Patent Application
20050034590
The present invention relates generally to a system, method, and apparatus for providing an improved audio tone control and generation. More specifically, embodiments of the present invention relate to systems, methods, and apparatuses for an electronically improved audio tone control and generation that is adaptable for utilization in cooperation with, e.g., a Musical Instrument Digital Interface (“MIDI”).
The creation of the first stringed instruments and toned percussion devices, for example the marimba and timbale, helped to move music generation into a multiple toned capability by progressing from a strictly human vocal tone generation to a manual tone generation. This manual tone generation made the performance of musical ideas possible for those not endowed with a publicly accepted vocal timbre.
Next, the frets of many stringed instruments came to represent the division of the audible spectrum into the harmonically implied western twelve tone per octave system (hereinafter “twelve tone system”) of tone generation. Although intended as an aid to proper performance, the frets can be restrictive. Some of this restriction may sometimes be negated by such techniques as the bending of a string, utilizing “wa-wa” bars, and the actual bending of the neck of a guitar to produce tones and effects not allowed for in the conventional musical instrument design.
Conventionally, the clavichord and pianoforte represent the most comprehensive linear expression of the twelve tone system to date. The black and white keys represent a functional simplification of the twelve tone system with a bias implied to the foundational key of C major, although the same pattern could be applied to any foundational tone. However, the restrictions of these conventional instruments have been unable to be truly overcome for several reasons, including the lack of access to the origination of the tone and the tension of the string.
The synthesizer responded to and attempted to overcome some of these shortcomings with the creation of a tone wheel, a wa-wa bar, tremolo switches and a host of modes of generation such as portimento.
Also, as an exemplary prior art synthesizer, a conventional MIDI device may be utilized to attempt to partially satisfy the necessity for a greater tonal expression. Conventionally, MIDI is a powerful tool for composers and musicians. MIDI allows musicians to be more creative both on stage and in the studio. MIDI also allows composers to write music that no human could ever perform. However, MIDI is not a tangible object. Instead, MIDI is a communications protocol that allows electronic musical instruments to interact with each other.
Conventionally, the MIDI protocol is utilized to allow music synthesizers to communicate. Thus, much in the same way that two computers communicate via modems, two synthesizer devices communicate via MIDI. The information exchanged between two MIDI synthesizer devices is musical in nature. In its most basic mode, the MIDI protocol, or information, tells a synthesizer device when to start and stop playing a specific note. Other MIDI information shared includes the volume and modulation of the note, if any.
MIDI information can also be more hardware specific. The MIDI information can tell a synthesizer to change the sounds, master volume, modulation devices, and even how to receive information. In more advanced conventional uses, MIDI information can be utilized to indicate the starting and stopping points of a song or the metric position within a song. More recent conventional applications include using the interface between a computer and a synthesizer device to edit and store sound information for the synthesizer on the computer.
The basis for MIDI communication is the byte. Through a combination of bytes, a vast amount of information can be transferred. Each MIDI command has a specific byte sequence. The first byte is the status byte, that tells the MIDI device what function to perform. Encoded in the status byte is the MIDI channel. In a conventional solution, MIDI operates on 16 different channels, numbered 0 through 15. MIDI units will accept or ignore a status byte depending upon what channel the machine is set to receive. Conventionally, only the status byte has the MIDI channel number encoded. Thus, all other bytes are assumed to be on the channel indicated by the status byte until another status byte is received.
Some of these functions to be performed, that are indicated in the status byte, include Note On, Note Off, Patch Change, and System Exclusive (SysEx). Depending upon the status byte, a number of different byte patterns will follow. For example, the Note On status byte tells the MIDI device to begin sounding a note. Then, two additional bytes are required, a pitch byte, which tells the MIDI device which note to play, and a volume byte, that tells the device how loud to play the note. Even though not all MIDI devices recognize the volume byte, it is still required to complete the Note On transmission.
The command to stop playing a note is not part of the Note On command. Instead, there is a separate Note Off command to stop playing a note. This Note Off command also requires two additional bytes with the same functions as the Note On byte. Conventionally, this approach to Note On and Note Off is considered a necessity of the MIDI structure.
Conventionally, another important status byte is the Patch Change byte. The Patch Change byte requires only one additional byte. This additional byte is the number corresponding to the program number on the synthesizer. The patch number information is different for each synthesizer. Generally, however, the standards have been set by the International MIDI Association (“IMA”). Of course, the channel selection is extremely helpful when sending Patch Change commands to a synthesizer.
Conventionally, the SysEx status byte is the most powerful and yet the least understood of the status bytes, because the SysEx status byte can instigate a variety of functions. Briefly, the SysEx byte requires at least three additional bytes. The first additional byte is a manufacturer's ID number or timing byte. The second additional byte is a data format or function byte. Finally, the third additional byte is generally an “end of transmission” (“EOX”) byte.
A conventional MIDI interface utilizes three 5-pin ports found on the back of a MIDI unit. Labeled IN, OUT, and THRU, these ports control all of the information routing in a MIDI system. The IN port accepts MIDI data, i.e., the data coming “in” to the unit from an external source. This external source data, or inbound data, is the data that controls the sound generators of the synthesizer.
The OUT port sends MIDI data “out” to the rest of the MIDI setup. This outbound data, exiting via the OUT port, results from activity of the synthesizer, such as key presses, and patch changes. In a different manner from the OUT port, the THRU port also sends data out to the MIDI system. The data coming from the THRU port is an exact copy of the data received at the synthesizer's IN port. There is no change made to the inbound data from the time it arrives at the IN port until the time it leaves the THRU port, i.e., the relatively very small time period from the arrival of the data at the IN port until the data leaves the THRU port.
MIDI makes use of a special five conductor pin cable to connect the synthesizer ports. Conventionally, however, only three of these five conductors are actually used. Specifically, (not shown) data is carried through the cable on conductor pins 1 and 3, and conductor pin 2 is shielded and connected to common. Thus, conductor pins 4 and 5 remain unused. Conventionally, MIDI cable is specially grounded and shielded to ensure efficient data transmission. This special cable construction requires that MIDI cable is a little more expensive than standard 5-conductor pin cable, but reliable data transmission is necessary for MIDI.
The length of the cable is critical as well. IMA specifications suggest an absolute maximum cable length of 50 feet because of the method of data transmission through the cable. The entire length of a MIDI chain that is described in detail below is unlimited, however, provided that none of the links are longer than 50 feet. Conventionally, an optimal maximum length for cable is about 20 feet, and most commercially manufactured cable comes in five to ten foot lengths.
Conventional connections are referred to as MIDI chains and loops. A MIDI chain describes a series of one-way connections in a MIDI setup. The elemental chain is a single-link chain. The MIDI OUT port of one device is connected to the MIDI IN port of a second. In this configuration, a key pressed on the first unit will cause both units to sound. Pressing a key on the second unit, however, only causes the second unit to sound. Many instruments may be chained together using a series of single links to connect the units. In this case, the OUT of the first unit is connected to the second, the THRU of the second is connected to the IN of a third, and so on. If all the units are set to receive on the same channel, pressing a key on the first one will cause all the units to sound. Pressing a key on any of the other units will only activate the sound of that unit.
A MIDI loop is a special configuration of a MIDI chain. The single element loop is made of two interconnecting links. The OUT port of the first unit is connected to the IN port of the second, and the OUT port of the second is connected to the IN port of the first. In this case, as described earlier, a key pressed on either unit causes both units to sound, provided they are on the same channel. A MIDI feedback loop does NOT exist here, as the data going into the second unit from the first is not duplicated in the OUT port of the second going back into the first. Here, we have two one-way links connected, rather than a multi-link chain.
MIDI loops connecting several devices using all three ports can become complex very quickly. As a brief example, consider four synthesizers “A, B, C, and D” 1 that are illustrated in
Thus, because of the connections shown in
Computer manufacturers soon realized that the computer would be a good tool for MIDI, because MIDI devices and computers speak the same language. A conventional MIDI data transmission rate may conventionally be 31.5 kBaud. This MIDI data rate is different from a conventional computer data rate of, e.g., 9.6 kBaud, i.e., via modems. Thus, manufacturers had to design a MIDI interface to allow the computer to talk at MIDI's speed. Apple Computers, with the Macintosh and Apple II series, and Commodore were the first companies to provide a MIDI interface. Roland designed a MIDI interface for the IBM series of compatible computers a few years later, and Atari designed a completely new computer, the ST series, with fully operable MIDI ports built in. Today, there are many different MIDI interfaces available for almost all types of computer systems.
As great as the number of available interfaces may be, the availability of software packages is even greater. Thus, most functions that can be done via MIDI have a software package to do it.
First came the sequencers. Based on a hardware device that simply recorded and replayed MIDI data, the software sequencer allowed the computer to record, store, replay, and edit MIDI data into “songs.” Though the first sequencers were somewhat primitive, the packages available today provide very thorough editing capabilities as well as intricate synchronization methods, such as MIDI Time Code (“MTC”) and SMPTE.
Various software programs, such as patch editors and librarians, are also available for computers. These programs allow the user to edit sounds away from the synthesizer, often in a much friendlier environment than what the synthesizer interface offers. The more advanced librarians permit groups or banks of sounds to be edited, stored on disk, or moved back and forth from the synthesizer's memory. The advanced librarians also allow for rearranging sounds within banks or groups of banks for customized libraries. These programs are generally small and can be incorporated into some sequencing packages for ease of use. On the other hand, each synthesizer requires a different editor/librarian because internal data formats are unique for each synthesizer. Some software packages offer editor groups for a specific manufacturer's line, as some of the internal data structure may be similar between the units.
Computers may also be formed into or be a portion of a MIDI Chain. Basically, the computer functions the same as any other unit in a MIDI chain or loop. Most interfaces have the same three ports as other MIDI devices. The computer's main job in a chain, though, would be as a MIDI data driver, meaning it would supply the MIDI data for the rest of the chain.
This conventional implementation of MIDI channels is generally effective. The computer can send data out on all 16 MIDI channels simultaneously. For example, sixteen MIDI devices, each set up for a different MIDI channel, could be connected to the computer. Each unit could be playing a separate line in a song from the sequencer, creating an electronic orchestra. This implementation is being used more and more in today's music environments, such as in a recording studio, major orchestras, opera, and film scoring.
Also, although not shown, some conventional implementations of tone generators may utilize a standard 88 note 12 tone per octave musical piano keyboard comprising white keys of about one inch (1″) in width, and black keys in-between most of the white keys as is known in the art of approximately one-half inch (½″) in width.
However, a conventional keyboard does not provide for a smooth transition from note to note in the manner of sliding a finger on a violin string. Also, if additional keys were added to a conventional keyboard it would be physically difficult to utilize in an efficient manner, and thus would inhibit and change the creative input and likely ability to generate what a user wants in a tone generation and control.
Further, a conventional keyboard has a natural or design bias. For example, the arrangement of the keys prefers or most easily is arranged for a certain key, e.g. the key of C. Also, the conventional keyboard utilizes a number of keys that are directly related to the range of the instrument or tone generation, where, for example, conventional 12 tone keyboards are approximately seven octaves. Further, a condensed tonal array may negate the clarity of the conventional sharp-flat system, and limit range. Thus, there are problems both with the input devices utilized with MIDI, as well as problems with other portions of the conventional solutions utilizing the MIDI system.
Further, sometimes problems to the above conventional solutions occur wherein the user may be prevented from more fully utilizing, mastering or fully exploiting the MIDI system. Both these and other problems may arise when using any of the conventional solutions illustrated above for musical control. For example, the conventional MIDI devices have various problems when changing timbre and voice. These conventional solutions also tend to be distracting, impracticable, and problematic from the standpoint that polyphonic pitch slides are not individually controllable, as compared to conventional acoustic devices. This is because the conventional MIDI changes occur as a block function, i.e., they are a function of all notes and are not individually controllable. Also, they require the unwieldy problem of an external controller, e.g., a joystick or a foot pedal.
Although there are some conventional electronic sliding tone controllers for music production, there are inherent complications and thus unsatisfactory results in attempting to achieve polyphony within the existing conventional solutions. For example, for reasons of tone separation and data control, it is difficult to design polyphony into such a device, and thus the results are unsatisfactory. However, some of these problems may sometimes be partially solved by utilizing a MIDI environment. By utilizing the MIDI environment, the problem of note separation can sometimes be overcome, but with other problems and limitations encountered, for example, in that the problem of data control, i.e., channeling a tone selection to a proper frequency base, still remains.
As recited above, and whether in a MIDI environment or not, problems of data control include, for example, a single note modification of a sliding tone chord. Moreover, even in a MIDI environment, problems of data control include, for example, a limitation in range (e.g., the maximum number of tones available per channel). Also, additional exemplary problems of data control include, but are not limited to, proper scalar timbre, which is also a problem in analog sliding tone controllers.
These prior art modifications attempted to partially satisfy the necessity for a greater tonal expression, but they are still not fluidly available to an individual, for example, in performance situations. Moreover, the deportment of the prior art reflects its own limited controllability and thus its inability to satisfy expression.
Thus, what is needed is a system, method, and apparatus that provides an ability to utilize improved audio tone control and generation. What is also needed is a system, method, and apparatus that provides an improved audio tone control and generation, that may be utilized anywhere in the world. Also, what is needed is a system, method, and apparatus that provides for an improved data control and generation. Finally, what is needed is a system, method and apparatus that provides for an improved data flow and interpretation in a broadly expandable manner.
Embodiments of the present invention are best understood by examining the detailed description and the appended claims with reference to the drawings. However, a brief summary of the disclosure follows.
Briefly described, an embodiment of the present invention comprises a system, method, and apparatus that provides for an improved audio tone control and generation. More specifically, embodiments of the invention relate to systems, methods, and apparatuses for an electronically improved audio tone control and generation that is adaptable for utilization in cooperation with a MIDI type device and/or software. Further, embodiments of the present invention may also be utilized with the World Wide Web. For example, a video feedback may be utilized with the World Wide Web to control data and/or games.
An exemplary embodiment of the present invention comprises a controller for providing an audio tone control and generation. This controller further comprises an input device and a processor device for utilization in an electronically improved audio tone control and generation. In this exemplary embodiment, the controller is suitable for MIDI and other internally installed musical sound generating devices.
Further, in other alternate exemplary embodiments, a number of chaotic source data may be input and interpreted by a data controller portion of the processor device.
In a business method embodiment of the present invention, the user may alternatively pay, for example, a monthly fee for the utilization of a tone control and generation service. Alternatively, the user may pay a per-session fee, or even a fee based upon the data size and/or the amount of data processing of the service, the cost of the product or a percentage of the cost of the product, or some licensing or other arrangement, such as a per transaction cost or any other allocation of charge the user may so desire and/or the provider may wish to provide.
Other arrangements and modifications will be understood by examining the detailed description and the appended claims with reference to the drawings.
Embodiments of the present invention are described in detail herein with reference to the drawings in which:
The accompanying drawings, wherein like numerals denote like elements, are incorporated into and constitute a part of the specification, and illustrate presently preferred exemplary embodiments of the invention. However, it is understood that the drawings are for the purpose of illustration only, and are not intended as a definition of the limits of the invention. Thus, the drawings, together with the general description given above, the detailed description of the preferred embodiments given below, and with the appended claims, serve to explain the principles of the invention.
An exemplary embodiment of the present invention comprises a controller for providing an audio tone control and generation. This controller further comprises an input device illustrated in
An embodiment of the present invention is illustrated utilizing functional flow charts as shown in
As illustrated in
More specifically, and as illustrated in
The user may utilize the set of switches in
In the embodiment shown in
Exemplary embodiments of the present invention utilize the processor portion of
In a preferred controller embodiment of the present invention, the controller embodiment does not actually generate tones directly. Instead, preferred embodiments of the present invention comprise a controller that controls, via MIDI, the tones generated by a MIDI compatible synthesizer. Various alternate embodiments may be configured so as to utilize, e.g., either a MIDI compatible synthesizer or an internal synthesizer, and these embodiments of the present invention may be utilized to provide for a range of tonal dynamics previously considered essentially unattainable in a musical instrument. Although some parts of this range may sometimes be conventionally attainable in present acoustic instruments and some other parts of the range sometimes obtainable in MIDI, the conventional devices do not offer all of the range attributes, nor the artistic control that are available through the various alternate embodiments of the present invention. Thus, for example, preferred embodiments of the present invention essentially provide for an improved artistic control. For example, some embodiments of the present invention also incorporate the best features of the standard twelve tone keyboard and the fretless freedom of a Violin family member.
In a preferred exemplary embodiment of the present invention a “Panarray” system, method, apparatus, and/or algorithm is utilized as a controller suitable for MIDI or other internally installed musical sound generating devices or systems. The Panarray comprises the controller as illustrated in various alternate embodiments as illustrated in
In other various exemplary embodiments of the present invention, alternate utilizations for the Panarray are also possible. In one example, embodiments of the present invention may comprise a multifunctional data controller for real time influence of multi-object data modification. Further, in other alternate exemplary embodiments, a number of chaotic source data may be input and interpreted by a data controller portion of the processor device.
In various other alternate embodiments, the operation of the Panarray may include the introduction of one or more notes via a touch sensitive linear keyboard-like assembly, or “keyboard array.” In these exemplary embodiments, the Panarray may interpret the desired notes to result in tone generation (e.g., to “play”) by comparing the input of previous cyclical readings of at least one of the “note(s) on” and the “note(s) not on (or note(s) off)” received from the keyboard or switch array. Thus, for example, each individual finger may either intentionally or inadvertently select one or more than one switch from the keyboard array, and depending upon the Panarray interpretation, may or may not result in tone generations based upon these selections. In an alternate embodiment, one or more touch sensitive linear keyboard-like assembly switches may instead be replaced with one or more other types of selectors, or actuators or switches. Also, the notes may themselves comprise, e.g., selectors, actuators or switches.
In one exemplary embodiment, the separate notes desired by the player may be discerned by the spaces between the “switches on” that may contain one or more “switch(es) not on” within each cycle. The note intended may be taken as the first, last, middle, and/or any reliable constant relative to the limits expressed within each group of “switches on” that are not separated by a “switch(s) not on” as illustrated in
In one alternate embodiment, conventional MIDI synthesis techniques and equipment may be utilized with the Panarray to generate tones. For example, one of the problems inherent in sliding tone control, that is not satisfactory in conventional systems, is the issue of scale temperament. Temperament varies the frequencies of notes within a scale to provide a softer, sweeter or more melodic character that makes the sound more musical. Many modern conventional MIDI synthesizers have pre-existing controls for setting scale temperament. By utilizing this existing MIDI technology with the preferred embodiments of the present invention, the user is afforded the opportunity of taking advantage of these MIDI options so as to achieve a greater artistic control over the generation of tones. Thus, in a preferred embodiment, an existing MIDI synthesizer may be adapted to accept and utilize a Panarray.
In an alternate embodiment, the Panarray can be plugged into the “MIDI in” port of a MIDI synthesizer, in essentially a manner analogous to how a user would plug in a conventional MIDI controller. However, one difference is in the internal settings of the MIDI synthesizer. First, in an exemplary embodiment, four consecutive receiving channels are set to receive the channels transmitted by the Panarray. For preferred sliding tone emulation, three voices are detuned in sequence by increments of 25% of the half tone step set by the twelve-tone system. For a preferred subtly quiet slide embodiment, these voices should be identical in all other ways, and the attack and decay of each should be gradual. Of course, artistic control will be left to the user artist, but this method will provide for a preferred emulation of a slide embodiment.
Although not shown, various alternate embodiments may also be utilized with the Panarray controller. In some exemplary alternate embodiments, the Panarray may be utilized to serve as a multi-object linear data controller in approximately real time applications. An exemplary arrangement includes a joystick that operates radially in game applications. Further, many functions of the Panarray may be utilized in cooperation with existing controllers, e.g., a computer “mouse” and “keyboard” and even another Panarray, if desired, so as to allow the user to control several objects at a time. These Panarray exemplary embodiments may provide a function that is advantageous, e.g., in the real time interpretation, manipulation and creation of time based graphic expressions.
There are other exemplary beneficial embodiments of the Panarray of the present invention. For example, the conventional MIDI system has an inherent limitation of 128 increments per channel. This limitation may be overcome by the Panarray's multi-channel function. For example, the slide quality, range, or both may be increased by increasing the amount of notes per musical halftone, total notes on the device, or, in other embodiments, some alteration of both. For example, the user may increase the number of notes per half tone and the range of the device. These alternate embodiments can be achieved by increasing the number of MIDI channels the Panarray utilizes.
In an exemplary alternate embodiment, in order to increase the number of notes per half tone, the embodiment illustrated in
However, total range can be increased in yet another alternate embodiment by further increasing to sixteen channels and utilizing the entire available MIDI spectrum. Here, the number of notes per half tone can be increased as described above, until and including the limits of the synthesizer and the 16-channel limit of the MIDI format itself are reached. As the MIDI devices improve other alternate embodiments of the present invention may be realized by analogous extrapolations of the above alternate embodiments.
In an alternate exemplary embodiment of the present invention, by rotating data input over four MIDI channels essentially simultaneously, a maximum note capacity may be quadrupled. Further, the minimum interval between notes is now one eighth (⅛) of a tone, i.e., by the standard of western music. It is also understood in some preferred embodiments of the present invention that a half tone (½ tone) is considered a step, i.e., a chromatic step, between two notes. By assigning four identical “voices” to these channels and then de-tuning each by one fourth (¼) the standard distance between the notes described by MIDI, the interval between notes may be reduced. In an alternate embodiment, the envelope of each tone may be adjusted to allow, e.g., a relatively negligible, i.e., ignorable, and therefore essentially a subtle transition between tones. Thus, a sliding effect may be achieved. In other alternate embodiments, improved sliding effects may also be achieved by decreasing the interval size between notes, e.g., to one sixteenth ({fraction (1/16)}) or one thirty-second ({fraction (1/32)}), and may be any increment the user desires, e.g., one twenty-third ({fraction (1/23)}) or one fiftieth ({fraction (1/50)}), or even smaller increments. Thus, this sliding effect is beneficial and desirable because it offers an essentially real time creative tone control unavailable in music presently.
In an alternate exemplary embodiments of the present invention, a MIDI synthesizer utilized with this device is extensively polyphonic, and multi-tymbral by at least the number of voices called for, or preferred by the user, in the channel rotation. In the context of these exemplary embodiments, the term “polyphonic” represents more than one (1) note at a time, and the term “multi-tymbral” essentially represents the ability to play more than one (1) voice at a time. Also, one reason for utilizing this exemplary embodiment with a relatively extensively polyphonic MIDI synthesizer is because slide quality increases with polyphony. This is also because in an alternate exemplary embodiment, that may also be considered a preferably minimal embodiment, the multi-tymbrality needed is four (4) times the normal load.
In alternate exemplary embodiments of the present invention, more channels may be utilized. However, it is understood for the purposes of clarity of this exemplary description that four channels are utilized. For example, in alternate exemplary embodiments, the number of channels may, e.g., comprise 8, 16, 32, 64, and 128 channels, and so on. Also, in some other alternate embodiments, the first and last message of each sliding event can be separated for the purposes of touch and speed sensitive data considerations, e.g., by separating all notes not immediately following or preceding another, and then applying the desired logical ramifications. This separation of the first and last message of each event may be desired and be beneficial because it allows for staccato and rests by suppressing pressure changes within it. These logical ramifications comprise, for example, the steps of sculpting (e.g., via MIDI pressure sense) the attack of a slide without altering the purity and subtlety within the tonal slide. These exemplary configurations have been chosen to be described herein for their relatively descriptive simplicity regarding the innovations specific to embodiments of the present invention comprising a Panarray. In yet other alternate embodiments, a relatively more complex variety of embodiments may be utilized, such as alternative real time controls, e.g., a joystick and/or a control pedal.
In a preferred exemplary embodiment of the present invention, data can be processed simultaneously over small groups, or alternatively as a whole.
In these preferred exemplary embodiments of the present invention comprising the Panarray, the Panarray is preferably combining de-tuned MIDI, or MIDI style, channeled data into a single “voice” (or multiple voices, as desired by the user) for the purposes of emulating and controlling polyphonic sliding tone generation. This is preferred because it supports and facilitates the clarity of pitch selection.
It is understood by one skilled in the art that the electrical current sensors, that may also be high impedance and highly biased transistors, are not shown for clarity in
It is also understood by one skilled in the art that the second switch portions or ground access connections in
In
More specifically, in a preferred embodiment, at least one simultaneous contact of each of at least one (1) first switch portion 204 and one (1) second switch portion 206 is made. The electrical connection is made by contact preferably with an impetus stimulus. This impetus stimulus may comprise, for example, a human finger, but may alternately comprise other objects, materials, and shapes as desired by the user so as to alter and/or enhance the resulting output.
The embodiment of
Alternately, although not shown, instead of the voltage bus 202 of
Also, although not shown, as to the non-bus-side portion of the various alternate embodiments of the present invention that are selected or activated by a touch sensitivity, such as a physical contact, the plurality of first and second switch portions, or alternately sensors, may comprise one or more voltage side sensors, or alternately ground side current sensors, as desired. In various alternate embodiments, embodiments that allow for relatively enhanced touch sensitivity are preferred, but these preferred embodiments do not require a specific type of implementation as to how the touch sensitivity is recognized.
Other exemplary alternate embodiments of the switches of
For exemplary embodiment of
However, with increases in processing speeds, users may desire to instead utilize an alternate embodiment of non-linear switches, e.g., by utilizing a separated series of different resistors (not shown), however, instead the preferred single impetus per strata pair, the strata pair being a logical set comprising a portion of the plurality of first and second switch portions 204, 206 of this exemplary embodiment of
As an alternate exemplary embodiment of the impetus device portions, e.g., the impetus device portions that provide for a sensing of a human touching act of
Thus, analogously, the alternate exemplary embodiments shown in
More specifically, the alternate exemplary embodiment shown in
The alternate embodiment of
More specifically, the alternate exemplary embodiment cylindrical-like switch array 200C shown in
Yet another embodiment is illustrated in
More specifically, the rectangular cross sectional embodiment shown in
The processes occurring during a preferred musical utilization of a Panarray device will begin with the touching of the switch array 200 of
A reflective or delayed bit of data that is created by the 256 bit shift register 380 that is located between the UART (not shown) and the primary multiplexor 210 and corresponding to the UART connection (not shown) may also be utilized. It is also understood by one skilled in the art that the 256 bit shift register 380 may alternately comprise a phase-locked-loop. This created reflective or delayed bit may be utilized to determine if the next occurrence or touch is a continuation of the previous touch or a separate individual occurrence. The purposes of utilizing such differential logic begin with providing a limitation of unnecessary repeat data through the UART but they also include altering musical attack and decay envelopes or timbre and volume of note occurrences via MIDI touch sensitivity controls.
Although not shown, it will is understood by one skilled in the art that by adding a sensor with a differential of one bit ahead or behind the previous bit would enable a nullification of the musical attack envelope status of note generation. Also, this musical attack envelope status sensor alternate embodiment is preferably electrically attached to and sensed on the message signal 309 of
The logic may be implemented essentially simply, as shown in the various illustrated exemplary embodiments, or may also include various circuitry and/or algorithms for error checking and the like. For example, in various alternate embodiments, a user may add complexity in order to distinguish a new occurrence from a sliding occurrence for the purposes of a more dramatic musical attack on the new occurrence. The difference can be distinguished in various alternate embodiments, for example, by additional circuitry (not shown) or algorithms (not shown) or a combination of both, or, e.g., a microprocessor (not shown), so as to be utilized to discern if more than a single non-positive bit has occurred between the delayed bit and the next occurrence, e.g., such as a formation of a gap. In these more complex exemplary alternate embodiments, this gap may be utilized to signify an intentionally separate musical note, and therefore provide for an enhanced musical attack envelope recognition or data impetus.
As the data leaves this exemplary embodiment system as shown in
As shown in
In this way the primary binary counter 310, as shown in
As illustrated in
In an exemplary embodiment as shown in
In the preferred embodiment as illustrated in
The single bit note message signals are transmitted via message signal 309 then processed via a filter comprised of a 256 bit shift register 380, a first and second and/not gates 350, 370 and an exclusive not gate 360. The exclusive not gate 360 assures that the message signal 309 is either a beginning or end note signal and sends the message signal 309 to enable the parallel tri-state buffer 330 and the controlling tri-state buffer 320 to send the note data off to the UART. The first and second and/not gates 350, 370 identify the last note held and enable the endnote message signal 341 to the output signal multiplexor 340. The second and/not gate 370 and the exclusive not gate 360 cooperate to form a portion of a decoding logic 361, that may further comprise an integrated phase locked loop function, as illustrated in this exemplary embodiment.
As shown in
The UART, although not shown, is signaled via the controlling tri-state buffer 320, the UART controlling interface connector 322, and UART parallel interface connector 332(a-h), to receive the first batch of data as the parallel tri-state buffer 330 opens on a signal from the subclock signal 303 at double the frequency of the main clock input signal 302c. The second beat of the subclock signal 303 then signals the controlling tri-state buffer 320, that may also be considered a UART load enable tri-state buffer in this exemplary embodiment to receive the note code from the parallel tri-state buffer 330.
In a preferred exemplary embodiment of the present invention, and as shown in
In the exemplary embodiment shown in
In a preferred exemplary embodiment of the present invention, and as shown in
With (clock) Pulse Generating Device referred to in the section “Data Entry” low, this exemplary embodiment and exemplary algorithm is illustrated in
Although not shown in
An alternate embodiment of the present invention may utilize a universal asynchronous receiver-transmitter (“UART”) (not shown). Conventionally, the UART is a computer component that handles asynchronous serial communication. Most computers contain a UART to manage the serial ports, and most internal modems have their own UART.
In another alternate embodiment of
In another alternate embodiment, and as described previously, a subset of UART is utilized, namely Quad-ART. The Quad-ART as a subset of UART. The Quad-ART provides for the switching of an 8-bit number and can transmit almost any pattern. Exemplary patterns may comprise packets such as MPEG packets. The Quad-ART may translate data into any language, e.g., the MPEG packets. Thus, preferred embodiments of the present invention may be utilized for other than MIDI type transmission. Also, these transmissions, e.g., via a UART, may transmit or deliver a signal, e.g., an 8-bit or 16-bit or even larger signal, in alternate embodiments. It is understood that as the bits in the signal increase, e.g., 32, 64 or even larger, then quality is further enhanced in these alternate embodiments of the present invention. Also, in another alternate embodiment, a MIDI may utilize up to 16 lines or signals at present, but may go higher in number and are preferably integer increments, e.g., 20 lines, where each line will carry, e.g., 8, 16, 32 or even larger bit data. These lines are preferably utilized to increase bandwidth in various alternate embodiments.
In another alternate embodiment, the batch data of the multiplex selector may be trimmed to represent at least one extreme of the set. This is because in some embodiments, a user may, e.g., put their finger on one or more impetus devices, e.g., touch sensitive actuators, that may further comprise, e.g., buttons or keys, and the embodiment then transmits one or more tones at once. Depending upon how big the user's finger is relative to the button, a single finger may cause more than one button to be partially or fully actuated, e.g., depressed. Thus, a very large finger may depress 5 buttons indicating 5 tones. A preferred embodiment of the present invention then picks up or down, preferably the extreme or outside most (e.g., highest or lowest frequency) one of the tones, musically speaking. In one embodiment, the signals are trimmed to be interpreted by utilizing trimming algorithms. An exemplary trimming algorithm that may be utilized in various alternate embodiments comprises: if tone=X1 is greater than the next tone X2, then X2 is dropped, and X1 is maintained as the value of X, and so forth. Other conventional trimming algorithms may also be utilized.
In the embodiment illustrated in
As shown
These alternate embodiments that include after touch sensing and/or pressure sensing may, for example, transmit data by utilizing a plurality of phased invisible latches over a bus from multiple digital sensing units (preferably per key depressed) in approximately real time with data selections. In this alternate embodiment of
Although not shown in
Also, in embodiment illustrated in
Yet other alternate embodiments may include but are not limited to various combinations of embodiments of the present invention with conventional speed sensitive controllers, touch sensitive controllers, and pressure sensitive controllers. Other exemplary alternate embodiments are wide ranging and include, but are not limited to, controllers of data that are sensitive to light, acoustical pressure, vibration, breath, heat, wind, as well as emotional, physiological or mechanical stress, and further may include mechanical controls such as joysticks, tone wheels, sliders, and pedals as well as optical data. In the utilization of alternate embodiments of the present invention, in combination with these conventional controllers, may result in an increased sense of artistic control.
For example,
Thus, the primary binary counter 310 may control a simple logic circuit comprised of “If signal second switch portion 206n is equal to Yes, and step counter output 521, that is comprised of the plurality of step counter outputs 521n is equal to Yes, and the next signal plurality of second switch portion 206n+1 is equal to No, and the previous signal step counter output 521n−1 is equal to No, then send that signal second switch portion 206n via bus 525 directly to the 256-bit shift register 380.” This logic that is provided to each pair of first and second portions 204, 206 are preferably represented by signal second switch portion 206n and plurality of signal step counter outputs 521n eliminates the need for the primary multiplexor 210 and D type latch 390 and leaves the rest of this exemplary embodiment preferably unchanged from that illustrated in
Although not shown in
It will be understood by one skilled in the art that an exemplary “note on” may be represented as:
Also, it will be further understood that that an exemplary “note off” may be represented as:
Wherein in the above examples, “N” represents Note, “C” represents Channel, and “V” represents Volume.
In the following described alternate embodiments of
It will also be understood by one skilled in the art that for the embodiments shown in
Also, it will be understood by one skilled in the art that for the embodiments shown in
More specifically, as to the embodiment illustrated in
In these embodiments of
Also, as to any of the various embodiments of this invention, it is understood that alternate embodiments may instead comprise, for example, various non field programmable devices, e.g., an ASIC device, or field programmable logic devices (“FPLD”) type devices or equivalent software emulations, as desired.
Further, as to any of the various embodiments of this invention, it is understood that alternate embodiments may instead comprise, for example, various embodiments wherein a number of chaotic source data may be input and interpreted by a data controller potion of the processor device.
Although not specifically illustrated, in yet another embodiment of the present invention, an algorithm that performs the following steps may be utilized: First, the algorithm operates to submit at least a portion of the plurality of processed data to at least one of a register array (e.g., a keyboard). Then the algorithm operates to process the plurality of data as a timed serial signal. Finally, the algorithm operates to translate the timed serial signal by a counting mechanism into an output data wherein the output data is time referenced by a counting device. It is understood by one skilled in the art that, for example, a determining of the frequency of the notes by utilizing a relationship to recurrence of data at a specific time period may be utilized wherein, for example, a binary representation of 1110101 may be set equal to the third A# note of the western musical scale, or any other relationship as desired by the user.
Preferred embodiments of the above exemplary algorithm may be dependent with serial time relationship, or inputs adaptable for parallel inputs, or both, and wherein the input device comprises one of a spectrally enhanced harmonic keyboard. Exemplary subsets of this comprise, for example, a 12-tone or chromatic keyboard, or same with sub-chromatic division without musical bias. For example, the western musical note “C” may be represented by an actuator such as a key that can be identical to any other key, of any color, and any key can be utilized to represent any note. However, preferably the keys and their associated notes are organized in a linear arrangement with the tones linear in either an ascending or descending order, e.g., such as a piano keyboard.
In a preferred embodiment of the present invention, the tones or notes are controlled and generated in a linear fashion. Thus, the present invention may emulate a linear array of tones e.g. like a piano keyboard input device. Alternately, a violin neck could be utilized to output a vibrato type of tone by varying the input device or style so that the user may create a natural vibrato over a note, or preferably over an entire chord or multiple notes at once. One exemplary embodiment comprises a vibrato on a pedal applied to more than one note at the same time, so an intuitive input is utilized and perceived by the user, e.g. a musician.
Some of the various above described embodiments of the present invention comprise a sub-chromatic polyphonic real time MIDI tone controller as primarily shown in
In a business method embodiment of the present invention, the user may alternatively pay, for example, a monthly fee for the utilization of a tone control and generation service. Alternatively, the user may pay a per-session fee, or even a fee based upon data size, the amount of data processing and/or amount of data manipulation of the service, the cost of the product or a percentage of the cost of the product, or some licensing or other arrangement, such as a per transaction cost or any other allocation of charge the user may so desire and/or the provider may wish to provide.
Utilization of the preferred embodiments, described and understood herein, allows a user to more intuitively create, e.g., tones, chords, and the like, than by utilizing conventional sliding tone analog devices. Also, the polyphonic availability of the preferred embodiment of the present invention is not readily achievable with conventional analog devices.
Other arrangements and alternate embodiments are possible in the practice of the present invention. The above exemplary embodiments are just some of the variations that are understood as just part of the possible various embodiments of the present invention.
The invention has been described in reference to particular embodiments as set forth above. However, only the preferred embodiment of the present invention, and but a few examples of its versatility are shown and described in the present disclosure. It is understood that the present invention is capable of use in various other combinations and environments, and is capable of changes or modifications within the scope of the inventive concept as expressed herein. Also, many modifications and alternatives will become apparent to one of skill in the art without departing from the principles of the invention as defined by the appended claims.
