SI9700113A - Device for simulating orchestral music - Google Patents

Abstract

This invention deals with a device which enables apart from playing one single classical or standard instrument (1) for example accordion, to generate corresponding tones of one instrument (1) at the same time providing the generation of tones of other instruments, which follow the principles of a particular type of music or particular composition of orchestra, for example a classical Alpine quintet consisting of an accordion, a trumpet, a clarinet, a guitar and a bass. Such device for simulating sounds of orchestral music can be adapted to measure when playing a standard or classical instrument (1). According to a number of pre-set parameters (NP2, NP3) and currently active parameters (AP) of the currently available classical instrument (1) it is provided to generate an output tone signal or melody of corresponding properties, particularly regarding height, voice level, speed and similar. The device features at least one selective electronic filter assembly (2) which is electrically connected to a priority analyser (3) which is then electrically connected to a delay circuit (4) and a logical circuit (6). For each classical instrument (1) one of the devices (N1, N2,...) configured according to the invention is added to replace each of the so called intelligent music instruments for each composition of orchestra.

Description

Orchestral music simulation device

The invention relates to a device for simulating the sound of orchestral music, which, when playing a single, normal or classical instrument, e.g. accordion, the effect of playing an orchestral band, especially e.g. alpine quintet ensembles.

The invention is based on the problem of how to design a device in which while playing a single normal or classical instrument, e.g. harmonics, thus generating the appropriate tones of one instrument, at the same time ensured the rational generation of the corresponding tones of the remaining necessary instruments that correspond to the laws of a particular genre of music or music. certain orchestral ensembles, e.g. classical alpine quintet in the band hannonika-trumpet-clarinet-guitar-bass.

There are a number of classical musical instruments in the world, some of which (such as clarinet, trumpet, flute) comprise only one sound, and therefore can generate only one tone at a given time, while others (eg accordion, caviar, violin) produce more than one sound, they can also generate multiple tones at a time.

On the other hand, in the field of electronic music, there are a number of electrical devices that deal with either the sound generation itself by pressing certain keys (eg those according to JP 15.128.988 or eg EP 288 800 A3 or also EP 343 958 A3), or even by combining the audio signals thus obtained into suitable forms in which certain requirements regarding the tone color and other similar effects are to be fulfilled (eg EP 280 293 A3 or EP 274 137 A3). So far, they have already dealt with the filtering of tones (eg 273 447 A3), as well as simulating the sound of another instrument when playing a particular instrument, it is not known to the applicant that so far anyone would be able to solve the problem mentioned above.

Thus, so-called synthesizers are available, which can be used to generate certain tones by pressing certain keys, thus generating at least approximately such sounds that can otherwise be created with various other instruments. Such devices are also equipped with a series of electronic assemblies that perform individual operations in terms of processing or processing. Audio rearrangements, namely filtering, teaching, delaying, delaying or multiplying in terms of echoes and the like. Of course, the devices can also be programmed, except that it is also possible to save and afterwards save the stored program steps or. corresponding sequences of tones or combinations thereof. The problem with such devices is that, despite the many possibilities available, in practice, it is difficult to generate a convincing tone. In particular, such live gaming devices are usually completely unmatched by classical music instruments.

On the other hand, there are electronic devices that can be attached to classical music instruments, thus enabling the musician to simulate playing other instruments besides playing the instrument itself. Thus, e.g. The accordion player generates tones while using such a device by pressing the accordion keys, which could otherwise be generated by playing a violin or other instrument. They do this by attaching appropriate sensors to the keys that detect key presses and converting the input pulse into a digital output signal, which is usually in accordance with the so-called MIDI standard (short for Musical Instrument Digital Interface). In this way, there is a possibility that e.g. several accordion players simulated the playing of certain other instruments and thus mimicked various bands. As an example, we could state that e.g. five accordion players, who would know the manner and lawfulness of playing a particular musical instrument in such a band, simulated the playing of a classical alpine quintet in the accordion-trumpet-clarinet-guitar kit with built-in electronic gadgets. By no means would a single accordionist be able to do that.

According to the invention, a device for simulating the sound of orchestral music, which is adaptable to conventional or. classical musical instrument, and based on pre-set parameters and active active parameters of the available normal or of a classical instrument generates an output tone signal. a tune of appropriate characteristics (in particular height, speed, color, and the like) so designed as to comprise at least a selective electronic filter assembly coupled to a priority analyzer further connected in series with the delay circuit in parallel with the delay circuit. In this case, the selective electronic filter assembly is intended for editing received active input parameters from a classical music instrument and converting them based on predetermined tuning parameters into a corresponding signal received by the priority analyzer. At the same time, the priority analyzer is designed to assign a priority. also prioritizing the received data based on predefined tuning parameters and then transmitting the data, respectively. synchronization pulses to the delay circuit and, if necessary, the containment circuit. Method of generating an output signal in the form of a digital signal, e.g. such in accordance with the MIDI standard already mentioned and expertly known, is predetermined by combinations of the holding time of the holding circuit and the delay time of the delayed circuit. In particular, it is advantageous if, in addition to the selective electronic filter assembly, the priority analyzer, and the delay and decision circuit, a tone control generator which is either directly connected to the priority analyzer or only a selective electronic filter assembly is included and a restraint circuit connected directly behind the delay circuit, and further advantageous if the device is also equipped with a control panel. In this sense, in order to simulate the necessary orchestral ensemble for each classical musical instrument, one of the devices in the configuration described above is attached as an accessory to replace each of the so-called intelligent musical instruments.

The invention will now be explained in more detail by way of example, with FIGS. 1 is a schematically shown device for simulating orchestral music; FIG. 2 is a diagram of the interconnection of such devices, FIG. 3 is a schematic diagram of a selective electronic filter assembly as a subassembly of a device; FIG. 4 is a schematic diagram of a priority analyzer as well as a subassembly of a device.

As can be seen in FIG. is a device according to the invention designed from several electrically interconnected components.

Selective electronic filter assembly 2 is connected, on the one hand, to conventional or. Classical Musical Instrument 1 and, on the other hand, a Priority Analyzer

3. Instrument 1 is a given harmonic, and therefore comprises two key subassemblies, namely the keyboard or the. keypad 11 and bellows 12, from which selective electronic filters assembly 2 receives the so-called active AP parameters (eg bellows pressure 12). An instrument 1 in a given prime can generate only one or more tones at a time.

Priority analyzer 3 is further in the manner schematically shown in FIG. 1, connected in parallel with the delay circuit 4 and, if necessary, the restraint circuit 5, and in any case in series with the decision circuit 6.

The selective electronic filter assembly 2 is designed in such a way that, upon receipt of the aforementioned active AP parameters, while playing the instrument 1, it is possible to carry out the necessary measures, in particular as needed

- determine the number of all keys simultaneously pressed while playing a particular melody,

- eliminates the highest tone of the melody,

- singles out all the tones between the highest and lowest tones individually,

- eliminates the lowest tone,

- determine the harmony of the melody (eg A minor, C major and the like),

- identifies the individual properties of the active parameters (eg, for accordion 1, determine the pressure in the bellows 12).

The selective electronic filter assembly 2 is shown schematically in FIG. 3, where it is shown that for pre-selected tuning parameters NP2, circuit 2 provides the transformation of the active AP parameters according to the above measures (functions Fl, F2, F3, ...) into the corresponding output signal Px, which is a digital signal and preferably aligned with the MIDI standard already mentioned and expertly known.

The priority analyzer 3 shown schematically in FIG. 4, receives the output, as said, digital signals Px from the selective electronic filtering circuit 2, which are transformed accordingly based on the tuning parameters of NP3. Priority Analyzer 3 using logical operators AND, OR; NO, MAJOR SMALLER arranges for an appropriate set of output signals to be forwarded to either the delay circuit 4 and the containment circuit 5 or directly to the decision circuit 6. It assigns priority to these signals or, if necessary, more priorities. Priority analyzer 3 is also optionally coupled to a tone control generator 7. In FIG. 4 is also schematically illustrated that e.g. priority analyzer 3 determines the priority or the priority, based on predefined parameters Pl, P2, .. prioritize individual tone signals. Thus, e.g. analyzer 3 tone, which is the tertiary OR quintile of the tone of the second tone of the second generator N2 (Fig. 1) AND (NOT the highest tone) AND at which the bellows pressure is MORE than the set value either assigns or takes priority.

The delay circuit 4 ensures stable operation of the device, the delay time being adjustable either automatically or at the option of the individual user, and preferably between 10 and 30 ms when playing the national-fun alpine quintet. As can be seen in FIG. 1, the delay circuit 4 is actually a kind of electronic filter control 9 'between the priority analyzer 3 and the decision circuit 6.

Restraint circuit 5 allows you to select the mode of play, namely the so-called. legato in which the residence time is equal to the delay time, so-called. a hold where the hold time is greater than the delay time, or e.g. tkzv. weaning where the dwell time is less than the delay time. As can be seen in FIG. 1, the retaining circuit 5 is a kind of control assembly of the electronic switch 9 behind the decision circuit 6.

As can be seen in FIG. 1, the device is also optionally provided with a tone control generator 7, which is preferably connected to the priority analyzer 3, but can receive only the output signal Px of the selective electronic filter assembly 2. The purpose of said generator 7 is primarily based on the height of the tone and / or the number of currently played tones and / or the current mode or. Playing strengths (eg keystrokes on keypads 11 or air pressure in bag 12) set the output parameters (volume, intensity, color, ...) of the tone.

With decision circuit 6, only certain parameters can be selected based on predefined NP6 tuning parameters and currently valid priority parameters, which - usually coded according to the so-called MIDI standard - are sent to the output. If e.g. instrument 1 plays a single tone at some point, the signal goes through only one device NOT according to the invention. On the other hand, if instrument 1 generates two tones at a time, one signal travels through one NI device as a result of playing the first tone and the other signal through the second N2 device as a result of the second tone (Fig. 1).

In addition, the device according to the invention is preferably equipped with a suitable control panel 8, which is provided for the convenient input and adjustment of all necessary parameters according to the available configuration, the musical instrument 1 used each time, and the expected effects or effects. the expected simulation of the desired orchestral composition.

As can be seen in FIG. 2 in combination with FIG. 1, the NI device according to the invention can be coupled to at least one or more identical or meaningfully similar N2 devices ... to a complex device. By installing such a device, it is possible to use so-called intelligent instruments that form a melody, melos, while other instruments are needed, especially for accompaniment and the like. Thus, the adaptation of each device according to the invention to a conventional, classical musical instrument 1 means the ability to simulate one more intelligent instrument.

In particular, it is very important for an Alpine quintet to have at least two intelligent instruments, namely the trumpet 14 and the clarinet 13. In addition to the accordion 1, if a tone is received from accordion 1, which is inherent in playing the accordion 1 in the said composition, instead of directing two synthesizers (one for clarinet 13 and one for trumpet 14) to the assembly of the two devices N1 and N2 of the invention, a convincing and unacceptable effect would be obtained. Clarinet 13 would certainly play uncoordinated too high in accordance with the laws of playing accordion 1 and, in addition, in terms of parameters completely inconsistent with other playing. If, for example, they would play several tones at the accordion 1, they would get the sound of more clarinets at the output, which is quite unusual for this band and therefore undesirable. A trumpet 14 would play a similar mismatch. Therefore, at certain moments, the device, especially in the complex assembly of FIG. 2, filters out the lowest tone (eg, trumpets 14) and the highest tone (eg clarinet 13), and performs all other aforementioned measures (eg, delays and the like) that contribute to the realization of sound when playing a single classical instrument 1 convincingly comparable to playing a particular music band, e.g. an alpine quintet composed of accordion-trumpet-clarinet-guitar-bass.

Claims (6)

PATENT APPLICATIONS 1. An orchestral sound simulation device that is customizable to conventional or to a classical musical instrument (1), and based on the pre-configurable parameters and active parameters (AP) of each available instrument (1), is provided to generate an output tone signal or tunes of suitable characteristics, in particular height, strength, speed, color and the like, characterized in that they comprise a selective electronic filter assembly (2) electrically connected to a priority analyzer (3) to which a decision circuit is connected in series. (6), on the other hand, a parallel delay circuit (4). Apparatus according to claim 1, characterized in that, in addition to said assembly (2), said analyzer (3) and said circuits (4) and (6), a tone control generator (7) is included, either directly connected to priority analyatoi (3), or only with a selective electronic filter assembly (2), and a retention circuit (5) connected directly behind the delay circuit (4), except that the device is also provided with a corresponding control panel (8). Device according to any one of the preceding claims, characterized in that each classical musical instrument (1) is fitted with one of the devices (NI, N2, ... as an accessory to replace each of the so-called intelligent musical instruments in the required orchestral composition. ) in the configuration of the preceding claims. Device according to any one of the preceding claims, characterized in that the selective electronic filter assembly (2) is provided for editing from the instrument (1) received active input parameters (AP) and converting them based on pre-configurable parameters (NP2 ) in digital, e.g. a signal (Px) received by the priority analyzer (3) is selected in accordance with the MIDI standard. Device according to any one of the preceding claims, characterized in that the priority analyzer (3) is provided for assigning at least one priority to the received signals (Px) on the basis of predefined tuning parameters (NP3) and subsequently transmitting the data, respectively. synchronization pulses to the delay circuit (4) and, if necessary, the restraint circuit (5) Device according to any one of the preceding claims, characterized in that the method of generating an output tone signal is predetermined by combinations of determining the holding time of the holding circuit (5) and the delay time of the delayed circuit (4).