Patent Grant
7723597
Not Applicable
Not Applicable
Not Applicable
1. Field
The invention relates generally to a musical keyboard apparatus for controlling electronic sound, and specifically to those keyboards whose keys may be actuated both up-and-down and in-and-out.
2. Defined Terms
Positions and movements of keyboard elements are described from the point-of-view of a player facing the instrument.
The axis in which the plurality of keys is arrayed left and right is termed the x-axis, and motion in that axis is termed lateral, or side-to-side; the axis is which the long axes of the keys lie towards and away from the player is termed the y-axis, and motion in that axis is termed longitudinal, or in-and-out; and the axis in which the keys move up-and-down is termed the z-axis, and motion in that axis is termed vertical, or up-and-down.
Key movement in the z-axis is termed ‘depression’, or ‘key dip’, and key movement in the y-axis is termed ‘displacement’.
A key is said to be in its ‘at-rest’ position when it is fully up in the z-axis, or undepressed, and centrally located in the y-axis, or undisplaced; and in an ‘active position’ when it is not at-rest.
The term ‘unguided’ refers to the state of a key that has been depressed, whether or not displaced, and released.
The term ‘key space’ refers to the locus of all positions in the vertical plane in which the long axis of a key lies to which the key may be moved.
Of the two key forms, ‘upper-rank’ keys are analogous to those commonly called ‘black keys’ in conventional claviers, and lower-rank' keys are analogous to those commonly called ‘white keys’ in conventional claviers.
3. Prior Art
Tone producing means and control means in acoustic instruments are tightly bound to each other. A drumhead, for example, may be struck by hand, or with a stick—a distinction with a difference—but not so much you wouldn't know it was a drum.
Control means for electronic sound, on the other hand, may be entirely separate from tone producing means. Drum sounds can be played via keyboards, though, as is well understood by those skilled in the art, without the control of actually drumming.
Almost a century of effort since the Telharmonium (U.S. Pat. No. 580,035 (1897), Cahill) first made the sounds of electrical circuits audible has gone toward devising control means as expressive as those of acoustic instruments. The Telharmonium utilized multiple keyboards having position sensitivity in the z-axis to expand expression, but the instrument weighed several hundred tons and cost millions of dollars to fabricate.
Less inherently expensive but still very limited was the keyboard of Maurice Martenot (U.S. Pat. No. 2,562,471 (1948), Martenot). This patent teaches a platform, displaceable in the x or y-axis direction, on which all keys are mounted. The platform's excursion is directed at effects that can be controlled with short motion, like vibrato, but is not useful for control of higher resolution sonic events like pitch bending. Further, Martenot recognizes that the platform, when unguided, will continue to oscillate as a function of its mass and springing, eventually losing energy. Such oscillation is inherently distracting to the player, all the more so if it has a hearable result. Martenot's solution, balancing mass and spring force so that the platform has a natural frequency higher than that of an effect like vibrato, attempts to hide the problem of damping, and can only work for low frequency sonic events.
One known way to expand the expressive capability of an electronic keyboard controller is to recognize individual key-based playing gestures made in the direction of the longitudinal axis of the keys, in-and-out, in the y-axis.
Robert Moog described at the International Computer Music Conference in 1982 a ‘multiple-touch-sensitive keyboard’, later completed with help from one of us (DeRocco). The key surfaces of its otherwise conventional organ/synthesizer style keyboard were circuit boards that continuously recognized finger location. In one of its playing modes, absolute location of the initial contact in the y-axis was treated as a starting point for modulation, and in another, location relative to a ‘first touch’, that is, a note-on condition following a note-off condition, was recognized. Whichever the mode, however, player perception and control was principally mediated through skin sensation rather than via the more discriminating flexors and extensors of the hand.
The same ergonomic limitation applies to the more contemporary instrument taught in U.S. Pat. No. 6,703,552 (2004), Haken. The instrument is an uninterrupted planar surface (a membrane keyboard) with very sophisticated processing to extract player intent; but it, too, like Moog's keyboard, does not use the hand's more complex sensing and control capabilities.
a is a side elevational view of the prior art of U.S. Pat. No. 3,818,114 (1974), Okamoto, showing a digitally operable electronic organ key with limited 3-dimensional capability. A key 110 is supported by a leaf spring 111 “resilient enough to permit each . . . [key] . . . to move back and forth in the lengthwise direction of each said key”. Such motion is limited by interference between the ‘white’ key (as shown in the drawing) and a ‘black’ key (not shown). At the front end of the key, a member 112 supports a stop 113 at its upper end, which stop is “somewhat loosely received in a housing of any suitable shape formed on the underside of the key 110, in such a manner that the angle of swing of the key 110 is thereby delimited.” That is, the stop is only directed at and suitable for z-axis motion. Thus Okamoto shows a digitally operable electronic organ key with limited 3-dimensional capability. Its longitudinal, or y-axis, motion is very short, of necessity, as there is little space between the front of black keys and ‘L-shaped’ portions of adjacent white keys. Short key travel is suitable only for sonically low resolution musical features, like tremolo. Significantly greater travel in the y-axis would be needed to control higher resolution sonic events, like pitch. Also, Okamoto makes no provision for frictionless guidance at the front of the key; increased friction under the natural lateral loads in playing, having no sonic purpose, only distract the player. Okamoto speaks specifically of the restraint at the front of the key as “somewhat loosely received in a housing of any suitable shape formed on the underside of the key, in such a manner that the angle of swing of the key is thereby delimited.” The structure is directed only at z-axis motion and does not adequately support y-axis motion suited to control high resolution musical events. Finally, Okamoto makes no provision for physically signaling a key's center position in the y-axis.
b is a side elevation, partly sectionalized, view of the prior art of U.S. Pat. No. 4,068,552 (1978), Allen, showing an electronic key mechanism with extended 3-dimensional capability. The pin 115, which makes sliding contact with the inside of slot 116, is subject to binding if torsion is exerted on the key 114 through lateral loading, which is a natural component of playing. At the rear of the key, a pivoting mount is comprised of a yoke 117 to which the key 114 is pivotally pinned. The yoke 117 is then attached to a leaf spring 118. These joints are is a source of instability and play in the mechanism, require a complexity of parts, and the need for adjustment. While Allen describes an electronic key mechanism with extended key displacement range through the use of cantilevered, or undercut, ‘black keys’, the pin mechanism used to control lateral loads is susceptible to cocking and binding in its associated slot; no means is provided for damping the longitudinal oscillations of an unguided key; and the rear key mount requires a bearing in its upper aspect, at the expense of play which may be amplified over the length of the key, and shows a complexity of parts needing assembly and adjustment, and hampering long term reliability.
c is an exploded view of the prior art of U.S. Pat. No. 4,498,365 (1985), Tripp et al., showing a pressure and longitudinal sensor coupled to a longitudinally displaceable key with extended 3-dimensional capability and center signaling. A rocker assembly 119 establishes a central detent for longitudinal key motion through a complexity of elements, including slots 120 and 121 in a rocker body 122 and a key 123, respectively. Rocker body 122 is pinned at one of its ends to a leaf spring 124 through holes 125 and 126 and attached at its other end by a coil spring 127 to a pin 128. A perpendicularly extending pin 129, inserts into a slot 130 in key 123, acts as a key travel limit and supplies lateral key motion restraint at the front of the key. A second rocker assembly 131 requires that pins 132 and 133, “mutually parallel and non-skewed”, be assembled at one end into bearing holes 134 of key 123 and, at the other end, into hole 135 and its mate (not shown) in a bracket 136. The rocker assembly, which provides a central detent for longitudinal key motion, comes at the expense of a complexity of elements and of assembly and disassembly when pinning the rocker body both to the leaf spring at one end and the key at the other. No provision is made to damp both the z and y-axis components of unguided longitudinal key motion beyond the damping internal to the key/springs themselves. There is no means to resist substantially without play and friction lateral loads at the front of the key as longitudinal key guidance is supplied by a pin oriented perpendicularly in a slot, which is thus subject to cocking and binding. Lastly, a second rocker assembly at the rear of the key is complex to manufacture and assemble as well as a source of looseness in the keys and error in their mutual alignment.
Lastly, none of the prior art addresses how the mass of a key and the spring and player forces acting on it must be organized for player control simultaneously in the z and y axes, adding articulation to the sound.
In accordance with the embodiment disclosed herein, an improved 3-dimensional musical keyboard apparatus is described to support more facile control of musical sound. It comprises a plurality of planar, longitudinally extending keys mounted for both downward depression and longitudinal displacement; spring components to return an unguided key to its at-rest position; means to limit the extent of key motion; sensing means to detect key position at any point in its range of motion; and electronic digital signal processor means responsive to key position signals and productive of musical control information. Additionally, it comprises a single line of contact structure for restraining keys from lateral motion; differential damping for the vertical and horizontal components of key motion; simplified means for signaling key center position in the displacement axis; and support for musical articulation in the direction of key displacement when a key is moving upward from a depressed position.
a is a side elevational view of the prior art of U.S. Pat. No. 3,818,114 (1974), Okamoto, showing a digitally operable electronic organ key with limited 3-dimensional capability
b is a side elevation, partly sectionalized, view of the prior art of U.S. Pat. No. 4,068,552 (1978), Allen, showing an electronic key mechanism with extended 3-dimensional capability.
c is an exploded view of the prior art of U.S. Pat. No. 4,498,365 (1985), Tripp et al., showing a pressure and longitudinal sensor coupled to a longitudinally displaceable key with extended 3-dimensional capability and center signaling.
a is a side, elevational view of the present embodiment.
b is a side, elevational view of a second key form of the present embodiment.
a is a perspective view of the two key forms of the present embodiment in their at-rest positions.
b is a perspective view of the two key forms of the present embodiment with lower rank key 211 depressed.
c is a perspective view of the two key forms of the present embodiment with upper rank key 211a depressed and displaced.
a is a side, elevational view of area 204 in
b is a side, elevational view of area 204 in
c is a block diagram of the present embodiment showing the relationship between the sensors and the electronic processor, including the output of the electronic processor.
a is a perspective view, from the side and above and partially sectioned, of area 205 in
b is a front elevational view of pin 229 in slot 510 in guide plate 230 taken at section line 5b-5b in
c is a front elevational view of pin 130 in slot 131 in key 123 taken at section line 5c-5c in the prior art of
a enlarges for clarity area 206 in
b enlarges for clarity area 206 in
Positions and movements of keyboard elements are described from the point-of-view of a player facing the instrument.
The axis in which the plurality of keys is arrayed left and right is termed the x-axis, and motion in that axis is termed lateral, or side-to-side; the axis is which the long axes of the keys lie towards and away from the player is termed the y-axis, and motion in that axis is termed longitudinal, or in-and-out; and the axis in which the keys move up-and-down is termed the z-axis, and motion in that axis is termed vertical, or up-and-down.
Key movement in the z-axis is termed ‘depression’, or ‘key dip’, and key movement in the y-axis is termed ‘displacement’.
A key is said to be in its ‘at-rest’ position when it is fully up in the z-axis, or undepressed, and centrally located in the y-axis, or undisplaced; and in an ‘active position’ when it is not at-rest.
The term ‘unguided’ refers to the state of a key that has been depressed, whether or not displaced, and released.
The term ‘key space’ refers to the locus of all positions in the vertical plane in which the long axis of a key lies to which the key may be moved.
Of the two key forms, ‘upper-rank’ keys are analogous to those commonly termed ‘black keys’ in conventional claviers, and lower-rank' keys are analogous to those commonly termed ‘white keys’ in conventional claviers.
a is a side, elevational view of the present embodiment. It shows a base structure 210 on which is mounted a planar, longitudinally extending key 211 of the lower-rank, comprised of a key body 212 to which a key top 213 having an upwardly facing playing surface 214 is firmly affixed. Key 211 is supported toward its front by a rocker 215 located generally under playing surface 214 and having, at its bottom, a recess 216 that locates rocker 215 on a projection 217 from a flat spring 220. At its top is a recess 218 into which an aligning projection 219 from key 211 extends without interference when key 211 is unguided and in its at-rest position.
Under the foregoing conditions, the two rocker recesses and their associated projections are aligned perpendicularly to base structure 210. Rocker 215 has a partially truncated, curvilinear upper surface. A flat spring 220, firmly affixed to an upward projection 221 from base structure 210 and rotatable at a pivot point 222, supports and captures rocker 215. The rear of key 211 is firmly affixed to the upper end of a flat spring 223 and the key is rotatable at pivot point 225. At the other end of spring 223, it is firmly affixed to an upward projection 224 from base structure 210 such that, when undeflected, it is perpendicular to base structure 210 and rotatable at pivot point 226.
Two non-contact sensors 227 and 228 are located near, and aimed directly at, the broad dimension of flat springs 220 and 223, respectively. At the front of key 211, a horizontally disposed, cylindrical projection 229 passes through a zero-clearance, vertical slot in a plate 230, then through vertical slots both having clearance in a projection 231 and a bracket 232. Both plate 230 and bracket 232 are firmly affixed to, and may be integral with, projection 231, which is generally perpendicular to base structure 210. A cushion 233, mounted on key projection 229, is interposed between a collar 234 and bracket 232, and a cushion 235, similarly mounted, is interposed between the frontmost, vertical face of key 211 and plate 230.
Finally, key 211 is limited in its movement upwards by a cushion 236, retained between projection 231 and bracket 232, and, at the bottom of its travel, by a cushion 237 supported by base structure 210.
b is a side, elevational view of a second key form of the present embodiment. It shows a planar, longitudinally extending key 211a comprised of a key body 212a to which a key top 213a having an upwardly facing playing surface 214a is firmly affixed.
a is a perspective view of the two key forms of the present embodiment in their at-rest positions,
a shows that lower-rank key top 213 extends closer to the player than does upper-rank key top 213a, as is commonly the case in claviers. The two key forms may be arrayed as repeating groups of five upper-rank and seven lower-rank keys, commonly called ‘octaves’, or may be aggregated in other proportions and/or orders in comprising the intended plurality.
As may be seen in
c shows that upper-rank key top 213a has a relief 311 in its forward aspect to avoid interference with that portion of lower-rank key top 213 lying in its longitudinal plane. The shapes of the keys, and, in particular, those of the key tops, may vary, as do those of conventional claviers, for example, without affecting their function. Other than the foregoing differences, there are no material differences in the structure and operation of the keys, and the structure and operation of any one key is representative of the structure and operation of all.
Referring again to
Key 211 may be guided to any position in the plane in which its long axis lies, limited only by contact with stop cushions 233, 235, 236, and 237, whose exact positions may be adjusted for player preference in a variety of common ways including shims and hinged mounts. Cushions 233, 235 and 237 serve to absorb energy generally normal to their broad aspects and may be usefully made of piano felts, while cushion 236 may engage the projection 229 as key 211 moves in both the z and y-axis directions and may be usefully made of a skinned elastomeric foam, regarding which more detail may be found in
Key 211 is preferably of sufficient length to minimize: (a) diminishing playing leverage as the key is actuated increasingly closer to pivot point 225, and (b), the angle to which the playing surface 214 inclines from the horizontal when the key 211 is depressed. At a chosen length, key 211 must be stiff enough so as not to be affected by spurious inputs from unintended motion and/or lateral key-to-key contact. At a chosen length and stiffness, it must be light enough that the inertia imparted to it through impulse inputs in the z-axis and/or the y-axis is generally not greater than the restoring forces in those directions, insuring continuous control. To accomplish the foregoing, key 211 may be advantageously made of a composite material, for example, glass or carbon-fiber/epoxy, and key guide projection 229, preferably cylindrical in cross-section, may be made integrally with key body 212, or separately, using drill rod or the like. Z-axis flat spring 220 is preferably made of high-carbon, fully tempered spring steel; it flexes in simple bending at z-axis pivot point 222 whenever key 211 is depressed and for all measures of key displacement, urging key 211 upward to engagement with stop cushion 236
Key surface 214 and its analog, key surface 214a depicted in
a and 4b detail the operation of y-axis flat spring 223, which functions as a support, a pivot, and a resilient force.
Key depression is accommodated in a frictionless and substantially resistance-less way at y-axis upper pivot point 225. If y-axis flat spring 223 is made of AISI 1095 high-carbon, fully tempered spring steel feeler gauge stock, for example, it will flex at that point without fatiguing. Longitudinal force on key 211 causes y-axis flat spring 223 to bend rearward frictionlessly and within its elastic limit at a pivot point 226; as a result, the spring adopts a characteristic double-bighted shape 410 and 411, generating more force for a given measure of key displacement than it would were it to bend as a simple cantilever over the same measure of displacement.
c is a block diagram showing the relationship between the sensors and the electronic processor, including the output of the electronic processor. Z-axis sensor 227 is preferably an optical reflective object sensor or other non-contact transducer; it detects all possible positions of flat spring 220, which spring is used as an analog for the z-axis position of key 211. Y-axis sensor 228 is preferably an optical reflective object sensor or other non-contact transducer; it detects all possible positions of flat spring 223, which spring is used as an analog for the y-axis position of key 211.
For the purpose of identifying musical intent, key positions are recognized everywhere in the key space, and information about their velocities is derived as well. The microprocessor unit converts sensor information into electronic music control information, as, for example, MIDI (Musical Instrument Digital Interface) data or other music control language forms, for the purpose of controlling sound devices external to the present embodiment. Additionally, the microprocessor unit may control analog output, again for the purpose of controlling external sound devices.
a is a perspective view, from the side and above and partially sectioned, of area 5a in
b is a front elevational view of pin 229 in slot 510 in guide plate 230 taken at section line 5b-5b in
c is a front elevational view of pin 130 in slot 131 in key 123 taken at section line 5c-5c in prior art
Referring again to
a enlarges for clarity area 6a in
b enlarges for clarity area 6 in
As rocker 215, driven by the key 211, rotates counter-clockwise, end point 610 on flat 612, being in the first quadrant, rises. Thus a portion of playing force directed in the y-axis is converted to z-axis force, urging key 211 upward, providing both a signal of center and a point of stability. When key 211 is fully down (the condition where z-axis flat spring 220 is in firm contact with stop 237), downward force by the player causes a reaction force from the base structure 210, at which point a player can choose, by varying playing pressure downwards, to make the center signal more or less palpable.
Referencing again
According to the embodiment here presented, we have provided a more controllable and manufacturable dynamic 3-dimensional musical keyboard through improvements to key guidance, damping, centering, and dynamics.
The prior art of Okamoto has the following characteristics which hamper full realization of player control: key displacement so limited as to be unsuited for control of high resolution sonic events, key mounting is subject to both play and increasing friction under the lateral loads incidental to ordinary playing, and no provision is made for physically signaling a key's center position in the y-axis.
In the prior art of Allen, the pin mechanism used to control lateral loads is susceptible to cocking and binding in its associated slot, no means is provided for damping the longitudinal oscillations of an unguided key, and the rear key mount requires a bearing in its upper aspect, at the expense of play which may be amplified over the length of the key. Overall the teaching shows a complexity of parts needing assembly and adjustment, and hampering long term reliability.
Finally, in the prior art of Tripp et al., the rocker assembly comes at the expense of a complexity of elements and of assembly and disassembly when pinning the rocker body both to the leaf spring at one end and the key at the other. No provision is made to damp both the z and y-axis components of unguided longitudinal key motion beyond the damping internal to the springs themselves. There is no means to resist substantially without play and friction lateral loads at the front of the key as longitudinal key guidance is supplied by a pin oriented perpendicularly in a slot, which is thus subject to cocking and binding. Lastly, a second rocker assembly at the rear of the key is complex to manufacture and assemble as well as a source of looseness in the keys and error in their mutual alignment.
The embodiment disclosed herein overcomes each and all of the foregoing limitations through, one, a guidance system having the extreme low friction of single line contact between surfaces, two, an economical, single damper for both the horizontal and vertical components unguided key motion, three, a center signaling support that does not require attachment to the components it separates.
Finally, the prior art fails to recognize that control of key motion in the y-axis (in-and-out) direction is interrupted if the dynamics of the mechanism established by predetermined values of mass and spring force are not properly balanced. Without this control, full realization of artistic intent is not possible.
While the above description contains many specificities, these should not be construed as limitations on the scope of any embodiment, but as exemplifications of the presently preferred embodiment thereof. Different materials, different sizes, different component shapes, for example, may be used without the result differing materially from what is taught here.
Thus the scope of the invention should be determined by the appended claims and their legal equivalents, and not by the examples given.
| Number | Name | Date | Kind |
|---|---|---|---|
| 580035 | Cahill | Apr 1897 | A |
| 1853630 | Martenot | Apr 1932 | A |
| 2562471 | Martenot | Jul 1951 | A |
| 3693492 | Ohno | Sep 1972 | A |
| 3818114 | Okamoto | Jun 1974 | A |
| 4068552 | Allen | Jan 1978 | A |
| 4498365 | Tripp et al. | Feb 1985 | A |
| 4665788 | Tripp et al. | May 1987 | A |
| 4933807 | Duncan | Jun 1990 | A |
| 6703552 | Haken | Mar 2004 | B2 |
