Music – Instruments – Electrical musical tone generation
Reexamination Certificate
2000-07-10
2001-05-08
Donels, Jeffrey (Department: 2837)
Music
Instruments
Electrical musical tone generation
C084S670000, C084S743000
Reexamination Certificate
active
06229082
ABSTRACT:
BACKGROUND OF THE INVENTION
1. Field of the Invention
This invention relates to an electronic musical database synthesizer assembly comprising at least one keyboard controller uniquely structured into ergonomically configured keypads each of which may include two key rows, each key row comprising a plurality of keys. Each of the one or more keyboard controllers operatively communicates with a processor assembly for purposes of selecting predetermined data entries from a database assembly and concurrently transferring predetermined key velocity parameters for subsequent formation of a complete formatted message output which is transferred, on a real time basis, to a synthesis engine, wherein the complete formatted message output is determinative of a predetermined sound output in the form of audio signals, produced by a synthesis engine.
2. Description of the Related Art
Acoustic musical instruments are formidable music making tools able to produce rich expressive sound. The complexity and variety of sound generated by such modern musical instrumentation are the result of countless physical laws and acoustic phenomena associated with the instruments being utilized. There is a close relationship between body, materials and play dynamics, which results in the sound that is eventually produced. If a musician wanted to take advantage of the best sound potential available he or she would be forced to master many different musical instruments which is generally recognized as an impractical, if not impossible proposition. However, through the development and significant technological advancement of the modern electronic musical synthesizer, a musician's freedom in creating a variety of different sounds and an eventual musical composition is almost unlimited. Electronic musical synthesizers are generally universal sound making machines, which generate sound electronically. There are no physical or natural ties between the hardware and the sounds that are being produced. Accordingly, modern day electronic musical synthesizers can produce different types of sounds, thereby providing the musician with a unique freedom of choice in sound when composing and performing. Also, modern synthesizer technology has advanced to the point that there is virtually no sound that cannot be duplicated electronically.
Modern musical synthesizer instrumentation is essentially composed of four distinct elements. First, the synthesis engine which refers to audio electronic hardware that generates sound, in terms of audio signals, for musical applications. Second, controllers, which refer to devices that musicians use to drive and control a synthesis engine. Controllers typically include piano keyboards, foot pedals and other music making interface devices. Third, the sequencer, a computer based device which records, edits and plays back a multi-track song by generating and manipulating data which represents and describes music. Fourth, Musical Instrument Digital Interface (MIDI) which is a communications standard protocol or “language” universally recognized as the standard communications language for synthesizers. More specifically, MIDI is a stream of digital data which describes musical events and enables musicians or others to use multi-media computers and electronic musical instruments to create, enjoy and learn about music.
Due to the advancement in the electronic synthesizer technology sound generation has developed to the point where further technological advancements may best concentrate on efforts directed to sound control, rather than the extremely well developed field of sound generation. Therefore, a crucial element in such advancement is not the availability of synthesized sounds, but rather in how to control synthesized sounds, when playing, in more flexible and powerful ways.
The piano keyboard has long established itself as the musical interface of choice in synthesizer instrumentation. This general preference is well grounded for a number of reasons. Most significantly, the piano keyboard is a powerful musical tool which, by learning and mastering a single musical interface, namely the traditional keyboard, the musician can play different instrumental voices and thereby perform songs with a high degree of versatility and flexibility.
In spite of all the recognized achievements and technological advancements in modern day musical synthesizer technology, the simple fact remains that current generation synthesizers are highly specialized computers. Proper utilization of the synthesizer can produce any sound desired by specifying the desired sound in terms of a simple digital message. Keyboard keys become entirely programmable and MIDI is the digital communications format, protocol or language governing the operation for virtually all synthesizers. Due to their nature, conventional keyboard synthesizers cannot produce MIDI events in a manner which allows musicians an even more expanded range of versatility. Accordingly, further technological advancements should be primarily based on the achievement of total control over sound and sound production through the processing of the MIDI language, taking full advantage of the resources that the MIDI language provides.
Therefore, there is a need in the musical arts for a truly “full capability” synthesizer, wherein individual sound components may serve as building blocks to play any music through the activation of a key on a uniquely styled ergonomically configured keyboard, which is greatly reduced in complexity from the conventional 88-key piano keyboard. Such an improved electronic musical synthesizer should be database driven and be free from any one musical interface, especially including the piano keyboard. The preferred keyboard controller, specifically designed to have a significantly lesser number of keys, allows for high play comfort, extremely fast event triggering and rhythmic control. For these reasons, such an improved electronic musical synthesizer should represent a unique and radical departure from the conventional modern day music synthesizer, by allowing the musician to establish full control of the sound generated.
SUMMARY OF THE INVENTION
The present invention is directed to an electronic, database driven, musical synthesizer comprising specialized keyboard hardware as the musical interface for the control, activation and operation of an included operating or control system. More specifically, the invention includes at least one keyboard controller and preferably a plurality of at least two additional support keyboard controllers. The main keyboard comprises two ergonomically configured keypads, disposed and dimensioned to be operated by different hands of the user. This main keyboard controller, as well as the aforementioned support keyboard controllers, to be described in greater detailed hereinafter, actively manipulate the Musical Instrument Digital Interface (MIDI) data and events internally through the provision of an operatively communicative processor assembly.
The processor assembly comprises at least a retrieve processor and an assemble processor, which are responsive to or are connected in operative communicating relation with a database assembly. The keypads of the main keyboard, as well as the one or more support keyboard controllers, comprise a predetermined number of keys. These keyboard keys, however, generally do not trigger a set of predefined sounds the way conventional synthesizers do. Rather, activation of each of the keys serves to communicate MIDI information parameters, also known as MIDI language, key-velocity parameters comprising pitch, velocity and channel, to the processor assembly. However, initially a plurality of predetermined data entries must be created in order to define the aforementioned database assembly. The predetermined data entries are scripted or “pre-programed”.
More specifically, the “music-making” process is divided into two basic phases. First, a user creates or “scripts” the predetermined data entries, defining the database assembly by writing down MIDI data. The created databas
Donels Jeffrey
Malloy & Malloy P.A.
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