Method of and system for controlling audio effects

An audio effects control for and method of controlling the application of special audio effects applied to an audio signal, comprises a sensor configured to sense movement associated with the generation of the audio signal, wherein the sensor produces a control signal in response to detecting the movement, and the control signal is transmitted to an audio effects unit to control application of an audio effect on an audio signal.

TECHNICAL FIELD

This disclosure relates to applying special audio effects to sounds produced, for example, by musical instruments and, more particularly, to controlling the application of such audio effects.

BACKGROUND

As a musician or performer plays an instrument during a concert or other type of performance, a song may call for or it may be desirable to apply one or more special audio effects to musical notes produced by the instrument. To apply the effect, audio signals from the instrument are sensed (e.g., with a microphone, pickup, etc.) and sent to a signal processor that may be dedicated to applying such effects to the audio signals. After the one or more audio effects are applied by the signal processor, the processed audio signals are usually conditioned (e.g., amplified, filtered, etc.) and provided to speakers or other type of output device. To initiate the application of the audio effects, the person (playing the instrument) typically steps on a foot-pedal that is located on stage near the person. However, to trigger the application of the audio effects on stage, the musician must first locate the foot-pedal and then step on the pedal in a manner as to not look awkward or out of step with the song being played.

SUMMARY OF THE DISCLOSURE

In accordance with an aspect of the disclosure, an audio effects control is configured to include a sensor that senses movement, for example, a change in position, orientation, acceleration or velocity of the sensor. For example, by mounting the sensor to a musical instrument, the movement may be the sensed movement associated with playing a musical instrument. Alternatively, by securing the sensor to the person playing the instrument the sensor will sense movement of part of the person to which the sensor is secured. The sensor produces an electrical signal in response to detecting the movement, or change in position or orientation, and the electrical signal is sent to an audio effects unit to control application of one or more audio effects on audio signals produced by the musical instrument. The sensor can be secured to any other item for which movement or position or orientation of the sensor can be initiated and/or controlled.

The sensor may be configured to sense any one or several phenomena. For example, the sensor may be configured to sense acceleration of the musical instrument (with the aid, for example, of an accelerometer), velocity, or alternatively a position change of the musical instrument (with the aid, for example, of a gyroscope). The position change sensed by the sensor may include any movement, or a prescribed movement such as the musical instrument or a portion of the instrument rotating about an axis or translating along an axis.

Various types of electrical signals may be produced by the sensor. For example, the electrical signal may be an analog signal and may be modulated for transmission from the sensor. An electrical circuit may also be provided for conditioning the electrical signal. The audio effects control also includes an audio effects unit which is responsive to the signal generated by the sensor. The electrical circuit may convert the electrical signal into a digital signal prior to transmission to the audio effects unit. The electrical circuit may also convert the electrical signal into a musical instrument digital interface (MIDI) signal.

In various embodiments, sensing movement may include sensing acceleration of a portion of the musical instrument, sensing acceleration of a portion of a person playing the musical instrument, sensing a rotation of a portion of the musical instrument and/or sensing a rotation of a portion of a person playing the musical instrument, or sensing a translation of a portion of the musical instrument and/or sensing a translation of a portion of a person playing the musical instrument.

Additional advantages and aspects of the present disclosure will become readily apparent to those skilled in the art from the following detailed description, wherein embodiments of the present invention are shown and described, simply by way of illustration of the best mode contemplated for practicing the present invention. As will be described, the present disclosure is capable of other and different embodiments, and its several details are susceptible of modification in various obvious respects, all without departing from the spirit of the present disclosure. Accordingly, the drawings and description are to be regarded as illustrative in nature, and not as limitative.

DETAILED DESCRIPTION OF THE EMBODIMENTS

Referring toFIG. 1, one embodiment of the disclosed system includes a sensor10mounted to a guitar12so that the sensor is capable of sensing movements, or alternatively the position, change in position, orientation, and/or change in orientation of the guitar. Based on the sensed movement or position or orientation of the guitar, and specifically sensor10, a signal is produced by sensor10and provided over a cable or wires14to an audio effects unit16. Along with the signals from sensor10, audio effects unit16also receives audio signals that are produced by guitar12, and provided, for example, over a cable or wires18to audio effects unit16. Various types and combinations of audio effects may be applied by audio effects unit16to the audio signals produced by guitar12. For example, the audio signals may be amplified, attenuated, distorted, reverberated, time-delayed, up or down mixed into other frequency bands, or applied ith other similar effects known to one skilled in the art of conditioning audio signals so as to produced audio effects. Also, while guitar12is shown for producing audio signals, sensor10may be mounted to one or a combination of other types of musical instruments. For example, other types of string instruments (e.g., bass guitar, cello, violin, viola, etc.), brass instruments (e.g. trumpets, saxophones, etc.), woodwind instruments (e.g., clarinets, etc.), percussion instruments, keyboard instruments, or other types of instruments or collections of instruments may be used to produce audible signals. Further, the term musical instrument also includes devices that sense vocal signals. For example, sensor10may be mounted onto a microphone so as to sense the movement, orientation or position of the microphone. By detecting the movement, position or orientation of the microphone, a signal produced by sensor10may be used to control the application of audio effects to the audio signals (e.g., vocal signals) received by the microphone.

When playing the instrument, a musician may intentionally move guitar12in a particular manner such that sensor10senses the movement and sends a control signal over cable14to audio effects unit16. Upon receiving the control signal, one or more predefined special audio effects are applied in a controlled manner to the audio signals that are provided over cable18from guitar12. The control signal from sensor10may provide various types of control to the application of the audio effects. For example, the control signal may initiate the application of one or more audio effects. By providing this trigger from the control signal, the musician is free to apply an effect from any location rather than e.g., having to seek out and step on a foot-pedal. Other types of audio effect control may be provided by the control signal. For example, rather than providing a discrete trigger signal to initiate (or halt) application of one or more effects, a variable control signal (analog or digital) may be produced by sensor10. The variable signal may be used to dynamically control various aspects of the audio effects. For example, the variable control signal may be used to adjust the resonant frequency of an audio effect or other similar parameter.

In this illustrative example, after the audio effects are applied, the audio signals are sent over a cable20to an amplifier/speaker22that broadcasts the signals. As suggested, to halt the application of the audio effects, in some arrangements the musician may intentionally move guitar12in another manner such that the movement is detected by the sensor10. Based on the detected movement, another trigger signal is sent over cable14to audio effects unit16. Upon receiving this second trigger signal, application of the audio effects may be halted or different audio effects may be applied. Alternatively, the audio effects may last a predetermined time period before ending. In another arrangement the audio effects may continue until a cue is provided from the music, e.g., there is a pause or halt in the music, or a particular note is played. In addition, one or more of the audio effects applied to the music can be applied in a fade in and/or fade out fashion.

Referring toFIG. 2, the contents of sensor10includes a sensing device24that senses the movement of the sensor (and correspondingly the movement of guitar12). Various sensing techniques known to one skilled in the art of transducers may be implemented in sensing device24. In one example, sensing device24may include an accelerometer that senses acceleration (i.e., rate of change of velocity with respect to time) in one or more directions, and produces an electrical signal as a function of the sensed acceleration. Alternatively or in addition, one or more gyroscopes may also be included in sensing device24. By including an inertial device such as a gyroscope, a change in attitude (e.g., pitch rate, roll rate, and yaw rate) of sensor10may be detected and an electrical signal produced as a function of the sensed attitude change. Other types of sensors that detect change in position, change in velocity, or change in acceleration may be included in sensing device24. For example, a pressure sensor (e.g., piezoelectric sensor, ceramic sensor, etc.) mounted on guitar12or incorporated into a pick used to play guitar12may be used as a sensing device. Sensor10may also include multiple sensing devices. For example, one sensing device may be dedicated for detecting motion along one axis and another sensing device may be dedicated for detecting motion along a second axis of rotation.

As illustrated inFIG. 2, sensing device24is preferably connected (via a conductor26) to an interface circuit28that prepares the electrical signal produced by the sensing device for transmission. For example, interface circuit28may include circuitry for filtering, amplifying, or performing other similar functions on the electrical signal provided over conductor26. In this example, once the electrical signal is conditioned for transmission, a conductor30provides the conditioned signal to cable14for delivery to audio effects unit16. Besides using hard-wire connections to provide the signal to audio effects unit16, other signal transmission techniques known to one of skill in the art of electronics and telecommunications may be implemented. For example, interface circuit28may include wireless technology such as a wireless transmitter or transceiver for transmitting the signals produced by sensing device24over a wireless link. Various types of wireless technology, such as radio frequency (RF), infrared (IR), etc., may be implemented in interface circuit28and the audio effects unit16. Furthermore, in some arrangements a combination of hard-wire and wireless technology may be implemented in interface circuit28and audio effects unit16. Interface circuit28may also include circuitry configured and arranged so as to transfer the signals into another domain. For example, an analog signal produced by sensing device24may be converted into a digital signal by an analog-to-digital converter included in interface circuit28. Modulation techniques may also be provided by interface circuit28. For example, the signals produced by the sensing device24may be amplitude, phase, frequency, and/or polarization modulated in the analog or digital domain. In one particular example, the signals produced by interface circuit28are pulse-width modulated. Interface circuit28may encode the signals that are transmitted to audio effects unit16. For example, the signals may be encoded to comply with particular formats such as the musical instrument digital interface (MIDI) format. In one implementation, movement sensed by sensing device24may be translated into MIDI control signals for bending pitch or modulating the audio signal from the instrument. By producing these control signals from the sensing device, e.g., effects are controlled through the movement of sensing device24rather than using the common pitch bend and modulation knobs on a synthesizer.

Referring toFIG. 3, one set of potential movements of guitar12that might be sensed by sensor10and initiate signal generation by the sensor are illustrated as an example of how the system operates. To assist the illustration, three axes32,34, and36are shown in a right-handed rectangular coordinate system. In this example, sensor10is capable of sensing rotation of guitar12about any one of axes32,34, or36. For example, if guitar12is “pitched” about axis32(as represented by angle θ) a signal is produced by sensor10and is transmitted to audio effects unit16. Guitar12may also be “rolled” about axis36(as represented by angle β) or “yawed” about axis34(as represented by angle α) and a signal is produced by sensor10.

Along with detecting the rotation of guitar12, other movements may be sensed and initiate generation of a electrical signal by sensor10. For example, sensor10may include a gyroscope or other device for sensing the orientation of the sensor, or the sensor10may be capable of sensing translation of the guitar. By incorporating a global positioning system (GPS) receiver in sensor10, for example, a signal may be produced as the position of the guitar changes as the musician moves. A laser system may also be incorporated into sensor10to sense position changes of the guitar relative to one or more reflective surfaces (e.g., a polished floor, wall, ceiling, etc.).

By sensing these rotational, orientation and/or translational changes, the signals produced by sensor10may be used by audio effects unit16to control the application of one or more audio effects to the musical tones produced by guitar12. For example, the performer may intentionally move the guitar to apply an audio effect known as a “wah-wah” effect. This type of effect is generated by sweeping the resonant frequency of a filter (which may be included in audio effects unit16). As guitar12changes position, the corresponding signals produced by sensor10controls the application of the audio effect. For example, guitar12may initially be oriented downward (in the “−y” direction) along axis34and the signal produced by sensor10controls the application of the audio effect at to the low resonant frequency (e.g., 200 Hz) of the filter. As guitar12is rotated toward an upward vertical position (oriented in the “+y” direction) along axis34, the signals produced by sensor10controls the application of the audio effect across the frequency spectrum of the filter to an upper resonant frequency (e.g., 4000 Hz). This “wah-wah” effect (or another effect) may also be applied as guitar12is rotated about any of the axes (e.g. axis32,34, or36) shown in the figure. Also, sensor10may control the application of this effect as guitar12is translated (e.g., carried by the performer across a stage), or the orientation of the guitar is changed, or otherwise moved so that the sensor responds.

Along with or in lieu of attaching sensor10to the instrument (e.g. guitar10), one or more sensors may also be attached to the performer playing the instrument. An example is shown inFIG. 4. In this arrangement, sensor10is attached to the back of the performer's hand38. To hold sensor10in place and not interfere with the musician's playing of guitar12, a wrist strap40and a figure loop42provide tie points to the musician's hand38. Sensor10is attached to a strap44that is respectively connected between wrist strap40and figure loop42. Various types of material may be used to produce wrist strap40, figure loop42, and strap44. For example, flexible material such as neoprene or nylon may be used for hold sensor10. Other types of attachment mechanisms known to one skilled in the art of clothing design or clothing accessories may be implemented to secure sensor10to the musician.

While sensor10is attached to the performer in the illustratedFIG. 4, and not the instrument, the sensor functions in a similar manner. In the example shown inFIG. 4, changes in position, velocity, acceleration, and/or orientation of the musician's hand may be detected and used to produce a control signal. The signal may be used to control the application of audio effects by audio effects unit16. Similar to detecting movements of an instrument, with sensor10attached to the musician's hand, various hand movements may be detected. For example, a control signal may be produced if the performer rotates his or her hand about axis32(as represented by angle θ), or about axis34(as represented by angle α), or about axis36(as represented by angle β).

By attaching sensor10to the performer, movement may be better controlled. For example, the performer may trigger a “wah-wah” audio effect by pointing his or her hand toward the ground (along the “−y” direction of axis34) to apply of the audio effect at the low resonant frequency (e.g., 200 Hz) of a filter. Then, the performer may rotate his or her arm about axis32and point their hand toward the ceiling (along the “+y” direction of axis34). While making this motion, signals produced by sensor10may control the application of the audio effect across the frequency spectrum of the filter to the upper resonant frequency (e.g., 4000 Hz). Other types of audio effects may also be controlled based on the motion of the musician's hand.

In the illustrated example ofFIG. 4, the signals generated by sensor10are provided to audio effects unit16over cable14. However, wireless circuitry (e.g., RF, IR, etc.) may be implemented into sensor10to remove the need for cable14and increase the mobility of the performer as he or she plays guitar12(or another instrument).

While this example described attaching sensor10to the musician's hand, in other arrangements, the sensor may be attached elsewhere to the musician. For example, sensor10may be incorporated into an arm-band or attached to a piece of the musician's clothing or costume. Additionally, multiple sensors may be attached to the musician for producing multiple signals that may be used to control the application of one or more audio effects by audio effects unit16. By incorporating one or more of these sensors onto the performer or onto the instrument played by the performer, musical performances are improved since the performer is free to move anywhere on stage and trigger the application of audio effects.

A number of implementations have been described. Nevertheless, it will be understood that various modifications may be made. For example, prescribed movements of the sensor are described as producing the control signal for producing the audio effect. It is also possible to have multiple sensors for producing different audio effects. A system can also be provided wherein different prescribed movements of a sensor can produce different audio effects. Further, while audio effect unit16is shown as a standalone unit, it may be connected to a computerized system, or alternatively be embodied as a software program run entirely on a computerized system. As such the signals generated by the sensor or sensors would be received by the computerized system and processed by the system before the signals are generated so as to drive one or more loudspeakers, such as speaker22in the illustrated embodiment shown inFIG. 1. Accordingly, other implementations are within the scope of the following claims.