阅读说明：本技术 一种环绕声虚拟交互乐器软件系统 (Software system for surround sound virtual interactive musical instrument ) 是由 李�瑞 吴洲 于 2020-04-22 设计创作，主要内容包括：本发明公开了一种环绕声虚拟交互乐器软件系统,包括插件总览界面,所述的插件总览界面上设有操作按键、操作旋钮和音序器,所述的操作按键包括三个模拟通道音符。本发明优点在于：提供了一种环绕声虚拟交互乐器软件系统,可以被任何WIN下运行的宿主软件使用,最多支持4声道的声音输出,使一个乐器能做环绕声声相运动,支持外接控制器如Leap Motion体感控制对接使用,将极大提升演出趣味性,非常细腻的控制各个声道的演奏,界面完全功能化设计,自由程度高,用声音信号激活MIDI音符演奏,依响度大小分别激发5个独立音色轨道演奏。(The invention discloses a surround sound virtual interactive musical instrument software system which comprises a plug-in overview interface, wherein the plug-in overview interface is provided with an operation key, an operation knob and a sequencer, and the operation key comprises three analog channel musical notes. The invention has the advantages that: the utility model provides a surround sound virtual interaction musical instrument software system, can be used by the host software of operation under any WIN, the sound output of 4 sound channels at most makes a musical instrument do the Motion of surround sound looks, support external controller like Leap Motion body sense control butt joint use, will greatly promote the interest of performing, the performance of each sound channel of very exquisite control, the interface is the design of full functionality, the degree of freedom is high, activate MIDI note performance with the sound signal, arouse 5 independent tone color track performances respectively according to the size of loudness.)

1. A surround sound virtual interactive musical instrument software system, characterized by: the plug-in overview interface is provided with an operation key, an operation knob and a sequencer.

2. A surround sound virtual interactive musical instrument software system according to claim 1, wherein: the operation keys comprise three analog channel notes.

Technical Field

The invention relates to a surround sound virtual interactive musical instrument software system.

Background

At present, 95 percent of software musical instruments and software effectors used by musicians come from abroad, and are used for music production of recording studios, post processing of recording and mixing, background control of music scenes, live performance of musicians and the like. In terms of software musical instruments, the software musical instruments have gradually replaced hardware sound sources in recent years, and become the first choice of musicians. Almost all of them are designed based on stereo performance and stereo music production, and the object is developed with the tone as the key point. In the development of the last two years, companies have slowly expanded from simply designing timbre to researching innovative and unique thinking in guiding users to produce music. The current disadvantages are as follows: 1. software instruments on the market today are almost exclusively stereo-enabled and have not been explored in terms of surround sound. 2. The current MIDI information control mode of software musical instruments is based on the traditional MIDI controller/keyboard for control, and does not support other control forms and devices. 3. The musical notes of the software musical instruments on the market are excited in a way of picking up finger touch information, but no other way is adopted. 4. More software instruments are as compact as possible in interface to take care of understanding of most people, but at the same time, controllability and freedom are lost.

Disclosure of Invention

The present invention is directed to a software system for a surround sound virtual interactive musical instrument, which solves the above problems.

In order to solve the technical problems, the technical scheme provided by the invention is as follows: a surround sound virtual interactive musical instrument software system comprises a plug-in overview interface, wherein the plug-in overview interface is provided with an operation key, an operation knob and a sequencer;

preferably, the operation keys comprise three analog channel notes.

The invention has the advantages that: the utility model provides a surround sound virtual interaction musical instrument software system, can be used by the host software of operation under any WIN, the sound output of 4 sound channels at most makes a musical instrument do the Motion of surround sound looks, support external controller like Leap Motion body sense control butt joint use, will greatly promote the interest of performing, the performance of each sound channel of very exquisite control, the interface is the design of full functionality, the degree of freedom is high, activate MIDI note performance with the sound signal, arouse 5 independent tone color track performances respectively according to the size of loudness.

Drawings

FIG. 1 is a plug-in overview interface schematic.

FIG. 2 is a schematic diagram of a first step in the use of software and fabrication.

FIG. 3 is a schematic diagram of a second step in the use of software and fabrication.

FIG. 4 is a third step of using software and fabrication.

FIG. 5 is a fourth step of using software and fabrication.

FIG. 6 is a fifth step of using software and fabrication.

FIG. 7 is a sixth step of using software and fabrication.

FIG. 8 is a seventh step of using software and fabrication.

FIG. 9 is an eighth step of using software and fabrication.

Detailed Description

The invention is illustrated by the following figures and detailed description, without being limited thereto.

Fig. 1 is an overview of plug-ins, which share an interface, and is a consistent form with input ports on the leftmost side and output ports on the rightmost side, where the placement positions of the respective parts are determined based on the modulation habits of the musicians, and the sequence of the central parts is arranged according to the processing logic after sound entry, and is used to select the firing sequence of different MIDI notes at the most prominent position.

FIG. 2 shows the first step in the software and fabrication: the input port has 5 inlets of Audio IN, this arrangement shows that 5 microphones which are not necessarily the same type can be accessed, and may be passive or contact type, when the first 3 analog channel notes enter, the sound excites MIDI sequence behind different volume levels according to the size, and the LevelAdj module monitors the sound level IN real time and is also a switch. "V1, V2, V3" controls the voltage input size, determines the sensitivity of the microphone, and "len 1, len2, len 3" indicates that the plug-in receives the length of the sound signal, i.e. the duration of the valid signal or a certain degree of definition is valid. The first 3 channels are excited to play one sound at a time.

FIG. 3 is a second step of using software and fabrication: this is the volume level into which the last 2 analog channel notes go, and unlike the above, these two channels can select sequencer mode, and the larger the sound the easier it is to fire the sequencer to play, i.e., fire once, and make a series of sounds rather than a single sound. The control name function is the same as above, and the Channel can select the number of channels of the host to output. The lower list box selects whether to synchronize to other devices. The RH-BSeqcounter module changes the hard disk signal received by the software into a trigger signal of MIDI, the Dir in the RH-BSeqcounter is used for controlling the reading sequence of MIDI notes, the Steps is used for controlling the loop of several tones, and the StarP is used for starting point when the picking is repeated each time.

FIG. 4 is a third step of using software and fabrication: the notes at each firing of the first 3 analog channels are controlled. In 16 groups, each group can select one of 12 notes, and the MIDI signals are converted into electric control signals by the DH-BTV module to be sent to levelAdj, so that the setting is convenient for better controlling the volume of each note. The height of each note is established according to the amount of real electrical signal transmission, so that in the process of identifying the pitch, a selector is used to select different electrical signal readings to play the pitch.

FIG. 5 is a fourth step of using software and fabrication: logic for selecting whether the first 3 analog channel notes are to be played, for example, in the MIDI note arrangement in forward or reverse order. Skip represents jumping several tones each time, wherein 1 is selected one by one, and 2 is selected one by one, and it is worth to say that this part is added with a Random Scale module in addition to the previous seq playing sequence, which represents that a Random range can be established in which notes will be played randomly, increasing the uncertainty in the controllable range of the playing.

FIG. 6 shows a fifth step of using software and fabrication: logic for selecting whether the last 2 analog channel notes are to be played, for example, in the MIDI note arrangement of the sequencer in the forward or reverse order. The function is the same as above.

FIG. 7 is a sixth step of using software and fabrication: the tempo can be played at more selected pitches of the sequencer: firstly, manually adjusting the playing rhythm of the notes according to the Pitch point of the OSC. And secondly, determining the playing rhythm according to the pull rod voltage. Thirdly, determining the voltage height according to the columnar floating value to play rhythm. They can selectively control the pulse timing control to the phrasaarp module so that the performance interval, whether it be a single tone or a musical sequence, is changed.

FIG. 8 is a seventh step of using software and fabrication: tone sequencer pitch control information under different system settings. ArpMode will select the order in which notes are played by the sequencer, say from low to high and then from high to low, etc., Arp Hold indicates that continued playing does not consider control to stop, Oct indicates that the sequencer will complete an arpeggio performance within a few octaves, Monode indicates that mono output can be selected, and Reset Note indicates which tone will be returned to after the sequencer is Reset.

FIG. 9 is an eighth step of using software and fabrication: mode selection of the last output route of 5 lanes. The Channel can decide whether they will be played by several speakers, or surround dynamic play, etc.

At present, a subtracter is built in software to provide timbre for the software, 3 oscillators and two filters are built in the subtracter, the oscillators can complete most of sound modulation works, Sin/Saw/Pulse/Tri/Whitenoise/PinkNoise and some conforming waveforms are built in the oscillators, a considerable variety of sound synthesis works can be completed, and algorithms built in MoogFilter and SVfilter are that sound generates more changes, but the functions are not originally used for playing, and sound dynamic playing logic and interaction are main.

The above description is only for the preferred embodiment of the present invention, but the scope of the present invention is not limited thereto, and any person skilled in the art should be considered to be within the technical scope of the present invention, and the technical solutions and the inventive concepts thereof according to the present invention should be equivalent or changed within the scope of the present invention.