FR2826770A1 - Studio musical sound generator, has sound digital order input and sampled sound banks selection mechanism, transmitting selected sounds for reproduction at distance - Google Patents

Abstract

The studio sound generator (10) has an input (12) of digital order of sound. A bank (16,18,20) of sample sounds is selected by a selection mechanism (22). The signal provided by sound reproduction is then transmitted at a distance.

Description

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The invention relates to a method and a system for reading playing orders of a musical work. It relates more particularly to a studio type generator intended to produce sounds which can be represented by a score, such as musical and / or sung and / or spoken sounds and / or noises.

By "partition" here is meant a representation of a series of sound events to be executed at specific times. By "sound event" is meant musical notes, and / or words, and / or song and / or noise.

A musical work can be played by electronic type instruments. For this purpose, the scores or orders of plays must be written in a computer musical language understood by these instruments. Currently the most common computer music language is the midi protocol.

The devices allowing such reproductions of musical works by electronic control are of various types: Synthesizers are the most common devices. They have various sounds supplied by the manufacturer and a midi interface that allows these sounds to be played after reading midi musical play order information received either from a piano (keyboard) included in the device, or from '' an external computer equipped with a midi interface and midi recording software generally called a sequencer. A sequencer constitutes a recorder (like a tape recorder) of musical play orders.

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 Expanders are devices similar to synthesizers but do not have a keyboard.

 Samplers also allow you to record sounds or sound samples and have them played by an external sequencer.

 There are also hybrid devices that have both synthesizer and sampler functions.

 It is also possible to reproduce a musical score recorded in midi format on certain pianos sometimes called "disklaviers".

 Synthesizers are also known which are produced in the form of an electronic card (s) or sound card which can be plugged into computers.

 Finally, there are synthesizers in a purely software form. Such synthesizers are, for example, saved on the hard drive of a computer.

mesure, le jeu de la note, l'arrêt de la note, la hauteur de la note, la longueur de la note. These various devices or software, which use GM (General Midi) mode, thus provide at least 128 different sounds as well as the main functions of the musical game, namely: tempo, signature (4/4, 3/4, etc. .), the location of the note in the

measure, note play, note stop, note pitch, note length.

 GM mode also allows you to assign performance parameters such as: vibrato, glissando, damp (without stopping the note, for example the "sustain" pedal of a piano) and tune (chord). GM mode also allows control of effects such as reverb, chorus (width of sound), and echoes.

 However, the GM mode of the midi protocol is generally not rich enough to satisfy demanding musicians. This is why, to this standardized protocol, each manufacturer of devices or software adds other possibilities in the form of an additional "owner" type protocol which, due to its proprietary nature, is generally not understood by similar devices from other manufacturers.

 In addition, whether or not they work with a proprietary protocol, these various devices have a limited memory, which prevents the storage of a large sound library. If you want to record high quality sound samples, and therefore with a high sampling frequency and sufficient duration, you need a large memory capacity at a relatively high cost.

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 Thus, if a musician wants to have a composition or musical arrangement tested on electronic devices, he must apply to a studio which has a plurality of devices and, in general, mixing means making it possible to assign to each sound a specific sound treatment.

 In a studio, one can thus have a large memory capacity and a plurality of devices. However, using a studio requires minimal knowledge of the various devices available. In addition, renting a studio is expensive.

 A first object of the invention is to facilitate the use of the apparatus and software of a studio. A second object of the invention (distinct from the first) is to reduce the cost of using a studio.

 To this end, the invention provides, according to one of its aspects, a studio type generator intended to produce sounds which can be represented by a score such as musical and / or sung, and / or spoken sounds, and / or noises, which comprises: - an input for receiving digital orders for the playing of sound pieces, - a bank of sound samples, - means for selecting samples as a function of the playing orders received, - means for transmitting the samples selected from a plurality of reproduction means, and - means for transmitting remotely, via a communication network, the signals supplied by the sound reproduction means.

 Such a studio can thus constitute an online server which can be used to broadcast music. It can also be used by users to allow them to send their scores online and receive them in real time.

 According to one embodiment, the generator comprises means for digitizing and compressing the signals to be transmitted.

 Preferably, the generator comprises means for receiving game orders sent remotely by a communication network.

 The input data for games is for example in midi format.

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 In one embodiment, the generator comprises means for receiving, by a communication network, sound samples sent remotely, and means for storing these samples.

 It is also advantageous for the generator to include means for receiving, via a communication network, software-type reproduction means sent remotely, and means for storing these received reproduction means.

 The generator can include a plurality of reproduction means.

In this case, it is preferable that the sound reproduction means are such that the general level of sound provided by each reproduction means depends on the level of the range of its dominant frequencies, for example, the sound reproduction means are such that the general level of the sound supplied varies in opposite direction to the level of the dominant frequency range. On the other hand, it is possible to provide that the general level of the sound supplied by each sound reproduction means is independent of the level of the range of dominant frequencies for high frequencies, for example greater than approximately 10 kHz.

 When the generator comprises several reproduction means, in one embodiment, it comprises a mixing means for imparting a predetermined mixing to the signals supplied by the sound reproduction means. In this case, it is preferable that the predetermined mix is provided by family of sounds and is based on a situation signal of each sound in an orchestration.

 For example, the sound families include at least two of the families taken in the set including: brass, winds, bowed strings, human voices, guitars, basses, percussion, synthetic sounds, and various noises.

 The situation signals of the sound in the orchestration represent in a realization, situations which are part of the set including: the leading song, the response to the leading song, the counter-song in counterpoint, rhythmic chords, arpeggios, basses, tablecloths or carpets and dubbing of instruments for one or more orchestral parts.

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 According to one embodiment, the generator comprises means so that the predetermined mixing takes priority over mixing signals contained in play orders.

 The sound reproduction means are, for example, part of the group comprising: synthesizers, expanders and samplers.

 The generator advantageously comprises means for mixing the signals coming from the sound reproduction means. In this case, it is preferable that the mixing means comprise means making it possible to carry out a balance of the volumes eVou to carry out a stereophonic placement eVou to impart a general volume.

 According to one embodiment, the generator comprises means for introducing effects to the signals supplied by the sound reproduction means.

 The generator may include means for introducing at least one predetermined effect to the signals supplied by the sound reproduction means, this effect depending on a signal indicative of a type of music. In this case, a means can be made to make the existence eVou depend, in a predetermined manner, on the level of the effect of a sound situation signal in the orchestration.

 Provision may also be made for the generator to include means for the predetermined effect to take precedence over effect commands contained in game orders.

 The banks of sound samples are for example stored in permanent memories.

 The generator preferably comprises a means of automatic production of musical compositions providing the digital orders for the playing of sound pieces.

 The invention also relates to a method for producing sounds that can be represented by a partition, such as musical sounds eVou sung eVou spoken, eVou noises, characterized in that it comprises the following steps: - digital orders are received from set of sound pieces, - samples are selected according to the playing orders received, from a bank of sound samples,

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 - the selected samples are transmitted to reproduction means and, - the signals supplied by the sound reproduction means are transmitted remotely, via a communication network.

 This process is preferably implemented by means of a generator in accordance with any one of the embodiments of the invention.

 Other characteristics and advantages of the invention will appear with the description of some of its embodiments, this being carried out with reference to the appended drawings in which: FIG. 1 is a flow diagram representing a server in accordance with l The invention, FIG. 2 is a diagram showing a use of the server represented in FIG. 1, and FIG. 3 is a diagram illustrating a characteristic of the server represented in FIG. 1.

 The system which will be described in relation to the figures mainly uses a server connected to a telecommunication system such as the Internet network to which a certain number of users having personal computers can connect.

 The server is intended to receive playing orders for musical compositions or arrangements transmitted to it by computers and this server is capable of rendering these playing orders in compressed or uncompressed audio form.

Game order data includes:
1) The designation of a channel.

 2) For each channel, the designation of a sound sample which is either a sample of a musical instrument, a sample of sound effects, or a phoneme in the case of song generation.

 This sample designation includes, first of all, an identification of a sound database in which the sample is located or an identification of a synthesizer or a sampler. In the case of a database, it can be of the midi type or of a particular type with a code specific to the studios, in particular to the online studios.

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 The sample designation comprises, secondly, an identification code of the sample concerned in the corresponding bank or synthesizer (or sampler).

 3) The musical playing orders, i.e. the musical parameters, namely the heights of the notes, the locations of the notes to be played in the measures of the song, the velocity and / or the volume of the notes, their durations , etc.

 4) Mixing orders for the different sounds selected: the general volume, the stereophonic pan, and the volume level for each instrument or noise chosen.

 5) Digital or analog sound processing orders for each chosen instrument or sound effect. By analog processing order, reference is made here to analog devices having digital controls, for example devices intended to effect reverberations.

 To satisfy these game orders, provision is made for the server to be equipped with apparatus and / or software making it possible to transform the game orders into audio sounds to be broadcast to applicants. These devices and / or software are: a) At least one midi sequencer intended to record and read the received game orders. b) A plurality of synthesizers, samplers and mixed synthesizer-amplifier devices together forming a bank of sounds comprising, on the one hand, sounds of a plurality of musical instruments, on the other hand, a plurality of noises and, finally, phonemes allowing to reconstitute human voices. c) Mixing equipment of the digital type making it possible to adjust for each of the channels: the volume, of the various channels, that is to say their balance so as to create, the stereophonic location and the equalization (frequency adjustment of the track sound). d) At least one processing device for each sound allowing digital effects to be produced. It is also possible, as indicated above, to control analog devices via the midi protocol. However, these must, of course, be equipped with a midi interface.

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 The effects produced by these processing devices are, in particular: the reverberation allowing to simulate the resonance of a room (the resonance depends on the dimensions of the room), the chorus widening in frequencies the sound by acting on the phases, the delay or echoes allowing the repetition of a sound, spacing widening the range of stereophony, the harmonizing effect transposing towards higher and / or lower values of the given frequencies, enhancing it (effect allowing to create a sound "presence" by cutting certain frequencies and increasing others, which allows a marked separation of the various sounds), the compressor effect allowing to level the different levels of sound volumes, the limiting effect clipping the volumes, etc.

 To take into account the difficulties of using this server constituting an online studio, provision is made, according to a characteristic of the invention, for predetermined mixing settings.

 These predetermined adjustments consist in assigning to each large family of sounds, and possibly to their sub-groups, a volume which is a function of the situation of the sound in the orchestral part which is intended for it.

 In the example, the various families of sounds and their sub-groups are: - the brass (mono or poly sub-groups), - the winds, - the strings pitted (allowing pizzicati) or the strings strung, - the voice human (subgroups: men, women and children), - guitars, - basses (subgroups: acoustic or synthetic), - percussion, and - various noises.

 The different parts of the orchestra are in one example: - the leading song, - the response to the leading song, - the counterpoint in counterpoint, - rhythmic chords of a first type such as chords for rhythm guitar or accompaniment guitar ,

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 - rhythmic chords of a second type such as chords for rhythmic piano or accompanying piano, - arpeggios, - bass (in particular a double bass or an electronic bass), - tablecloths or rugs, i.e. - say the notes held continuously and respecting the harmonic evolution of the piece, and - the instrument dubbing for one or more orchestral parts. By way of illustration, if the orchestral part is the lead song, it can be played by two different instruments, such as a trumpet and a saxophone.

 A simple example helps to better understand the principle of this preset. We first consider here a sound of strings, such as violins, forming a leading song. A high volume is assigned to this sound of strings, for example between 90 and 127 in the midi standard. On the other hand, if this sound of strings is assigned to the tablecloths part, the general volume will then be lower, for example between 30 and 60 in the midi standard.

In one embodiment, the volume reduction rates for each part of the orchestra are as follows: - leading song 0% - response to leading song 10% - counterpoint in counterpoint 14% - rhythmic chords 1 14% - chords rhythmic 2 18% - arpeggios 13% - bass 10% - percussion 30% - tablecloths or carpet 60%
In other words, the leading song will have the maximum volume and the volume of the response to the leading song will be 10% lower than the volume of the leading song, etc.

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 If doubling of instruments is planned, in this example, the volume of the leading song is reduced by 12% and the doubling of the leading song is reduced in the same proportion.

 According to yet another aspect of the invention, the preset consists in assigning a sound effect to certain styles of music and to specific parts of the orchestra. For example, if the music style is "hard-rock", we will apply a chorus effect on the lead vocals and on the arpeggios if the chosen sound is a guitar called Fuzz (with distortion). As another example, if the style is "musette", we will apply a slight reverberation effect on the accordion.

Furthermore, the same effect can be applied to several parts of the orchestra, but the volume (or the existence) of this effect can vary depending on the nature and / or identity of these parts of the orchestra. We consider by way of example a so-called typical music such as bossa-nova in which a reverberation effect is applied. In this case, the reverb applied automatically to each part of the orchestra will have the following midi level (0 to 127): - leader song 40 - response to leader song 30 - counter-song in counterpoint 30 - rhythmic chords 1 20 - rhythmic chords 2 20 - arpeggios 10 - bass 0 - percussion 30 - tablecloths or carpet 100
Of course, these various presets can be combined or modulated according to indications provided by the applicant. For example, the reverberation effect indicated above can be limited to determined locations in the piece of music, for example to a measure and / or to a chorus or to a movement.

 It should be noted that the volumes to be considered are, as in the midi norm, on the one hand, the general volume of a given sound which is generally indicated at the beginning of

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 song and, anyway, each time we change the sound and, on the other hand, the volume of each of the notes of this sound.

 If the user, by means of an appropriate command, chooses the predetermined setting or preset, the mixes and effect settings which may possibly be included in the playing order file sent by the requester are inhibited. In other words, these effects adjustment commands included in the received midi file will not be taken into account by the studio sequencer, which will apply its own predetermined adjustments (presets).

 It is also possible to provide that the user can, through an interface, make mix and effect adjustments online or disconnected from the network after receiving the sound information.

 After processing the midi files received, the audio result is transferred, preferably in real time to the requester. The transmission is, for example, in compressed form.

 In the receiver at the user, the audio data is read either in deferred time, that is to say by download, or in real time, the reading being thus carried out at the same time as the download continues (reading generally called "streaming").

 It should be noted that the broadcasting can not only be carried out using a telecommunications network but also in a conventional manner, by cable or over the air. Thus, the virtual studio can in a way constitute a radio station continuously broadcasting, possibly on request and on subscription, sound programs. In this case, an automatic composition technique such as that described in PCT application WO 00/17850 in the name of René Louis BARON for "Method and device for automatic musical generation" can be used. In this hypothesis, the sound environments received, and for which the user has taken out a subscription, may correspond to his activity. In addition, automatic generation has the advantage of not being subject to payment of copyright or being subject to inexpensive payments.

 Figure 1 is a flowchart showing a server 10 according to an embodiment of the invention. This server has an entry 12 receiving files

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midi in situ ou provenant de demandeurs distants en ligne et l'entrée 12 est connectée à un multiplexer 14 destiné à sélectionner les informations musicales midi pour les répartir entre les diverses banques d'échantillons sonores, à savoir une banque 16 d'échantillon d'instruments de musique, une banque 18 d'échantillons de bruits, une banque 20 d'échantillons de phonèmes chantés.

midi in situ or from distant online requesters and the input 12 is connected to a multiplexer 14 intended to select the midi musical information to distribute it between the various banks of sound samples, namely a bank 16 of sample musical instruments, a bank 18 of samples of noises, a bank 20 of samples of sung phonemes.

In this example, these sample banks as well as the multiplexing are carried out by software on the hard disk of a computer of the server.

The sound samples are transmitted to devices which can be produced in software but which, in the example shown, are partially analog devices, namely samplers and synthesizers.

All of these devices are represented by block 22. Each of these devices has a midi input and the midi file makes it possible to select the samplers or synthesizers or this selection is made automatically. Each of these devices of the set 22 allows the reading and the playing of the values of the midi musical parameters and the set is transmitted on an audio output interface 24, for example analog, and this output interface 24 is connected to a device. 26, for example in software form, allowing audio processing to achieve musical effects: compressor, limiter, reverberation, chorus, delay, enhancer, spacing, harmonizer, etc. After this processing device generating effects, there is provided the mixing 28, also preferably in software form, which consists in adjusting the various volumes, including the general volume, and effecting the stereophonic placement, ie the position occupied by a sound (orchestral part) in the stereophonic range of 180 (from left to right). At the output of the mixing means 28, an interface 30 is provided, which is connected to a compression and digitization block 32 and the signal thus digitized is transmitted, for example over the air or by telephone.

FIG. 2 is a diagram showing an example of use of the server in accordance with the invention in which this server 10 receives midi files from a computer 100 and returns the audio files to this computer, which comprises an amplifier 110 and high -112 speakers.

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 According to yet another aspect of the invention, provision is made for equalization of the volumes of the sounds of all the apparatuses in the studio which makes it possible to avoid tedious manual adjustments.

 It has indeed been found that for the same volume adjustment according to the midi protocol, the same sounds do not provide the same level of sound volume, this volume being able to vary from one device to another. In addition, the same synthesizer provides sounds of various natures which do not have the same level of reproduction.

 These differences between sound volumes can create unwanted or even unsightly effects.

 This is why, provision is made for an equalization of the volumes of sounds which is carried out prior to the installation of each device, in particular the synthesizers, in the studio, in particular a server.

The equalization is carried out as follows:
Each sound from the different devices is played automatically over several octaves under the control of a program. This program assigns a general volume of a midi value fixed for all the devices, preferably a midi value between 64 and 127. Advantageously, for each note, a volume of high midi value is adopted, for example 127, so as to take into account the additional sounds produced by the synthesizers when the note is played loudly.

 These various sounds controlled by the midi values of general volume and note volumes indicated above are recorded and the sound volumes of all these sounds are determined.

 The output level of a music generating device, including a synthesizer, is expressed in volts. Usually, the output level of such a device is around 250 mV.

auquel on attribue la valeur midi la plus élevée, à savoir 127. Les valeurs midi attribuées

aux autres appareils auront la valeur suivante : 127x VIL VM To perform the equalization, we measure, for the same midi volume, the output level of all the devices and we determine) the lowest level

which is assigned the highest midi value, namely 127. The midi values assigned

to other devices will have the following value: 127x VIL VM

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In this formula, VI is the level in volts of the output signal of the device concerned and VM is the level in volts of output of the device providing the maximum signal. Since the midi values are integer values, if the value indicated above does not provide an integer, the integer closest to (or an integer close to) will be selected the value provided by the formula below. above.

des mesures et les réglages (automatiques) correspondants.

Son Banque Niveau (V) Volume midi 00 01 0, 24 127 01 01 0, 30 102 02 01 0, 25 105

Lorsqu'un nouvel appareil est introduit dans le serveur, il faut procéder à un nouveau réglage. The table below is a simplified example showing the results

corresponding (automatic) measurements and settings.

Sound Bank Level (V) Noon volume 00 01 0, 24 127 01 01 0, 30 102 02 01 0, 25 105

When a new device is introduced into the server, a new setting must be made.

 According to another arrangement of the invention, which can be used independently of the equalization described above, but preferably in combination, the volume of each sound is assigned a weighting factor which depends on the dominant frequencies of that sound . Preferably, the volume decreases as the frequency increases. Indeed, if for example, we play simultaneously a double bass and a violin at the same level, the ear has the impression that the violin playing in the treble has a predominant level; this is why, we decrease the volume of treble compared to bass.

 To determine the weighting factors, one can proceed empirically so that the result is most pleasant to the ear.

 Figure 3 is a diagram illustrating an example of weighting. On this diagram, the predominant frequencies F have been indicated on the abscissa and the midi volumes V on the ordinate. Curve 120 represents the weighting assigned to the midi volume. The maximum midi volume, i.e. 127, is applied to the predominantly low frequencies and the midi volume is decreased as the frequency increases.

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 However, as shown in step 122, from around 10 000 Hz, it is no longer necessary to apply frequency weighting in this example.

Claims (26)

claims 1. Studio type generator (10) intended to produce sounds which can be represented by a score, such as musical and / or sung and / or spoken sounds, and / or noises, characterized in that it comprises: - an input (12) for receiving digital orders for the playing of sound pieces, - a bank (16, 18, 20) of sound samples, - means for selecting samples as a function of the playing orders received, - means for transmitting the selected samples to reproduction means (22), and - means for transmitting remotely, via a communication network, the signals supplied by the sound reproduction means.  2. Generator according to claim 1, characterized in that it comprises means (32) for digitizing and compressing the signals to be transmitted.  3. Generator according to claim 1 or 2, characterized in that it comprises means for broadcasting the sound signals to receivers.  4. Generator according to any one of claims 1 to 3, characterized in that it comprises means for receiving game orders issued remotely by a communication network.  5. Generator according to any one of the preceding claims, characterized in that the input data of musical games are in midi format.  6. Generator according to any one of the preceding claims, characterized in that it comprises means for receiving, by a communication network, sound samples sent remotely, and means for storing these samples. <Desc / Clms Page number 17>  7. Generator according to any one of the preceding claims, characterized in that it comprises means for receiving from a communication network reproduction means of the software type remotely transmitted, and means for storing these reproduction means received .  8. Generator according to any one of the preceding claims, characterized in that it comprises a plurality of reproduction means.  9. Generator according to claim 8, characterized in that the sound reproduction means are such that the general level of sound provided by each reproduction means depends on the level of the range of its dominant frequencies.  10. Generator according to claim 9, characterized in that the sound reproduction means are such that the general level of the sound supplied varies in opposite direction to the level of the range of dominant frequencies.  11. Generator according to claim 9 or 10, characterized in that the general level of sound provided by each sound reproduction means is independent of the level of the range of dominant frequencies for frequencies above about 10 KHz.  12. Generator according to any one of claims 8 to 11, characterized in that it comprises a mixing means for imparting a predetermined mixing to the signals supplied by the sound reproduction means.  13. Generator according to claim 12, characterized in that the predetermined mixing is provided by family of sounds and is a function of a situation signal of each sound in an orchestration.  14. Generator according to claim 13, characterized in that the families of sounds comprise at least two of the families taken together comprising: brass, winds, strings of the bowed type, human voices, guitars, basses , percussion, synthetic sounds and various noises. <Desc / Clms Page number 18>  15. Generator according to claim 13 or 14, characterized in that the situation signals of the sound in the orchestration represent situations which are part of the set comprising: the leader song, the response to the leader song, the counter-song as a counterpoint, rhythmic chords, arpeggios, basses, tablecloths or mats and dubbing of instruments for one or more parts of the orchestra.  16. Generator according to any one of claims 12 to 15, characterized in that it comprises means so that the predetermined mixing takes priority over mixing signals contained in play orders.  17. Generator according to any one of claims 8 to 16, characterized in that the sound reproduction means are part of the group comprising: synthesizers, expanders and samplers.  18. Generator according to any one of claims 8 to 17, characterized in that it comprises means for mixing the signals coming from the sound reproduction means.  19. Generator according to claim 18, characterized in that the mixing means comprise means making it possible to carry out a balance of the volumes and / or to carry out a stereophonic placement and / or to confer a general volume.  20. Generator according to any one of the preceding claims, characterized in that it comprises means for introducing effects to the signals supplied by the sound reproduction means.  21. Generator according to any one of the preceding claims, characterized in that it comprises means for introducing at least one predetermined effect to the signals supplied by the sound reproduction means, this effect depending on a signal indicative of a type. of music. <Desc / Clms Page number 19>  22. Generator according to claim 21, characterized in that it comprises a means for making depend in a predetermined manner the existence and / or the level of the effect of a sound situation signal in the orchestration.  23. Generator according to claim 21 or 22, characterized in that it comprises means so that the predetermined effect has priority over effect commands contained in game orders.  24. Generator according to any one of the preceding claims, characterized in that the banks of sound samples are stored in permanent memories.  25. Generator according to any one of the preceding claims, characterized in that it comprises a means of automatic production of musical compositions providing the digital playing orders of sound pieces.  26. Method for producing sounds which can be represented by a score, such as musical and / or sung and / or spoken sounds, and / or noises, characterized in that it comprises the following steps: - orders are received digital playing of sound pieces, - samples are selected according to the playing orders received, in a bank (16, 18, 20) of sound samples, - the selected samples are transmitted to reproduction means (22) and , - the signals supplied by the sound reproduction means are transmitted remotely, via a communication network, said sound production method being preferably implemented by means of a generator according to any one of claims 1 to 25.