US3725562A - Arpeggio system for electronic organ - Google Patents
Arpeggio system for electronic organ Download PDFInfo
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- US3725562A US3725562A US00171997A US3725562DA US3725562A US 3725562 A US3725562 A US 3725562A US 00171997 A US00171997 A US 00171997A US 3725562D A US3725562D A US 3725562DA US 3725562 A US3725562 A US 3725562A
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- counter
- stages
- count
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- key
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- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H1/00—Details of electrophonic musical instruments
- G10H1/18—Selecting circuits
- G10H1/26—Selecting circuits for automatically producing a series of tones
- G10H1/28—Selecting circuits for automatically producing a series of tones to produce arpeggios
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- H—ELECTRICITY
- H03—ELECTRONIC CIRCUITRY
- H03K—PULSE TECHNIQUE
- H03K23/00—Pulse counters comprising counting chains; Frequency dividers comprising counting chains
- H03K23/002—Pulse counters comprising counting chains; Frequency dividers comprising counting chains using semiconductor devices
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- H—ELECTRICITY
- H03—ELECTRONIC CIRCUITRY
- H03K—PULSE TECHNIQUE
- H03K3/00—Circuits for generating electric pulses; Monostable, bistable or multistable circuits
- H03K3/02—Generators characterised by the type of circuit or by the means used for producing pulses
- H03K3/26—Generators characterised by the type of circuit or by the means used for producing pulses by the use, as active elements, of bipolar transistors with internal or external positive feedback
- H03K3/28—Generators characterised by the type of circuit or by the means used for producing pulses by the use, as active elements, of bipolar transistors with internal or external positive feedback using means other than a transformer for feedback
- H03K3/281—Generators characterised by the type of circuit or by the means used for producing pulses by the use, as active elements, of bipolar transistors with internal or external positive feedback using means other than a transformer for feedback using at least two transistors so coupled that the input of one is derived from the output of another, e.g. multivibrator
- H03K3/282—Generators characterised by the type of circuit or by the means used for producing pulses by the use, as active elements, of bipolar transistors with internal or external positive feedback using means other than a transformer for feedback using at least two transistors so coupled that the input of one is derived from the output of another, e.g. multivibrator astable
- H03K3/2823—Generators characterised by the type of circuit or by the means used for producing pulses by the use, as active elements, of bipolar transistors with internal or external positive feedback using means other than a transformer for feedback using at least two transistors so coupled that the input of one is derived from the output of another, e.g. multivibrator astable using two active transistor of the same conductivity type
Definitions
- PATENTEUAPRG 13373 SHEEI 2 OF 8 N 0HH.
- the ramp and diode scanning system is replaced by an up-down assynchronous counter chain, acting as a commutator.
- Certain of the flip-flop elements of which, corresponding to uncalled for notes and notes octavely related to the latter, are acanned through so rapidly that no sound is heard, whereas the actuated keys effect a sufficiently slow per stage operation that corresponding sounds are heard.
- the counter is constituted of flip-flops which have two modes of operation, depending on whether or not an associated key of an organ is actuated. In one mode of operation the flip-flop acts as a mono-stable device with an operating time of about microseconds. When a key is actuated, the associated flip-flop is made bistable, and is timed by a clock. The tempo of an arpeggio is therefore controllable in terms of clock frequency.
- an up-arpeggio sequence played in an up-arpeggio sequence; (4) an up-down arpeggio mode, in which each sequence (3) is automatically followed by a down arpeggio, involving the notes called for by the actuated keys.
- the down arpeggio can be interrupted and the up-arpeggio re-established by playing a note or notes during the down arpeggio; (5) a multi-tone mode which can be used in conjunction with the above strum mode or either arpeggio mode, in which the actuation of a key during a strum or arpeggio sequence introduces an additional strum or arpeggio sequence.
- FIG. 1 is largely a block diagram of a system for automatically generating arpeggios, according to the invention, and duplicates FIG. 1 of Bunger, Ser. No. 102,874, referred to hereinabove;
- FIG. 2 is a circuit diagram of certain controls employed in the system of FIG. 1;
- FIG. 3A and 3B taken together constitute a circuit diagram of an up-down counter and controls therefor, corresponding with the block diagram of FIG. 1 and responsive to the controls of FIG. 2;
- FIG. 4 is a logic diagram of the system of FIGS. 3A, 33;
- FIG. 5 is a tone flow diagram of the system of FIGS. 3A, 33;
- FIG. 6 is a circuit diagram of an alternative pedal controlled clock, utilizable in the system of FIGS. 3A, 3B;
- FIG. 7 is a circuit diagram of a system for avoiding double top notes in up-down arpeggios.
- key switches 10 are illustrated, and are labeled in respect to the notes called for.
- a positive voltage source 20 proceeds via a note played detector" 21, common to all the key switches 10.
- the note played detector 21 provides a control voltage on lead 22 regardless of which key or keys 10 is actuated. If at least one key is actuated, this voltage is applied to sequential readout 13, to initiate and control its operation. The latter a multi-stage counter.
- tone gates A total of 12 tone gates is illustrated, but to cover an organ keyboard of 61 notes, 20 tone gates are employed, the highest frequency tone gate collecting signal from four, instead of the usual three, signal gates. All the tone gates of the system lead to a common bus 40, which in turn proceeds to tab selected tone filters 14, conventional in electronic organs. The filters lead to amplifier 15 and loudspeaker 16.
- the tone gates are turned on or read out in sequence by sequential readout 13, for the arpeggio mode of the system, or for the strum mode, in which a guitar is simultated. If the piano mode is desired, sequential readout is disabled and all energized tone gates are enabled simultaneously, by'means not shown in FIG. 1. However, the readout is so accomplished that only tone gates which have signal present at their input are read out, or scanned, and the others are effectively skipped.
- the sequential readout has a limited number of readout positions, specifically 20, there being one readout position for each of tone gates 36, 37, etc.
- Each readout position is enabled or disabled, according to a-control voltage on each of leads 45, 46, etc., which proceed each from a group of three key switches, as C2, C2#, D. If a position is enabled it is read out in sequence, but if not it is skipped so that any called for notes can be read out in orderly note sequence regardless of how randomly they may be positioned in the array of all possible notes. The speed of readout can be controlled at will. This readout controls and effects ar.- peggiation.
- the diode 51 acts to isolate the 2" octave gates, because of the polarity of diode 51. Therefore, all notes of a given nomenclature, called for by an actuated key, for all octaves above that key, are simultaneously gated on by the key, but no notes of that nomenclature in lower octaves are gated on.
- 71 is a flip-flop or counter stage (of which there are twenty in the present embodiment of the invention) which has two modes of operation, depending on the status of three key switches associated with the stage (four in the case of the twentieth flip-flop).
- Signal inputs to the tone gate 36 are derived from three adjacent notes, as C 2, C 2#, D2,. and each set of three notes in the system requires a tone gate, except for the highest four notes, which utilize a single tone gate.
- the trigger input to flip-flop 71 is a short duty cycle rectangular wave applied at T, from the clock.
- the outputs of the tone gates are tone signals which pass to summing amplifiers 105 (FIG. 5), each amplifier serving two tone gates.
- the tone gates are normally open (nonconductive) and are closed by signal on a lead 70 from terminal 0 of the associated counter stage (FIG. 2).
- the sustain time of the tone gate is controlled by sustain circuit 107 (FIG. 4) which is turned on whenever any associated key switch of KS is closed, in response to a note played detector 108 which senses the playing of any note as a voltage variation.
- a latch-in voltage is applied to the appertaining counter stage C1-C20 via a lead 45, which transfers that stage from its normal configuration as a monostable flip-flop, which stays on for only a few microseconds when triggered, to a bistable flip-flop which must be reset or timed by a clock CL.
- the note played detector 108 supplies a variety of signals via lead 110, i.e., a 30 microsecond pulse to the first stage C1 to initiate a scan cycle of the counter, at lead 111, a +D.C. voltage to an enable or start control circuit 112, which supplies voltage via lead 113 which enables the counter C1 to respond to the pulse on lead 111.
- the start control 112 also serves to enable restart of a cycle of the counter, for example, if all controlling key switches are opened.
- a manual switch 120 supplies signal from the last counter C20 of the chain, selectively, to a lead 121 or a lead 123, selectively. If to lead 121, a pulse is supplied to up-down flip-flop 116 from counter C20 which transfers the entire counter chain into a downwardly counting chain, and at the same time transfers information to the start control 1 12 via lead 122 which will permit the next pulse from C1, signifying termination of a down count, to set the start control in a state which allows the introduction of a new pulse from lead 1 into the counter chain at C1, thereby initiating a new up count sequence.
- Sustain control 107 supplies a sustain control signal via lead 125 to a common gate 126.
- This gate is triggered on via voltage on lead 127 connected to common bus 105, which is supplied with a pulse as each note of gates NGl-NG20 is turned on by counter chain Cl-C20, via leads 127a.
- the present system has five modes of operation, called for purpose of identification, (1) normal (2) strum (3) arpeggio up (4) arpeggio up and down (5) multi-note.
- the clock CL when the switch 130 connects it to lead 131, applies a positive pulse to the counter stages and these then if bistable, are timed.
- the clock CL is normally inoperative, and starts operation in response to playing of a note, which causes +D.C. to be applied to the clock CL via lead 115.
- the strum mode is the same as the arpeggio-up mode, except that only notes actually played produce sounds, and higher octave notes are not sounded. It therefore corresponds with a limited range arpeggio.
- the C1, C5, C9, C13, etc. counter stages are then set into bistable state, and are read out in sequence under control of the clock CL.
- the tempo for the latter is not affected by the counter stages which are rippled through because ripple time is so short relative to clock-on time.
- the clock CL has a manual rate control 140. But that rate can be modified by movement of the expression pedal of an organ, by means of an expression control 141. The latter increases clock rate as a function of loudness called for by the expression pedal.
- the start control 112 can operate in two states. It can, in one state, prevent Cl from accepting a further pulse, after an arpeggio has started, until control 112 has been reset by a pulse on lead 123 in the up arpeggio mode, or by a pulse on lead 135 in conjunction with information on lead 122 in the up-down arpeggio mode. In this state when an up arpeggio has been started it cannot be modified until it has been completed. If in the up-down arpeggio mode, and in the down count condition, the actuation of a key will reverse the directionof the arpeggio, but will have no effect on C1.
- thestart control 112 does not prevent Cl from accepting additional pulses from the note played detector 108 via leader 110 and 111 of FIG. 4. Therefore each time a note is played a new start pulse is introduced into C1 and this pulse is free to proceed up the counter chain. Due to this condition of start control 112, multiple stages of thecounter, which are in the bistable state due to the actuation of a key, can be read out simultaneously. The identities of the stages that are read out simultaneously are variable and under control of the operator by his actuation of additional keys during the counting sequence. Since each bistable stage that is read out sounds the note or notes present at the corresponding signal gate SG through the corresponding tone gate TG, multiple notes can be played and the combination of these notes controlled by'the operator. This is called the multi-tone effect,
- Ten amplifiers convey the outputs of the 20 tone gates to a distributed tone color filter DF, which is well known, per se, from which two groups of tone colored signals are taken, string tones on lead 147 and flute tones on lead 148.
- DF distributed tone color filter
- the string tones proceed to two piano tone filters, No. 2 and No. 3, of diverse tonal characteristics, while the flute tones on lead 148 proceed to a third piano filter, No. '1.
- the outputs of piano filters No. 1, No. 2, No. 3 are summed at node 150, and lead via tab switches TB to volume control 151 and thence to the amplifiers 15 and loudspeakers 16 of the organ, shown on FIG. 1.
- the flute tones on lead 148 proceed to a harp filter 152 and a harpsichord filter 153. to the latter is also supplied string tone from lead 147, and a banjo filter 154 is likewise supplied.
- the output of the harp filter is supplied via lead 155 directly to node 150, and the output of piano filter No. 3 via common gate 126 to the output of guitar filter 156 and harp filter 152.
- the guitar filter is supplied with the output of the harp filter.
- Common gate 126 supplies a pluck effect to the initial moments of a guitar or harp note.
- Common gate 126 is turned on with an output of any tone gate TGl-TG20, as evidenced by lead 105 (FIG. 4), and its sustain time is controlled from bus 125.
- the tone filtering system is per se well known, and forms no part of the present invention, and, accordingly, specific circuit details are not supplied.
- Closure of switch S1 also supplies positive voltage via diode 210 and lead 211 to a gate of corresponding nomenclature, one octave higher in pitch, and so on through all such gates.
- voltage supplied by key switch S1 can be substituted a voltage arriving via lead 212 from a gate of the same nomenclature, but of one octave lower pitch.
- the linear gate is per se well known. It is normally non-conductive, and is rendered conductive as a function of bias current applied to the anodes of its two diodes 222, 223.
- transistor 220 passes current capacitor Cn is charged positively, and immediately commences to discharge. Part of the discharge, at least, takes place via the gate and turns the gate on. There is also a discharge path through diode 227 to sustain bus 228. That bus is held at a voltage variable by adjusting slider 229 of potentiometer 230.
- the terminal 231 of potentiometer 230 is supplied with positive voltage from the note played detector (FIG.
- terminal S1 and the potentiometer 230 at its low voltage end is at 4.5V. It follows that the 4.5 V. biases the gate 224 off through diode 227,'but when a note is played the voltage at point 229 rises. The rate of discharge from Cn is thus modified according to the position of slider 229, which provides a discharge path in parallel with the gate 224. If the slider is at V for example, there is no by-pass and the gate has a long sustain, but if the voltage is at 4.5 V. sustain is very short.
- the output of tone gate 224 may be one, two, or three notes, depending on which of S1, S2, S3 are closed, but since the gate is linear no intermodulation occurs. Clearly, in theory, the system could have been devised to utilize one, two, four or five signal gates per tone gate, the actual number, three, being a compromise choice.
- each state acts as a bistable or monostable flip-flop depending on whether or not there is voltage applied to the stage on lead 74 via one, two or all of the key switches 51, 52 or 53.
- the initial state of each stage ((no keys activated) is Q1 on and Q2 off) is Q2 off; and, O1 is biased to become conductive or on when a key is actuated.
- the actuation of a key switch and resulting application of voltage to the collector of Q1 provides the necessary supply to make the stage act as a bistable flip-flop.
- Each stage is read out by the application of a positive ripple pulse either on'lead 117a or 116a which is coupled to the base of Q2, and saturates that transistor. This changes the state of this stage and provides a negative step at the collector of Q2 which is coupled to transistor 220 in the tone gate and sounds the corresponding note.
- the next positive clock pulse that appears at terminal T saturates Q1 and changes the state of the flip-flop. This transistion provides a positive step at the collector of Q2 which appears at terminal G as a positive pulse and is connected to 117a of the preceding stage and 116a of the succeeding stage.
- the succeeding or preceding stage is then provided with a positive ripple pulse which causes that stage to be read out or rippled through.
- the output of clock CL proceeds via amplifier 260 and lead 261 to the upper contact of switch S4. If the upper switch contact is closed the output pulses proceed to lead 262, and thence to all the counter stages. If the switch arm S4 is down 25 V. is applied to lead 262, via lead 263 and the counter does not count.
- start control 112 When no keys are actuated the start control 112 is forced into the start state in which trnasistor 281 is off and 270 is on. This state is insured because, with no keys actuated, lead 259 is at 4.5 V, which prevents transistor 281 from being on. The state of the up-down transistor 281. This flip-flop is not forced under these conditions, and therefore it can be either in the up or down count state.
- the note played detector When one or more keys are actuated the note played detector provides collector supply voltage to transistor 270 of the start control via lead 259 but does not change the state of the start control. Therefore, the collector of transistor 281 is high, which provides a reverse bias on diode D1 of counter stage 1 (71 in FIG. 3A). This permits the introduction of the positive pulse from the note played detector on lead 254 which starts the counter counting. At the same time, a positive pulse is fed from the note played detector 108 via lead 250 to the base of transistor 251 of the up-down flip-flop 116, to set it in the up count state. Now that these two controls are set the counter begins to count up.
- the purpose of the start control 112 is to prevent more than one pulse from being introduced into the counter from the note played detector while a count sequence is in progress. This is accomplished by feeding the output of counter stage 1 to the start control flip-flop via lead 273. This pulse is directed via diodes 283 and 283A and leads 271 and 271A. These leads are connected to the down control bus and up control bus, respectively, such that when in theup count state, the output of counter stage 1 is directed to the base of saturates that transistor and changes the state of the start control 112 to keep transistor 28 1 saturated, which places a forward bias on diode D1 of counter stage 1. Diode D1 shunts any input pulse on lead 244 to 4.5 V and prevents it from operating counter stage 1.
- the output of .counter stage 20 is fed via lead 275 and switch'SS to the base of transistor 270 which saturates that transistor and changes the state of the start control flip-flop so that it will allow a new pulse to be introduced into the counter chain. This is done. because stage 20 represents the end of an up count sequence. If, however, the device is in the updown mode, S5 is open and the output of stage is not fed to the base of transistor 270. Instead the second output from stage 1, that occurring while the up-down flip-flop is in the down count state, is directed to the base of transistor 270 via lead 273 and diodes 283 and 283A, and leads 271 and 271A. This changes the state of the start control flip-flop so that it will permit the introduction of a new pulse into the counter chain, which is necessary because the second output of counter stage 1 indicates the end of an up-down count sequence.
- switch 280 In the multi-tone mode, switch 280 is opened, allowing the emitter of transmitter 281 to float, which prevents lead 282 dropping its potential, so that ripple pulses can be introduced at any time. This implies that any closure of a key will start a new count sequence. If the switch 280 is open and the system in the arpeggio up only mode,pulses can be introduced at any time at stage No. 1, and will travel up the counter, regardless of other pulses then in process of proceeding along the counter. If the system is in the up-down mode and pulses are introduced on the way down, the count direction will be reversed simultaneously with their introduction.
- FIG. 6 While the simple clock of FIG. 7 3B is suitable generally, an alternative more sophisticated clock is provided in FIG. 6, which has its rate controlled in two modes or by two complementary controls.
- Q11 to Q14 represents an astable multivibrator of conventional character per se, having its last stage 014 coupled to its first stage Q11 via a capacitor C22.
- the frequency of the oscillator is determined by the current injected into the capacitor 22, which is controlled by transistor Q19.
- the latter operates as a constant current source, i.e. as if it possessed sufficiently high internal resistance that current flow into the capacitor C22 is constant, regardless of voltage across C22.
- transistor Q14 turns on, the negative step at its emitter is coupled via capacitor 22 to the base of transistor Q11 which turns that transistor off by driving its base to approximately 9 v.
- Transistor Q11 cannot turn on again until capacitor 22 charges up to approximately 4 V.
- This charging period is controlled by the current from constant current source Q19 and therefore this source controls the frequency of the clock.
- the negative step at the collector of transistor Q11 when the transistor turns on, is coupled via transistor Q12 and capacitor C1 to the base of transistor Q13 which turns that transistor and transistor Q14 off.
- the period of this section of the cycle (Q13 and Q14 off) is not variable and is determined by the time constant ofCl and R3.
- the transistors Q15, Q16 constitute a pulse amplifier and wave shaping circuit which is conventional per se, and therefore is not described in detail.
- the current delivered by transistor Q19 is I 11.5 V VBVBEVD/R2l R28
- VB is the voltage at the base of Q9, VBE the voltage drop base to emitter of transistor Q19, VD the drop in diode 293 and R21, R28 the values of the resistances in series with transistor Q19, and all are constant.
- the voltage at the emitter of Q19 will follow the voltage at the base of Q19, less about 0.5 V., so that by controlling the base voltage the current flow into C22 can be controlled and will remain constant regardless of the instantaneous voltage on the capacitor, and further this current can be controlled by varying circuit resistance, i.e. at R28.
- a transistor Q20 has its collector connected to the collector of 019, its base maintained at low voltage via R22, R23, and its collector coupled by capacitor C24 to the terminal 290, which is supplied with +1 1.5 V. when and only when a note is played. Since the emitter of Q20 is connected to -4.5 V, and the base is connected via R23 to 50 V, if there is no voltage on lead 290 (no keys played) transistor Q turns on thereby holding the base of Q11 at 4.5 V. Transistor Q20 is on in the sense that its emitter to base circuit is conductive, and in such case the collector assumes essentially the voltage of the emitter. This stops the clock when no keys are played and assures the same starting conditions on the clock.
- Capacitor C24 provides a posi tive pulse at the base of Q11 when the first key is played to sync the clock to the playing of the first key or keys.
- the voltage on lead 290 is a step voltage, positive-at 1 1.5V while a key or keys are depressed.
- a transient voltage proceeds via capacitor 24 directly to the base of Q11.
- the steady +1 1.5V reduces the voltage at the base of Q20 to a value such as to render the transistor off, i.e., its emitter to base circuit is nonconductive, and its collector therefore is at the voltage of the collector of Q19, to which it is tied.
- a variable voltage divider is provided in terms of R19 and Q18, the latter having its bias controlled by R17, R18, acting as a voltage divider.
- Current flow into the base of Q18 determines its resistance so that it is, effectively, a variable resistance controlled by Q17.
- the latter has its emitter connected to a known constant voltage, its collector connected directly to the base of Q18, and its base connected to a source of voltage controlled by the expression shoe of the organ con taining the present system.
- ES If ES is open the sole control for the current supplied by Q19 to capacitor C22 is variation of the value of R28, manually controlled.
- BS If BS is closed, a bucking voltage is applied to the cathode of D3 as follows.
- An NPN transistor Q21 is connected across a voltage source.
- a potentiometer 292 is connected from its collector to its emitter, and the slider of the potentiometer 292 is connected to the base of the transistor which is collector loaded. Current flow into the collector is then a function of slider position, which is controlled by expression pedal EP.
- the voltage conveyed from the collector of Q21, via lead 294 is variably positive and therefore controls the voltage at the base of Q17 and hence its collector voltage. Accordingly, the position of the expression pedal EP controls the resistance of Q18, which in turn controls the bias of Q19 and hence current flow into C22.
- the pedal of the organ thus becomes a useful and convenient device for changing rate of arpeggiation as the arpeggio proceeds, up or down, and the expedient is musically sound because soft music is appropriately associated with slow arpeggio, and vice versa.
- a knee operated potentiometer may be employed.
- the crucial point is to provide a voltage controlled clock such that it may be controlled while counter stage C20, there is no problem, since only upgoing pulses affect this stage and therefore there can be no repetition of the top note. But, for example, if the top note pertains to counter stage No. 19, the system will play that top note, ripple through to stage No, 20 in negligible time, and back to No. 19. Therefore the top notes will play twice with negligible time interval. This distorts the tempo of the arpeggio.
- the key switches which pertain to counter 20 provide a voltage on lead 300 via isolating resistances R12, R15, R18, R21 (FIG. 7).
- Those key switches pertaining to counter stages No. 19 and No. 20 provide voltage at lead 301, and those key switches pertaining to counter stages No. 18 and No. 19 and No. 20 to lead 302, all via appropriate ones of isolating resistances R1-R21, inclusive.
- transistor gates There are three transistor gates, Q31, Q32 and Q33, which are of NPN type, and have their collectors commonly connected to DC, the down control voltage from the up-down flip-flop 16 (see FIG. 38), via load resistances R22, R24, R26.
- the emitters of the three transistors are commonly connected directly to 4.5 V. and the collectors respectively connected via resistances R23, R25 and-R27 to the bases of the Q1, stages of the C17, C18 and C19 counter stages, labelled T1 in FIG. 2, which illustrates one typical counter stage.
- the device is inactive while the arpeggio is proceeding up, since DC. is not available.
- the down control voltage DC. is applied, it is routed to the TI leads of counter stages C17, C18, C19.
- a gate of SG18 will be routed via R1, R2 or R3 to turn on Q31, which removes the down control voltage from T117, so that the stage T117 can be free to operate normally in the down arpeggio.
- gate voltage from signal gate SG19 will turn on Q31 and Q32, removing the down control voltages from T117 and T118, and a gate voltage of SG20 will remove down control voltage from terminals T117, T118, T119, by turning on Q31, O32, O33.
- the down control voltage appears only on the counter corresponding to the highest note played, regardless of which of the No. 17, 18, 19 or 20 tone gates is involved.
- the transistors Q31, Q32, Q33 when open or unfired, permit the DC. voltage to proceed to the TI bases thereby preventing corresponding notes from sounding, but when saturated by a voltage from SG18, SG19 or SG20, they remove the control from the TI lead, whereupon the corresponding counters can respond to the clock and enable production of sound.
- the down control voltage appears at the counters only for the highest note played, only on the way down. For a note in SG20, no controls are needed, and if SG19 and SG20 are energized simultaneously, SG19 will sound on the way down. But if, for example, SG19 is the highest note played, it must be silent on the way down and sound only on the way up.
- the up-down counter necessary to produce sequential pulsing consists of twenty counter flip-flops, illustrated in FIG. 2.
- Each of these flip-flops has two modes of operation, which depend on the state of the three (or four in the case of stage organ key switches associated with that stage. If one or all of these key switches are closed (or in the case of arpeggio any key associated with a lower note that is octavely related to the notes associated with the stage under consideration) the flip-flop acts as a bistable flip-flop with initial state of Q1 on, Q2 off. If none of these keys is depressed the flip-flops act as monostable flip-flops with an operating time of approximately microseconds.
- the initial condition of the flip-flop is Q1 on and Q2 off.
- the trigger input T is a 10 volt square wave with short duty cycle.
- Each stage has two inputs which provide the means to switch out of the initial state: one is used for the up count and one is used for the down count. These inputs require a positive pulse, and have means (diodes D1 and D2) to cancel any attempt to switch the state of the flip-flop through either or both inputs.
- These stages are interconnected, as shown on FIG.
- Stage 1 receives the first pulse at its up count input (U from the note played detector, as shown in FIG. 3.
- the clock is also synchronizedwith this note played detector so that the first clock pulse occurs simultaneously with the playing of a note and the switching of stage 1.
- An updown flip-flop is also set in the up count mode from the note played detector.
- stage 2 This switching of stage 2 will take place either at the next clock pulse if stage 1 has been energized (that is if the conditions were met to make stage 1 act as a bistable flip-flop) and in a much shorter time(the operating time of the monostable) if stage 1 has not been energized.
- This sequence is repeated until the counter reaches and switches stage 20 at which time the counting stops if the system is in the strum or up arpeggio mode. If it is in the up-down arpeggio mode G20 is conected to the down count input of stage 19 (D19) 1 and to the up-down flip-flop" which changes the state of this flip-flop to the down count state, and conditions the counter for down count.
- Thev pulse introducedinto stage 19 by stage 20 is now free to proceed down the chain in'the same manner as the up count pulse proceeded up.
- the start control determines when a start pulse can be applied to the up count input of stage 1. This control has four inputs, two of which are driven by I G] and each controlled by the up-down flip-flop.” If
- stage No. 20 is connected to the start control so that after the up-down counter has counted up through stage No 20, another pulse can be introduced into stage I
- the connection between stage No. 20 and the start control is broken so that no new pulses will be introduced into stage 1 until the down count is complete.
- the start control is essentially disabled so that a new pulse can be introduced at any time.
- a multi-stage counter a plurality of tone signal sources, a separate key for each of said sources, means for differentially priming diverse stages of said counter in diverse manners in response to actuation of said keys, means responsive to actuation of any one of said keys for initiating a count of said counter, and means for enabling only selected ones of said tone sources in sequence according to the manners of priming of said stages.
- each of the stages of said counter is arranged and adapted to be selectively monostable and bistable
- an assynchronous multistage counter each of the stages of said counter being selectively bistable and monostable and when monostable having a time constant of the order of less than 5.00.;rs, a plurality of normally inoperative tone sources allocated respectively to-said stages, a plurality of key switches, means responsive to actuation of any of said key switches for initiating an up count of said counter, and means responsive only to the bistable stages of said counter for rendering operative tone sources allocated to said bistable stages.
- a multi-stage counter a plurality of normally disabled tone sources allocated respectively to the stages of said counter, a plurality of key switches, means responsive to actuation of any of said key switches for initiating an up count of said counter, means responsive to the count of said counter as said counter counts upfor enabling said tone sources in sequence, and means for selectively rendering inoperative selected ones of said stages whereby only those tone sources are enabled which are not operatively associated with an inoperative counter stage.
- an up-down multi-stage counter a plurality of key switches, means responsive to simultaneous actuation of any of said key switches for initiating an up count of said counter, means responsive to completion of said up count for initiating a down count of said counter, means allocating said key switches to the stages of said counter, respectively, said stages of said counter having counts each of selectively two diverse characteristics, means responsive to the actuated key switches for selecting the one of the two characteristics which shall pertain to any stage of said counter allocated to said key switches, a plurality of normally disabled tone sources, and means responsive to the stages of said counter of one of said characteristics only as said counter counts up and down for selectively and sequentially enabling said tone sources.
- a keyboard means responsive to playing of at least one key of said keyboard for sounding an up and then a down sequence of all notes of nomenclature corresponding with the nomenclature of said at least one key other than notes of octave lower than called for by said at least one key, and means responsive to playing of another key while said sequence subsists for reversing the direction of said sequence, said last means including an assynchronous counter which scans in sequence all notes which can be called forth by a portion of said keyboard and selects only the sounded notes within that portion.
- a plurality of tone signal sources encompassing at least three octaves of the musical scale, a plurality of key switches, an electronic commutator arranged to scan said at least three octaves of tone signal sources in an arpeggio sequence, and means responsive to simultaneous manual actuations of plural ones of said key switches for determining which of said at least three octaves of said tone Signal sources shall be converted to tone signals by said electronic commutator, said electronic commutator being a multistage counter.
- a plurality of tone signal sources a plurality of key switches, an electronic commutator arranged to scan said tone signal sources in sequence, and means responsive to simultaneous actuations of plural ones of said key switches for determining which of said tone signal sources shall be converted to tone signals by said electronic commutator, said commutator being a multi-stage counter, means for initiating a count of said counter in response to said actua tions of said switches, wherein said multi-stage counter is a reversible counter.
- a plurality of tone signal sources a plurality of key switches, an electronic commutator arranged to scan said tone signal sources in sequence, and means responsive to simultaneous actuations of plural ones of said key switches for determining which of said tone signal sources shall be converted to tone signals by said electronic commutator, said commutator being a multi-stage counter, means for initiating a count of said counter in response to said actuations of said switches, wherein said electronic commutator is a multi-stage counter having stages corresponding with said key switches and means responsive to said actuations for converting those stages of said counter which correspond with the actuated key switches to bistable stages, said stages being normally monostable.
- an electronic organ having a keyboard
- means responsive to playing of keys of said keyboard for sounding an arpeggio of notes both corresponding with and octavely related to said keys said means including an electronic multi-stage counter, said counter including normally mono-stable stages connected in cascade and corresponding one for one with said keys, and means responsive to playing of said keys for rendering bistable those stages corresponding with the played keys, the reset times of said monostable stages being inadequately long to sound one of said notes.
- An electronic organ having a keyboard comprising an electronic counter including plural stages, said stages being normally monostable devices, organ key operated means for converting selected ones of said stages to bistable stages, means for controlling the timings of the resets of said bistable stages, a plurality of tone signal sources, and means responsive to said bistable stages only for converting said tone signal sources to tones.
- a keyboard In an electronic organ, a keyboard, a multi-stage counter, a plurality of signal gates, one gate for each key of a section of said keyboard, means for summing the outputs of said gates in triples of adjacent gates, a separate linear note gate connected in cascade with each of said triples of adjacent gates, and means responsive to actuation of one key of said section for forming an arpeggio of the outputs of said linear gates, said arpeggio including octavely related notes, said last means including said counter.
- a keyboard inclduing said counter responsive to actuation of a key in the lowest octave of said section of said keyboard for initiating an arpeggio of notes tonally related to the note called for by the actuated key and means responsive to actuation of said key for initiating a count of said counter.
- tone signal sources a separate key for each of said sources, means for differentially priming diverse stages of said counter in diverse manners in response to actuation of said keys, means responsive to actuation of any one of said keys for initiating a count of said counter, and means for enabling only selected ones of said tone sources in sequence according to the manners of priming of said stages, wherein is provided means for deleting the topmost of said tone signals only during reverse direction count of said counter.
- an array of keys an array of tone signal sources each corresponding with one of said keys
- a counter comprising a cascaded array of flip-flops, each of said flip-flops including means for 30 microseconds and bistable, means establishing a correspondence between said keys and the stages of said counters, a load circuit including a loudspeaker, means responsive to actuated ones of said keys for rendering the corresponding ones of said stages of said counter bistable, and means for transferring all said tone signals corresponding with bistable stages of said counter to said load circuit in response to a count of said counter.
- said counter is a reversible up-down counter and wherein is provided means responsive to completion of a total count of said counter for reversing the count of said counter and completing a down count of said counter.
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- Engineering & Computer Science (AREA)
- Physics & Mathematics (AREA)
- Acoustics & Sound (AREA)
- Multimedia (AREA)
- Power Engineering (AREA)
- Electrophonic Musical Instruments (AREA)
Abstract
Description
Claims (36)
Applications Claiming Priority (3)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
US17187971A | 1971-08-16 | 1971-08-16 | |
US17199771A | 1971-08-16 | 1971-08-16 | |
US00305271A US3822407A (en) | 1971-08-16 | 1972-11-10 | Multi-tone arpeggio system for electronic organ |
Publications (1)
Publication Number | Publication Date |
---|---|
US3725562A true US3725562A (en) | 1973-04-03 |
Family
ID=27390049
Family Applications (3)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
US00171997A Expired - Lifetime US3725562A (en) | 1971-08-16 | 1971-08-16 | Arpeggio system for electronic organ |
US00171879A Expired - Lifetime US3718748A (en) | 1971-08-16 | 1971-08-16 | Multi-tone arpeggio system for electronic organ |
US00305271A Expired - Lifetime US3822407A (en) | 1971-08-16 | 1972-11-10 | Multi-tone arpeggio system for electronic organ |
Family Applications After (2)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
US00171879A Expired - Lifetime US3718748A (en) | 1971-08-16 | 1971-08-16 | Multi-tone arpeggio system for electronic organ |
US00305271A Expired - Lifetime US3822407A (en) | 1971-08-16 | 1972-11-10 | Multi-tone arpeggio system for electronic organ |
Country Status (4)
Country | Link |
---|---|
US (3) | US3725562A (en) |
CA (2) | CA1053490A (en) |
DE (2) | DE2239794A1 (en) |
GB (2) | GB1406256A (en) |
Cited By (20)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
US3780203A (en) * | 1973-01-16 | 1973-12-18 | Hammond Corp | Organ system for automatically producing runs of various character |
US3842184A (en) * | 1973-05-07 | 1974-10-15 | Chicago Musical Instr Co | Musical instrument having automatic arpeggio system |
US3854366A (en) * | 1974-04-26 | 1974-12-17 | Nippon Musical Instruments Mfg | Automatic arpeggio |
US3941024A (en) * | 1974-11-20 | 1976-03-02 | Warwick Electronics, Inc. | Electrical musical instrument with automatic sequential tone generation |
US3951029A (en) * | 1973-08-24 | 1976-04-20 | Matsushita Electric Industrial Co., Ltd. | Automatic accompaniment system for use with an electronic musical instrument |
US3967520A (en) * | 1974-11-18 | 1976-07-06 | Drydyk Lawrence A | Guitar chording device for keyboard instruments |
US3991646A (en) * | 1974-09-30 | 1976-11-16 | Roland Corporation | Arpeggio circuit for an electronic musical instrument |
US4028979A (en) * | 1975-06-19 | 1977-06-14 | Norlin Music, Inc. | Multiplexer for electronic musical instrument |
US4080862A (en) * | 1975-08-29 | 1978-03-28 | Nippon Gakki Seizo Kabushiki Kaisha | Electronic musical instrument having octave slide effect |
DE2801933A1 (en) * | 1977-01-19 | 1978-07-20 | Nippon Musical Instruments Mfg | ELECTRONIC MUSICAL INSTRUMENT |
US4106385A (en) * | 1975-10-06 | 1978-08-15 | Thomas International Corporation | Digital arpeggio generating device |
US4154131A (en) * | 1977-06-21 | 1979-05-15 | D. H. Baldwin Company | Digital arpeggio system |
US4156379A (en) * | 1977-06-21 | 1979-05-29 | D. H. Baldwin Company | Digital arpeggio system |
US4158978A (en) * | 1976-07-02 | 1979-06-26 | Nippon Gakki Seizo Kabushiki Kaisha | Electronic musical instrument capable of producing "chord pyramid" arpeggio effects |
US4182212A (en) * | 1976-07-12 | 1980-01-08 | Nippon Gakki Seizo Kabushiki Kaisha | Method of and apparatus for automatically playing arpeggio in electronic musical instrument |
US4185530A (en) * | 1977-09-26 | 1980-01-29 | Kimball International, Inc. | Automatic glissando |
US4191081A (en) * | 1978-05-11 | 1980-03-04 | Kawai Musical Instrument Mfg. Co., Ltd. | Selectable automatic arpeggio for electronic musical instrument |
US5726374A (en) * | 1994-11-22 | 1998-03-10 | Vandervoort; Paul B. | Keyboard electronic musical instrument with guitar emulation function |
US7420114B1 (en) | 2004-06-14 | 2008-09-02 | Vandervoort Paul B | Method for producing real-time rhythm guitar performance with keyboard |
US20110203445A1 (en) * | 2010-02-24 | 2011-08-25 | Stanger Ramirez Rodrigo | Ergonometric electronic musical device which allows for digitally managing real-time musical interpretation through data setting using midi protocol |
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---|---|---|---|---|
US3954038A (en) * | 1973-11-23 | 1976-05-04 | Warwick Electronics Inc. | Electrical musical instrument with automatic sequential tone generation |
JPS50119321U (en) * | 1974-03-14 | 1975-09-29 | ||
SE393887B (en) * | 1974-12-17 | 1977-05-23 | S H Bergman | ELECTRICAL MUSICAL INSTRUMENT |
JPS51104818A (en) * | 1975-03-12 | 1976-09-17 | Matsushita Electric Ind Co Ltd | |
US3986424A (en) * | 1975-10-03 | 1976-10-19 | Kabushiki Kaisha Kawai Gakki Seisakusho (Kawai Musical Instrument Manufacturing Co., Ltd.) | Automatic rhythm-accompaniment apparatus for electronic musical instrument |
US5552191A (en) * | 1992-02-14 | 1996-09-03 | Morton International, Inc. | Triboelectric coating powder and process |
US5731043A (en) * | 1992-02-14 | 1998-03-24 | Morton International, Inc. | Triboelectric coating powder and procees for coating wood substrates |
US9105260B1 (en) * | 2014-04-16 | 2015-08-11 | Apple Inc. | Grid-editing of a live-played arpeggio |
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- 1971-08-16 US US00171997A patent/US3725562A/en not_active Expired - Lifetime
- 1971-08-16 US US00171879A patent/US3718748A/en not_active Expired - Lifetime
-
1972
- 1972-08-11 GB GB3767772A patent/GB1406256A/en not_active Expired
- 1972-08-11 CA CA149,193A patent/CA1053490A/en not_active Expired
- 1972-08-11 CA CA149,192A patent/CA987518A/en not_active Expired
- 1972-08-12 DE DE2239794A patent/DE2239794A1/en not_active Withdrawn
- 1972-08-12 DE DE2239793A patent/DE2239793A1/en active Pending
- 1972-08-16 GB GB3828672A patent/GB1406257A/en not_active Expired
- 1972-11-10 US US00305271A patent/US3822407A/en not_active Expired - Lifetime
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US3198055A (en) * | 1959-02-24 | 1965-08-03 | Seeburg Corp | Piano having chord playing means |
US3227027A (en) * | 1963-11-12 | 1966-01-04 | Seeburg Corp | Piano having electrically controlled note sustaining means |
US3358070A (en) * | 1964-12-03 | 1967-12-12 | Hammond Corp | Electronic organ arpeggio effect device |
US3478633A (en) * | 1966-02-07 | 1969-11-18 | Seeburg Corp | Counter resetting arrangement for rhythm accompaniment starting |
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Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
US3780203A (en) * | 1973-01-16 | 1973-12-18 | Hammond Corp | Organ system for automatically producing runs of various character |
US3842184A (en) * | 1973-05-07 | 1974-10-15 | Chicago Musical Instr Co | Musical instrument having automatic arpeggio system |
US3951029A (en) * | 1973-08-24 | 1976-04-20 | Matsushita Electric Industrial Co., Ltd. | Automatic accompaniment system for use with an electronic musical instrument |
US3854366A (en) * | 1974-04-26 | 1974-12-17 | Nippon Musical Instruments Mfg | Automatic arpeggio |
US3991646A (en) * | 1974-09-30 | 1976-11-16 | Roland Corporation | Arpeggio circuit for an electronic musical instrument |
US3967520A (en) * | 1974-11-18 | 1976-07-06 | Drydyk Lawrence A | Guitar chording device for keyboard instruments |
US3941024A (en) * | 1974-11-20 | 1976-03-02 | Warwick Electronics, Inc. | Electrical musical instrument with automatic sequential tone generation |
US4028979A (en) * | 1975-06-19 | 1977-06-14 | Norlin Music, Inc. | Multiplexer for electronic musical instrument |
US4080862A (en) * | 1975-08-29 | 1978-03-28 | Nippon Gakki Seizo Kabushiki Kaisha | Electronic musical instrument having octave slide effect |
US4106385A (en) * | 1975-10-06 | 1978-08-15 | Thomas International Corporation | Digital arpeggio generating device |
US4158978A (en) * | 1976-07-02 | 1979-06-26 | Nippon Gakki Seizo Kabushiki Kaisha | Electronic musical instrument capable of producing "chord pyramid" arpeggio effects |
US4182212A (en) * | 1976-07-12 | 1980-01-08 | Nippon Gakki Seizo Kabushiki Kaisha | Method of and apparatus for automatically playing arpeggio in electronic musical instrument |
DE2801933A1 (en) * | 1977-01-19 | 1978-07-20 | Nippon Musical Instruments Mfg | ELECTRONIC MUSICAL INSTRUMENT |
US4154131A (en) * | 1977-06-21 | 1979-05-15 | D. H. Baldwin Company | Digital arpeggio system |
US4156379A (en) * | 1977-06-21 | 1979-05-29 | D. H. Baldwin Company | Digital arpeggio system |
US4185530A (en) * | 1977-09-26 | 1980-01-29 | Kimball International, Inc. | Automatic glissando |
US4191081A (en) * | 1978-05-11 | 1980-03-04 | Kawai Musical Instrument Mfg. Co., Ltd. | Selectable automatic arpeggio for electronic musical instrument |
US5726374A (en) * | 1994-11-22 | 1998-03-10 | Vandervoort; Paul B. | Keyboard electronic musical instrument with guitar emulation function |
US7420114B1 (en) | 2004-06-14 | 2008-09-02 | Vandervoort Paul B | Method for producing real-time rhythm guitar performance with keyboard |
US20110203445A1 (en) * | 2010-02-24 | 2011-08-25 | Stanger Ramirez Rodrigo | Ergonometric electronic musical device which allows for digitally managing real-time musical interpretation through data setting using midi protocol |
US8158875B2 (en) | 2010-02-24 | 2012-04-17 | Stanger Ramirez Rodrigo | Ergonometric electronic musical device for digitally managing real-time musical interpretation |
Also Published As
Publication number | Publication date |
---|---|
CA987518A (en) | 1976-04-20 |
GB1406257A (en) | 1975-09-17 |
US3718748A (en) | 1973-02-27 |
DE2239794A1 (en) | 1973-03-01 |
GB1406256A (en) | 1975-09-17 |
US3822407A (en) | 1974-07-02 |
DE2239793A1 (en) | 1973-03-08 |
CA1053490A (en) | 1979-05-01 |
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Legal Events
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Owner name: GENERAL ELECTRIC CREDIT CORPORATION, A NY CORP., C Free format text: SECURITY INTEREST;ASSIGNOR:BPO ACQUISITION CORP., A DE CORP;REEL/FRAME:004297/0802 Effective date: 19840615 Owner name: SECURITY PACIFIC BUSINESS CREDIT INC., 10089 WILLO Free format text: SECURITY INTEREST;ASSIGNOR:BPO ACQUISITION CORP. A CORP OF DE;REEL/FRAME:004298/0001 Effective date: 19840615 |
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Owner name: BALDWIN PIANO & ORGAN COMPANY Free format text: CHANGE OF NAME;ASSIGNOR:BPO ACQUISTION CORP.;REEL/FRAME:004473/0501 Effective date: 19840612 |
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Owner name: FIFTH THIRD BANK, THE, A OH BANKING CORP., OHIO Free format text: SECURITY INTEREST;ASSIGNOR:BALDWIN PIANO & ORGAN COMPANY, A CORP. OF DE.;REEL/FRAME:005356/0333 Effective date: 19890615 Owner name: BALDWIN PIANO & ORGAN COMPANY, F/K/A/ BPO ACQUISIT Free format text: RELEASED BY SECURED PARTY;ASSIGNOR:SECURITY PACIFIC BUSINESS CREDIT, INC., A CORP. OF DE.;REEL/FRAME:005356/0321 Effective date: 19890616 |