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Twisted Fate Build Guide by Shadow Fang75
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Mid-Lane AP
Twisted Fate Build
Choose one
Get corresponding Biscuits + ward
First Back Choose One
First Back other items
Choose One
Get Tier II boots!
Get a defensive item
Get other item
Upgrade Boots
Ability Sequence
Not Updated For Current Season
The masteries shown here are not yet updated for the current season, the guide author needs to set up the new masteries. As such, they will be different than the masteries you see in-game.
Threats to Twisted Fate with this build
|Just putting this in here since I have seen about 4 shaco's mid in the last 2 months. Build Amp. Tome or Ring, farm like crazy don't ever use your W and save it for his stealth and you will win easily. Love this lane so much!!
Hey!! My name is Shadow Fang75, I'm a dedicated TF main who has played him basically everywhere :). This is my first guide ever so expect some random hiccups and it not looking to nice. I have a 100% win rate in ranked with him due to me only completing 4 promotionals and winning 3 of them with TF and losing one of them with Kat. I have been sick quite recently and will update my progress on him later.
Pro's and Con's
|+ Amazing Ganks and Map Control
+ Okay Scaling and Cooldowns on abilities
+ 2 Second stun every 3 seconds
+ Global Teleport
+ Amazing Waveclear
+ Long Range Poke
+ Small Mana Sustain
+ Can win teamfights and skirmishes by stunning the right targets
+ Can be built both AD and AP leaving to great mindgames
|TF is amazing, he can assassinate when fed just a few kills, can feed a carry using his gold cards, can shut down split pushers using his Destiny and stun and has a great all around kit. He can use his Wild Cards to poke and get back mana sustain with his Pick A Card. He can also use his Stacked Deck to do an unexpected amount of damage if timed properly.
|- Really Darn Squishy
- Useless if really behind
- Can't carry hard (but can help feed Jax etc...)
- Requires team co-operation
- Q is useless if building Full AD
- E isn't really great if building AP
- High Mana Costs and CD on Ult
|TF is countered by basically everything, due to him not having great lane pressure, he is quite 2 dimensional since he doesn't really have something like a knockback or a easy escape and relies on Movement Speed superiority and Pick A Card to escape. Destiny has a really high cooldown and due to its high mana cost you will often need to back just to get full mana so you can gank. Destiny can't always be used to escape since you can be interrupted/killed during its cast time.
Viable Summoners Spells
flash: Yes 95% of the time.
heal: Only as ADC maybe.
ghost: If mid this or ignite.
teleport: Only top lane.
ignite: If mid this or ghost.
clairvoyance: You don't need the vision.
barrier: Versing a fizz or ADC maybe.
clarity: You have enough mana sustain.
exhaust: Only as support.
smite: Only as jungler.
What does the spells do?
Okay so you may be wondering what is so good about TF's spells and why is he played?
Loaded Dice: +1-6 gold on last hit. Whenever you deal the last hit to a target you will receive an extra 1-6 gold (randomly selected). This includes wards, enemy players, minions, monsters and everything else that counts as a unit (maybe towers?).
Wild Cards: High AP Scaling 3 Card Skill Shot. This is an interesting ability that is either amazing and is your bread and butter or utterly horrible. It shoots out 3 cards at 45 degree angles (one to the left, one straight in-front, and one to the right). These cards scale pretty highly of AP (65% if I remember right) and also do a decent base damage. If you are running AP/Hybrid TF then this will be pretty good for you. Else if you are running Full AD TF then this won't be amazing and you won't touch this for most of the game.
- // Its a skill shot, that travels quite slowly so line it up.
- // Turn on smart-cast it will make it easier to hit since you want need to line it up so much
- // Whenever you are going to use this try to get at least 2-4 minions + hitting the enemy laner.
- // This + Pick A Card will clear waves super quickly. Throw a red card on the second minion then Q them. If you one shot the castors (and are running AP TF) then you are ahead else you are behind.
Pick A Card: 2 Second Stun, AOE 50% Slow and Mana Sustain in one ability. Welcome to the hardest ability TF has... He is mechanically quite simple but this does take a little time to get used to. When activated TF will cycle through the cards (there is also a little indicator above your HUD as well as above his head) and when you press it again he will select that card. On his next auto attack that card will go flying dealing extra damage and doing an effect based on which card he chose. Red slows is an AOE card that does damage around the auto-attack target and has a 30/35/40/45/50% slow, it does the second most damage. Blue does the most damage and return the mana cost + 10/20/30/40/50 extra mana. Yellow does the least damage but has a 1/1.25/1.5/1.75/2 second stun, this is amazing and the ability only has a 5 second CD which means you can get a 2 second stun every 3-4 seconds depending on CD Reduction.
- // The order of the cards is Blue, Red, Yellow.
- // The enemy can see what card is cycling and what card you have picked.
- // Because of ^^ you want to be cycling through your cards till you are going to throw the card because if you just pick a blue card the they will jump on you since you don't have the stun.
- // In teamfights gold card specific targets if they need to be collapsed on otherwise slow the entire enemy team with a red card.
Stacked Deck: Extra Damage every 4 attacks + extra AS. This isn't too good for AP TF but since it scales of AP it makes it deal an unexpected amount of damage. It does give extra AS which is nice but you are a mage.
- // When you have the stacked deck up (cards will float around you in a circle) try to land a pick a card on the opponent which will do a lot of damage + you maybe be able to get a Q off.
- // Before using Destiny make sure you have your Stacked Deck up, since the damage is really nice.
- // It will stack up when attacking towers but doesn't get used up on towers or wards.
Destiny: Reveal all champions and teleport halfway across the map. This is the king of solo-queue. A 5500 range teleport that reveals all champions (even stealthed ones). This makes it so you can teleport from Mid down to bottom or up to top easily and if an uses shroud to try to escape just Destiny and you will see her. Also quite strong against .
- // Use to see or or any other nasty little stealther.
- // Teleport to insta-gank/get away.
- // The teleport has a cast time of 1.5 seconds so be careful.
Skill Sequence
AP Mid TF
|Upgrade Destiny whenever you can, Wild Cards does the most damage when maxed since you are AP. Pick A Card does okay damage but you mostly max it for the extra stun duration and more % slows and mana sustain. Stacked Deck isn't bad but since you are a mage you will not do much attacking so it is maxed last.
AD Jungle TF
|Upgrade Destiny whenever you can, Stacked Deck/ Pick A Card does the most damage when maxed since you are AD and stacked deck will stack faster since you run a lot of AS and Pick A Card does run off AD to (100% scaling). Wild Cards does very minimal damage since it requires AP to do damage so max it last.
Hybrid Jungle TF
|Upgrade Destiny whenever you can, you are hybrid but require a lot of AS to be useful so you do want to put about 2-3 points in Stacked Deck before you max Pick A Card also get Wild Cards when you get Zhonya's Hourglass or are building Needlessly Large Rod or Seeker's Armguard.
Mid AP TF:
- Greater Quintessence of Movement Speed: TF doesn't have a lot of escapes and gap-closers except his high cooldown ult so having high Movement speed is really nice.
- greater mark of hybrid penetration: His auto's do a lot of damage and don't cost you too much magic pen if you take hybrid.
- Greater Glyph of Scaling Ability Power: More Ability Power (You don't need much early more useful to have a lot more late).
- Greater Glyph of Scaling Magic Resist: Just some simple resistances since I don't take too many defensive items.
- Greater Seal of Scaling Health: Moar Health!!! What else is there to say.
Jungle TF (Full AD and Hybrid):
- Greater Quintessence of Attack Damage: TF can have either attack damage quints or armour quints ( Greater Quintessence of Armor), I personally play with armour but you can use the attack damage.
- Greater Mark of Attack Speed: Helps his clearing, not much else to say except he loves Attack Speed since you build a lot of on hit effects.
- Greater Glyph of Cooldown Reduction: In my build I don't take a lot of CD reduction so its nice to have some.
- Greater Seal of Armor: To help his clearing so he doesn't take so much damage.
This is a really good starting place for TF AP mid, you can change things like move less points in Utility and more points in Defence or pick up some Mana Regen.
Tier 1 // Sorcery is just amazing for TF since you get 5% CD right of the bat. I really like Butcher it helps a little with last hitting
Tier 2 // Just more AP and some small sustain
Tier 3 // Some flat damage and some situational damage that will really make a difference.
Tier 4 // You don't need just 2 points in Archmage and one in Dangerous Game you can have just three points in Archmage , I like Dangerous Game for the sustain that can save you from ignite/other things.
Tier 5 // This is the good stuff! Devastating Strikes will help with damage a lot and Arcane Blade really racks up in damage as you build AP.
Tier 6 // Havoc is one of the best masteries, 3% increased damage across everything is just so good for TF since he is quite a hybrid naturally.
Tier 1 // Fleet of Foot for more movement speed. I personally like Phasewalker but some people like Scout more. You could take Meditation but I can deal without it since I can handle mana pretty well.
Tier 2 // Summoner's Insight is very good since you will get your spells back a lot sooner and is very important if you are running ghost. Alchemist is one of the reasons why I go down this tree since the amount of extra health you get is very good!
Tier 3 // Culinary Master damn this is really good since you can spam them if you need like 10 more mana instantly and the health they give you can save you from ignite and scary situations.
Standard TF AD Jungle. You can't change too much since you really need a lot of it.
Tier 1 // Fury is just a brilliant mastery for Jungle TF and Butcher is really nice in the jungle.
Tier 2 // Brute Force is just more AD really.
Tier 3 // Martial Mastery is simply just extra AD which is nice and Executioner is just simply a lot more damage.
Tier 4 // Warlord scales amazingly well since it is +5% of all your extra attack damage. Dangerous Game will just save you from sticky situations.
Tier 5 // Frenzy is interesting and I normally don't run a lot of crit on TF but it makes Blade of the Ruined King very interesting. Devastating Strikes is just more damage really.
Tier 6 // Havoc is really good on TF Jungle since it affects everything including on hit effects.
Tier 1 // Recovery is quite nice for the jungle but you can take Enchanted Armor or Block if you feel you won't take any damage. Tough Skin is really good for jungle
Tier 2 // Veteran Scars improves survivability and Bladed Armor saves you a lot of hassle from the jungle.
Tier 3 // Juggernaut Just more health really, not too complex
Okay. This is a really weird set of masteries but Its pretty strong. I have only played about 15 games with this character build so any feedback would be nice on what you would change?
Tier 1 // Fury is just a brilliant mastery for Jungle TF and Butcher is really nice in the jungle.
Tier 2 // Brute Force is just more AD really. Mental Force is just more AP really.
Tier 3 // Martial Mastery is simply just extra AD and Arcane Mastery is just some more AP.
Tier 4 // Warlord and Archmage do the same thing... give you more AP and AD
Tier 5 // This is the really good part of Hybrid TF (On hit effects) Arcane Blade makes you do more damage on each auto, and Devastating Strikes makes each auto do more damage naturally.
Tier 6 // Havoc is really good on TF Jungle since it affects everything including on hit effects.
Tier 1 // Recovery is quite nice for the jungle but you can take Enchanted Armor or Block if you feel you won't take any damage. Tough Skin is really good for jungle
Tier 2 // Veteran Scars improves survivability and Bladed Armor saves you a lot of hassle from the jungle.
Tier 3 // Juggernaut Just more health really, not too complex
AP Mid TF Options:
|Lich Bane or Luden's Echo
|This is really difficult to choose from but essentially boils down to a simple thing. Are you going to be teamfighting or pushing? If you are going to be pushing whether or not thats split pushing top or just pushing out your lane or whatever, Lich Bane is the better item. Otherwise Luden's Echo's value is just soooo good! It gives you everything you need, Wave clear (EVEN MOAR), Movement speed (a little more than Lich Bane), 120 Damage (more than lich bane). Lich bane does give you mana and some nice AA Damage, but in team fights you won't be able to abuse that as much as Luden's.
|Damage Options
|Void Staff is your 2nd last or last item (if ahead 2nd last, if behind or 50/50 then Banshee's Veil). Twin Shadows or Lich Bane (Both are similar lich is better for W and mana, twin gives CD and a nice Active). Morellonomicon isn't great for TF since he really doesn't want a slot used up for a item that doesn't give him a lot of bonuses. Rabadon's Deathcap Now this is amazing and really a must buy but its not really your core.
|Defensive Options
|Banshee's Veil This is essential for heavy AP comps (3+) or against a Leblanc, Nidalee, Blitz, Lee Sin who requires an ability to go off for their damage. Zhonya's Hourglass Must have for heavy AD Comps (3+) essentially every game. MUST HAVE against Zed, Talon or even Yasuo. Good for champions like Fizz. Rylai's Crystal Scepter This is interesting but you build so much MS you should stick anyway without the slow. Maybe good in slow comps so you can go ahead and set up kills for your team. Athene's Unholy Grail This is kinda good since you won't have any more mana problems meaning you can split push all day every day. Only good if you need to split push a lot since you have mana expensive split pushes. Make sure if you are getting this item you get a LichBane before since that allows you to split push in the first place. Quicksilver Sash This is actually really good against certain comps. If you have a debuff heavy team, for example; Morgana, Fizz, Zed, Cassiopeia and so on then this is amazing. Otherwise not so good.
|Boot Options
|Sorcerer's Shoes for most match ups (magic pen), Ionian Boots of Lucidity only in some matchups when you are running 0 CD and you feel you need some. Mercury's Treads against really heavy CC and Boots of Swiftness if enemy team is really mobile.


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04-06-14, 02:08 #1Registered User
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Unanswered: Import Generated Report Text File into Access
Hello everyone,
I'm wondering if I could get some help importing a text file similar to that attached. The information between the dashes is considering one listing of information and there can be more than one. Each listing of information will be separated by dashes. The text on the first row is not needed. The work center and dates are needed. The next couple lines are just titles for information below. Each bit of that information is needed. I'll also need the line with "12345 asdf" on it. I think I can use character search function but how do I designate to look at each entry separated by dashes?
Thanks in advance to anyone who is willing to help out.
PS: I'm sorry if there's already a thread that will work for this. I could not think of an accurate search to find something like this.
04-06-14, 03:33 #2Moderator
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You'll need to write what is called a document parser. If the same piece of information can always be found at the same position on a line, this is rather simple.
1. Read a line
2. Perform a search based on keyword(s) and length to determine what the line is (header display, data header 1, data header 2, data, empty line, footer).
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4. Store these components into the table (dynamic query or Recordset).
5. Next line (process until EOF).
Another system would be based on line counting but it would probably be less reliable.Have a nice day!


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- Preheat the oven to 350 degrees F. As it heats, mix the Chocolate Peanut Butter Spread, flour and eggs in a bowl, stirring just enough to combine and get rid of any big flour lumps. (Any more than that, and the cakier the brownies will get.)
- Lightly grease the bottom of an 8"x8" or 9"x9" pan -- a round cake tin works too -- and pour the batter in. Bake for 20-22 minutes, or until the edges of the brownies start to pull away from the pan and a toothpick inserted into the center of the brownies comes out mostly clean.


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Urgent opening in -PHP with Mysql -Navi Mumbai(Airoli) - 6months -4 years ( 0 - 4 yrs)
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Hi, Greetings from Xoraapp Consultancy!! We have an opening with one of our prestigious clients. PHP Programmer with Mysql Current Location: Navi Mumbai(Airoli) Experience:- 6 Months -4 years Programmer/Software Engineer/ Jr. Developer with ...
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Ninth Avenue Technologies
RS 1,00,000 To 1,50,000 Navi Mumbai
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Software Developer ( 0 - 6 yrs)
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We need an in house Developer who is good in Web Designing and Development. This will be combination of In house Development and Outsource Project Development. Flexi Timings.
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Ultimate Innovative Services Pvt Ltd
RS 1,00,000 To 2,00,000 Navi Mumbai, Kharghar
Candidate Good Communication with Clients. ability to Negotiate and Influence Both Internally and Externally. ability to Work On Own Initiative, Setting Own Priorities and Working to Defined Deadlines. using Analytical Skills to Solve Complex Bus...
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Need Web Designer and Front End Developer ( 1 - 5 yrs)
Idealogic Global Business Solutions (p) Ltd.
RS 2,00,000 To 3,50,000 Navi Mumbai, Thane Mumbai
We are searching for a Web Developer for a fast-growing international high-tech company in Thane, Mumbai. We are looking for a Web Designer / Front End Developer to design and build the next iteration of web portal project. The candidate will be resp...
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Magento Developer ( 1 - 5 yrs)
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RS 2,00,000 To 4,00,000 Navi Mumbai
We are looking for PHP / Magento developer with 1.6 - 5 years of experience apart from his /her project work done. Should have good Communication Skills and Development Approach. Candidate should be good in PHP, MySQL, HTML, CSS, JAVA Script, Jque...
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Senior Java Developer ( 3 - 10 yrs)
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RS 50,000 To 90,000 Navi Mumbai
Nextalytics is seeking a Java Developer, whose daytoday responsibilities will include: 1. Collaborate with other senior engineers, and management, to achieve optimal application architecture and design 2. Develop efficient, secure applications...
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Internship In PHP ( 0 - 1 yrs)
Ultimate Innovative Services Pvt Ltd
RS 50000 Navi Mumbai
Software Developer in Dot net. Software developer In PHP. Should be Knowlege about Dot Net and PHP SQL
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Senior Software Engineer ( 3 - 6 yrs)
Savytree Offshoring
RS 3,00,000 To 6,00,000 Bangalore, Mumbai, Navi Mumbai
Work Experience: • 3 to 7 years of software development • Ability to manage end-to-end software development lifecycle • Ability to manage small team IT Skills (core) • VB.NET • .NET including C#, MVC with good LINQ to SQL • ...
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RS 50,000 To 3,50,000 Navi Mumbai
• Sound Database Concepts • In-Depth Knowledge of PL/SQL • Knowledge of Performance Parameters • Knowledge of Coding Best Practices • Capability to write complex, high-performance and error free procedures. • Sound Knowledg...
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Software Engineer (Web Developer) ( 2 yrs)
RS 3,00,000 To 4,00,000 Navi Mumbai, Navi mumbai
B.E/B.tech with good knowledge of web and android development. Good presentation skills. updated with current technologies. PHP, mysql, Eclipse, etc. Mange ongoing projects in the company.
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Software Developer (asp.net & C#) ( 2 - 4 yrs)
NiS Consultants
RS 3,50,000 To 7,50,000 Navi Mumbai
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Dear Candidates, We have urgent opening for PHP Developers. Job Description for PHP 1) Website Development, Website Maintenance, Web Application Development 2) Analyzing the client requirements. 3) Good AJAX knowledge,c++ 4) Experience of 1-3 y...
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RS 1,00,000 To 3,00,000 Mumbai, Mumbai Suburb, Thane, Navi Mumbai
Profile: The selected candidate(s) will work in a fast-paced team environment on the following: Responsibilities: Meeting clients to identify their needs and liaising regularly with them; Drawing up detailed website specifications; Design...
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Urgent Required - Ruby on Rails (Senior Software Engineer ) ( 3 - 8 yrs)
Psalm Consulting
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Regularly participating in scrum calls Ensuring a high level of delivered code quality and enterprise scale performance metrics Ensuring deployments and delivery as per agile program management standards Ensuring the quality of output exceeds the ...
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Regularly participating in scrum calls Ensuring a high level of delivered code quality and enterprise scale performance metrics Ensuring deployments and delivery as per agile program management standards Ensuring the quality of output exceeds the ...
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Hadwise Infotech
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Qualification: B.tech, MCA, Bsc (IT), Diploma (CSE , IT) Skills: PHP, Mysql, HTML, Java Script, CSS, Ajax, Web User Interface Design (UI) Key Skills Required: 1.Strong coding Skills in Core PHP. 2. Strong working knowledge of M...
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Database Administrator ( 3 - 4 yrs)
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RS 1,50,000 To 3,75,000 Navi Mumbai
Qualification: BCA/BTECH/BSCIT/BE/MCA/MTECH/MSCIT/ ME having relevant skills and interest may apply. Salary: 15000 to 35000 Experience: 2 years and above Preferable Location: Koparkhairne, Navi Mumbai Required Skills: • Expert at ...
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Web Developer (Customized ERP Project) ( 1 - 2 yrs)
10dumbs Inc
RS 1,75,000 To 2,00,000 Navi Mumbai
JOB DESCRIPTION: We are looking for a PHP Developer for developing a customized ERP solution for apparel industry. The candidate should be responsible for managing back-end services and the interchange of data between the server and the users. The...
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Urgent opening in -PHP with Mysql -Navi Mumbai(Airoli) - 6 Months -4 years ( 0 - 4 yrs)
Xoraapp Solutions and Consultancy Pvt Ltd.
RS 1,00,000 To 4,00,000 Mumbai, Mumbai Suburb, Navi Mumbai
Hi, Greetings from Xoraapp Consultancy!! We have an opening with one of our prestigious clients. PHP Programmer with Mysql Current Location �Navi Mumbai(Airoli) Experience:- 6 Months -4 years Programmer/Software Engineer/ Jr...
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RS 2,00,000 To 3,50,000 Navi Mumbai
PHP development.
Key Skills : php,mysql,jquery,html,javascript,css,php developer,software engineering


text:
ReScore Reviews™ (2)
96% Would Recommend
Latest Review about 17 hours ago
Review for Autotech
Patrick B. on 08/17/2013
Spoke with Alex. He said the business is pretty honest and upfront. They did a good job and he will return when he needs services done.
Vehicle: Toyota Corolla
Category: Service
Service Date: 08/08/2013
Review Created: 08/17/2013
This review was collected via phone interview by Customer Research Inc.


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Framed Lowry Print - Father Going Home - 1962
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Framed R S Lowry Print - Father Going HomeA good quality framed print of the Lowry painting The original was painted in 1962. The Frame is about 14 inches x 10.5 inches or 35cm x 26cm, the visible portion of the print about 8.25 inches x 5.25 inches or 21cm x 13.5cm It is in very good condition. A Classic Lowry Study. Will be carefully packed to foil the postmen's devilish intents......... The boring bits............ Despite everything written below, I actually enjoy selling on e bay........................ it makes money and satisfies the masochistic part of my nature............ Most customers are great, even when things go wrong, as they sometimes will. Our Feedback is good, especially considering that most of the things we sell are delicate breakable vintage items. But now that we can't leave negative feedback for mad buyers, this really is the only way.......... I post daily, unless the car breaks down or we're flooded, or the mice running this computer escape from their little wheel, or I have a terrible hangover from celebrating with Krug Champagne our latest e bay sale, or something. All our prices are in Pounds Sterling, the currency used on our small island. NOT dollars, Moon Tokens or little Glass Beads. ... read more


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Well, if nicking an existing comic's numbering for a newly-titled enterprise is good enough for The Incredible Hercules… anyway, this will be rather short-lived, simply a one-off at the end of this strange Week Of No Comics, as I go over in capsule form some more of the comics picked up in what was actually a quite busy pre-Christmas week. Hopefully tomorrow, weather permitting, we'll actually have something new to talk about.
Beasts of Burden #4
A slightly odd one this, as this "trial run" miniseries comes to an end – but feels rather more like the lead-in to further issues of an ongoing, setting up the beginning of an apparent new storyarc rather than keeping the four issues as relatively self-contained. But despite the lack of a fully satisfying resolution, it's still superbly-crafted stuff – I'm not quite sure how a comic manages to be so delightful while also being somewhat dark and occasionally downright bleak, but this does – perhaps down to the sheer beauty of Jill Thompson's art, although Dorkin's deftness of touch can't be understated. I thoroughly hope we'll see more of it later this year.
Blackest Night #6
I still don't think this is sparking in the way that an event of its size should – too much needless padding between the big moments and neat ideas, and too much fragmentation across other books and away from the core mini in the way the story's being told – but it's hard to deny that some of those occasional big moments and neat ideas are definitely… well, neat. I mean, it's daft, but the idea of a bunch of well-known DCU characters suddenly becoming members of the Assorted Pick 'n' Mix Corps is inherently amusing, particularly when you've got Lex Luthor as an Orange Lantern and the Scarecrow joining the Sinestro Corps (a couple of the others are… reaching a bit, though. Ray Palmer "showing great compassion"?) It's only a shame the idea isn't extended further, I'd quite like to see how a wider assortment of characters get divvied up among the various Corps. Anyway, without being either particularly special or any worse than "decent", this is still marching on towards the inevitable conclusion where Hal Jordan absorbs the power of all the Corps and White Lanternzzzzzzzzzz.
Dark Avengers: Ares #3
I'd probably call this series Gillen's strongest Marvel work to date, although this closing issue is rather less explosively fun and light-hearted than the first two parts, which saw the gleeful videogames journalist side of the writer's character emerge. Here, things round off in a rather unexpected direction – although of course, as the closing dialogue makes clear, it was sort of telegraphed the moment Osborn gave Ares his task. Very strong stuff, and as also demonstrated over in Thor, there's probably nobody better at writing Gods on Marvel's books at the moment.
Detective Comics #860
In which the closing part of Kate's origin – the training, the suiting up, the involvement of her father – plays out almost exactly as you'd expect it to based on everything that's happened up to this point, but that doesn't mean it doesn't work well. In direct contrast to the way she suddenly showed up in 52, it feels like the Batwoman character has earned her status with this arc, and if anything, it's almost going to be a disappointment when Bruce Wayne makes his comeback and (one would assume) boots her back out of his title. A self-titled ongoing, preferably with the same creative team, certainly wouldn't go amiss after all of this. And while I've been less than enthralled with the story in the Question backups, it's easy to ignore – with the shadow of JH Williams' brilliance cast over it – the fact that Cully Hamner's turning in some great art there, too.
Fall of the Hulks : Gamma
Well, you know, it's kind of worth checking in with all this stuff every once in a while, just to see if Loeb's finally gotten round to telling us who Red Hulk is yet (answer: no, he hasn't. Sigh.). And actually, by the standards set by his comics in recent years, this isn't dreadful. John Romita Jr art can redeem almost anything (particularly when it contains an absolutely gorgeous and very Kirby-looking two-page splash of the Hulk – the proper one – fighting the Fantastic Four), and the fact that it opens with the fact that General Ross has been killed is a neat and surprising twist. But the funeral falls subject to the awkward overwroughtness that has become Loeb's trademark, and I can't help but wonder how Carol Danvers and Bucky Barnes – wanted fugitives, lest we forget – get away with hanging out with the military in Washington, unless some serious spoilers for Siege are being given away here...


text: As a person with a large screen FP display the region one release is near unwatchable at times. I know Bjoern had posted pics on his site a while back showing that the R2 PAL version was a decent improvement, but besides the PAL speedup issue, PAL just does not look as sharp on my current setup. I was wondering if any other NTSC region had gotten this release right, preferably with english subtitles for the alien dialogue.


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Steve Novak News
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Once, many years ago, I was sat in my parents' house - where I'd lived for most of the previous seven or eight years - when a car crashed into a telephone pole on the opposite side of the road, tearing the facia board from our next-door neighbour's house as it yanked the telephone line out of the wall. The driver sat there in shock for a moment, and then drove off. Almost immediately a man was knocking at the door. He'd seen me looking out of the window. 'Did you manage to get the number of the car?' he asked. 'No,' I replied. 'But our neighbours across the road might have seen it because the car came to rest outside their house.' 'I am your neighbour from across the road!' the man said. To my embarrassment I hadn't recognised him. Well I was a teenager at the time, and teenagers live in their own little bubble, don't they? But I think my lack of awareness indicates that we live in an age of individualism.
It hasn't always been like so. Have you ever wondered why, in times past and even when every man carried a sword or a dagger, there was never any need for a police force? Our ancestors weren't nicer people than us. Instead neighbours were obliged to police one another. The inhabitants of each street or hamlet were treated not as individuals but as a group. They had to behave like a Neighbourhood Watch Scheme, only with teeth. If one of their neighbours committed an offence they had at least to report them and preferably to hand them over to the Law. Failure to do so meant a heavy fine for everyone.
Neighbours became snitches, or grasses who couldn't be trusted to mind their own business. But people wouldn't have thought of it in those terms then. There was no concept of keeping yourself to yourself. Everyone looked out for, and kept an eye one another. It wasn't possible to be lonely, nor to be private.
That's because in the past people didn't think of themselves as individuals. They thought of themselves as part of something. Above all, they tried to be true to their own family, and then to their town or community, or to the craft guild to which they belonged, or to the Church into which they had been baptised and perhaps ordained. That was their mindset.
Just imagine an open field system, without any fences, walls or hedges to separate our cultivated land from our neighbours'. If we let weeds grow in our share of the field the seeds would inevitably blow onto everyone else's land. So people looked out for another, and watched over one another, in ways that we would find intrusive.
But all of that began to change around the time of Shakespeare. Think of a play like 'Hamlet'. One of the characters, Polonius, says, 'This above all, to thine own self be true.' What Polonius means is that we've got a right to be individuals. We don't need to fit in with the crowd.
In Shakespeare's day individualism was a shiny new concept, and regardless of whether the audience deplored it or admired it, that line from Polonius is one which continues to be quoted, 'To your own self be true.' Today, wrenched out of its original context, it's certainly seen as good advice.
Fast forward then to the end of this period of change, when Jane Austen was writing Pride and Prejudice. A wealthy and important lady comes to advise the heroine, Elizabeth Bennet, not to follow the dictates of her own heart by marrying above her social station. But Elizabeth Bennet won't listen. 'I am only resolved.' she says, 'To act in that manner, which will, in my own opinion, constitute my happiness.'
The great society lady makes one final appeal to Elizabeth's sense of duty, honor and gratitude, but Elizabeth replies, 'Neither duty, nor honour, nor gratitude have any possible claim on me in this instance.' She goes on to say that upsetting her neighbours, however great or good, 'would not give me one moment's concern.' In an era when many people were still being squeezed into arranged marriages her attitude is social dynamite, blowing apart the old conventions.
But opinion formers like William Shakespeare and Jane Austen were letting a very dangerous cat out of the bag. With this modern notion of individual freedom comes a new sense of inner turmoil, conflict and soul-searching.
As we've seen, in the past people had no doubt who they were, where they belonged and what they had to do. They were John and Jenny from such and such a village, they were husband and wife, parents to so many children and serfs to such and such a lord. Their identity was defined by their relationships, whereas now we're free to ask, 'Who am I? What do I believe? What do I want to do with my life?' These were meaningless questions for our ancestors.
Even as the industrial revolution began breaking down the old bonds between people and forcing us all to become tiny cogs in a giant, uncaring machine, two sometimes contradictory ways emerged in which people stuck up for alternative ways of life being.
Some people, like Jane Austen and George Eliot, insisted that we all have the right to choose our own destiny, not just whom to marry but what to do with the whole of our lives. Rather than feeling compelled to go down the pit, or into the mill or work on the land like their parents before them, the champions of individualism pointed to a world of infinite possibility.
But other people championed a nostalgic and idealised version of what they believed life had been like before the age of the machine. And that spirit is still very much alive in hundreds of craft fairs and farmers' markets. When people celebrate the virtues of small farms or small communities engaging together in traditional artisan crafts they're appealing to a more neighbourly vision of community.
So which side should Christians come down on in the endless debate between individualism and community? Our answer probably depends on whether we'd prefer to belong to a large church or a small one. I've been the minister of two large churches and many small ones, so I've seen the advantages and the disadvantages of both.
In a large church [like this one] the singing generally goes much better and there's usually a variety of different things going on throughout the year, or even during the week, but people often complain that they don't really know other members of the congregation and sometimes that they've never even spoken to them.
The larger the church, the bigger this sense of anonymity grows. People can be completely lost in the vast congregation of a mega church. It's a church for the industrial age where they become tiny individual cogs wrapped up in their own personal spiritual journey. In a mega church the outputs aren't widgets, they're salvations. 'Last week we achieved five salvations. Our target this week is six.'
In a small church the very opposite is true. It's almost impossible to be lost in the crowd. Everyone knows who you are. The singing may not be very good, but if a small church is strong and vibrant the sense of community, of sharing or solidarity, is everything. The congregation truly can become one in Christ; it's no longer just a nice idea, it's achievable, and then even a few people gathering together can make a big impact on their neighbourhood.
Romantics and the advocates of small churches want to get back to a vanishing age of harmony and cooperation between people living or gathering together in small communities but, for the most part, the trend has been away from community and towards individualism.
The economic squeeze of the last few years has only made this trend stronger. Small local charities - like the one I work for during the week - used to be encouraged to work together. Now we're encouraged to justify our existence by measuring what makes us different from, or better than, our neighbours. Competition has replaced solidarity.
Even at the level of the individual person, and what's going on inside our heads, there's been a movement - ever since Robert Louis Stevenson wrote Dr Jekyll and Mr Hyde - towards understanding the way our subconscious works as an inner conflict raging within us. By inner conflict I mean the struggle to discover and set free our true inner self, the real me hidden deep inside. Sigmund Freud, the inventor of modern psychotherapy, said that each of is a house divided, because we're all made up of a complicated and competing mixture of motives.
The writer of James is clear which side of the debate he comes down on. If he had the choice of going to a mega church where he didn't have to mix with other people or really get to know them, or a small church where he'd soon get to know and care about everyone, he'd choose the small church every time - or t least a church which was organised into small groups. If he had the choice of going to a church where the members concentrate on their own individual spiritual journey, without doing anything practical to help people in desperate need, like refugees from wars or the victims of disasters, or joining a church where people are really concerned to help the needy, he'd go to the caring church. If he were faced with an inner conflict between selfishness and selflessness, between greed and generosity, he'd want to let God make sure that selflessness and generosity won the struggle.
He tells his readers elsewhere in this passage that we can't pick and choose between different commandments. They all matter equally to God. But then he goes on to single out one commandment, 'Love your neighbour as yourself,' and calls this 'the royal law'. What he means is that love for our neighbour sums up what God's will for us is all about. That's an idea also found in the Jewish Talmud, which was being compiled around the same time.
In our Gospel passage Jesus encounters a Lebanese woman who is a member of the Syro-Phoenician culture, almost certainly a pagan therefore and not a follower of Judaism. He tells her at first that he can't help her little daughter who is sick, but then he relents. After all, she too is his neighbour. Suddenly he's no longer bound by the ancient model of community where only people who belong to our group really count as neighbours. From now on his followers must treat Syrian and Afghan asylum seekers, or migrant workers from across the world, as every bit as much their neighbours as the people who live next-door, or belong to the same community, or work for the same firm, or attend the same church, or share the same faith.
Remember the man who said, 'I am your neighbour!' That's what every human being in desperate need is reminding us. Followers of Jesus can't be individuals lost in a crowded planet. Instead we have to live as though we're all neighbours in a global village.


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George Soros Can Be Charged With Treason and Sedition | iPatriot:
"Sedition compliments treason. Then there is Seditious Conspiracy, which Webster defines as: "The crime of saying, writing, or doing something that encourages people to destroy the government."
The Law Dictionary states that sedition is: "The crime of creating a revolt, disaster or violence against lawful civic authority with the intent to cause overthrow or destroy." Read this one carefully. George Soros is attempting to deconstruct the constitutional government of the United States and replace it with a Communist Controlled One World Order, destroying the structure of America that was legally put in order."


text:
This can be very helpful when your mouse isn't working properly, or if you want to have some fun.
To activate mouse keys all you do is press Alt+Left shift key (the one below the caps lock key) and the Num Lock key.
To deactivate just press the above combination again.
All you do is use your numeric keypad to move the mouse pointer.
Here are the functions that you can do with the Numeric Keypad:
5 = a left click on your normal mouse
Press 0 and navigate the pointer= Selecting the text in a normal keyboard
Pressing * or - and then pressing 5 = right click on your normal mouse (to use 5 to perform the left click action press the / key).
To scroll up and down you can either use arrow keys or the Page Up and Page Down keys.
You can also use the spacebar to get to the bottom of the page.


text:
|Publication number
|Publication type
|Application number
|Publication date
|Jan 28, 1992
|Filing date
|May 31, 1991
|Priority date
|May 31, 1991
|Fee status
|Publication number
|Kyle D. Fields
|Original Assignee
|Burgett, Inc.
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (10), Referenced by (36), Classifications (6), Legal Events (12)
|External Links: USPTO, USPTO Assignment, Espacenet
1. Field of the Invention
This invention pertains generally to mechanically-driven musical instruments which reproduce pre-recorded music, and specifically to operation of solenoid actuators using digitally mapped pulse signals to re-create the expression effects in the original music.
2. Description of the Background Art
Methods and apparatus for recording and playing back music on mechanically-driven instruments such as pianos are well known. For example, U.S. Pat. No. 4,744,281 issued to Isozaki on May 17, 1988, discloses an automatic player piano system with an ensemble playback mode for decoding a piece of music having at least two data blocks, one data block corresponding to music to be reproduced by an electronic sound generator and the other corresponding to music to be reproduced by activating solenoids to strike piano strings. U.S. Pat. No. 4,419,920 issued to Ohe on Dec. 13, 1983, discloses an apparatus for recording and reproducing musical performances in which the recording comprises the image, the sound, and musical instrument performance data of a particular performance, the watcher-listener being able to see and hear the performance via a video playback and the automatic playing of an actual musical instrument. U.S. Pat. No. 4,351,221 issued to Starnes et al. on Sept. 28, 1982, discloses a player piano recording system which has photosensor flags secured to the underside of the piano keys, vertical movement of which is detected by horizontally adjustable photosensors to produce "key played" and key velocity signals which are supplied to a microprocessor for deriving expression signals for recording on magnetic tape. U.S. Pat. No. 3,905,267 issued to Vincent on Sept. 16, 1975, discloses an electronic player piano with record and playback features. U.S. Pat. No. 3,604,299 issued to Englund on Sept. 14, 1971, discloses a method and apparatus for recreating a musical performance using pulse streams applied to relays or other drivers.
It is important, however, not only to record the musical notes and timing for later playback on an instrument, but also to record the expression contained in the original work in order to re-recreate a more realistic performance. Examples of methods and apparatus for recording expression effects can be seen in U.S. Pat. No. 4,172,403 issued to Campbell et al. on Oct. 30, 1979, which discloses a method and apparatus for encoding expression data while recording from the keyboard of an electronic player piano wherein the intensity of the music being recorded is reflected in variations in the power of the acoustic waveform produced; U.S. Pat. No. 4,176,578 issued to Campbell et al on Dec. 4, 1979, which discloses a system for encoding of bass and treble expression effects in a digital data stream while recording from the keyboard of an electronic player piano; and U.S. Pat. No. 4,174,652 issued to Campbell on Nov. 20, 1979, which discloses a method and apparatus for recording digital signals for later actuating solenoids for re-creation of musical expression.
Essential to accurate reproduction of the original work is the capability to decode recorded expression information and direct that information to the instrument being used to re-create the original work. In a typical application such as a player piano system, solenoids or other drivers are actuated to strike the strings. Several techniques and devices have been developed in an attempt to achieve "true reproduction" as can be seen in U.S. Pat. No. 4,132,141 issued to Campbell et al. on Jan. 2, 1979, which discloses a solenoid-hammer control system for re-creating expression effects from recorded music in which a stream of pulses activates the solenoids, the width of the pulses being modulated so that the average drive energy applied to the solenoid is proportional to the desired intensity; and U.S. Pat. No. 4,135,428 issued to Campbell on Jan. 23, 1979 which discloses a pulse width modulation circuit for controlling the expression of an electronically controlled keyboard instrument by simultaneous adjustment of both the leading and trailing edges of pulses in a pulse stream without varying the rate of the pulses, the pulses switching a solenoid on and off at a rapid rate so that the energy applied to the solenoid varies and therefore the striking force of the piano is changed. These approaches, however, use pulse streams to actuate solenoids or other drivers which do not contain sufficient expression information to achieve "true reproduction" of the original work, even though they modulate the width of pulses to vary the average drive energy and striking force. Furthermore, they are not capable of compensating for non-linear travel of the solenoid plungers or the mass of the strike keys differing from instrument to instrument.
The foregoing patents reflect the state of the art of which the applicant is aware and are tendered with the view toward discharging applicant's acknowledged duty of candor in disclosing information which may be pertinent in the examination of this application. It is respectfully stipulated, however, that none of these patents teach or render obvious, singly or when considered in combination, applicant's claimed invention.
The present invention overcomes the deficiencies heretofore described by providing dynamic control during the entire strike time of a solenoid coupled to the strike hammer in a player piano system. In order to fully appreciate the nature of the present invention, it is helpful to briefly discuss the operation of a solenoid actuated player piano.
Solenoid actuation of a piano key is a complex set of mechanical interactions. The mass of the key mechanism is accelerated by the magnetic force created in the solenoid. Since the force of the solenoid is non-linear because it changes as the plunger travels, and the mass of the key is non-linear because, when actuated, the key damper increases the mass of the key, in order to re-create music with true reproduction of expression effects the solenoid must be dynamically controlled during the entire period of the key strike.
Each of the eighty-eight keys on a typical player piano is actuated by a vertical solenoid working on the far end of the key. The solenoids are arranged so as to lift the end of the key, and thus accelerate the key mechanism and hammer to strike the string. The force produced by the solenoid is non-linear and can vary as much as 10 to 1 from the start to the end of the strike, the shape of the force curve varying according to the solenoid design and construction.
Each piano key includes a damper mechanism which can ride on the key to dampen the string after the strike. The damper interaction takes effect at some point during the key travel, and thus throws an increased mass onto the key when it is engaged. In addition, the damper may be raised by the pianist so that it will not interact with the key, thus allowing the string to sustain after being struck by the hammer.
Each of the solenoid actuators typically consists of a wound coil housed in a steel frame. The solenoid plunger travels within the center of the winding, and exerts mechanical force to lift the piano key. Flexible rubber tips are used between the plunger push-rod and the bottom of the key to reduce the impact noise of the mechanism. However, this also introduces an additional non-linear component into the key travel.
In general terms, the present invention "maps" the travel of the solenoid into discrete steps of time, or intervals, the mapped information taking into account the foregoing non-linear characteristics of solenoid operation and key movement. Typically, one strike of the solenoid may contain over fifty such intervals. Each of these intervals is then selectively activated by a controlling microprocessor, the microprocessor determining the configuration of the map by analysis of various key interactions. The microprocessor, using instructions stored in memory, translates recorded musical information into driving signals for each solenoid, the object being to reproduce the recorded music as accurately as possible. Essentially, it is the velocity information contained in the recording which is processed into driving signals. Since velocity is the combination of force and mass, the microprocessor is able to determine the force of the solenoid at any given point in time and, in combination with the known key mass, determine the required change in force to produce the desired key acceleration and velocity.
The force required to accelerate the key can be substantial. Therefore, the present invention provides for a high power strike period, followed by a low power holding period. This allows maximum force during the critical strike period, while still allowing key hold down times without excessive power dissipation.
The present invention converts the recorded musical information into discrete driving signals representing strike velocity. The driving signals are then separated in strike signals and hold signals, the strike signals consisting of time differentiated pulses of fixed width and amplitude, the number and timing of said pulses being dependent upon the information in the drive map which controls the re-creation of the expression of the musical notes. The pulses are then directed to the solenoid which in turn causes the strike hammer to strike the piano string. When the strike period is over, a hold signal which comprises pulses of uniform amplitude and timing are directed to the solenoid so that the strike hammer can be held fixed in place until the end of the musical note.
An object of the invention is to accurately re-create recorded music on a solenoid actuated musical instrument.
Another object of the invention is to compensate for the impact of non-linear travel of solenoid plungers operating strike hammers in a player piano system.
Another object of the invention is to compensate for the impact of non-linear mass of piano keys on accurate music reproduction.
Another object of the invention is to compensate for the impact of noise dampers on accurate music reproduction.
Another object of the invention is to actuate solenoids in a player piano system with discrete data pulses which dynamically control the solenoid position during the entire strike time.
Another object of the invention is to maximize striking force with minimum power dissipation.
Further objects and advantages of the invention will be brought out in the following portions of the specification, wherein the detailed description is for the purpose of fully disclosing preferred embodiments of the invention without placing limitations thereon.
The invention will be more fully understood by reference to the following drawings which are for illustrative purposes only:
FIG. 1 is a functional block diagram of the apparatus of the present invention.
FIG. 2 is a timing diagram of a exemplary drive signal and strike map used in the method and apparatus of the present invention.
FIG. 3 is a timing diagram of a segment of the strike signal component of the timing diagram shown in FIG. 2.
FIG. 4 is a timing diagram of a segment of the hold signal component of the timing diagram shown in FIG. 2.
Referring more specifically to the drawings, for illustrative purposes the present invention is generally shown in FIG. 1 through FIG. 4. It will be appreciated that the present invention may vary as to the physical configuration and method of operation without departing from the basic concepts as disclosed herein.
The present invention utilizes musical information recorded on magnetic disk in the MIDI format; that is, Musical Instrument Digital Interface, which has become an industry standard. Once musical information is recorded in MIDI, the information can be manipulated by a computer using standard editing techniques. For example, sections of the music can be duplicated, bad notes can be corrected, and any other desired musical operation can be performed.
MIDI is a serial communications standard that provides a common language for the transmission of musical events in real time. The MIDI specification allows up to sixteen channels of information to be carried by a single cable, and each channel contains data about what notes are to be played, how loud they will be, what sounds will be used and how the music will be phrased. Contained within these data channels are velocity factors which are coded from 0 to 127, the highest velocity corresponding to the highest velocity factor. The present invention utilizes those velocity factors to accurately re-create the expression of the original recorded music on a solenoid actuated musical instrument such as a player piano system.
Referring to FIG. 1 through 4, recorded media 26 containing the music to be reproduced is read by playback unit 28. Coupled to playback unit 28 is control microprocessor 30 which selects the strike map for each driving signal 10 corresponding to a particular velocity factor. A core element of control microprocessor 30 is CPU 32, a central processor at the heart of the system. Coupled to CPU 32 is ROM 34, which contains in read only memory the strike maps for the various velocity factors as well as the operating software for CPU 32. Also coupled to CPU 32 is UART 36, a serial data receiver which receives the serial MIDI data from playback unit 28 and routes it to CPU 32. RAM 38, which contains changeable program data, is also coupled to CPU 32, as are drivers 40 which couple control microprocessor 30 to gating logic 42. Conventional circuitry and circuit elements are utilized throughout.
Control microprocessor 30 decodes the velocity factor from the recorded media 26 and assigns a particular driving signal 10 to that velocity factor. During the period of strike signal 12, control microprocessor 30 sends an enable signal to gating logic 42. Individual strike pulses 18 activate switch 46 which energizes solenoid 48 according to the strike map. At the end of strike signal 12, control microprocessor 30 switches gating logic 42 to accept hold signal 14 which consists of hold pulses 22 produced by hold oscillator 44.
Referring now to FIG. 2, the apparatus reads a velocity factor from the recorded media and converts it into a corresponding driving signal 10. The duration of the driving signal 10 varies depending upon the velocity factor on the recorded media, but is typically in the range of approximately 20 to 150 milliseconds in duration. Therefore, there is a unique driving signal 10 for each velocity factor in the MIDI format.
The driving signal 10 is separated into two components; a strike signal 12 and a hold signal 14. Strike signal 12 is separated or "mapped" into discrete steps of time, or timing intervals 16 contained within a strike map. At each interval in the strike map, the solenoid is either switched on or off, an "on" signal reflected by the presence of a strike pulse 18 in a timing interval 16. It is the nature of this dynamic control achieves the objects of the present invention and overcomes the deficiencies of conventional pulse width modulation techniques. It can be noted, therefore, that the coding of the strike map is a vital part of the present invention. This coding can be accomplished by two methods; pre-determined and dynamic.
In the pre-determined method, a computerized analysis of the piano key interactions is made in a development lab. This analysis includes force of the solenoid, key mass, damper impact, and the interaction of other mechanical components. This analysis is then used to produce a set of strike maps for the control microprocessor 30 to use, there being one strike map for each velocity factor. The strike maps are then stored internally in ROM 34 and are not changed once the apparatus of the present invention is installed on the piano system. The control microprocessor 30, using the music velocity codes from the recorded media and any other programmed piano variables, determines which of the pre-determined strike maps to use. The solenoid is then driven according to the selected strike map.
The dynamic method is similar to the pre-determined method, but different in that the computerized analysis is performed within the actual piano system. This allows the piano system itself to generate the strike maps, the maps being unique to that particular piano system. To implement this method, feedback sensors are installed on the piano keys to measure the key response. Once the analysis is complete, the strike maps are stored in ROM 34.
Referring still to FIG. 2, a key strike which has an overall duration of one-hundred and twenty milliseconds would typically result in strike signal 12 being divided into fixed timing intervals 16 of two milliseconds each. Longer intervals are possible, but the loading on the control microprocessor will increase. As can be seen in FIG. 3, strike pulses 18 are square waves, their width and amplitude being fixed. Note that the width of strike pulses 18 are approximately ten microseconds shorter than timing interval 16, the difference being represented by rest interval 20. Whether an "on" state or strike pulse exists in a particular timing interval 16 is determined by the drive map developed for the particular velocity factor and key. FIG. 3 shows an "on" state for the particular timing interval 16 depicted.
Referring to FIG. 2 and FIG. 4, the hold signal 14 consists of a series of hold pulses 22 of uniform amplitude, width and timing. Typically the width of each hold pulse 22 is approximately fifteen microseconds, and hold pulses 22 are separated by rest intervals 24 which spaces hold pulses 22 approximately thirty-five microseconds apart for a frequency of approximately twenty kilohertz.
In operation, the strike pulses 18 in the strike signal 12 are applied to the solenoid according in accordance with the strike map. At the end of the strike signal 12, the solenoid is placed into a holding mode by applying the hold signal 14. The hold signal 14 persists until either the musical note is over, or the control microprocessor 30 times out so that the solenoid does not overheat and become damaged. Time-out is typically set to occur after ten to fifteen seconds.
Conventional pulse width modulation techniques heretofore developed can only provide a constant pulse stream to the solenoid and vary the width of those pulses so as to produce an "average power" strike for the solenoid. Therefore, they cannot accurately re-create the variations in the key strike of the original performance. It has been shown that the present invention, however, provides for dynamic control over the solenoid during its entire strike time, thereby accurately re-creating the key strike in the original performance, by mapping individual pulses into discrete time intervals, each pulse being of a fixed width and applying those mapped pulses to the actuating solenoid. Each pulse in the map is either on or off depending upon the amount of dynamic force required at each point in the solenoid strike time. Not only does this provide for accurate re-creation of expression effects, but also allows for a more economical design since the drive electronics only needs to produce pulses of one fixed width. In addition, since most electronic products must meet high standards for electrical noise generated within the product, a drive technique that produces only one frequency is easier to filter than a conventional pulse width modulation technique that produces pulses of varying widths and frequencies. Since in the present invention the solenoid is always driven with a pulse of exactly the same width, it is also possible to optimize the magnetic and electrical properties of the solenoid design to match the pulse width being used. This optimization reduces power consumption and increases system reliability over conventional pulse width modulation techniques wherein the solenoid and drive electronics must sustain a wide range of pulse durations.
Accordingly, it will be seen that this invention presents a unique and innovative solenoid drive technique, and allows for true re-creation of musical expression, lower costs of manufacture, better compliance with design standards, and increased reliability. Although the description above contains many specificities, these should not be construed as limiting the scope of the invention but as merely providing illustrations of some of the presently preferred embodiments of this invention. Thus the scope of this invention should be determined by the appended claims and their legal equivalents.
|Cited Patent
|Filing date
|Publication date
|Apr 22, 1970
|Sep 14, 1971
|Englund Edward J
|Method and apparatus for recreating a musical performance
|Feb 4, 1974
|Sep 16, 1975
|Raymond A Vincent
|Electronic player piano with record and playback feature
|Apr 28, 1976
|Jan 2, 1979
|Teledyne Industries, Inc.
|Solenoid-hammer control system for the re-creation of expression effects from a recorded musical presentation
|May 2, 1977
|Jan 23, 1979
|Teledyne Industries, Inc.
|Circuit for controlling the expression of an electronically controlled keyboard instrument
|Aug 26, 1977
|Oct 30, 1979
|Teledyne Industries, Inc.
|Method and apparatus for encoding of expression while recording from the keyboard of an electronic player piano
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|Nov 20, 1979
|Teledyne Industries, Inc.
|Method and apparatus for recording digital signals for actuating solenoid
|Aug 26, 1977
|Dec 4, 1979
|Teledyne Industries, Inc.
|System for encoding of bass and treble expression effects while recording from the keyboard of an electronic player piano
|Jun 15, 1979
|Sep 28, 1982
|Teledyne Industries, Incorporated
|Player piano recording system
|Jul 8, 1982
|Dec 13, 1983
|Nippon Gakki Seizo Kabushiki Kaisha
|Apparatus for recording and reproducing musical performance
|Mar 25, 1987
|May 17, 1988
|Yamaha Corporation
|Automatic sound player system having acoustic and electronic sound sources
|Citing Patent
|Filing date
|Publication date
|Jan 17, 1992
|May 24, 1994
|Fred Paroutaud
|Musical instrument performance system
|Jun 25, 1992
|Jun 14, 1994
|Kabushiki Kaisha Kawai Gakki Seisakusho
|Method and device for preventing imbalance of sound emissions in an automatic performing piano
|Jun 26, 1992
|Jun 28, 1994
|Kabushiki Kaisha Kawai Gakki Seisakusho
|Method and device for preventing imbalance of sound emissions in an automatic performing piano
|Apr 14, 1994
|May 30, 1995
|Kabushiki Kaisha Kawai Gakki Seisakusho
|Electronic sound processing system
|May 5, 1993
|Sep 19, 1995
|Yamaha Corporation
|Automatic player piano equipped with monitoring system on key action for improving fidelity of reproduced music
|May 8, 1995
|Jul 9, 1996
|Kabushiki Kaisha Kawai Gakki Seisakusho
|Automatic performing system capable of detection and correction of errors in performance information
|May 12, 1995
|Oct 22, 1996
|Yamaha Corporation
|Servo-controlling system incorporated in keyboard instrument for processing parallel input signals in time sharing fashion
|Apr 26, 1996
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|Kabushiki Kaisha Kawai Gakki Seisakusho
|Automatic performing apparatus with power supply controller
|Jun 28, 1996
|Jul 29, 1997
|Yamaha Corporation
|Automatic player piano and estimator for acceleration of depressed key incorporated in the automatic player piano
|Nov 5, 1996
|Mar 24, 1998
|Yamaha Corporation
|Automatic player piano exactly reproducing special touches
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|Burgett, Inc.
|Method and apparatus for actuating solenoids in a player piano
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|Contois; David C.
|Computer control system and user interface for media playing devices
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|Yamaha Corporation
|Player piano reproducing special performance techniques using information based on musical instrumental digital interface standards
|Apr 19, 2000
|Dec 17, 2002
|James Becher
|Real time, dry mechanical relaxation station and physical therapy device simulating human application of massage and wet hydrotherapy
|Apr 19, 2000
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|James Becher
|Portable real time, dry mechanical relaxation and physical therapy device simulating application of massage and wet hydrotherapy for limbs
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|International Business Machines Corporation
|Method of generating a link between a note of a digital score and a realization of the score
|Jan 8, 2007
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|Yamaha Corporation
|Automatic playing system used for musical instruments and computer program used therein for self-teaching
|Feb 4, 2008
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|Ediface Digital, Llc.
|Music processing system including device for converting guitar sounds to MIDI commands
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|Ediface Digital, Llc
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|Eric Aaron Langberg
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|Method and apparatus for efficient, entertaining information delivery
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|Method and system for providing media programming
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|Channel-mapped MIDI learn mode
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|Method of generating a link between a note of a digital score and a realization of the score
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|Method and apparatus for efficient, entertaining information delivery
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|Yamaha Corporation
|Automatic playing system used for musical instruments and computer program used therein for self-teaching
|Jan 3, 2007
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|Eric Aaron Langberg
|System and Method for Remotely Generating Sound from a Musical Instrument
|Oct 17, 2007
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|Nov 5, 2013
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|U.S. Classification
|84/21, 84/658, 84/645
|International Classification
|Cooperative Classification
|European Classification
|May 31, 1991
Owner name: BURGETT, INC., A CORPORATION OF CA, CALIFORNIA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:FIELDS, KYLE D.;REEL/FRAME:005729/0633
Effective date: 19910531
|Sep 5, 1995
|Maintenance fee reminder mailed
|Oct 30, 1995
|Fee payment
Year of fee payment: 4
|Oct 30, 1995
|Surcharge for late payment
|Jul 17, 1997
Owner name: FINOVA CAPITAL CORPORATION, CALIFORNIA
Free format text: SECURITY AGREEMENT;ASSIGNOR:BURGETT, INCORPORATED;REEL/FRAME:008595/0156
Effective date: 19970707
|Apr 16, 1999
Owner name: IMPERIAL BANK, CALIFORNIA
Free format text: SECURITY INTEREST;ASSIGNOR:BURGETT, INCORPORATED;REEL/FRAME:009901/0936
Effective date: 19990316
|Apr 23, 1999
Owner name: BURGETT, INC., CALIFORNIA
Free format text: RELEASE BY SECURED PARTY;ASSIGNOR:FINOVA CAPITAL CORPORATION;REEL/FRAME:009912/0520
Effective date: 19990413
|Jul 26, 1999
|Fee payment
Year of fee payment: 8
|Oct 10, 2000
Owner name: SANWA BANK CALIFORNIA, CALIFORNIA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:BURGETT, INC.;REEL/FRAME:011035/0910
Effective date: 20000930
|Jan 8, 2001
Owner name: BURGETT, INCORPORATED, CALIFORNIA
Free format text: RELEASE OF PATENT SECURITY INTEREST;ASSIGNOR:IMPERIAL BANK;REEL/FRAME:011400/0166
Effective date: 20001227
|Sep 4, 2001
Owner name: BURGETT, INCORPORATED, CALIFORNIA
Free format text: RELEASE OF SECURITY INTEREST;ASSIGNOR:FINOVA CAPITAL CORPORATION;REEL/FRAME:012134/0008
Effective date: 20010611
|May 28, 2003
|Fee payment
Year of fee payment: 12