- #ANDROID MULTIPLE TONES SYNCHRONIZED TONEGENERATOR PDF#
- #ANDROID MULTIPLE TONES SYNCHRONIZED TONEGENERATOR FULL#
Original Assignee Allen Organ Co Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.) Adamson Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.) Expired - Fee Related Application number US09/039,966 Inventor John P.
#ANDROID MULTIPLE TONES SYNCHRONIZED TONEGENERATOR PDF#
Google Patents Digital tone generator for producing phase synchronized tonesĭownload PDF Info Publication number US5945620A US5945620A US09/039,966 US3996698A US5945620A US 5945620 A US5945620 A US 5945620A US 3996698 A US3996698 A US 3996698A US 5945620 A US5945620 A US 5945620A Authority US United States Prior art keywords tone oscillator parameters rank selected note Prior art date Legal status (The legal status is an assumption and is not a legal conclusion. Google Patents US5945620A - Digital tone generator for producing phase synchronized tones Testing FM tone generation at Standard University in the USAĭr.US5945620A - Digital tone generator for producing phase synchronized tones Chowning, of Stanford University, using a GS1 voice programmer to create sounds The start of the 1980s saw an explosion in the popularity of semiconductor-based electronic components, and devices that simply had not been possible with earlier technologies started appearing on the market in rapid succession. Terms such as "integrated circuit" and "large scale integration" began to show up on university entrance exams, and companies started producing electronic games based on this type of circuitry. The breakthroughs made in the field of semiconductors during those years were truly remarkable.
One of the more notable technologies made commercially viable by these rapid advances was the digital frequency-modulation (FM) tone generator. This sound creation method was originally developed at Stanford University in the United States, and Yamaha-the first company to recognize its true potential-signed an exclusive licensing contract with the university in 1973. Our research team started working with FM tone generators as part of a scheme to switch over the Electone® to digital technologies, and by 1974-when the analog SY-1 Yamaha synth was released-we had already successfully completed a prototype instrument with a digital FM tone generator at its core. Unfortunately, it was not yet possible to bring this instrument to market due to the huge number of integrated circuits required by the semiconductor technologies of the time, and also because of the difficulty experienced in balancing size and function satisfactorily. As further advances were made in the field of semiconductors, we finally achieved an instrument with specifications we considered acceptable. And in April 1981-seven years after the start of development-Yamaha released its first FM tone generator product in the F-70, a classic Electone model.
#ANDROID MULTIPLE TONES SYNCHRONIZED TONEGENERATOR FULL#
This was followed one month later by the GS-1 keyboard, an instrument intended for stage use.įM synthesis is notable for its ability to recreate with remarkable levels of realism those sounds that are full of variety and rich in harmonics-such as the electric piano, brass instruments, and glockenspiel. Sampling has now become the mainstay of tone generation, and because this technique makes use of actual recordings, we take it for granted that our synths can effortlessly reproduce the sounds of a vast array of different musical instruments. However, the analog synthesizers of the early eighties were simply unable to produce certain kinds of voice-bell-type, metallic sounds being a notable example-and this made the FM sounds of the GS-1 truly sensational. The GS-1 was not actually marketed as a synthesizer, possibly because sounds could not be edited on the instrument itself. Voice cards could be used to change the bank of 16 voices that the GS-1 was able to produce, but a special, programming device for use by developers (see the photograph below) was needed to create or modify these sounds.
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