| 序号 | 专利名 | 申请号 | 申请日 | 公开（公告）号 | 公开（公告）日 | 发明人 |
|---|---|---|---|---|---|---|
| 81 | Automated compilation of music | US10132268 | 2002-04-26 | US20020157522A1 | 2002-10-31 | David Trevor Cliff |
| During mixing of two musical tracks, the variations in combined output volume are reduced by analysing either the intrinsic amplitude at which each track was mastered or the output amplitude (i.e. subsequent to amplification of the audio signal), and modifying either the intrinsic amplitude or amplification during the mixing phase. Musical clashes during mixing are avoided by analysing intrinsic amplitudes of the two tracks at similar frequencies to detect the likelihood of a clash, and in the event a clash is detected, reducing the output amplitude of one of the tracks at the relevant frequency. | ||||||
| 82 | Apparatus and method for generating a special effect on a digital signal | US09568758 | 2000-05-11 | US06314403B1 | 2001-11-06 | Mark R. Jeffery |
| The present invention provides a method and apparatus for generating at a computerized workstation a special effect that is derived by numerical processing of the digital sample values associated with an analog signal. The analog signal is partitioned into wavefragments which are crossfaded at both a micro and macro level to generate the effect. | ||||||
| 83 | Method and apparatus for producing a waveform exhibiting rendition style characteristics on the basis of vector data representative of a plurality of sorts of waveform characteristics | US09664393 | 2000-09-19 | US06284964B1 | 2001-09-04 | Hideo Suzuki; Hideyuki Masuda |
| A waveform producing method includes a step of producing a waveform presenting style-of-rendition characteristics corresponding to style-of-rendition identification information, on the basis of individual vector data arranged on the time axis. Each style-of-rendition identification information is representative of style-of-rendition characteristics of a performance tone and indicates one of a plurality of styles of rendition to which the style-of-rendition characteristics correspond. A plurality of vector data are generated, in accordance with the received style-of-rendition identification information, for production of a waveform presenting the style-of-rendition characteristics. The vector data correspond to a plurality of different fundamental waveform factors for constituting a waveform. By arranging the individual vector data on the time axis, a waveform shape or envelope corresponding to the waveform factors can be built along a reproducing time axis of the performance tone. Thus, there can be produced a performance tone waveform presenting the style-of-rendition characteristics corresponding to the style-of-rendition identification information. | ||||||
| 84 | Tone generating device and method using a time stretch/compression control technique | US09014417 | 1998-01-27 | US06169240A | 2001-01-02 | Hideo Suzuki |
| A pitch of a tone to be generated is designated, and simultaneously control information to be used for time-axis stretch/compression control is generated. Discrete locations of waveform data to be read out from memory are designated with the time axis of the waveform data controlled to be stretched or compressed in accordance with the control information, and part of the waveform data at the designated locations are read out at a rate corresponding to the designated pitch. For example, virtual read addresses corresponding to the control information and actual read addresses corresponding to the designated pitch are generated, and the actual read addresses are controlled, at the individual discrete locations, to follow the virtual addresses. Thus, the rate at which the waveform data are read out from the memory is variably controlled to generate a desired pitch, during which time the waveform memory can be optionally controlled to be stretched or compressed along the time axis independently of the readout rate or pitch control. By applying the time-axis stretch/compression control to various performance styles, real-time control, modulation control or tone-generating-time control, it is possible to significantly enhance expression and controllability of the generated tone. | ||||||
| 85 | Data compression of sound data | US229141 | 1999-01-12 | US6069309A | 2000-05-30 | Kevin J. Monahan; Donna L. Murray |
| A data compression method and apparatus for the compression of sound data utilized in digital sampling keyboard instructs. The present invention reduces memory requirements for sampled sounds without compromising sound quality, using three techniques. The third technique improves the defect of formant distortion when sampled sounds are transposed. | ||||||
| 86 | Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument | US968655 | 1997-11-12 | US5905223A | 1999-05-18 | Mark Goldstein |
| A signal processor acts upon a stream of incoming musical performance data including note-on signals and outputs a stream of musical performance data including note-on and note-off signals. The incoming performance data is dispatched to a multiplicity of output channels depending on the time interval between successive incoming note-on data. Notes played in very rapid succession are identified as chords and are performed with identical musical parameters such as duration and instrumental timbre. Notes played in slow succession are identified as polyphonic and are performed with the same instrumental timbre. Notes played at an intermediate speed are identified as melodic and are performed with the same instrumental timbre and a variable staccato or legato effect. A variable legato effect is achieved by controlling the overlap of successive pairs of notes, adjusting the release of the first note with respect to the onset of the second note as a function of the time interval between their onsets, and limiting the number of notes that can sound simultaneously. A variable staccato effect is achieved by controlling the duration of each note as a function of the time interval between the note and its predecessor, and limiting the number of notes that can sound simultaneously. | ||||||
| 87 | High-effeciency algorithms using minimum mean absolute error splicing for pitch and rate modification of audio signals | US493970 | 1995-06-23 | US5832442A | 1998-11-03 | Gang-Janp Lin; Sau-Gee Chen; Der-Chwan Wu; Yuan-An Kao; Yen-Hui Wang |
| A method is disclosed of modification of parameters of audio signals by dividing a digital signal converted from an original analog signal into sound frames, modifying a pitch and a playing rate of the digital signal within a frame and subsequent successive splicing a last modified frame with a first non-modified frame and calculating the mean absolute error to define the best splicing point in terms of producing minimal or no audible noise such that various sections of sound signals can be spliced together to achieve pitch and playing rate modification. An apparatus is also disclosed for implementing the method, the apparatus comprising input and output amplifiers, a low pass filter at the input and a low pass filter at the output, analog-to-digital and digital-to-analog converters, and a pitch shifting processor. | ||||||
| 88 | System for automatically morphing audio information | US616290 | 1996-03-15 | US5749073A | 1998-05-05 | Malcolm Slaney |
| In the first step of a sound morphing process, each sound which forms the basis for the morph is converted into one or more quantitative representations, such as spectrograms. After the representations have been obtained, the temporal axes of the two sounds are matched, so that similar components of the two sounds, such as onsets, harmonic regions and inharmonic regions, are aligned with one another. Other characteristics of the sounds, such as pitch, formant frequencies, or the like, are then matched. Once the energy in each of the sounds has been accounted for and matched to that of the other sound, the two sounds are cross-faded, to produce a representation of a new sound. This representation is then inverted, to generate the morphed sound. | ||||||
| 89 | Electronic musical instrument capable of legato performance | US147869 | 1993-11-04 | US5610353A | 1997-03-11 | Kiyoshi Hagino |
| An electronic musical instrument has a waveform memory, a CPU, a tone generator and a keyboard. The waveform memory stores a plurality of waveforms corresponding to musical parameters such as tone colors. The CPU controls the tone generator to generate musical tone signals in response to key-on and key-off events detected from the keyboard. The CPU detects legato performance when a plurality of keys of the keyboard are consecutively depressed and a key-on event is detected prior to a key-off event of the other key which has been previously depressed. When the legato performance is detected, under the control of the CPU, the waveform data except for the attack portion of the waveform are read out from the waveform memory in response to the key-on events which follow the first key-on event, and the musical tone signals are generated by the tone generator based on the read out waveform data. | ||||||
| 90 | Tone generating apparatus utilizing preprogrammed fade-in and fade-out characteristics | US693450 | 1991-04-29 | US5284080A | 1994-02-08 | Atsushi Noguchi; Yasushi Sato |
| A tone generating apparatus comprises a wave memory for consecutively storing first tone wave data acquired by performing pulse code modulation on a tone waveform in a first predetermined interval starting at an attack of a musical tone, second tone wave data provided by adding that tone wave data which is obtained by performing pulse code modulation on a tone waveform in a second predetermined interval following the first predetermined interval and is then weighted with a fade-out characteristic and that tone wave data which is acquired by synthesizing waveform components of a tone waveform in a third predetermined interval following the second predetermined interval and is then weighted with a face in-characteristic after being linked for the second predetermined interval, and third tone wave data produced by synthesizing waveform components of a tone waveform in a third predetermined interval following the second predetermined interval based on a characteristic of the tone waveform in the third predetermined interval. The first tone wave data, the second tone wave data and the third tone wave data are read out once in the named order from the wave memory, and then the third tone wave data is repeatedly read out, thereby generating a tone signal. | ||||||
| 91 | Method for processing a waveform | US713192 | 1991-06-10 | US5185491A | 1993-02-09 | Gen Izumisawa; Yasushi Sato |
| A method for processing a waveform includes the steps of dividing an original musical tone into head data, mix data, and loop data. The data is subjected to several processing steps, including cross-fade mixing. All processing steps are carried out before the processed waveform is stored in memory. Therefore, when the stored data is read out to reproduce the original musical tone, no interpolation steps are required to link the head, mix, and loop data together because that data has been smoothly linked together prior to storage in the memory. As each musical tone is read out, the head data is read out first, followed by the mix data, and then the loop data is read out in alternating directions. The smoothly linked head, mix, and loop portions of the musical tone provide a pleasing reproduction of the original musical tone. | ||||||
| 92 | Music tone pitch shift apparatus | US496640 | 1990-03-21 | US5131042A | 1992-07-14 | Mikio Oda |
| A music tone pitch shift apparatus which converts an original audio signal into digital data by way of pulse code modulation (PCM), shifting the pitch, and converting the pitch shifted digital data into an analog signal. The PCM digital data is stored in a ring memory at a given sampling speed, and is read out of the memory by a pair of identical read circuits at a common read addressing speed corresponding to the desired pitch. One of the read circuits starts reading from the opposite address location to the other on the ring memory. Since the read addressing speed is set faster than the write addressing speed when increasing the pitch, and vice versa, overtaking or lapping between the addresses could occur. In switching alternately the read circuits from a now-outputting side to a switching-to side, the read address on the switching-to side circuit is stopped increasing at an address location where a zero-amplitude data has been read, until a zero-amplitude data in phase with that which the switching-to side circuit has read is read by the now-outputting side circuit and the switching is made, immediately before the overtaking or lapping occurs on the now-outputting side circuit. Thus, a smooth connection of the pitch shifted audio signals can be made without including such amplitude modulated components as in the cross fade method, and therefore, a high-quality music tone pitch shift operation can be realized. | ||||||
| 93 | Electronic musical instrument having plural different tone generators employing different tone generation techniques | US460502 | 1990-01-03 | US5094136A | 1992-03-10 | Masaki Kudo; Tokio Ogi; Tsutomu Yanase; Tetsuji Ichiki |
| Two tone generators having different tone generation systems, e.g., PCM type and FM type, are provided. There are tone generation modes designating combination of tone generation in these tone generators and one can be selected from among them. There are, for example, a simple mixing mode, a delay mode in which start of tone generation in one tone generator is delayed from that in the other and a crossfade mode in which a tone signal is generated first in one tone generator and tone generation is switched to the other tone generator and envelope levels of output tone signals of the two tone generators are crossfaded during a switching period. Delay time in the delay mode and switching time in the crossfade mode can be variably controlled in accordance with a key scaling and/or other factors. A tone may be generated at a sampling frequency synchronized with a pitch in one tone generator and at a sampling frequency which is not synchronized with the pitch in the other tone generator. A phase of one cycle may be divided into plural sections and a complex waveform can be generated by converting the phase address signal in accordance with a function peculiar to each phase section and accessing a waveform memory with the converted address signal. | ||||||
| 94 | Musical tone signal generating apparatus with smooth tone color change in response to pitch change command | US471835 | 1990-01-29 | US5069105A | 1991-12-03 | Akio Iba; Kenichi Tsutsumi |
| Disclosed is a musical tone signal generating apparatus for an electronic musical instrument. When waveforms are switched to change a tone color in correspondence with a change in pitch, waveforms are switched not simultaneously with a change in pitch but when waveform data corresponding to a loop end address is read out, and a peak value of the waveform falls within a predetermined range or a zero-crossing point is detected, thereby smoothly switching waveforms. The pitch is also changed at the above-mentioned timing to prevent generation of an unnecessary tone color upon switching. Furthermore, waveforms are switched by cross-fade control to more smoothly switch output waveforms. | ||||||
| 95 | Digital signal processor for providing timbral change in arbitrary audio and dynamically controlled stored digital audio signals | US398238 | 1989-08-24 | US4991218A | 1991-02-05 | Gregory Kramer |
| A digital audio signal processing technique in which the harmonic content of the output signal varies with the amplitude of an input signal. The preferred embodiment includes an analog to digital converter with sample and hold, a digital signal memory with playback control apparatus, timing circuits, a RAM look-up table to perform non-linear transformation and finally a digital to analog converter. The input signal, which can be an arbitrary audio signal or a digital signal representative of such a signal, is modified by a non-linear transformation means and outputted for reproduction in audible form or stored for subsequent processing. | ||||||
| 96 | Automatic musical tone generating apparatus for generating musical tones with slur effect | US196974 | 1988-05-20 | US4920851A | 1990-05-01 | Yasunao Abe |
| The automatic musical tone generating apparatus for generating musical tones with slur effect includes a pitch information storing device, a read-out device for reading out pitch information at a predetermined tempo from the pitch information storing device, a tone signal generating device for producing tone signals having pitches corresponding to the pitch information read out by the read-out device, a slur information storing device, a slur effect impartment detecting device for detecting, on the basis of the slur information stored in the slur information storing device, whether or not the slur effect is to be imparted to the musical tones corresponding to the read out pitch information, and a pitch information altering device for altering, when the slur effect impartment is detected, the read out pitch information to a pitch information gradually approaching to the pitch of the musical tone to be produced next and out-putting the altered pitch information to the tone signal generating device. The automatic musical tone generating apparatus for generating musical tones with slur effect allows a performer to realize the slur effect with no unnaturality by simple performance technique. | ||||||
| 97 | Tone signal generation device with reasonance tone effect | US252261 | 1988-09-30 | US4909121A | 1990-03-20 | Satoshi Usa; Hideo Suzuki |
| A circuit for adding a resonance tone to a tone signal to be generated is provided. When a damper operator is not operated, the resonance tone is not added but an ordinary tone signal is generated. When the damper operator has been operated, the resonance tone is added so that a tone signal including the resonance tone is generated. An effect of a damper operator, i.e., loud pedal, in a piano, a natural musical instrument, is thereby simulated with high fidelity. The resonance tone may be produced by passing an ordinary tone signal through a filter. Alternatively, data obtained by sampling an actually produced tone of a piano, a natural musical instrument, when a damper operator, i.e., loud pedal, is ON may be stored in a memory and a resonance tone may be generated by reading out the stored data from the memory. The signal of the generated resonance tone may be sounded by itself or after mixing with an ordinary tone signal at a suitable mixing ratio. In addition to the imparting of the resonance tone, a known control for switching of a decay rate of a tone volume envelope may be performed. | ||||||
| 98 | Electronic musical instrument | US239190 | 1988-08-31 | US4909120A | 1990-03-20 | Masamichi Horiki; Tsutomu Saito |
| Truncate processing is performed so that a new tone is not generated before the envelope waveform is finished but the new tone is produced after the volume of the previous tone is sufficiently diminished, by which the new tone can be produced with a satisfactory feeling of attack. Further, the envelope waveform is not abruptly interrupted and cleared in a moment but is decayed at a constant and high speed, thereby preventing the generation of noise such as a click. Moreover, demanded speed data is provided for each tone, by which it is possible to produce repective tones not at a demanded speed like the least common multiple but at an optimum speed for each tone and to make the previous tone generation proceed to the next tone generation without producing noise such as a click. | ||||||
| 99 | Digital signal processor for providing timbral change in arbitrary audio signals | US141631 | 1988-01-07 | US4868869A | 1989-09-19 | Gregory Kramer |
| An audio signal processor in which the harmonic content of the output signal varies with the amplitude of the input signal. The preferred embodiment includes an analog to digital converter, a sample and hold circuit, timing circuits, a RAM look-up table for performing non-linear transformation, a digital to analog converter and a post filter from which processed analog audio is output. | ||||||
| 100 | Tone waveshape forming device | US634626 | 1984-07-26 | US4635520A | 1987-01-13 | Katoh Mitsumi |
| Two waveshapes corresponding to an attack portion and a part of portion succeeding the attack portion of a tone to be produced are stored in a waveshape memory. The waveshape of the attack portion is read out once and thereafter the other waveshape is repetitively read out. In order to connect smoothly the repetitively read out waveshape, an interpolation operation is performed in specified sections at the end and at the beginning of the waveshape. A tone waveshape to be finally formed is constituted by the other waveshape itself in other section than the specified sections and by a new waveshape formed by the interpolation operation in the specified sections in the other waveshape, thereby realizing the smooth connection of the repetitive read out waveshapes. | ||||||
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