Title of Invention

DIGITAL VEENA CUM SITAR

Abstract

This invention is a stringed electronic musical instrument that is capable of being played by a musician in the traditional manner of the conventional Indian musical instruments called 'Veena' and 'Sitar' to simulate the sounds of not only these but also any other instrument stringed or otherwise, through the use of electronic circuits. The invention utilises digital samples of the sounds of the conventional instruments namely I Veena and Sitar, or any other instrument stored within it. The instrument comprises a set of strings and frets mounted on a board. The pitch (frequency) of the sounds produced is independent of either the length or tension of the strings on the fret-board and is controlled electronically by sensors on each of the strings. Control switches for adjustment of sustenance, volume, voice and tone of the sound are provided. REF=. f1G,2.

Full Text

The Digital Veena cum Sitar is an invention relating to the field of Indian musical instruments to which belong the Veena and the Sitar, two popularly and widely used traditional musical instruments of India. INTRODUCTION: A 'Veena1 is a stringed Indian musical instrument (fig.1) that normally uses a total of seven metal strings and a set of frets to produce various musical notes. Four of the strings (1) (hereinafter referred to as the Main strings) are capable of being depressed to make contact with any of the frets (2) with the left hand, while being plucked with the right hand. The other three, located on the side of the fret board (3) (referred to as Taalam strings), are only plucked with the right hand. The tuning of the four main strings and the three taalam strings are accomplished individually through the use of seven Coarse tuning pegs (4) and as many fine tuning sliders (5). The Mains strings and the Taalam strings, supported between the Main Bridge (9) and the Tail bridge (10), are individually tuned to correspond to a selected 'sruthi1 (pitch) by the player of the instrument. A specific fixed relationship exists between the pitch of each Main string and the Taalam strings. The normally accepted and used relationship is set out in detail in Appendix-A to this specification. The traditional Veena has been constructed in various shapes and forms. However, its basic identity is established by the presence of a long hollow wooden fret board (6), a hemispherical hollow wooden sound resonator (7) attached to it on one end and a conical hollow gourd shaped support (8) towards the other end. With advances in manufacturing and materials technology in the last 25 years, some of these parts have also been made out of fibreglass. The fret board normally consists of 24 frets (normally made of brass or bronze), which are embedded on either end in a proprietary composition of wax, charcoal, and other ingredients and set at various accurately determined positions along the length of the fretboard to produce the sequence of musical notes of Indian music. (Ref. Appendix - B). The Veena is played by an artiste by depressing any of the strings with the left hand fingers to make contact with the frets while plucking the same string with a right hand finger over the sound resonator. Additionally, the artiste can simultaneously pull the string sideways in a transverse direction with the left hand fingers to increase the tension of the string and thereby increase the pitch of the vibrating string, the extent of this transverse deflection only being limited by the physical strength of the artiste as well as the width of the fret board. In order that an optimal playing comfort as well as tonal quality of the vibrating strings are achieved, a specific gauge (thickness) and tension of each string needs to be used on the instrument for a chosen Sruthi of the instrument. Once selected and fitted on the instrument, the instrument cannot be tuned to any other sruthi beyond a 'semi-tone' apart in either direction without degradation in performance. A 'Sitar1 is also a stringed Indian musical instrument which nomially has four main strings run over a fret board with 20 frets. It also has three 'chikari' strings similar to the Taalam strings of the Veena. All the seven strings are tuned to correspond to a selected 'sruthi1 by the player of the rnstrument. As with the Veena, a specific fixed relationship exists between the pitch of each Main string and the Chikari strings. The normally accepted and used relationship is set out in detail in the Appendix-A to this specification. The construction of the traditional Sitar is very similar to the Veena and all the characteristics of the veena stated in preceding paras of this specification apply to a Sitar also, except with reference to the number of frets and the manner in which they are fixed onto the fretboard. The frets on a Sitar are held in place by a string of nylon or wire, wrapped around the fret board and are adjustable by the player of the instrument. The Sitar is played by an artiste in a manner similar to the Veena as indicated in page 3 of this specification. The basic principle of production of a musical note on the Veena and the Sitar relates to the fact that the frequency of vibration of a string, which is normally drawn out of a metal like steel or brass, is a function of its free length, the tension under which it is strung and the thickness of the string. By depressing a string to make contact with a fret, the free length of the string is effectively the distance between that fret and the 'Bridge1 (the support for the strings over the acoustic resonator). This free length of the string is triggered into vibration by the pluck of the string with the right hand finger. Once triggered, the vibrations decay in amplitude in an exponential manner resulting in a specific sustenance of the note. This sustenance is mainly a function of the quality of the string, its tension and the quality of construction of the bridge and other parts of the instrument. SHORTCOMINGS AND DEFICIENCIES OF A TRADITIONAL VEENA AND SITAR: A traditional Veena or Sitar as explained above suffers from the following main deficiencies both from the point of view of the artiste playing the instrument and the listener: Since the sound of the vibrations of the string is amplified through an acoustic sound box (resonator), it is not loud enough to be heard by a listener sitting more than a couple of metres away. The sustenance of vibrations and thereby the musical note, is very short and therefore requires frequent plucks for continuity of the musical phrase. The position of each and every fret on the fret board is very critical in order that the frequency of each note is properly aligned with the Indian musical scale which is a non-equal tempered scale. (Refer Appendix -B to this specification). The frets therefore need to be re-aligned and calibrated at frequent intervals by a trained and skilled artisan. The positions of the frets is also a function of the gauge and tension of the string and hence the sruthi at which it is calibrated. In case the sruthi of the instrument is changed beyond two semitones on either side, the frets would need recalibration. Notwithstanding the shortcoming stated above, the sruthi of the instrument cannot be conveniently changed by more than two semitones without changing the gauge of at least some of the strings. Hence the possibility of instantaneously selecting any sruthi on a Veena or Sitar does not exist. Since the player of the instrument stretches the strings by pulling it sideways across the fret board to modulate the frequency, the tension of the strings tend to gradually reduce the pitch of that string and hence the strings require frequent re-tuning during the course of a performance. This causes a source of distraction both for the artiste and the listener and affects the quality of the music. The tonal quality of the instrument cannot be altered and is a function of the quality of construction of the Main bridge and the type of wood. The instrument is very delicate, unwieldy and fragile due to the fact that it is made largely out of thinly carved out wood and cannot be dismantled. This makes the instrument difficult to carry or transport. PREVIOUS ATTEMPTS AT IMPROVEMENTS: There have been many attempts at either eliminating or reducing some of the shortcomings listed above, particularly with the Veena. In 1971, an electric Veena titled ,Sunadavinodini' (Ref. Appendix C) was designed and demonstrated in Bangalore, India, which had the following notable features: Its fretboard was made out of a solid plank of wood and the acoustic resonator was eliminated. This resulted in a simpler instrument that was easier to manufacture. The vibrations of the strings were picked up directly by an electro-magnetic pickup transducer placed under the strings near the Bridge. Due to the elimination of the acoustic resonator, both ends of the fret board were fitted with papiermache gourd shaped supports making the instrument much lighter than a conventional Veena. The Papiermache supports were fitted to the fret board with easily removeable screws and 'wing-nuts', thereby making the instrument detachable and easier to carry or transport. The signals from the magnetic pick-up allowed the sound of the strings to be electrically amplified externally. This made the instrument louder and better audible and also resulted in a slight increase in the audible sustenance of the string. The above mentioned improved design was further modified and improved in the year 1998 (Ref. Appendix D) by housing the electronic amplifier and loudspeaker system inside one of the gourd supports and incorporating an electronic Tambura (for sruthi accompaniment) into the other gourd support. By incorporating electronic gadgets into the instrument itself, the instrument came to be known as the Electronic Veena. These improvements resulted in significant improvements in relation to some of the shortcomings stated in pages 5 and 6. However, the other shortcomings still persisted. In the year 2001, a further improvement in the form of adjustable frets were made that enabled the player of the instrument to make adjustments of the position of the frets easily within a matter of a few minutes, thereby eliminating the need for the traditional wax embedding and the associated skills. This improved design provided an engineering solution to the fixing and adjustment of the brass frets on the fret board, though this was still required to be done frequently. DIGITAL SYNTHESIZER: The techinques of digitally synthesizing tones for the purposes of creating musical keyboards and other instruments are widely known to people well versed in the art. These are also well documented in various technical books and journals dealing with the subject of electronics over the last three to four decades. One of the economical and commonly used approaches is familiarly known by the term Pulse Code Modulation that utilises digital samples (in the form of numbers representing the signal) of the tone to be synthesized. Variation and control of the time interval between successive samples in this technique allows for the variation of the pitch of the tone without altering its timbre. Selection of different sample tables allows the tones of different instruments or voices to be reproduced. A special category of this technique is commonly known in the art as 'Wave Table Synthesis*. This technique has been employed in the present invention for the generation of various sounds. PRESENT INVENTION: The present invention, henceforth referred to as the Digital Veena cum Sitar, which is the subject of this specification, aims to get rid of all the shortcomings listed in pages 5 and 6, through the use of Digital Synthesis techniques. The core of this invention is a method of synthesizing the vibration of a musical string as played on a Veena or Sitar, or for that matter any other instrument employing a string that is played with one or both hands of a player, by means of sensing the player's actions on the strings and frets of the instrument. The use of this basic invention in the synthesis of a musical instrument results in a universal instrument that can be played in the manner of a traditional stringed musical instrument and yet replicate not only the sounds of the traditional Veena or Sitar, but also the sounds of any other traditional instrument, stringed or otherwise, as also newly created tones. The naming of this invention as the Digital Veena Cum Sitar therefore does not exclude the application of the techniques described in this specification to any other stringed instrument or apparatus. DESCRIPTION: The Digital Veena Cum Sitar (fig. 2) mainly comprises a fret board (1) with a set of 24 metal frets (2) fixed on a non-metallic and non-conducting base. Each of these frets is electrically connected to individual inputs of an electronic circuit, more fully explained in subsequent parts of this specification. Corresponding to the four main strings of a traditional Veena or Sitar, eight strings in four electrically isolated pairs are provided in the Digital Veena Cum Sitar. Four of these strings (3), S1 to S4, hereinafter referred to as the Main Strings, stretch just over the frets supported over two bridges B2 (4) and B3 (5) on either ends, while the other four (6), S5 to S8, hereinafter referred to as the Pluck Strings, are strung over the hand-rest area in line with the Main Strings and supported over two bridges B1 (7) and B2 (4). One Main String and one Pluck String form a pair corresponding to each string of the traditional Veena (eg. S1 and S5). Main Strings S1 to S4 allow the player to select various notes of the instrument as is done in a traditional Veena, by depressing the desired string to make contact with a fret. The Pluck Strings S5 to S8 allow the player to initiate the notes through a plucking process as is normally done with the right hand on a traditional Veena. A Sensor module (8) referred to hereinafter as the 'Pluck Sensor1, is located just under the strings S5 to S8. The distances between any of the frets are not of any consequence and can be selected arbitrarily at the time of design or construction without altering the tonal performance of the instrument. Arranged vertically in front of the Pluck Strings S5 to S8, are three more strings (9) S9 to S11, hereinafter referred to as the Taalam Strings. These form the Taalam strings of a traditional Veena or the Chikari strings of a traditional Sitar. These Taalam strings are individually electrically connected to an electronic touch sensitive circuit within the instrument. The tail end of the instrument consists of four electronic sensors (10), hereinafter referred to as the Pitch Bend Sensors, to sense the strain on each of the main strings S1 to S4 during the act of playing on the instrument. One end of each Main string is anchored onto the bridge B2 (4), while the other is attached to the Pitch Bend Sensor. These sensors can be typically any transducer such as a strain gauge, variable resistance potentiometer, LVDT, or any other device that can sense either the strain or a longitudinal movement of the string and generate a proportional electrical signal. For the sake of proving this invention, resistance strain gauges have been used. These sensors are mounted in tandem with tension springs (11) to create an artificial feel for the player as well as to allow the strings to be pulled by the player more easily than in a conventional Veena. Further, one end of each tension spring is itself anchored to the body of the fret board through a screw and nut arrangement that allows the initial tension of the string to be adjusted to any convenient level as desired by the player. The fret board also houses all the electronic circuits used in the generation of the tones of the instrument. Though the audio amplifier and loudspeaker have been fitted in the right side support, they can as well be placed in any other part of the instrument from the point of view of convenience or aesthetics. Facility is provided for mechanically adjusting the tension on each Main string S1 to S4 and each Pluck String S5 to S8, through a system of adjustment screws, without this affecting the pitch or sruthi of the synthesized string in question as explained in the later part of this specification. Two gourd shaped detachable supports (12), as are provided in a traditional Veena, are attached under the fret board to enable the instrument to be placed in the same position as a traditional Veena in order to play on it. However, the shape and position of these supports are inconsequential from the point of view of the operation of this invention. Further, the shape of the hand-rest (13) on the fret board is designed to be similar to that of a traditional Veena, but this can also be of any other shape and size or even be completely absent. Electronic circuits (Ref. fig. 3A, fig. 3B, and fig. 3C) mainly comprising microcontrollers, operational amplifiers, indicating displays and selection switches, housed inside the fret board process the signals generated by the Pluck Sensors and the Pitch Bend Sensors in association with the detection of a contact between any fret and any Main String S1 to S4. The Pluck Sensor module is a set of magnetic pick-up transducers, similar to those used on state of the art electric musical instruments such as electric guitars, that sense the vibration of the Pluck Strings S5 to S8. Four output signals from this module, each corresponding to one of the Pluck strings, is connected to the electronic circuit hereinafter referred to as the Control & Processor Unit (CPU) (ref. fig. 3d) that includes all the circuits shown in figs. 3A, 3B and 3C. The Digital Veena Cum Sitar allows the following basic user settings and adjustments through switches on a control panel: Sruthi selection over one octave range through Coarse and Fine selection modes. During the process of adjusting the sruthi, all the seven synthesized strings tune automatically maintaining the relative pitch ratios of each string as defined and explained in Appendix-A. Adjustment of Sustenance of the synthesized string. For the purpose of proving this invention, four settings of Sustain have been implemented, though this may be either increased or decreased to suit individual preferences. Selection of different Tones (also referred to as Voices in the field of the art). For the purposes of proving this invention, four tones have been synthesized by the provision of corresponding samples in the memory of the CPU. However, this can be extended to higher numbers limited only by the memory capacity built into the instrument. Selection of the Pitch Bend Sensitivity. This refers to the maximum amount of frequency increase (in terms of the number of musical semitones or frets) that would result by a transverse pull on the playing string (S1 to S4). For the purposes of proving this invention, nine settings of 2 to 10 semitones (musical notes) have been provided. A Calibration control to re-calibrate the Pitch Bend Sensor signals in order that any shifts or drifts, both mechanical and electronic, can be nullified by the player of the instrument as and when required. Selection of Panchamam or Madhyamam note on the synthesized Taalam strings. Independent adjustment of the sound level of the synthesized Taalam strings as well as the composite sound level though the audio amplifier. OPERATION OF THE INVENTION: As already stated on page 8, the primary invention is a method of sensing the actions of the player of the instrument with reference to the strings and the frets. Hence the operation of the invention can be better explained with reference to just one pair of strings, for example S1 and S5. When the Pluck Strings S5 (ref. fig. 3A) is plucked with a finger, its vibrations are picked up by the Pluck sensor and fed to an Operational amplifier to be amplified. This amplified signal is continuously monitored by the Microcontroller (MCU1) in the Control and Processor Unit (CPU) which detects a signal level higher than a preset minimum threshold. When this threshold is exceeded, the CPU recognises the pluck and causes a PCM tone corresponding to the selected Wave table to be produced. This action involves the creation of the basic waveform of the signal as stored within MCU1 of the CPU utilising the well known art of PCM Tone generation, as well as creating the desired envelope of the signal as per the well known Attack-Decay-Sustain-Release (ADSR) format. Any desired and complicated ADSR envelope can be created through the use of complex function generators and Digital to Analogue Convertors (DAC) that are well known to people in the art. However, In order to simplify the proving of this invention, a simpler exponential decaying envelope has been created to amplitude modulate the waveform. The CPU also analyses the strength of the Pluck Sensor signal to determine the relative force with which the Pluck String S5 has been plucked by determining the peak signal value and on the basis of this analysis, a proportionally larger or smaller envelope is generated corresponding to the quality of pluck. Switches SS1 and SS2 allow four different sustain levels to be simulated due to the different values of capacitance being switched into the circuit. Simultaneously, the CPU also continuously scans the frets (refer fig.3B) to check for any contacts with the string S1 in a manner similar to scanning a matrix keyboard, a technique well known in the art. If no contacts are sensed, a frequency of the basic waveform corresponding to the open string is generated by MCU2. If on the other hand, some contacts between any of the frets and the string are sensed, the highest order of the fret in the direction of the plucking string S5 is taken as the valid contact and a frequency of the basic waveform corresponding to the note associated with that fret (as per the musical scale referred to in Appendix B) is generated by the CPU. The CPU also monitors the signal output from the Pitch Bend Sensor (ref. fig. 3C) connected to the end of string S1 to check for any changes. If an increase in the level of the signal is detected, a corresponding increase in the frequency of the waveform is effected by MCU3 of the CPU and vice versa. Such deviation of the frequency is a function of the Pitch Bend Sensitivity setting adjusted through the Control switches. For the purpose of proving this invention, nine settings of this Sensitivity are provided that allows the frequency of the note corresponding to any fret to be increased by a maximum of 2 to 9 higher notes, by the transverse pull of the string. When the transverse pull of the Main string is released, the string returns to its original state of strain (or tension) thus restoring the synthesized note exactly to its original state without the transverse pull. The CPU also scans the Control and Selection keys (ref. fig. 3A) for any new settings or selections as described on page 12 of this specification. If any new selections are made, the corresponding changes are effected in real time. The CPU, taking into consideration all the above actions and reactions, generates an output signal corresponding to the frequencies and musical notes that would otherwise have been mechanically produced on a traditional Veena or Sitar by the same actions. This signal is fed to an audio amplifier and loudspeaker built into the instrument with its own associated volume control for the production of audible musical sound. Based on the settings and selections on the control panel, and based on the actions of the two hands on the strings S1 and S5 as already explained above, specific musical notes of various frequencies, tones and sustenance are created electronically in a manner completely analogous to the manner of production of sounds on one string of a traditional Veena or Sitar. All the actions and reactions explained above, as applicable to one Main string and its associated Pluck String, are also applicable to the other three pairs of strings, viz; S2 - S6, S3 - S7, and S4 - S8. The CPU monitors and reacts to all the actions on all the four pairs of strings simultaneously, the design of which can be implemented in a number of well known methods in the field of the art, utilising different devices such as microcontrollers shown here or Digital Signal Processors. In addition to the Main strings S1 to S4 and the Pluck strings S5 to S8, the CPU responds to a touch of the finger detected on any or all of the Taalam strings and generates a frequency of the waveform separately provided for the Taalam strings within MCU4 of the CPU (ref. fig. 3D). The signals corresponding to the various tones generated by the CPU may be mixed either in the digital domain prior to being fed to a DAC or the analogue domain after the DACs. For the purpose of proving this invention, the mixing of the signals has been done in the analogue domain. ADVANTAGES OF THE INVENTION: Tuning of all the seven strings is achieved simultaneously and automatically by selection of the pitch, while in the present forms of Veena or Sitar, each string has to be tuned individually. Any pitch setting over a range of one octave can be instantly selected without changing any string, while in the present forms of Veena and Sitar, a pitch selection which is more than two semi-tones higher or lower than the existing pitch needs a complete change of all strings. User-selectable level of sustenance of sound is possible while in the present forms of Veena and Sitar, only limited sustain of notes can be achieved. Effecting transverse pull over the strings over the frets does not cause the lowering of pitch of the concerned string, while in the present forms of Veena or Sitar, such transverse pulls on the string cause the pitch of that string to lower down and hence the strings require frequent re-tuning. This transverse pull can be selected by the user to a level convenient for the player's capability or need, while in the present forms of Veena or Sitar, such a selection of level of transverse pull cannot be made and depends on the finger / hand strength of the user No adjustments of the frets are ever required, while in the present forms of Veena or Sitar, fret adjustments are required to be made regularly either by the player or by a skilled artisan. A choice of different tones (voices) is possible in this invention while in the present forms of Veena or Sitar, such a choice of tones is not possible. I claim: 1. A Digital Veena cum Sitar (1), which is an electronic musical instrument comprising a number of frets (2) and pairs of strings (3 & 6) in tandem supported at each end, one being the Pluck string (6) and the other being the Main string (3), Pluck Sensor (8), Pitch Bend Sensor (10) and fitted with electronic control, processing and amplifier circuits within the instrument that generates musical notes through the plucking of the Pluck string while playing on the Main string, characterised in that, instead of the vibration of the strings being the source of the sound as in the Veena and Sitar, the sound is generated through the provision of electronic synthesizer circuits operating in conjunction with a Pluck sensor (8) located below the pluck strings, that detects the plucking action of the player on the Pluck string while at the same time the contact of the Main string with any fret is sensed by electronic circuits connected to this string and the frets, to synthesize the sounds of a Veena or Sitar or any other musical instrument, stringed or otherwise, based on the digital sampled tones of such instruments stored in its memory. 2. The Digital Veena cum Sitar as claimed in Claim 1 wherein the electronic circuit comprising micro-controllers, digital latches, analog to digital converters (ADC) and digital to analog converters (DAC), operational amplifiers, and audio amplifier, processes signals emanating from the Pluck sensor, Fret and String contacts, Pitch Bend Sensor and Selection push buttons for setting Sruthi, Sustain, Tone and Pitch Bend Sensitivity. 3. The Digital Veena cum Sitar as claimed in Claim 1 wherein all the synthesized strings get tuned simultaneously and automatically to specific notes of a musical scale relative to the Sruthi (tonic), through push buttons and electronic circuits, without any relationship to the tension present in each physical string and without the need for any adjustment of the tension in any string. 4. The Digital Veena cum Sitar as claimed in Claim 1 wherein the Taalam strings of a Veena or the Chikari strings of a Sitar, whether physically present as a string or as a contact surface, respond to a mere touch instead of the need for plucking, through electronic touch sensitive circuits provided within the instrument. 5. The Digital Veena cum sitar as claimed in Claim 1 wherein the accurate production of musical notes of a musical scale, equal tempered or otherwise, at each fret along each string is achieved independently based on its numerical position rather than its physical position along each string, through computation performed within the electronic circuits with built-in note ratios with reference to the sruthi, without relying on its distance from the physical support of the string, thus eliminating the need for precise positioning and frequent re-positioning of each fret. 6. A method of electronically synthesizing the musical note of a single string of a traditional musical instrument such as a Veena or Sitar or Guitar by employing a pair of strings as claimed in Claim 1, comprising the steps of a) a Pluck Sensor sensing the plucking action on the Pluck string and b) one part of an electronic circuit processing the signals from the Pluck sensor while simultaneously another part of the electronic circuit sensing the contact of the Main string with one of many frets, thereby c) producing notes of a musical scale without the physical vibration of the playing string. 7. A method of electronically synthesizing the musical note of a single string of a traditional musical instrument such as a Veena or Sitar by employing a pair of strings as claimed in Claim 6, wherein the frequency of the note produced at a fret is proportionally altered in response to a transverse pull on the playing string sensed by either a tension or strain or deflection sensor at the end of the string, achieved through the real-time processing of such sensor signals by a Pitch Bend Circuit forming part of the electronic synthesizer circuit, enabling a wider range of such modulation than achievable in a physical string. APPENDIX - A 1. This section, constituting a part of the Complete Specification for the application of a Patent titled "Digital Veena Cum Sitar", provides a reference to the normally used and established tuning relationships of the various strings of a Veena and a Sitar, for the purposes of clearly understanding the provisions of the above mentioned Specification. Reference can also be made to IS:1885 (Part III / Sec 7) -1978 of the Indian Standards Institution for details of the undermentioned notes. 2. Tuning relationships of a Veena: The first string is the one closest to the person playing the instrument. First string : Tuned to any frequency (f) and taken as the reference pitch - Shadjam Second string: Tuned to a Panchamam note below the First string. -(3f/4) Third String : Tuned to a Shadjam note one octave lower than the First String.- (f/2) Fourth string : Tuned to a Panchamam note below the Third string. (3f/8) Topmost Taalam string: Tuned to the reference pitch (f) Middle Taalam string: Tuned to Panchamam note higher than the Topmost Taalam string.-(3f/2). Sometimes also tuned to Madhyamam note above the topmost Taalam string - (4f/3) Bottommost Taalam string: Tune to a Shadjam one octave higher than the reference pitch.-(2f) 3. Tuning relationships of a Sitar: First string: Tuned to Madhyam note above the reference pitch. Second string: Tuned to any pitch (f) and taken as the reference pitch - Shadj Third String: Tuned to Pancham note below the reference pitch - (3f/4) Fourth string: Tuned to Shadj note one octave below the reference pitch. Chikari strings: 1st string : tuned to the reference pitch - (f) 2nd string: Tuned to the Pancham note below the reference pitch. -(3f/4) 3rd string: Tuned to the Shadj note above the reference pitch - (2f). APPENDIX - B 1. This section, constituting a part of the Complete Specification for the application of a Patent titled "Digital Veena Cum Sitar", provides a reference to the normally used and established frequency relationships of the various notes corresponding to the frets of a Veena or a Sitar as per the Indian Musical Scale, for the purposes of clearly understanding the provisions of the above mentioned Specification. Reference can also be made to IS:1885 (Part III / Sec 7) -1978 of the Indian Standards Institution for more details.

Documents:

913-mas-2002-abstract.pdf

913-mas-2002-claims duplicate.pdf

913-mas-2002-claims original.pdf

913-mas-2002-correspondance others.pdf

913-mas-2002-correspondance po.pdf

913-mas-2002-description complete duplicate.pdf

913-mas-2002-description complete original.pdf

913-mas-2002-drawings.pdf

913-mas-2002-form 1.pdf

913-mas-2002-form 3.pdf

913-mas-2002-form 4.pdf

913-mas-2002-form 5.pdf

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