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WO2018102593A1 - Transduction de signaux électroniques en champs magnétiques et ondes sonores - Google Patents

Transduction de signaux électroniques en champs magnétiques et ondes sonores Download PDF

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Publication number
WO2018102593A1
WO2018102593A1 PCT/US2017/064031 US2017064031W WO2018102593A1 WO 2018102593 A1 WO2018102593 A1 WO 2018102593A1 US 2017064031 W US2017064031 W US 2017064031W WO 2018102593 A1 WO2018102593 A1 WO 2018102593A1
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WIPO (PCT)
Prior art keywords
electrical signal
primary electrical
temperament
electromagnet
scale
Prior art date
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Ceased
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PCT/US2017/064031
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English (en)
Inventor
Michael CASELDEN
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Individual
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Individual
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Filing date
Publication date
Priority claimed from US15/825,072 external-priority patent/US20190164530A1/en
Application filed by Individual filed Critical Individual
Publication of WO2018102593A1 publication Critical patent/WO2018102593A1/fr
Anticipated expiration legal-status Critical
Ceased legal-status Critical Current

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Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/22—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using electromechanically actuated vibrators with pick-up means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/04—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation
    • G10H1/043—Continuous modulation
    • G10H1/045—Continuous modulation by electromechanical means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/03—Instruments in which the tones are generated by electromechanical means using pick-up means for reading recorded waves, e.g. on rotating discs drums, tapes or wires
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/143—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means characterised by the use of a piezoelectric or magneto-strictive transducer
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/351—Environmental parameters, e.g. temperature, ambient light, atmospheric pressure, humidity, used as input for musical purposes
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/371—Vital parameter control, i.e. musical instrument control based on body signals, e.g. brainwaves, pulsation, temperature or perspiration; Biometric information
    • G10H2220/376—Vital parameter control, i.e. musical instrument control based on body signals, e.g. brainwaves, pulsation, temperature or perspiration; Biometric information using brain waves, e.g. EEG
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/395—Acceleration sensing or accelerometer use, e.g. 3D movement computation by integration of accelerometer data, angle sensing with respect to the vertical, i.e. gravity sensing
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/405—Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle
    • G10H2220/411—Light beams
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/405—Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle
    • G10H2220/411—Light beams
    • G10H2220/415—Infrared beams
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/461—Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • G10H2220/525—Piezoelectric transducers for vibration sensing or vibration excitation in the audio range; Piezoelectric strain sensing, e.g. as key velocity sensor; Piezoelectric actuators, e.g. key actuation in response to a control voltage

Definitions

  • the present invention relates to modulation of electrical signals
  • Music is an art form dating back to prehistoric times, originally comprising vocal and percussive elements to create intervals between sound and silence.
  • the sounds also vary by duration, pitch, intensity, timbre, and other qualities.
  • drums and then flutes likely were the first musical instruments. Stringed instruments followed, along with brass horns and so on, including modern electronic devices.
  • the range of musical instruments is virtually unlimited as a musician may appropriate any device into an improvised instrument. Some instruments are better situated to a particular performer or audience. For example, one may prefer an acoustic sound versus digital, depending on the music, mood, and environment. The distinction between creating and listening to music is important. One is a means of expression and the other a means of experiencing the expression of another. Both may be advantageous to the individual.
  • ambient or background music to create an atmosphere suitable for other activities, which might include socializing, focusing on a task, relaxation or even sleep.
  • Popular forms of background music are primarily electronic compositions, but may include live performances as well.
  • Chamber music, elevator music, movie scores, and advertisements are all examples of background music affecting the soundscape of a time or place.
  • the invention is an apparatus utilizing various natural and electronic inputs, providing acoustic and electronic audio output that creates sound by vibrating strings with an electromagnetic field. Some embodiments of the invention are entirely self-contained in a portable device, allowing one to use the invention in any habitable space.
  • the invention utilizes interactive queues as well as environmental and preprogrammed sequences to create unique and varied sounds.
  • Each 85 operation of the invention, a session is entirely original with or without a user's interaction, creating a constantly changing and stimulating experience.
  • a user may record a previous session and play it back at a later time, with or without additional inputs, to create the same or a new variation of the previous session.
  • One embodiment of the invention is a hollow wooden box with a sound board, and holes in one side of the box.
  • the box contains one or multiple metal strings across the sound board. If a string vibrates, the sound board amplifies the vibration and provides acoustic sound, like a violin or acoustic guitar.
  • the box 95 also may contain transducers, commonly called pickups, which sense the
  • Each string may have one or more pickups.
  • the electronic signal may be sent through an amplifier and out through a speaker, supplementing the acoustic sounds naturally generated by the sounding box.
  • electromagnets are placed in close proximity to each string, and emit one or more magnetic fields. As a field reaches the string the ferromagnetic metal 105 begins to vibrate according to the intensity and duration of the field, creating an acoustic sound.
  • Environmental input could be any environmental stimulus, sensed and converted into a digital signal for processing.
  • One embodiment of the invention uses light sensors to record passing shadows. As the shadow turns the sensor on 115 or off, the signal to transmit a magnetic field from an electromagnet may likewise turn on or off, creating an intermittent sound from the associated metal string.
  • Other sensors may include temperature, pressure, and other remote sounds. Any type of sensor capable of translation into a digital signal may apply.
  • Interactive inputs are similar to environmental in that a sensor is coupled with an electromagnet. The difference is that a user will intentionally trigger the sensor to create the magnetic field and subsequent string vibration and sound. In fact, the environmental sensors may work simultaneously as interactive sensors. The main distinction is the user's intention. The user becomes a performer with
  • a traditional user interface may be a touch screen, keyboard, mouse, button, slider or dial. Any user interface capable of recording an interaction and converting it into an electronic signal may apply.
  • Programmed inputs are part of the digital processing, and include modulation, compositions, and random variables.
  • One embodiment of the invention modulates the digital signal or signals.
  • the modulation may transform the signal into a specific waveform, vary the intensity of the signal, or vary the duration of 135 the signal.
  • the programmed inputs also may provide a predefined composition. One may liken this to a written musical composition or a
  • prerecorded digital composition This is essentially a preprogrammed set of 140 signals supplied to the electromagnets sequentially over a period of time.
  • programmed inputs may also include random variables.
  • An algorithm may apply random distributions when processing signals for transmission to the electromagnets. For example, the algorithm might provide a
  • Signal processing may utilize multiple random variables in the modulation of the 155 input signals, regardless of whether the signals are coming from environmental, interactive, or predefined compositions.
  • the embodiments of the invention that utilize environmental inputs or random variables during signal processing are generative.
  • the user may simply turn the 160 invention on, and let the signals interact and create a rich and unique session every time.
  • the invention is an apparatus utilizing various natural and electronic inputs, providing acoustic and electronic audio output that creates sound by vibrating 170 strings with an electromagnetic field. Some embodiments of the invention are entirely self-contained in a portable device, allowing one to use the invention in any habitable space.
  • the basic components of the system are at least one electromagnet and at least 175 one ferromagnetic vibrating element.
  • a control signal in the form of an electric current produces a magnetic field through the electromagnet.
  • the magnetic field interacts with the at least one ferromagnetic vibrating element, producing a vibration and sound.
  • system 180 Multiple separate components may form the system, or the system may exist entirely within a single device. Depending on the application, a distributed system or self-contained system may be preferred.
  • the best mode of the invention is a single device, as it affords portability.
  • One embodiment of the invention is a wooden box with a sound board. At least one vibrating element is suspended across the sound board, but multiple vibrating 190 elements provide a richer auditory experience.
  • One embodiment of the invention has eight metal strings for vibrating elements. See Figure 1.
  • Each string is oriented next to one or more electromagnets, which produce the magnetic fields for vibrating the strings.
  • Each electromagnet is supplied with an 195 electric current, providing independent magnetic fields for each string.
  • the base current for each electromagnet is a control signal, which may be modulated through a variety of means, as discussed below.
  • the vibrating strings produce an acoustic sound on their own, which may be 200 amplified by a sound board.
  • some embodiments of the invention include transducers, pickups, for detecting the vibrations of the strings.
  • the transducers generate a second electric current that is sent to an audio output, a speaker system.
  • Alternative embodiments of the invention include additional processing of the audio output prior to emission through a speaker system, or 205 feedback of that audio signal back into the control system for the electromagnets.
  • Figure 5 shows an electromagnet, a ferromagnetic metal string, and a magnetic vector B.
  • the electromagnet generates the time-varying magnetic vector B, which applies a time-varying force to the string. As B varies, the force on the string induces standing waves into the string.
  • Figure 5 shows the vector B exerting a force up into the string.
  • the frequency of B is 500 Hz. This frequency has a period of 2ms.
  • Figure 5 shows the vector at time equal to zero.
  • Figure 6 shows the same configuration one millisecond later. Since the period is 2ms, the forces exerted on the string from the electromagnet will alternate every millisecond. In Figure 6, vector B exerts a force down, pulling the string. After another millisecond, the period is complete and the force will be back up towards the string, pushing it, as represented in Figure 5. One millisecond later,
  • the vector will pull the string again, alternating pushing and pulling every one millisecond.
  • the string In order to optimize the vibrations in a string, it is tuned to a specific pitch.
  • the string In the example above, the string would be of a length and tension creating a resonant 230 frequency of 500 Hz.
  • the natural physical properties of the string will create a 500 Hz sound when vibrated manually as well as through a magnetic field.
  • Alternative embodiments of the invention may use a variety of components capable of creating an electromagnetic field, and solenoids or piezo transducers are envisioned. Additionally, focusing sound vibrations through a speaker cone in close proximity to a string may generate vibrations similar to an
  • the vibrating element may be a plane, panel, gong, bell, singing bowl, rattle, beads, or any ferromagnetic percussive
  • the invention uses low- frequency modulation to create a margin of error for interacting with the string. Since the vibrating element is a physical object, it is exposed to nature and may expand or contract based on temperature or humidity. In order to ensure a robust interaction between the magnetic field and the string, the frequency oscillates around the fundamental frequency.
  • rhythms 270 in its current physical environment. These rhythms may be audible, at a slow rate, or they may be so fast that the listener does not perceive them. Some resulting rhythms may be classified as isochronic tones adding another potential benefit in the field of brainwave entrainment.
  • the string will resonate sympathetically at that fundamental frequency. If the magnetic field frequency instead matches a higher-frequency overtone of the string, the oscillations induced in the string will
  • An electric signal supplies current to each electromagnet.
  • the signal is created using one or more types of input, environmental, interactive, or programmed. 290 See Figure 2.
  • Environmental inputs utilize natural elements to create variable signals.
  • One embodiment of the invention uses light as an environmental input.
  • a light sensor is connected to a control signal supplying current to one of the electromagnets.
  • the light sensor detects a binary condition, whether light is reaching the sensor or not, and creates a switch for the input. When light is 300 reaching the sensor, the switch is off. When no light is reaching the sensor, the switch is on.
  • a passing shadow will turn the control signal on, supplying current to the electromagnet and generating a sound through the associated string. After the shadow passes, the control signal will switch off, and the sound will stop.
  • Additional environmental sensors may include infrared sensors, thermometers, accelerometers, motion sensors, gravity, humidity, vibration, pressure, chemical composition, sound, and scent. Any type of sensor capable of translating a natural cue into an electronic signal will provide environmental inputs modifying 310 the control signal and the resulting auditory vibrations. Additional types of
  • natural sensors may include biometrics from pulse detectors,
  • electroencephalography electrocardiography, magnetoencephalography, respiratory rate, skin conductivity, electromyography, and blood pressure.
  • possible controls or user inputs may include IR depth- sensing, motion-tracking camera, IR sensors (proximity detection), capacitive touch proximity sensors, accelerometers, gyroscopes, light sensors, touchscreen interfaces, microphones, EEG sensors, heartrate sensors, data feeds or previously recorded sensor data.
  • Some embodiments further comprise a computer, which may be, an Apple Mac Mini, an Apple Macbook Pro, Raspberry Pi, or a Beaglebone.
  • a computer which may be, an Apple Mac Mini, an Apple Macbook Pro, Raspberry Pi, or a Beaglebone.
  • the digital to audio converter may be a Gigaport HD+ or a Motu Traveler.
  • Some embodiments further comprise an amplifier, which may be a 325 Class A, Class A/B, Class D, or Class G Amplifier.
  • the electromagnets may be HCNE1-P20 or other types of inductors. Some embodiments further comprise a microcontroller, which may be an electrician Due, iOS Leonardo, Beaglebone, or Raspberry Pi. In some 330 embodiments, the MOSFET is an N-Channel MOSFET FQP30N06L. 335 INTERACTIVE INPUTS
  • Interactive user inputs may also affect the control signal. These inputs include standard user interfaces, such as computers with keyboards, mice, and other peripherals.
  • One embodiment of the invention allows users to interact via a 340 tablet touchscreen. Users may press buttons switching control signals on or off, as well as adjusting the associated intensity of the magnetic field and resulting volume of the audio output.
  • User input could also specify parameters more relevant to lifestyle, such as setting timers to activate sessions at different times of the day, or to control the overall duration of generative compositions.
  • Interactive inputs may also include the environmental sensors described above.
  • a user may intentionally trigger a light sensor to switch a field on or off.
  • a user may hold a thermometer, intentionally raising the temperature and altering the associated control signal. Alternate
  • 350 embodiments of the invention could track motion, location, gesture, voice, eye movement, and facial expressions.
  • programmed inputs may alter the control signal.
  • Some embodiments of the invention further comprise an electronic storage medium for storing programmed inputs.
  • Programmed inputs include premade compositions and the incorporation of random variables.
  • the simplest control signal will be a single continuous waveform of fixed amperage and frequency.
  • a programmed input may provide adjustments to the control signal, turning it on or off at certain intervals, and increasing or decreasing the amperage. These adjustments may be fixed, as in a composition, 365 or they may be variable.
  • An important aspect of the invention is the ability to create generative adversaries.
  • amplitude of the control signal may be a variable adjusted
  • the amplitude may increase or decrease around a mean according to the Normal distribution, creating alternating sound intensities from the associated string.
  • frequency may be adjusted according to the Poisson
  • control signal processing such as parametric equalization or frequency filtration, or additive synthesis of signals. More variables increase the complexity of the session, and further guarantee a novel listener experience.
  • Advanced additional random distributions in the form of mathematical models may further enhance the generative capabilities of the invention.
  • Envisioned designs include implementation of artificial intelligence or machine learning.
  • variable 395 Another type of variable may take the form of a constraint.
  • An example of a constraint An example of a
  • This amplitude constraint could be an amplitude maximum or minimum, which would maintain sound intensity in a certain range. This amplitude constraint may be programmed to occur at random intervals, or it may be programmed to occur specifically at twenty minutes into a session, lowering the volume for a more 400 relaxed experience.
  • Waves may be in a typical sine wave format, with smooth transitions through the period, or they may be in other shapes, such as triangle, 405 square, or saw tooth, pulses, or white, pink, or Brownian noise.
  • the format of the wave is included in a wave table, and the selection of waveform may be randomly selected by a variable, or intentionally programmed as a composition.
  • Waves may also be controlled through a sound envelope.
  • the amplitude and 410 frequency of a wave are given an upper and lower bound to stay within.
  • the envelope may be fixed throughout, or a peculiar shape varying in upper and lower bound. Additionally, the envelope may change according to random variables.
  • a carrier signal 304 is a basic building block of the signal that ultimately reaches an electromagnet.
  • the carrier signal is a simple repeating digital waveform. This 425 signal could originate in a digital wavetable, or result from any of the other input methods discussed.
  • a modulator signal 303 may be used to alter the carrier signal.
  • An example modulation includes the low frequency modulation discussed above. Additional 430 modulations may combine to create more complicated modulator signals, including any number of the inputs and variables discussed above.
  • the resultant frequency-modulated signal 302 is passed up to a summing node, where other similarly modulated signals are combined to produce an output signal 301. This output digital signal will be converted into an
  • Alternative embodiments of the invention include analog implementations of the system. These include analog oscillators, envelopes, and summation circuits, comprised of op amps, transistors, and other electronics components suitable for 440 large-scale production, as well as hybrid designs implementing both digital and analog elements.
  • Some embodiments may also include feedback from a pickup.
  • the pickup could be a piezo component adhered to the vibrating soundboard, or an electromagnet 445 transducer detecting vibrations in the ferromagnetic strings. These feedback signals will vary with influence from the natural complexity of the physical system, which can create an array of diverse control signals.
  • Some embodiments of the invention may utilize previously recorded sessions as 450 carrier signals stored in an electronic storage device.
  • a user may record the output signal 301 so that a user can recreate the session, or create an iterative version of the session using it as part of the input to the system.
  • a user may record the output audio from transducers and use those signals as inputs to later sessions.
  • Alternative embodiments of the invention may 455 also include recorded audio data that exist independently of user input.
  • Any analog or digital signal may be an input signal. It is envisioned that external data feeds from a variety of sources may provide input to the system. Examples include data feeds from remote devices connected through the Internet, also known as the "Internet of things" or IoT. An IoT device may provide MIDI, OSC, or other data streams as input, and the invention itself might be considered an IoT
  • IoT devices may
  • Envisioned implementations of the invention allow control via smart devices 475 such as smartphones, tablets, smartwatches, smart bands, phablets, and other consumer electronics or mobile devices.
  • One embodiment of the invention utilizes eight strings tuned to a pentatonic scale. Alternative embodiments may include as little as one vibrating element, but the number of elements may increase depending on the application, and indefinite elements are envisioned.
  • the elements may be tuned under any system of scales or tones. Envisioned arrangements of elements include, just intonation, Pythagorean tuning, meantone temperament, well temperament, equal temperament, twelve tones of equal fifths, tempered timbres, slendro, pelog, Bohlen-Pierce, quarter-tone, 490 thirteenth sound, schismatic temperament, miracle temperament, syntonic
  • the elements When arranging the frequencies of the tuning systems it is important to also adjust the natural frequencies of the vibrating elements themselves. If one 495 wishes to create a C major pentatonic scale, the elements should be tuned to C, D, E, G, A, C, D, E to correspond to the mean frequency of the associated magnetic field.
  • Some embodiments of the invention include acoustic output from the sound board as well as amplified output through a speaker system. Additionally, some alternative embodiments may include multiple speakers arranged on opposing 505 sides of a listener. This arrangement affords the generative creation of binaural beats.
  • Binaural beats are created when the left and right ears of the listener hear two different frequencies.
  • the brain interprets the difference, and generates a 510 frequency at that difference. For example, if one ear hears a 124Hz frequency and the other hears a 114Hz frequency, the brain will generate a perceived pitch at 10Hz frequency.
  • the 10Hz frequency is similar to alpha waves generated by the brain when relaxed or meditating.
  • binaural beats are included in the field of brainwave entrainment, similar to isochronic tones, and may have the beneficial effect of creating desired conditions for enhanced meditation.
  • Alternate embodiments of the invention could accommodate monaural beats, where two or more audio signals are projected from a single source, also slightly differing in frequency, generating a
  • Sensor readings from real-time monitoring of neural oscillations can be used to influence the audio frequencies generated from the invention, creating a biofeedback system for brainwave entrainment.
  • Other biological rhythms such 525 as heart rate or breath rate could fulfill similar roles as input to the system.
  • Figure 7 shows the basic components of one embodiment of the invention.
  • This embodiment includes a user input, a computer for processing the input and simultaneously sending it to a DAC and Microcontroller, an amplifier,
  • the user interface allows a user to control parameters supplying control signals to the system.
  • the computer receives the user input and control signals, converting them to digital audio for the DAC, and serial commands for the Microcontroller.
  • the DAC is a digital to analog converter, which converts the 540 digital audio to analog and sends the analog voltage to an amplifier that forwards the voltage on to electromagnets.
  • the Microcontroller receives the serial commands, and uses this data to control the MOSFETS.
  • the MOSFETS control the electromagnets.
  • MOSFET is a type of transistor used for amplifying and switching electronic signals.
  • MOSFET stands for metal-oxide-semiconductor field-effect transistor.
  • Figure 4 shows one embodiment of the invention for a pin diagram of the MOSFET connecting to the microcontroller and an electromagnet.
  • the microcontroller cycles its pins on and off, from 5 V to 0 V, continuously.
  • the best mode of the invention is a self-contained system in a wooden box. See Figure 1.
  • Alternative embodiments of the invention are envisioned, which embed the system in other objects or environments.
  • the system may be in another object, such as sculpture or furniture.
  • Other embodiments might incorporate the 575 system into a building or outdoor space, placing the components in walls,
  • the system may be placed in any space that a person may inhabit, or in vehicles such as trains, busses, cars, boats, planes, submarines, or hot air balloons.
  • Additional alternative embodiments may embed the invention into a pre-existing instrument, including a guitar, violin, cello, koto, sitar, harmonium, zither, harp, piano, ukelele, monochord, dulcimer, erhu, banjo, lute, viola, mandolin, or even a hurdy-gurdy.
  • a pre-existing instrument including a guitar, violin, cello, koto, sitar, harmonium, zither, harp, piano, ukelele, monochord, dulcimer, erhu, banjo, lute, viola, mandolin, or even a hurdy-gurdy.
  • Figure 1 is a perspective view of one embodiment of the invention.
  • Figure 2 is a diagram showing how inputs are converted into sounds.
  • Figure 3 shows the generation of a digital signal for a single electromagnet.
  • Figure 4 shows Microcontroller and MOSFET pin diagrams.
  • Figure 5 shows a magnetic vector interaction with a string at a first moment in 595 time.
  • Figure 6 shows a magnetic vector interaction with a string at a second moment in time.
  • Figure 7 is a system diagram showing one embodiment of the invention.

Landscapes

  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Measurement And Recording Of Electrical Phenomena And Electrical Characteristics Of The Living Body (AREA)

Abstract

Selon l'invention, au moins un signal électronique est converti en au moins un champ électromagnétique, le signal électronique pouvant être créé ou modulé par des entrées environnementales, des entrées interactives et des entrées programmées. L'au moins un champ électromagnétique fait vibrer un élément ferromagnétique, créant un son acoustique et, facultativement, un transducteur convertit la vibration en un signal électronique en vue d'un traitement.
PCT/US2017/064031 2016-12-01 2017-11-30 Transduction de signaux électroniques en champs magnétiques et ondes sonores Ceased WO2018102593A1 (fr)

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
US201662428651P 2016-12-01 2016-12-01
US62/428,651 2016-12-01
US15/825,072 US20190164530A1 (en) 2017-11-28 2017-11-28 Transduction of Electrical Signals into Magnetic Fields and Soundwaves
US15/825,072 2017-11-28

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