U.S. patent number 3,571,480 [Application Number 04/651,178] was granted by the patent office on 1971-03-16 for feedback loop for musical instruments.
This patent grant is currently assigned to Warwick Electronics Inc.. Invention is credited to Jody C. Hall, Clyde L. Tichenor.
United States Patent |
3,571,480 |
Tichenor , et al. |
March 16, 1971 |
FEEDBACK LOOP FOR MUSICAL INSTRUMENTS
Abstract
An electrical pickup is secured to the output of a musical
instrument, such as the bell end of a horn. The signal is
amplified. The output of the amplifier is applied through a
feedback loop to the input of the musical instrument, such as the
mouthpiece of the horn. The feedback loop includes a small speaker.
In one form of the invention, the speaker is mounted at the
mouthpiece of the horn so that its output fortifies the input
acoustic energy developed at the mouthpiece by the instrument
player. In another form of the invention, the speaker consists of
an earphone worn by or held against the ear of the instrument
player. In this case the instrument player himself modifies his
playing mode in accordance with what he hears in the earphone. Thus
the player himself is involved in the feedback loop.
Inventors: |
Tichenor; Clyde L. (Sepulveda,
CA), Hall; Jody C. (Elkhart, IN) |
Assignee: |
Warwick Electronics Inc.
(Chicago, IL)
|
Family
ID: |
24611885 |
Appl.
No.: |
04/651,178 |
Filed: |
July 5, 1967 |
Current U.S.
Class: |
84/723;
84/DIG.10; 84/383R; 84/470R; 381/118; 984/374 |
Current CPC
Class: |
G10H
3/24 (20130101); Y10S 84/10 (20130101) |
Current International
Class: |
G10H
3/24 (20060101); G10H 3/00 (20060101); G10m
003/00 (); G10d 009/02 () |
Field of
Search: |
;84/1.04,1.065--8,1.05,1.07--1.10,(FB) (feedback)/
;84/(MR)(Mechanical Ronsator)/ ;84/93 ;179/M(Musical) |
References Cited
[Referenced By]
U.S. Patent Documents
Other References
douglas, et al., "The electronic Musical Instrument Manual",
Chapter IV, "The Production & Mixing of Electrical
Oscillations", pp.97--100, Pitman Pub. Corp. 1957, ML 1092
D6.
|
Primary Examiner: Saalbach; Herman Karl
Assistant Examiner: Punter; Wm. N.
Claims
We claim:
1. Feedback loop for a musical instrument comprising:
a musical instrument having input means at which there is developed
acoustic energy of musical frequencies, and output means from which
acoustic energy is delivered;
pickup means located at said output means for transducing said
acoustic energy into corresponding electric signals;
amplifier means for amplifying signals from said pickup means;
and
feedback means including speaker means located at said input means
and connected to said amplifier means for linking the output of
said amplifier means to said input means.
Description
BACKGROUND OF THE INVENTION
The playing of certain musical instruments, for example, horns,
often requires the instrument player to develop a rather high level
of acoustic musical energy at the mouthpiece of the horn. This
takes a great deal of skill and is quite tiring. In fact, in the
case of high frequencies, it is virtually unattainable by any but
the most proficient performers. The first disclosed form of the
present invention remedies this problem by allowing the performer
to play such an instrument with much greater ease, particularly in
the development of high frequencies.
Another problem encountered by musical instrument performers,
particularly horn players, is the inability of the player to
discern exactly what his instrument is sounding, when located in an
environment of high background acoustic energy, as, for example,
when playing in an orchestra or band. This is particularly acute in
the case of a horn player, because the sounds which he is making
are directed away from his own ears, whereas those being made by
his fellow performers are often directed right into his ears. Not
hearing exactly what he is playing, it is extremely difficult for
the player to perform with precision, because he cannot correct for
slight errors which he might make. This is particularly true for
instruments such as the slide trombone, where the only guide which
the player has for manipulating his hands is the sounds which reach
him through his own ears. The second disclosed form of the
invention aims at alleviating this problem.
Both disclosed forms of the present invention are characterized by
a feedback loop from the output or bell end of the horn, back to
the input or mouthpiece end.
SUMMARY OF THE INVENTION
A positive feedback loop, involving an amplifier, is applied
between the output of a musical instrument, such as the bell end of
a horn, back to the input of the instrument, such as the mouthpiece
of the horn.
In one form of the invention the feedback loop has a small speaker
which is mounted at the mouthpiece of the horn and receives the
output of the amplifier. In this location its output serves to
fortify the acoustic energy developed in the mouthpiece by the
instrument player. It thus makes the playing much easier, since the
performer need not develop so much acoustic energy himself. In the
case of high frequencies, the invention often makes possible the
playing of notes which would otherwise be unattainable by many
players.
In a second form of the invention the feedback loop includes the
performer himself. In this case the speaker consists of an earphone
worn by the player. The player is thus able to accurately hear and
appraise his own performance, and make appropriate corrections so
as to produce exactly the sound which he wishes. This is
particularly valuable when playing in a high-level acoustic
background, as in an orchestra or band, where the sound of other
instruments is constantly beating on the ears of the horn
player.
BRIEF DESCRIPTION OF THE DRAWINGS
FIG. 1 illustrates schematically the first form of the present
invention;
FIG. 2 illustrates the second form of the invention.
DESCRIPTION OF THE PREFERRED EMBODIMENTS
Referring to FIG. 1, 11 designates a musical instrument such as a
clarinet, having an output in the form of an end bell 12 and an
input in the form of a mouthpiece 13. The clarinet player, by
vibrating the reed in the mouthpiece, creates at that point
acoustic energy in the range of musical frequencies. This energy is
in effect tuned or filtered in the body of the clarinet and emerges
from the bell 12 as a musical tone having a timbre which is unique
to the instrument.
In accordance with the present invention, a small acoustic electric
pickup 14, preferably a dynamic pickup, is mounted at the bell 12
of the horn 11. The musical tone signals from the pickup 14 are
applied to the input of an audio amplifier 16. The output from the
amplifier 16 is applied to a small electroacoustic transducer or
speaker 17, which is mounted at the mouthpiece 13. The speaker 17
is preferably a dynamic speaker and may, in fact, be structurally
exactly the same as the pickup 14.
The speaker 17 transduces the musical tone signals applied to it
into acoustic energy of corresponding frequencies, which, appearing
at the mouthpiece 13, serves to fortify the acoustic energy
developed or generated by the instrument player. The loop thus
formed by the pickup 14, amplifier 16, and speaker 17, thus
constitutes a positive feedback loop.
The gain of the amplifier may be adjusted either above or below the
regenerative level.
When the amplification gain falls short of the oscillation point,
the instrument player retains full control over the tone sounded by
the instrument. The effort required to sound the instrument is, as
noted hereinbefore, measurably decreased. This type of operation is
uniquely suited for lip-reed horns, where the tone sounded by the
instrument is a function of lip manipulation, as well as the manual
action of the player in playing the stops, slides, or other
manually operable members.
In the second form of the invention, shown in FIG. 2, the amplifier
16' output is also applied to a small speaker, but in this case the
speaker is mounted in an earphone 17' worn by the instrument player
21. As in the previous embodiment, the trombone shown in FIG. 2
includes a bell 12' of the horn 11' having a pickup 14' mounted on
the bell and connected to the amplifier 16'. Hearing accurately
what he is playing, the performer 21 intuitively adjusts his mode
of playing, both orally and manually, to create the desired
results. He thus continually serves as a link in the feedback loop
from the horn (trombone 11'), through the amplifier 16', and back
to the horn mouthpiece 13'.
The form of the invention shown in FIG. 2 is particularly useful
when used in an area of high acoustic level background, as for
example, when playing in a band or orchestra. Under these
circumstances the player 21 usually hears the instruments of his
fellow performers much more predominantly than he does his own. He
is thus forced: to distinguish which of the sounds is his own
instrument; to ignore the interfering sounds; and to compensate in
accordance with what he alone is sounding. With the invention shown
in FIG. 2, the surrounding sounds are, of course, still audible,
but the earphone 17' causes the player's own instrument to heavily
predominate, so that he can easily and without strain adjust his
playing in accordance with the output of his own instrument.
Even when playing alone, particularly indoors, the form of the
invention shown in FIG. 2 is useful, because it gives the performer
a more accurate acoustic or sonic picture of what his audience is
hearing. That is, his listeners receive the sounds of the horn 11'
in a direct path, whereas the performer himself receives them
primarily from echos off the walls, ceiling, and floor of the room.
By use of the invention illustrated in FIG. 2, the performer
receives the sound from his own instrument with more of the timbre
heard by his listeners, and free from the modifying effects of the
reflecting environment.
Whereas the present invention has been shown and described herein
in what is conceived to be the best mode contemplated, it is
recognized that departures may be made therefrom within the scope
of the invention which is, therefore, not to be limited to the
details disclosed herein, but is to be afforded the full scope of
the invention as hereinafter claimed.
* * * * *