9604724 1996-04-16
FR9604724A FR2747496B1 (fr) 1996-04-16 1996-04-16 Procede de simulation de resonances sympathiques sur un instrument de musique electronique
US08/827,713 US5854438A (en) 1996-04-16 1997-04-08 Process for the simulation of sympathetic resonances on an electronic musical instrument

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EP0802520A1 EP0802520A1 (de) 1997-10-22
EP0802520B1 true EP0802520B1 (de) 2001-02-07

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US6372973B1 (en) * 1999-05-18 2002-04-16 Schneidor Medical Technologies, Inc, Musical instruments that generate notes according to sounds and manually selected scales
JP4578108B2 (ja) * 2004-01-09 2010-11-10 株式会社河合楽器製作所 電子楽器の共鳴音発生装置、電子楽器の共鳴音発生方法、コンピュータプログラム及び記録媒体
US7563975B2 (en) 2005-09-14 2009-07-21 Mattel, Inc. Music production system
US8067685B2 (en) * 2010-01-07 2011-11-29 Preston Parish Stringed instrument utilizing sympathetic vibrations
JP6554850B2 (ja) * 2015-03-23 2019-08-07 カシオ計算機株式会社 電子鍵盤楽器、共鳴音発生装置、方法、プログラムおよび電子楽器
JP7476501B2 (ja) * 2019-09-05 2024-05-01 ヤマハ株式会社 共鳴音信号発生方法、共鳴音信号発生装置、共鳴音信号発生プログラムおよび電子音楽装置

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US3790693A (en) * 1971-12-29 1974-02-05 Nippon Musical Instruments Mfg Tone keying and synthesizing system for electronic musical instrument
US3790963A (en) * 1972-02-04 1974-02-12 Merry Jumpsuits One piece garment
EP0167847B1 (de) * 1984-06-12 1989-03-29 Yamaha Corporation Tonsignalerzeugungsvorrichtung
KR940001090B1 (ko) * 1987-10-02 1994-02-12 야마하 가부시끼가이샤 악음신호 발생장치
US5198604A (en) * 1990-09-12 1993-03-30 Yamaha Corporation Resonant effect apparatus for electronic musical instrument
US5455380A (en) * 1993-02-18 1995-10-03 Kabushiki Kaisha Kawai Gakki Seisakusho Electronic musical instrument altering tone sound effects responsive to number of channels or tone range
JP2828872B2 (ja) * 1993-06-29 1998-11-25 ヤマハ株式会社 共鳴音信号形成装置

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US5854438A (en) 1998-12-29
FR2747496B1 (fr) 1998-05-15
EP0802520A1 (de) 1997-10-22

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