U.S. patent number 3,781,452 [Application Number 05/215,875] was granted by the patent office on 1973-12-25 for method and apparatus for assembling recordings of musical scores.
Invention is credited to Andre C. Vauclain.
United States Patent |
3,781,452 |
Vauclain |
December 25, 1973 |
**Please see images for:
( Certificate of Correction ) ** |
METHOD AND APPARATUS FOR ASSEMBLING RECORDINGS OF MUSICAL
SCORES
Abstract
A complete musical score is recorded from stored pitches and
notes by first recording basic timing signals for the entire score
on a first track of a multi-channel tape, and then recording
separately the part of each instrument involved in the score, note
by note, on a separate track, and referenced in time to the basic
timing signals. The different instrument recordings are combined,
through a sequence of mixing operations, to provide a single track
compilation of the entire score.
Inventors: |
Vauclain; Andre C. (Gladwyne,
PA) |
Family
ID: |
22804762 |
Appl.
No.: |
05/215,875 |
Filed: |
January 6, 1972 |
Current U.S.
Class: |
84/609; 84/642;
84/DIG.29; 84/649; 984/360 |
Current CPC
Class: |
G10H
3/09 (20130101); Y10S 84/29 (20130101) |
Current International
Class: |
G10H
3/00 (20060101); G10H 3/09 (20060101); G10h
003/00 () |
Field of
Search: |
;84/1.01-1.03,1.18,1.28,DIG.29,461,462 ;179/1.2S,1.2MD |
References Cited
[Referenced By]
U.S. Patent Documents
Primary Examiner: Wilkinson; Richard B.
Assistant Examiner: Witkowski; Stanley J.
Claims
What is claimed is:
1. A method for assembling a recording of an instrument part of a
musical score from stored recordings of individual pitches
corresponding to notes of said instrument, comprising:
a. recording in a first storage location timing signals which
represent the timing and tempo of said score;
b. recording, in a second storage location, respective individual
pitches from said stored recordings of individual pitches, said
recorded pitches in said second storage location representing
successive notes of said instrument part;
c. controlling the timing and duration of each said successive
recorded note by said timing signals.
2. A method for assembling a recording of an instrument part of a
musical score, comprising:
a. recording timing signals which represent the timing and tempo of
said score;
b. deriving, from said recorded timing signals, control signals for
controlling the time of recording of a first note of said
instrument part, and recording said note under control of said
derived signals;
c. successively deriving from said timing signals control signals
corresponding to successive notes and rests of said part, and
successively recording said notes and rests under control of said
successively derived control signals, so as to record the entire
part with each note and rest contained therein recorded in timed
relationship according to the timing and tempo of said score.
3. The method as described in claim 2, wherein said score contains
a plurality of instrument parts, and comprising the additional
steps of separately recording each of said parts according to the
method of claime 2, said separate recordings being maintained in
time synchronization, mixing said recorded parts, and recording
said mixed parts to obtain an assembled recording of said
score.
4. The method as described in claim 2, comprising recording said
timing signals on a first track of a tape, and recording said
instrument part on a separate track of said tape.
5. The method as described in claim 3, comprising recording said
timing signals on a first track of a tape, and recording each of
said instrument parts on another track of the same tape.
6. The method as described in claim 5, wherein a first group of
recorded parts is mixed and recorded, successive groups of parts
are mixed and recorded, and the recorded mixed groups are mixed and
recorded to obtain an assembled recording of all the parts of said
score.
7. The method as described in claim 2 wherein each said note is
separately stored on a storage medium, and said part notes are
recorded on a recording medium, and wherein the step of recording a
given note comprises synchronously moving said storage medium and
said recording medium to a steady state speed and, while said speed
is maintained, picking up said note from said storage medium and
recording it on said recording medium.
8. The method as described in claim 7 wherein the steps of
recording a given rest comprises synchronously moving said storage
medium and said recording medium to a steady state speed and, while
said speed is maintained, recording nothing on said recording
medium, and each such recorded note and rest is controlled to
commence at the end of the prior recorded note or rest.
9. A method for assembling a recording of a musical score having a
plurality of instrumental parts, comprising:
a. recording, on a first track of a recording medium, a continuous
series of timing signals representing the timing of said score,
said signals varying in frequency corresponding to tempo variations
of said score;
b. for a first instrument part of said score, deriving electrical
signals representing the first note of said first part, and
recording same on a second track of said recording medium,
commencing with a first of said timing signals and terminating
after a first count of said timing signals, said count
corresponding to the time duration of said first note;
c. deriving electrical signals representing the second note of said
first part, and recording same on said second track, commencing
with the termination point of said first note and terminating after
a second count of said timing signals corresponding to the time
duration of said second note;
d. successively deriving and recording separate electrical
representations of all notes and rests of said part on said second
track, each such note and rest being recorded in the like manner as
said second note to obtain a recording of said first part;
e. successively recording, on separate tracks, electrical
representations of each of said plurality of parts, each part being
recorded in a like manner as said first part and in time
synchronization therewith; and
f. mixing said part recordings to obtain the assembled recording of
the score.
10. The method as described in claim 9 wherein for the recording of
each note, said recording medium is brought up to steady state
forward speed prior to commencement of recording, is maintained at
steady state speed during recording, and after such recording is
terminated is stopped and reversed to a point behind the
termination point, at which point it is in position to be brought
up to steady state forward speed for recording of the next
note.
11. The method as described in claim 10 wherein said electrical
representations of said notes and rests are derived from a signal
source, and wherein said signal source is maintained at steady
state speed synchronously with said recording medium during said
recording.
12. A method of assembling a recording of an instrument part of a
musical score, wherein each note and rest is separately recorded in
proper time position as set forth in said score, the steps for
recording said each note and rest comprising:
a. positioning a recording medium on which said recording is made
to a position reverse of the starting point for recording the
note;
b. positioning a storage medium carrying a stored signal
representation of said note to a position reverse of the starting
point for picking up said stored signal;
c. synchronously advancing said recording medium and said storage
medium to a steady state speed;
d. generating a start signal at the moment said recording medium is
passing the point where the recording of said note is to start;
e. picking up said stored note signal and, in response to said
start signal, starting recording of said note signal on said
recording medium at said start point;
f. recording said note signal on said recording medium while
maintaining said synchronous steady state speed;
g. generating a stop signal at the moment said recording medium is
passing the point where the recording of said note is to stop;
h. stopping recording of said note at said stop point in response
to said stop signal; and
i. after said recording is stopped, returning said storage medium
and recording medium to positions reverse of their respective
starting points for the recording of the next note.
13. Apparatus for assembling a recording of an instrument part of a
musical score, comprising:
a. first storage means for storing recordings of individual pitches
corresponding to notes of said instrument;
b. second storage means for storing timing signals which represent
the timing and tempo of said score;
c. recording means for recording successive notes as set forth in
said instrument part, said successive recorded notes being derived
from said individual pitches stored in said first storage means;
and
d. control means for controlling the timing and duration of each
said successive recorded note by said timing signals.
14. Apparatus for assembling a recording of a musical score which
has a plurality of instrument parts, which apparatus is adapted to
be operated so that each note and rest of each instrument part of
said score may be recorded separately and corresponding to the
timing and tempo of said score, and so that said instrument parts
may be recorded note by note and said recorded parts mixed to
obtain the assembled recording, comprising:
a. storage means for storing recordings of individual pitches
corresponding to notes of each instrument found in said score;
b. pick up means adapted to be positioned to pick up signals from
said storage means representing pitches of respective notes;
c. recording means, including a recording medium, and having a
plurality of recording heads for recording said signals, said heads
being adapted to record different instrument parts on respective
different tracks of said recording medium;
d. a transmission path for transmitting said pitch signals from
said pick up means to said recording means;
e. drive means for driving said storage means and said recording
means together;
f. timing signal generator means, for generating timing signals
representing the timing of each note and rest as set forth in said
score;
g. control means responsive to said timing signals, for controlling
transmission of said pitch signals from said pick up means to said
recording means so that each note and rest is recorded for the
precise duration and in the precise time relationship to the other
notes as set forth in the score; and
h. mixer means, connected to said recording means, for mixing
recordings of said different parts.
15. In a system for assembling a recording of a musical score,
apparatus for recording successive notes of an instrument part of
said score, adapted to record each note in the time relation to
prior and subsequent notes of such part as called for in said
score, comprising:
a. recording means for recording signals constituting said
part;
b. drive means engagable with said recording means, for driving
same;
c. source means, for providing a source of signals representing the
pitches of said notes;
d. coupling means, operative to couple said source means and said
driving means so as to drive said recording means and said source
means synchronously;
e. signal transmission means, for controllably transmitting said
pitch signals from said source means to said recording means;
f. timing signal means for generating timing signals which
represent the timing and tempo of said score; and
g. logic means, to receive said timing signals and to control said
transmission means such that transmission of said pitch signals is
limited to predetermined time periods when said recording means and
said source means are being driven synchronously, and such that
said pitch signals which are recorded by said recording means for
said predetermined time periods constitute said notes, said notes
being recorded in said time relation as called for in said
score.
16. The apparatus as described in claim 15, wherein:
a. said recording means comprises a magnetic tape;
b. said source means is a magnetic disc having recorded separately
thereon different pitches corresponding to the notes of said part,
and has a moveable source head for picking up a selected pitch
corresponding to the note to be recorded;
c. said tape contains recordings of timing signals, and said timing
signal means comprises a timing head for picking up said signals
when said tape is being driven;
d. said logic means comprises a counter adapted to receive said
timing signals from said timing head and to count same, which
counter is adapted to be pre-set to a count of said timing signals
corresponding to the length of a note to be recorded, said counter
being further adapted to provide a control signal for stopping said
transmission when said count is reached.
17. The apparatus as described in claim 16, wherein said magnetic
tape has a plurality of tracks and said recording means comprises a
plurality of record heads so that a plurality of instrument parts
can be recorded on said tape, each on a different track, and
comprising a mixer operatively connected to said recording means
for combining said plurality of recorded parts and recording said
combined parts on a track of said tape.
18. The apparatus as described in claim 16 wherein is added means
for reversing said tape behind the end point of the last recorded
note and for reversing said disc behind the point where said pick
up head picks up the desired signal corresponding to the start of
the next note to be recorded, so that when said tape and disc are
driven forward synchronously they are both advancing at a steady
state speed when said next note is recorded on said tape.
Description
BACKGROUND OF THE INVENTION
1. Field of the Invention
This invention lies in the field of electronic music assemblers
and, more particularly, a method and apparatus for assembling a
recording of a musical score comprising a plurality of different
musical instruments, the completed assembled recording being stored
on a permanent form of electronic storage medium such as magnetic
tape and adapted to be played by conventional electronic equipment
as a complete score.
2. Description of the Prior Art
The practical unavailability of orchestral performance to many
serious contemporary composers has discouraged writing for the
orchestra to an extent that the orchestral literature, if not
dwindling away, is failing to express a reasonable measure of
contemporary musical compositions. Indeed, for a variety of reasons
the symphony orchestras are being relegated to the passive task of
exhibiting old music, and are unable to fulfill contemporary needs.
This is in part a reflection of contemporary music which involves
extremely complex new works. In many instances, the complexity of
new orchestral works is of such a degree that there simply is not
sufficient rehearsal time to prepare them. Conductors are typically
too busy or simply unable to evaluate many new works directly from
their scores without trying them out, and relatively few conductors
or orchestras have the luxury of being able to investigate new
scores. Similarly, student composers are unable to complete their
study of orchestration in its most important part, i.e., the
hearing of their own scoring. Another factor inhibiting the
performance of new works is, of course, economic. The expense of
securing the services of a first class conductor and orchestra for
a sufficient time to rehearse and/or record a work has become
prohibitive in the absence of a well endowed commission. As is
known, commissions satisfactory for the rehearsal and preparation
of a new composition are extremely rare, and as a consequence the
availability to the public, or to students of music, of new
compositions has become extremely limited.
In view of the above, there is a need in the music world for a
means of synthesizing a playable recording of a written score
containing a large number of instruments, or voices, by which means
the entire score can be constructed, or built up, note by note on a
programmable basis. It has long been known that electrical
representations of the pitches of an instrument may be recorded, or
generated initially, and thus the basic building blocks of such a
synthesizer are available. However, the task of assembling stored
pitches from orchestral instruments, as onto magnetic tape, so as
to perform orchestral works directly from their scores, has not
heretofore met with any success, primarily due to the formidable
timing problems in coordinating the different voices. For example,
it is not feasible to separately record the component instruments
involved in the score, and to then mix them into a unitary
composition, as there would be no way to satisfactorily coordinate
the different instruments. Indeed, such a procedure would involve
the employment of all of the different personnel of the orchestra,
and would be less efficient than combining them in a normal full
orchestra.
The invention as disclosed herein provides a process and apparatus
for coordinating any desired number of musical voices in time onto
a single magnetic tape, or other recording medium. Because of the
inordinate complexities involved in designing and operating
apparatus to perform the recordings of different instruments in
parallel, this invention is designed to record each voice of a
musical composition individually and in a time controlled fashion,
such that they are adapted to be later assembled into the
coordinated composition. The method and apparatus can be operated
by a single person, without the need of any intermediate steps
between the score and the synthesizing process of this invention.
It has been estimated that the complete recordation, on a note by
note basis, of a standard orchestral symphony score, using the
method of this invention, takes approximately 40 to 50 hours of an
operator's time. This is to be compared in expense with the costs
involved, if indeed they are available, of securing the services of
a conductor and full orchestra for a sufficient time to rehearse
and record such work. Indeed, even the time and expense involved in
making orchestral parts from the score, which step is not necessary
in the practice of this invention, would probably be comparable to
if not greater than that necessary to record the entire work in the
manner described hereinbelow.
The invention of this application is designed to overcome the
present limitations which severely inhibit the production of new
orchestral scores. It not only allows composers to investigate and
experiment with their works, and prepare tapes of them for
distribution to conductors and other interested persons, but is
designed to produce excellent performances suitable for public
and/or home use. Because of the method and precision of time
coordination involved, and the flexibility of controlling the many
variables in a musical score, the performances of complex new works
with the method and apparatus of this invention may in many
instances actually be superior to those attainable with the usual
limited rehearsal time, by even the best orchestras.
SUMMARY OF THE INVENTION
It is an object of this invention to provide a method and apparatus
of assembling a musical score from stored representations of the
pitches, or notes, of the musical instruments utilized in such
score, and to do so in a manner entailing time coordination of the
recorded note sequence of each respective instrument.
It is another object of this invention to provide apparatus for
assembling a complete scored musical piece onto magnetic tape, such
assembled musical piece being derived from stored representations
of the various pitches of each of the instruments called for in
such score, such apparatus being capable of assembling complex
musical scores having a variety of tempos.
It is a further object of this invention to provide apparatus for
electronically assembling a recording of a complete musical score,
which apparatus is compatible with existing electronic components,
which is relatively inexpensive, and which is operable to produce a
musical score with considerably less time and expense than
heretofore available with an orchestral or electronic means.
Indeed, this invention provides for the first time, so far as is
known, a means for electronically generating a musical score
involving a plurality of instruments which are precisely time
coordinated.
It is a yet another object of this invention to provide a method
for recording serially on magnetic tape the instrument part of a
musical score, the successive notes of the instrument part being
recorded in exact time relationship with each other and without
overlap or sapcing, and without distortion due to transients.
It is a still further object of this invention to thus record a
plurality of such instrument parts, and to combine such recorded
parts onto one recording wherein the timings of all such parts are
precisely synchronized.
It is a further object of this invention to provide a means and
method for recording on a permanent medium a complete orchestral
work, the recording being derived from prior recorded separate
pitches for each of the instruments utilized in the orchestral
work, and with means for selecting the desired musical variables of
each note such as attack and legato, pitch, duration, dynamics and
timbre.
In accordance with the above, there is provided a method, and
apparatus for performing same, for electronically producing and
assembling, from stored representations of all of the various
pitches of the many orchestral instruments utilized in such score,
a complete recording of the orchestral work. The start to finish
timing of the score is first recorded on a first track, or channel
of a multi-track magnetic tape, which timing track provides basis
for coordinating the subsequently recorded instrument parts. Each
instrument part is recorded separately, note by note seriatum, by
transferring successive note (pitch) signals from a source of
recorded pitches as called for by the instrument part of the score,
each note for each given instrument being recorded in precise time
sequence under the control of the signals from the timing track,
and under steady state recording conditions. Note duration pulses,
referred to herein as X pulses, and derived from the basic timing
pulses, are recorded on a separate X channel of the tape and are
used to initiate and terminate the recording of each separate note.
The entire part for each separate instrument is recorded on a
respective tape track, each in exact time relationship to the
other, and groups of such recorded instrument parts are
successively mixed onto tape tracks until all of the instrument
parts are recorded and all are mixed onto a combined final assembly
of the recorded musical score.
BRIEF DESCRIPTION OF THE DRAWINGS
FIG. 1 is a block diagram of a preferred embodiment of the
apparatus of this invention.
FIG. 2 is a block diagram showing one representation of the X logic
circuitry of the apparatus shown in FIG. 1.
FIG. 3 is a block diagram showing one representation of the integer
logic circuitry of the apparatus shown in FIG. 1.
FIG. 4 is a schematic diagram showing a switching arrangement as
used in the track logic apparatus of this invention.
DESCRIPTION OF THE PREFERRED EMBODIMENT
This invention in essence involves the recording of a large number
of separate sound tracks, e.g., 20 to 40, and assembling of same
onto one recording track, the one track assembly having all of the
separate sound tracks both combined and synchronized in time. In
basic outline, this is achieved by three primary steps:
a. Recording, preferably on a first track of a magnetic tape, a
time sequence of integers, or basic timing signals, reflecting the
timing and tempo of the entire musical score;
b. Recording, one at a time, each instrument (voice) of the
orchestra on a separate track of the same tape, such recording
being time controlled by the timing integer signals on the integer
track; and
c. Simultaneously mixing a plurality of recorded instrument tracks,
all time synchronized by reference to the timing signals, to
assemble such plurality of instruments on one completed tape
track.
The sequence of the basic timing signals, or integer track, is
based upon an evaluation of the timing of the entire score. The
operator examines the score to be performed, and determines the
smallest note value, in terms of time duration, found therein. An
integer, or time duration, is then selected which is preferably
equal to such smallest duration, but in no event any larger than
such. Making reference to Table A below, suppose for example that
the greatest note division to be found anywhere in the score was
10:1. By this it is meant that during a portion of the score, the
note of largest duration lasts 2.sup.10 times as long as the note
of the smallest duration. For example, a whole note lasts twice as
long as a half note, 4 times as long as a quarter note, 8 times as
long as an eighth note, etc. Under these circumstances, the minimum
number of integers required to represent the whole note would be
512, which is 2.sup.10. If the score additionally contains
triplets, quintuplets, etc., the integer should be small enough to
express these groupings rationally. If there are groupings of notes
too complicated to achieve this conveniently, the integer need only
be small enough so that rounding off is imperceptible. It is to be
noted that in practice, the listener can discriminate only very
simple time ratios, and would not be likely to be able, for
example, to discriminate between timing ratios of 10:1 and 11:1. As
also illustrated in Table A, triplets and quintuplets can
conveniently be grouped in terms of integers with only a small
percentage variation in the duration of each note in the grouping.
For example, for a timing system of 512 integers corresponding to a
whole note, a sixteenth note by itself would encompass 32 integers.
A triplet having the duration of a sixteenth note would have to
total 32 integers, and could be accomplished by a pair of 11
integer notes and one 10 integer note. Similarly, a quintuplet
totaling in duration a single eighth note, which would embrace 64
integers, could be accomplished by combining four 13 integer notes
and a 12 integer note. ##SPC1##
Having thus determined the basic timing unit, the separate bars of
the score are then marked serially with the number of integers,
counting from the beginning of the score to the end. Following
this, the tempi of the score, reflecting the speed or pace of the
score, are fixed in conventional metronome markings, enclosing all
accelerandi and rallentandi within pairs of metronome marks.
Having thus analyzed the score and marked it with both integer
count, from the beginning to the end of the score, and with tempi,
or metronome markings, the next step is to record electrical
signals on the integer track corresponding to such timing. This is
suitably done with a frequency variable squarewave generator,
operator controlled, and means for coupling the generated
squarewaves, or integer signals, through to the integer track of a
uniformly moving tape. The apparatus and exact procedure for
performing this are set forth in greater detail below. It is
sufficient for the understanding of the invention at this point to
realize that an entire tape track, or integer track, is first
recorded having basic timing pulses, or integers, which fix in
exact precise time sequence from beginning to end each note in the
entire score, as well as the tempo of the notes from portion to
portion throughout.
It is to be noted that by keeping count of the integers on the
integer track, as by conventional electronic counter, the operator
is able to determine exactly where the tape is in reference to the
score at any time during the entire assembly operation, by
comparing the counter readout with the integer marking on the
score. The integer track thus serves as the basic timing and tempo
track, for coordinating the timing of all subsequent operations in
assembling the entire recording.
In carrying out step "b" as set forth above, there is utilized a
storage device containing stored representations of all of the
different pitches of each instrument to be recorded. For each
respective instrument, which is to be recorded continuously on one
of the tape tracks, the corresponding storage device is interfaced
with the apparatus of this invention, so that the stored ptiches
may be controllably picked up and recorded onto the record track.
In the preferred embodiment of this invention, the instrument
pitches are stored on magnetic discs. Suitably, the pitches of each
instrument are recorded on concentric tracks in the disc, with
means provided for positioning a pick-up head over the desired
track, for picking up each note to be recorded. The attacks of all
of the pitches are suitably in radial alignment on the disc, so
that according to the score each note can be either attacked or
recorded legato upon the control of the operator. In recording of a
given instrument, or voice of the orchestra, each note is acquired
by picking up an electrical representation of the desired pitch
from the magnetic disc, and recording same on a separate tape
track. By counting integers during the note recording period, the
stored pitch, or rest, is recorded for as many integers as
represented by the note or rest. At the end of each note, a counter
which is preset according to the integer count from the score,
causes the printing of a magnetic "X" signal on a separate tape
track, referred to as the X track. At that time, recordation is
ceased, while both tape and disc are allowed to travel beyond such
point for a small distance, due to their own momentum. The tape is
then reversed behind the noteending signal, or X signal, and the
disc is retracted a similar distance behind its starting point. The
tape and disc, clutched together operatively, are started again in
a forward direction for recordation of the next note, such that
both travel a sufficient distance to come up to full steady-state
speed when the X signal triggers recording of the next note. The X
signal thus activates the recording of the next note precisely at
the end of the preceding one, and under steady state tape transport
conditions, thus serving to eliminate any possibility of mechanical
error in the tape transport system.
In the manner as described above, each voice of the entire
instrument is recorded on a separate track of the tape. Since the
recordation of each voice is time controlled from the integer
track, the various voices are recorded in exact time
synchronization one with another. In this manner, successive voices
are recorded until all the tracks on the tape which have been
allocated for this purpose are filled, at which time the recorded
voice tracks are mixed together and re-recorded on a given one of
the tape tracks. As discussed in greater detail hereinbelow, a
number of procedures are available for mixing and recording, some
more efficient then others. It is noted at this time that even with
as many as 40 or more different instruments to be recorded, the
entire score can be assembled on one final track using only one
multi-track tape. It is recognized that engineering problems come
into play at this point, in terms of recording from recordings,
premagnetization, etc., which problems are generally associated
with the magnetic tape art. While the process of this invention is
designed to make most efficient use of techniques of recording from
one magnetic track to another, it is noted that the invention is
not limited by such techniques.
Having thus discussed the general method of the invention,
reference is now made to the drawings for a detailed examination of
a preferred embodiment of the apparatus of this invention.
Referring to FIG. 1, there is shown a block diagram of the overall
apparatus of the invention. A magnetic tape, suitably of 16 tracks,
is transported by a capstan 52 in pressure relation with an
adjustable pressure wheel 53, which when placed in position also
engages a disc drive 54. The capstan in turn is driven by a motor
55, which can be clutched in either a reverse or forward direction,
as indicated in the drawing. For this portion of the apparatus, a
commercially available tape recorder may be used, having tape
storage and pick-up means, and being adapted by including the wheel
53. The disc drive is mechanically connected to an electrically
operated disc clutch 58 which when engaged, transports disc holder
59 and disc 60 placed thereon. Disc holder 59 is adapted with a
return spring mechanism, not shown, such that when it is not
coupled it is positioned at a precise starting point. Alternately,
return servo means may be employed to return the disc holder to a
starting position after it has been displaced and the disc clutch
is not energized. Holder 59 also contains, near its outer
periphery, a magnet 115 which subtends a small arc.
Disc 60 is suitably a commercially available magnetic disc, on
which is recorded a plurality of concentric tracks, each track
carrying a recording of a different pitch, or semitone of a given
instrument. For convenience of storing and selecting, magnetic
discs are generally superior in operating characteristics to tapes
or drums for this application. However, it is understood that
equivalent storage means may be employed within the scope of this
invention.
The speed of rotation of the disc holder, and consequently the
disc, is a function of the tape speed, as well as the radius of
disc drive 54. For a recording made at 71/2 inches per second
(IPS), and for a disc drive having a diameter of 12 inches, the
speed of a 16 inch diameter disc at its circumference is about 10.0
IPS. Utilizing a 4 inch magnetic band on the disc extending inward
from the outside edge, the center of the band travels at about 7.5
IPS, and the innermost portion at about 5.0 IPS. The pitches for
each instrument are suitably arranged with the highest pitches
toward the circumference, to take advantage of the higher IPS, with
the lower pitches being recorded on the innermost grooves. For this
example, the time of one revolution is about 5.0 seconds, limiting
the length of the sustained sound less than 5 seconds, quite
sufficient for most notes or rests. It is appreciated that longer
notes may be conveniently recorded by repeated legato recordings of
the same pitch.
It is to be noted that the pitch recordings are made on the disc in
accordance with known engineering principles. Thus tracks may be
printed on both sides of the disc, using pick-up heads on
respective sides, in which case the semitone recordings, or
grooves, are suitably staggered from side to side, reducing
print-through by printing the tracks on one side opposite spaces on
the other. However, it is preferred to use only one side of the
disc, with only one pair of pick-up heads. Similarly, different
diameters of the disc, and different widths of the magnetic band
may be employed, as desired for optimum results.
As referred to hereinabove, each pitch recording commences at a
beginning point, where the attack of the instrument pitch is found,
the remainder of the groove presenting a constant tone which is
referred to as the legato. The attack of each pitch is suitably
place on one radial of the disc, so that it may be conveniently
found when desired. Suitable head placement means 62 are used to
place a disc pick-up head 63 on the groove corresponding to the
desired pitch. The choice between attack and legato is made either
by placement of the head along the track circumference, or
alternately, by using a pair of pick-up heads, designated 63A for
the attack head, and 63L for the legato head. The attack head is
movable along a fixed radial line, so as to be set to pick up any
of the tracks on the disc, but also so as to remain placed over the
attack recording at the time of commencement of recording of the
note onto the track. Similarly, the legato head is fixed at a given
radial displaced from the attack radial, such that at commencement
of recording it picks up strictly a legato note.
The output of the pick up head is connected through manually
operated switch 65 to an amplifier 66, which can be adjusted to the
desired volume for recording. Amplifier 66 may suitably be a
component of the tape recording unit being used. The output from
amplifier 66 is coupled to and through suitably chosen filters and
modules which are adapted to control the timbre of the recorded
note, or to otherwise synthesize the characteristics of the note,
as discussed hereinbelow. The output of 67 is coupled to track
logic circuitry 74, through switch SX3, when it is in closed
operative condition, and line 73. Track logic unit 74 contains a
basic manual switching matrix, for switching the incoming signal on
line 73 to one of a plurality of track record heads 75. Track logic
unit 74 is thus simply a combination of manual switches, connected
so as to provide the functions hereinafter described. It is noted,
of course, that unit 74 may be constructed with any desired degree
of sophistication, e.g., solid state switching circuits with push
button actuators.
FIG. 4 illustrates a specific manual switching matrix as used in
track logic unit 74. Line 73 is connected to an input terminal of a
seven position switch 79, which switch has 7 output terminals
(1-7). Each output terminal is connected through two switches to a
respective head 75. Thus, in the illustration shown, switch 79
connects line 73 to output terminal 3, which is connected through
closed switches 753B abd 753A to the third one of seven heads 75.
In normal operation, when the mixer 84 is not being utilized, all
of the switches 751B-757B are closed, all of the switches 751A-757A
are open, and selection of a specific head 75 is made simply at
switch 79.
FIG. 4 also shows 7 inputs connecting to mixer 84 (at 140), which
inputs are connected respectively to switches 751A-757A. The seven
outputs from the mixer are in turn connected respectively to
switches 751B-757B. In operation of the mixer, the A switches
corresponding to heads 75 from which are to be derived inputs to
the mixer are closed, and the B switches which connect to the head
on which the mixed signals are to be recorded is also closed, all
other A and B switches being open. Thus, if signals recorded on
heads 751, 752, and 753 are to be recorded on head 757, switches
751A, 752A, 753A and 757B are closed, and the remaining A and B
switches are open.
It is to be noted that track logic unit 74 will have as many
connections to respective recording head positions as there are
recording tracks on the tape being used. Thus, in an application
where six specific recording tracks are being used, logic unit 74
has six outputs connecting line 73 respectively through to six
different record heads 75. The record heads 75 may be fixed in
position to record the signals picked up from disc 60 on given
tracks of the passing tape 51, or they may be movable to different
track positions. In any event, the communication path for recording
of a note is from disc 60 through either head 63, thence through
amplifier 66 and filters 67, and along conductive line 73 to a
chosen record head 75, from which the signal is recorded on a track
of tape 51. The conditions under which a signal is in fact picked
up from disc 60 and recorded on the tape are controlled by other
elements of the apparatus not yet described.
The basic timing signals or integers, which are recorded on an
integer track of tape 51 through integer head 76, are generated by
a squarewave generator 80 which in turn is controlled by frequency
control unit 81. The output from generator 80 is thus a train of
squarewaves, of such frequency and period as determined by the
initial timing analysis of the score. Thus, for example, if it is
determined that the basic integer rate is 512 integers per whole
note, the squarewave generator is set to deliver 512 cycles
corresponding to the time duration of a whole note. If,
corresponding to the metronome marking, the whole note is timed at
1 second, the output of the squarewave generator is a pulse train
at the rate of 512 Hz. Frequency control unit 81, described in more
detail hereinbelow, is used to set the output of the squarewave
generator in accordance with the tempo as marked on the score, and
is adapted to time-vary the tempo, or the rate in pulses per
second, for those periods of the score where the tempo is changing
with time.
In initial recording of the integers on tape 51, the output of the
squarewave generator is transmitted through integer logic unit 82,
and on line 118 to integer head 76.
Counter 92 is a conventional digital counter, switchably connected
to output terminal 110 of unit 82. When notes are being recorded
through one of the record heads 75, integers picked up from the
tape are connected through closed switch SX2, to counter 92.
Counter 92, for each individual note recorded, is set for a number
of integers corresponding to the integer duration of the note, as
has been marked on the score. When the recording of the note has
taken place for such a predetermined number of integers, an output
is produced at terminal b of counter 92, which is communicated to X
logic circuitry 90, which simultaneously produces a pulse,
designated an X signal, which is transmitted along line 101 to X
head 77. The b output of counter 92 also is transmitted on line 102
to solenoid 106, causing S1 to switch and connect power supply 98
to terminal S1b, thereby de-energizing the motor forward clutch and
clutch 58. Under these conditions, capstan 52 quickly slows down to
a stop. Disc holder 59, no longer driven through disc drive 54,
returns to its starting position under the influence of its
retracting spring, or suitable return servo means. A magnetically
operated switch S4 is positioned adjacent disc holder 59, and in
confronting registry therewith such that it is operated to a closed
position when magnet 115 is opposite same. This occurs only when
holder 59 has returned to its starting, or rest position. At this
time, power is connected through S4 to the reverse clutch of motor
55. When motor 55 is clutched into reverse, tape 51 is reversed
until the just recorded X signal is detected by head 77. This
causes a signal to be sent from logic unit 90 to relay 112, thereby
closing S5 and energizing clutch 58. The disc holder 59 is then
clutched through to disc drive 54, and both the tape and the disc
holder are reversed through a predetermined distance set by the
angular width of magnet 115. When magnet 115 no longer operates 54,
the reverse clutch is de-energized, and both capstan 52 and holder
59 are in position for a running start up prior to recording of the
next note.
Still referring to FIG. 1, in the embodiment there shown there is a
visual counter 94, connected to integer logic unit 82, which
continuously counts the integers as each note is recorded. The
visual counter is not reset after each note, such that it gives a
running and continuous indication to the operator of exactly where
he is with respect to the entire score, and with reference to the
markings previously made on the score. In the preferred embodiment
counter 94 receives inputs only when the tape is advancing.
Alternately, a backward as well as forward counting counter may be
employed, and connected directly to the signals from the integer
head. Since, for a typical 30 minute score, that integer count
comes to a final count of approximately 500,000, a six place
digital counter is suitable for most applications.
Shown diagrammatically connected to track logic unit 74 is a mixer
84. The mixer to be used in the practice of this invention may be
any suitable commercially available mixer, having specifications
and characteristics commensurate with the rest of the apparatus
being used. It is, of course, necessary that the mixer have as many
inputs as there are signal sources in any given situation. For
example, it must have as many inputs as there are tracks from tape
51 which are being mixed in any given operation. Accordingly, line
140 which diagrammatically shows a connection from track logic unit
74 to mixer 84, in fact represents a plurality of lines which are
connected through to pick-up heads corresponding to each track. As
discussed hereinbelow, it is preferably that corresponding to each
record head 75, there be a pick-up head 75' (not shown) for the
same track. While a single head can be used for both record and
pick-up, better performance can be obtained by utilizing separate
heads.
Each line going into the mixer is connected therein to a separate
volume control and preamplifier, for driving and controlling the
amplitude of the input signals. The mixer provides an output
connected to line 141 which connects the combined signal back to
track logic 74, from where it may be routed back to any one of the
record heads 75. Suitably, mixer 84 contains an amplifier for
boosting the combined signal, although the user may, by suitable
connections, use amplifier 66 for this purpose.
In the following discussions referring to FIGS. 2 and 3, reference
is made to the outputs of counter 92. Counter 92, as used in the
illustrated embodiment, is a standard-type electronic counter which
is adapted to be "set" to any count within its total capacity, and
is further characterized by providing an output signal when its
count total reaches the set count. Thus, when and only when the
incoming integers reach the set amount, e.g., the integer count of
a note, is a corresponding output signal produced. For purposes of
illustration,the presence of such an output is referred to as a "b"
signal, while the absence of such an output (indicating that the
counter has not reached its set value) is referred to as "b." Thus,
with reference to the logic circuits of FIGS. 2 and 3, a b signal
is a positive voltage signal derived from the counter when it has
reached its set count, and a b signal is a positive signal derived
from the counter when it has not reached its set count.
Referring now to FIG. 2, there is shown a block diagram of the
components of an X logic unit suitable for use in this invention. A
first AND circuit, designated AND 1 and given numeral 141, has
input terminals connected to terminal S1a and to X head 77, and an
output terminal connected through a relay coil SPR to ground. Coil
SPR operates normally open switches SX1, SX2, and SX3. A second AND
circuit, designated AND 2 and given numeral 142, has a pair of
input terminals connected to plus voltage reference and b. The
output of AND 2 is connected to one terminal of SX1, the other
terminal of which is connected to the output of AND 1. SX2 connects
terminal 110 at the output of integer logic unit 82 with both
counter 92 and visual counter 94. SX3, when closed, connects
amplifier 66 with track logic unit 74. A third AND circuit,
designated AND 3 and given numeral 143, has a pair of input
terminals connected to S1b and to X head 77 respectively, and an
output connected to relay 112 and a first terminal of swtich SX5.
The other terminal of switch SX5 is connected to terminal S1b of
switch S1. A Schmidt trigger 120 has its set terminal S connected
to the source of signal b, and its reset terminal R connected to
the source of b, and its output connected to an X pulse generator
121. The output of X pulse generator is connected through line 101
to the X head.
The X logic circuit provides the following operations:
1. When a note is to be recorded, and the tape is being advanced
from its reverse position, the receipt of an X pulse from the X
track signals the initiation of a recording of the note which is
being picked up from the disc. This note is to be recorded until
counter 92 reaches a preset number corresponding to the length of
the note;
2. When the counter reaches its preset position, a new X mark is to
be generated and recorded on the X track, signifying the end of the
note; and
3. When the tape movement is reversed, and the most recently
recorded X signal is detected as the tape is reversed, the dis
clutch is to be energized to carry the disc in the reverse
direction along with the tape.
The X logic circuitry may also, through switching not shown,
provide an erase signal, to be transmitted on line 126 to X erase
head 78, for erasing the X signal marking the end point of the last
recorded note at the time that recording of the next note is
initiated. It is appreciated that this is an optional feature which
may be highly desirable, but not necessary for operability of the
invention.
In operation, at the commencement of recording a given note, switch
S1 (FIG. 1) is manually placed in the forward positon, so that
power is connected to S1a. As the tape advances, and an X pulse is
detected by head 77, both inputs are present to AND 1, and relay
SPR is energized. When SPR is energized, normally open switch SX1
is closed. Since the counter is not at its set value, there is a
high signal at the b output, and there is an output from AND 2 such
that relay SPR is held closed, and remains closed until the counter
produces a b output. Thus, switch SX3, activated by relay SPR, is
switched to a closed position, coupling the outout of amplifier 66
to the track logic cirucit until counter 92 reaches its set
position.
As soon as counter 92 reaches its set position, the b signal drops
and consequently there is no output from AND 2, such that relay SPR
is de-energized. Thus, as soon as the counter reaches its set
position, switch SX3 is returned to its normally open condition,
and no more information from the amplifier can be passed through to
the recording heads.
It is to be noted that as long as SPR is energized, which
constitutes the time period from the moment the X pulse is detected
at the start of the note, to the moment when the counter reaches
its set position, switch SX2 (normally open) is closed, such that
the integers from the integer logic circuit are transmitted
directly through to the counter. Switch SX2 also returns to its
normally open position when the counter reaches its set count. By
this means, the signal into the counter can also be used as an
input to the visual counter. The visual counter thus is not reset
after each note is recorded, and since it only receives the
integers detected between X signals, or between the boundaries of
successive notes, it does not have to be back-counted, but is a
cumulative indication of the point of operation. Alternately, the
visual counter may be back-counting as well as forward-counting, in
which case it is always connected directly to the integer head, and
receives integers at all times during the recording operation.
When the counter reaches its set position, a b signal is generated
which is transmitted to the set terminal S of Schmidt trigger 120,
causing an output which is coupled to X pulse gernator 121. The X
pulse generator 121 produces a single pulse signal which is
transmitted on line 101 to X head 77. When the counter 92 is reset
by the operator, the Schmidt trigger is also reset due to the b
signal at terminal R.
The third function of the X logic circuit is to energize switch S5
when and only when the capstan is clutched into reverse movement,
and an X signal is detected (indicating that the tape has returned
to the end of the last recorded note). When the disc holder has
returned (under spring action) to its normal position, such that
switch S4 is closed, then and only then is power delivered to the
reverse clutch, thus causig the capstan, and thus the tape, to move
in the reverse direction. When the X signal is detected as the tape
is reversed (and power is connected to S1b), AND 3 produces an
output, thereby energizing relay 112, thus closing switch S5. Relay
112 also operates normally open switch S5X, thereby holding relay
112 actuated as long as there is a signal at terminal S1b. During
the time period that both switches S4 and S5 are closed, the
capstan is driven in a reverse direction and disc clutch 58 is
energized, such that the tape and disc holder are thus reversed
synchronously. During this synchronous movement, the tape is
reversed from the end point of the last recorded note, marked by an
X pulse, and the disc holder is reversed from its initial, or
normal rest position. This synchronous reversal continues until
magnet 115 on disc holder 59 moves away from and no longer actuates
switch S4, at which point the reverse motor clutch is de-energized
and the motor is taken out of reverse, and the disc and tape (still
clutched together) quickly come to a halt. Thus, both tape and disc
are then in th proper position for recording of the next note.
Referring now to FIG. 3, there is shown a block diagram of integer
logic circuit 82, suitable for use in this invention. An AND
circuit 133 has a pair of input terminals, connected to b and +
voltage respectively, and an output terminal connected to a first
terminal of relay operated switch SI1. The other terminal of SI2 is
connected through relay SIR to ground, and to X head 77 (through
suitable amplification), Terminal 131, connected to squarewave
generator 80, is connected through a normally open switch SI2 to
the input of an integer driver 135, which provides amplification.
The output of driver 135 is connected to terminal 110, which in
turn connects to the X logic circuitry. The input of driver 135 is
connected through normally closed switch SI3 to line 118 leading to
the integer head 76. The output of integer driver 135 is connected
through normally open switch SI4 to both counter 92 and visual
counter 94.
The integer logic circuitry is designed to perform the following
functions:
1. During the precise time limits of the recording of a note,
accept integer signals from the integer head, amplify them through
integer driver 135 and pass them through to the X logic circuit and
thence to the counters; and
2. At the commencement of operation, when integers are being
recorded on the integer track, transmit integer signals from the
squarewave generator through to the integer head, for a
predetermined time period as controlled by the setting of counter
92 and frequency control unit 81.
Under recording conditions, the integers on the integer track are
picked up by integer head 76, and connected directly to the X logic
circuit, suitably amplified. This is achieved by transmitting the
integer signals through normally closed switch SI3, through the
integer driver, and straight through to the X logic circuit.
At the beginning of the entire operation, when it is desired to
record integers on the integer track, the frequency of squarewave
generator 80 is first adjusted, according to the metronome marking
of the score. After having set the counter 92 to an appropriate
predetermined position, corresponding to the total count of
integers to be recorded, the tape is advanced until an X pulse is
received (the method of recording the initial X pulse is set forth
hereinbelow). The X pulse energizes relay SIR, and both plus
voltage and b are connected to AND circuit 133, providing an output
which continuously energizes relay SIR through switch SI1 which had
been closed by the X pulse. With relay SIR thus energized, normally
open switch SI2 closes, normally closed switch SI3 opens, and
normally open switch SI4 closes. Thus, there is a path from the
squarewave generator, at terminal 131, through switch SI2, driver
135, and switch SI4 to the integer head, such that the integer
signals are amplified and transmitted on line 118 to the integer
head, where they are recorded on the integer track of the tape. At
the same time, the integer signals from the squarewave generator
are connected directly to counter 92 and visual counter 94 through
closed switch SX2 such that the integers are recorded until the
counter reaches its preset position. When this happens, the b
signal is removed, SIR is de-energized, and no more integers go
through to the integer head or counters.
It is to be noted that counter 92 need normally have only a 10 to
12 bit capacity in order to accommodate note-by-note recording. If
its capacity is no greater than this, it is not suitable for
counting long durations of integers while they are being recorded
on the integer track. Under these circumstances, the operator may
manually switch a signal to the b terminal of AND gate 113, and
monitor the integer count at visual counter 94. A manual switch
(not shown) for bypassing the counter during such an operation may
be added to the apparatus.
The frequency control circuit 81 produces an output signal which is
coupled to and controls the operation of squarewave generator 80.
The output from frequency control unit 81 is suitably a sine wave
of the desired integer frequency, the sine wae signal triggering
the squarewave generator in a well known manner. Such frequency
controlled sine wave generators are well known in the art, and the
details of same need not be set forth herein in order to enable one
skilled in the art to practice this invention. In one illustrative
embodiment, control 81 is comprised of an oscillator and a
frequency modulator, the modulator either controlled from an
external voltage signal or manually controlled, in order to set the
frequency of the output. The circuit may also be employed as a
tempo varying circuit, as for linearly varying the integer rate
over a predetermined period, corresponding to a section of the
score where the tempo changes. To do this, a ramp generator is
employed to produce a linearly varying signal as a function of
time, the output of which is coupled to the frequency modulator. As
is well known in the art, a ramp generator may also be used to
drive a straight line function generator, so as to simulate almost
any variaton of tempo over a given time duration. Alternately,
frequency control unit 81 may be manually controlled by the
operator, with reference to the visual counter. It is noted that
applicant claims no specific frequency control apparatus as such
for use in setting the tempo, but the invention comprises
employment of state of the art components to vary the frequency of
generator 80, and thus the tempo of the recording as reflected in
the frequency of th integers recorded on the integer track.
With reference to the apparatus described hereinabove, the complete
methods steps for carrying out the operation of this invention can
now be explained in detail. The three major steps are those of
recording the integer track, recording individual instrument tracks
on a note-by-note basis, and mixing the instrument tracks until one
combined recording is obtained. These major steps will be discussed
in sequence.
In preparation for recording the integer track, the operator first
prepares the score as discussed previously. Thus, at this stage the
operator has before him a prepared score showing an integer count
from start to finish, the integer count for each separate bar, and
the tempo for each bar or portion of the score. In preparation for
recording the first portion of the integer track, it is necessary
to have an X signal on the X track corresponding to the beginning
point of the first note. This may be achieved in a number of
different ways. One suitable way of recording the first X signal is
seen by reference to the X logic circuitry of FIG. 2. It is seen
that, each time the counter reaches its set position, a b signal is
produced, which causes an X pulse to be produced by generator 121,
and transmitted to the X record head 75. Accordingly, the operator
first turns off counter 94 so that it doesn't record, turns down
the output of amplifier 66 to zero (so that no notes are recorded),
and sets counter 92 to a fairly low count. Then, switch S1 is
thrown to cause tape and disc to move forward. When such low count
is reached, an X pulse is produced on the X track, which signifies
the start of the instrument part, corresponding to the start of the
very first note. The tape and disc are then automatically returned
to a point prior to the X pulse, in position for recording.
To initiate recording of the integer track, squarewave generator 80
and frequency control unit 81 are turned on, with the frequency
control being set correspondingly to the tempo, or metronome
marking of the initial portion of the score. Counter 92, presuming
that it has a sufficient capacity, is set for an integer count
corresponding to the length of the score for which integers are to
be recorded, and counter 94 is activated to receive inputs. If
there is to be a change in tempo for such integer period, frequency
control unit 81 is manually set to produce such change. With the
tape in position at a starting point, motor 55 (already rotating)
is clutched into forward movement to initiate advance of the tape
and disc. When the X signal is detected, integer logic unit 82
provides that integers are recorded directly onto the integer track
of tape 51, for a time period determined by the setting of counter
92. When counter 92 reaches its set position, a new X signal is
recorded, no more integers are recorded, and the tape and disc
holder are returned to a point prior to the last recorded integer,
ready for the next group of integers to be programmed. The integers
for the next portion of the score are programmed in the same
manner, and the sequence of operations is repeated. By repeating in
this manner for all portions of the score, when portions may have
different tempos, the entire integer track is recorded
corresponding to the entire score.
It is quite likely that in many cases it will be desirable to
record integer portions of such length that the disc holder would
otherwise be rotated through more than one complete revolution. To
provide for this, the moving reset mechanism may be adapted to
reset itself to a zero position after each revolution. Alternately,
the operator may disengage the disc clutch by manually opening
switch S150, so that the clutch 58 is not energized. After the
counter has stopped the capstan, switch 150 is closed by the
operator, whereupon the capstan is reversed, and both tape and disc
are returned to a position behind the last X pulse. In yet another
form, the entire integer information content from the score may be
placed into a programmed digital computer, which computer
operatively controls the tape transport system in recording of the
integer digits. It is to be emphasized that the precise manner of
recording the integer digits is not critical, and it is known that
there are many different methods which can be used for doing this.
The essential feature of this invention is that a separate tape
track is recorded which contains integer information reflecting the
timing of the entire score.
With the integer track and the first X signal thus recorded, the
operator is in position to record the first note. The proper disc,
for the chosen instrument part, is selected and placed on the disc
holder. A selection, at switch 65, is made with respect to the
choice of attack or legato. Since this is the first note of the
voice part, in this instance the selection would be that of attack.
Next, the counter is programmed to receive a given number of
integers, corresponding to the length of the first note to be
recorded. The counter itself is reset to zero, ready to receive the
first integer. At this point, the operator adjusts the necessary
controls corresponding to the characteristics of the note to be
played. The volume is adjusted by adjustments of the amplification
through amplifier 66. The pitch, or the note on the scale for the
corresponding instrument, is selected by positioning the pick-up
head by placement unit 62. The timbre is adjusted by inserting
filters and/or modules (unit 67) in the circuit, to obtain effects
such as mutes, harmonics, pizzicati and so forth, if such are
called for by the score. The operator next chooses the tape track
on which this particular instrument is to be first recorded, and
makes the proper switch selection in track logic unit 74, so that
the pick-up from the disc 60 is routed through track logic unit 74
to the corresponding record head 75. With all such adjustments
made, and with tape 51 in place and the motor switched on, the
forward clutch is engaged by manually switching S1 to connect power
source 98 to terminal S1a. This operation initiates the tape
transport system, with the capstan rotating and driving both tape
and disc together. The disc moves forward toward the attack point,
while the tape moves forward synchronously toward the initial X
point, both arriving at these respective points at the same time,
and under steady state transport conditions. When the X signal is
detected through X head 77 and X logic 90, at that precise moment
the disc is positioned such that attack head 63A is in registry
with the attack portion of the pitch track. The X logic circuitry
causes switch SX3 to close, gating the signal through from
amplifier 66 and module unit 67 to track logic unit 75, and to the
chosen record head. Simultaneously, the integer logic unit couples
integer signals through to counter 92, as well as visual counter
94. The operator may connect a speaker, with suitable driver if
necessary, to terminal 147, which is connected to the output of
switch SX3, so that he can audibly monitor the note which is being
recorded onto the tape.
At the end of the note, corresponding to the programmed number of
integers, counter 92 produces a b output, which signal is channeled
through the X logic unit to cause an X signal to be recorded
through head 77. This X signal thus pinpoints the end of the note
which has just been recorded. Simultaneously, X logic unit 90
causes switch SX3 to be opened, so that nothing more is recorded
onto the tape. The b signal is also transmitted, via line 102, to
relay 106, causing switching of switch S1 so that power is moved
from the motor forward clutch and from the disc clutch. When this
is done, the disc is disengaged from the tape drive, and commences
to reverse to its rest position under the influence of its spring.
The capstan slows down due to its own friction, so that the tape
quickly stops. When the disc has returned to its normal position,
such that magnet 115 is operatively registered with switch S4,
switch S4 is closed and the motor clutch is placed in reverse. As
the tape reverses to the point where the X pulse is detected (going
in the reverse direction) X logic unit 90 produces an output
energizing relay 112 and closing switch S5, thereby engaging the
dis clutch, such that both tape and clutch move together in the
reverse direction. However, as soon as the disc moves off its zero
point or rest point, by an angle such that magnet 115 no longer
holds switch S4, the referse motor clutch is disengaged, and both
tape and disc slow down and stop at a suitable position behind the
X pulse, ready to start the next note. It is noted that the disc
clutch remains engaged, such that both tape and disc are held in a
reverse, or primed position, until the operator commences recording
of the next note by throwing switch S1 from position S1b to
S1a.
To record the next note, the above procedure is repeated, with
variations according to what the score calls for. The method as
outlined above thus provides that the disc be first returned to its
starting point after each note, the tape then be returned to the
end of the last note, and then additionally that both are
synchronously reversed by a predetermined distance, to be primed
for the next note. Thus, it is impossible for slippages in position
on the disc or the tape to accumulate, as both are exactly
positioned after each note has been recorded. In recording the next
note, both tape and disc are brought up to full speed before
recording so that steady state recording conditions are
obtained.
Where rests are encountered, the same procedure is followed, except
that the volume control of 66 is positioned so that no output
signal is transported through to the tape. Thus, for the duration
of the rest, there simply is no recording on the tape track.
It is to be noted that the score may call for a legato note longer
than that which can be derived from the disc without running into
the attack portion of the groove. Thus, for a disc rotating once
every 5 seconds, a legato note longer than about 5 seconds could
not be recorded through the legato head 63L without risking pick-up
of some of the attack portion. In such a case, the operator may
simply program such a note into separate portions of less than 5
seconds duration. Alternately, he may, by means not shown, switch
between heads 63A and 63L, to avoid picking up the attack
portion.
Following recordation of a given track, subsequent instruments, or
voices, are recorded on other tracks of the tape. In the preferred
embodiment of this invention, it is desirable to use a 16 track, 1
inch tape. In this arrangement, the integers may be recorded on
track 1, the separate instruments on tracks 2 - 8, track 9 is used
fo the X signals, and tracks 10- 16 are used during the mixing
operations. Thus, for this arrangement, the first seven instrument
parts are recorded on tracks 2- 8 respectively.
When all the tracks of the tape which have been allocated for
recording of separate instruments have thus been filled, the
operator proceeds to the step of mixing the instrumental parts and
recording the combined, or mixed parts on a separate tape track. In
this step, the tape is placed in the tape transport mechanism and
set at the beginning of the recording of the piece. Track logic
unit 74 is manually adjusted so that all of the tracks containing
recordings which are to be mixed are connected through to mixer 84,
and so that the combined signal returned from the mixer is coupled
through to the appropriate record head. Additionally, at this time,
the operator may make any required adjustments of the volume level
of the preamplifiers in th mixer, if it is desired to record the
different channels at different relative volumes. If desired, the
output from the mixer may also be connected, through a line not
shown, to a speaker, so that the operator may monitor the combined
recording and make additional volume changes as desired.
As mentioned previously, an orchestral score is frequently written
for 40 or more different instruments. Accordingly, the complete
operation of this invention necessarily encompasses a plurality of
mixing operations, in each of which a subplurality of recorded
instrument tracks are mixed and recorded on a new track, this
process being repeated until all instrument parts have been
recorded. The various recordings of mixed parts are themselves then
mixed and recorded, until all instrument parts are combined and
recorded on one track. As is appreciated by those familiar with the
tape recording art, there are many different ways in which this
mixing procedure may be carried out. However, as is also
appreciated by those familiar with the art, engineering
considerations dictate certain procedures as being more favorable
than others. Thus, as the number of times that any given
instrumental part is copied from a prior copy, or recording, is
increased, the signal to noise ratio of the resulting recording
decreases, because of the premagnitization ordinarily used in
recording heads to raise the signal over the signal level threshold
necessary to print on the tape. Similarly, the greater the number
of different tracks per tape, the greater will be the number of
recording and playback heads required. These and similar problems
inherent in tape recording mechanisms must be considered by the
operator in utilizing the apparatus of this invention. For purposes
of illustration, several examples are set forth below showing
arrangements for sequential mixing to achieve a final recording of
all instrument tracks combined on one track. It is, of course,
understood that these examples are illustrative, and not limiting
on the scope of this invention.
Example 1
A 1 inch wide tape, having 16 tracks, is utilized. In this
arrangement, track 1 may be the integer track, tracks 2- 8 are
record tracks, for recording from the discs, track 9 is the X
track, and tracks 10- 16 are for carrying groups of combined
instrumental parts generated through the mixer. The mixer thus has
at least seven inputs, to accommodate the seven record tracks. For
this arrangement, the tape unit suitably has a total of 9 heads, as
follows: a block of eight heads, which can be positioned in
registry with tracks 1- 8 or 9- 15; a single movable head,
positioned at track 9 for X pulses, or any one of tracks 10- 16 for
recording mixed signals. The sequence for recording instrumental
parts and mixing into groups, and repeating until all the parts are
combined onto one track, is as summarized below:
TABLE 1
tracks track X connected connected number of track to mixer to
mixer combined input output instruments 9 2- 8 16 7 9 2- 8 15 7 9
2- 8 14 7 9 2- 8 13 7 9 2- 8 12 7 9 2- 8 11 7 9 2- 8 10 7 10- 16 8
49
From above, it is seen that instrument parts are recorded in groups
of seven, on tracks 2- 8, and then mixed and re-recorded on
respective tracks 10- 16. At this point, up to 49 separate
instrument parts have been recorded, and combined voices. In the
next step, the recordings on tracks 10- 16 are all connected to the
mixer, and re-recorded on track 8. By this technique, up to 49
separate voices are combined, with each voice being recorded only 3
times, such that each only undergoes two copies, exclusive of
taking the copy of the initial notes from the disc. The procedure
also has the advantage that only a single tape is used, all
channels being precisely positioned in time relation with respect
to the integer track, such that there is minimal possibility of any
given instrument being out of time synchronization. However, it is
noted that one drawback of this particular arrangement is that
after tracks 2- 8 have been recorded, they are combined, and no
single instrument track is thereafter available. This could be
undesirable in the event that, after monitoring the finished
recording, the operator were to conclude that any one or more of
the separate instruments should be re-recorded, in whole or in
part. Under this arrangement, it is seen that after the final track
is produced, only six of the separate instrumental parts are still
available by themselves, such that if any one of the other 43 had
to be done over again, it would be necessary to re-record all seven
instrument parts of the corresponding group.
Example 2
In this arrangement, one-half inch tape is used, having eight
tracks, with eight record-pick up heads fixed in place and
connected to track logic unit 74. Track 1 is used as the integer
track, and track 8 is used as the X track. The recording sequence
is as follows:
TABLE 2
tracks connected track connected number of to mixer input to mixer
output combined instruments 2- 6 7 5 2- 5 6 4 2- 4 5 3 5- 7 2 12 3-
6 7 4 3- 5 6 3 3- 4 5 2 5- 7 3 21 4- 6 7 3 4-5 6 2 4,5 (not mixed)
- 1,1 2- 7 8 28
This arrangement limits the number of instruments to 28, and
involves five copies from copies in getting to the final recording.
The individual instrument tracks are not preserved.
Example 3
This arrangement is a modification of that of Example 2, designed
to preserve the individual instrument tracks. A second tape deck is
employed, also using one-half inch, eight track tape. At the time
of each mixing operation on the first tape, a duplicate tape is run
off on the second deck, including all the information thereon: all
the instrumental tracks, individual and mixed, the integer track,
and the X track, so that the first X would be preserved in
position. These secondary tapes from the second deck are numbered
and put aside, so that all individual tracks are preserved. Then if
a correction in an individual instrument's balance, or an error of
any kind needs correction, the track to be corrected is
available.
There has thus been described a preferred embodiment of the method
and apparatus of this invention. However, as is readily recognized,
the means for carrying out the steps as outlined above may be
engineered in many different fashions, all within the scope of this
invention. Thus, partly for purposes of illustration, all of the
logic switches shown in the drawings are indicated as
relay-actuated switches. In practice, it is desirable that these
logic circuits be completely solid state designed. Such design not
only results in a more economical product and more efficient
operation, but allow much quicker switching, which is essential to
the apparatus of this invention. For example, where an integer rate
of approximately 1,000 Hz is being used, the switching time of the
switches employed in this invention must be less than 1
millisecond. While this may be achieved with relay actuated
switches, much more precise switching, with substantially reduced
switching times, may be obtained by solid state circuitry. It is
thus clear that solid state and other equivalent designs of the
circuitry shown in the drawings may be employed in the practice of
this invention.
In a similar manner, an alternate embodiment may eliminate the use
of the X track, and employ in its place a back-counting register
connected to the integer logic unit. In this embodiment, after a
note has been recorded and the tape and disc have overrun and come
to a stop, and the disc has returned to its initial position, the
tape is transported backward to the end point of the last recorded
note, which end point is detected by the back-counting register. At
this point, as in the preferred embodiment illustrated above, tape
and disc are clutched in synchronous reverse transport, and are
reversed a predetermined distance. When recording of the next note
is initiated, tape and disc proceed forward together to the end
point of the last note, at which point logic circuitry cooperating
with the back-counting register produces an appropriate signal to
commence recording of the next note. It is thus to be appreciated
that different means may be engineered to perform the function of
synchronously displacing both disc and tape a predetermined
distance back of the end of the last recorded note, so that both
may be synchronously be brought up to full speed in a forward
direction, for steady state and non-transient recording of the next
note.
It is further appreciated that where stereo, or higher multiple
channel recording of an orchestral piece is desired, it may be
accomplished by use of the method and apparatus of this invention,
by repeating the recording step with different volume levels for
the different channels of each instrumental part.
In the practice of this invention, the basic building blocks are
the separate discs, containing recordings of the pitches of
individual orchestral instruments. There is, of course, no limit to
the number of different instruments, or musical voices, which may
be employed. A user of the apparatus of this invention may in fact
record his own discs, by coupling a microphone pick-up of an
instrument through amplifier 66 to a record head in connection with
disc 60. Similarly, electronically generated pitches, e.g., from
electric organ, may be coupled into a disc record head, for
recording of any type of electronically synthesized pitches.
Further, it is recognized that, within the scope of this invention,
the user may replace the disc storage with a synthesizer, such as a
computer-controlled synthesizer, and generate the signals
note-by-note instead of picking up stored notes from a storage
medium.
* * * * *