CPC Definition - Subclass G10H
This place covers:
- Artistic processing of music, i.e. musical processing involving alterations in harmony, timbre, texture, melody, rhythm or expressivity
- Assisted or automated music creation, synchronisation or interpretation, e.g. automatic composing, interactive music displays, karaoke, instrument karaoke, musical accompaniment, musical aspects of videogames
- Music analysis or synthesis
- electrophonic musical instruments, mechanical details, components or accessories for use in electrophonic musical instruments
- Input/output devices therefor, e.g. electric guitar transducers, synthesiser keyboards
- Control, communications or data organization therefor, e.g. effect pedals for guitars, internet jamming protocols, MIDI, wavetables, rhythm or harmony metadata.
G10L Speech analysis or synthesis; speech recognition; speech or voice processing; speech or audio coding or decoding should systematically be considered as a function place for voice processing or audio coding applications, G10H being an application place for voice processing or audio coding with a musical application, e.g. melodic or rhythmic analysis of a singing voice, electrophonic musical instrument control, special encoding of audio sounds for synthesiser wavetables.
The classification of voice processing as speech processing G10L or electrophonic musical instruments G10H is therefore highly dependent on the primary vocal intent of the signal to be processed, i.e. communication of meaning, a.k.a. speech (G10L) or musical, e.g. singing.
If the primary vocal intent is musical, e.g. singing, then the nature, musical or not, of the voice processing, i.e. the result to be achieved, determines whether a G10H classification is appropriate.
Examples:
- Recognition of sung words, i.e. meaning extraction: consider G10L 15/00 speech recognition
- Musical melodic transcription (or transposition) of the sung words, e.g. to a musical score by extraction of note pitches or musical rhythm information: consider G10H .
Musical voice processing must be systematically classified in G10H, but G10L should be considered for the vocal processing aspects of musical voice processing.
Musical games, musical rhythm games such as dance games, musical aspects of videogames e.g. game background music changes, synchronisation between image and musical events, must systematically receive a classification of their musical aspects in G10H. A63F 13/00 should be considered for the gaming aspects of such games.
Attention is drawn to the following places, which may be of interest for search:
Game rules or game display appearance | |
Audio or sound effects for videogames | |
Pitch and rhythm extraction in videogames, substantially similar to G10H 2210/066 ("for pitch analysis"), G10H 2210/076 ("tempo analysis"), G10H 2210/091 ("performance evaluation") with G10H 2220/135 ("games"), also related to G10H 1/366 voice modification | |
Music games | |
Metronomes | |
Electrical digital data processing | |
Digital computing or data processing equipment or methods, specially adapted for information retrieval of audio data | |
Security arrangements for protecting computers or computer systems against unauthorised activity | |
Teaching music per se | |
Acoustic, i.e. non-electronic, musical instruments | |
Keyboard improvements also suitable for acoustic pianos, e.g. counterweights; mechanical details of electronic piano keyboards also mechanically driving hammers | |
Stringed musical instruments; wind-actuated musical instruments; accordions or concertinas; percussion musical instruments; musical instruments not otherwise provided for e.g. mechanical details or accessories of electronic musical instruments, corresponding to a suitable acoustic instrument type, e.g. whammy bar for electric guitars, bodies of electric guitars, | |
Aids for music; Supports for musical instruments; Other auxiliary devices or accessories for music or musical instruments | |
Sound producing devices | |
Speech analysis or synthesis; speech recognition; speech or voice processing; speech or audio coding or decoding | |
Speech or audio signal analysis-synthesis techniques for redundancy reduction in general, e.g. in vocoders ; Coding or decoding of speech or audio signals in general, using source filter models or psychoacoustic analysis | |
Information storage based on relative movement between record carrier and transducer | |
Signal processing not specific to the method of recording or reproducing; Circuits therefore | |
Music playlists, music indexing | |
Basic electronic circuitry | |
Amplifiers | |
Gain control in amplifiers or frequency changers | |
Tone controls or bandwidth control in amplifiers | |
Arrangements for broadcast applications with a direct linking to broadcast information or broadcast space-time; Broadcast-related systems, e.g. sound mixing | |
Details of transducers, loudspeaker or microphones | |
Stereophonic systems, e.g. 3D sound field processing |
Classification of invention information and additional information is obligatory,
Classifying additional information is obligatory even if the main invention does not belong to this subclass.
Indexing Code symbols of the type G10H 2210/00 - G10H 2210/626 - G10H 2250/00 - G10H 2250/645 represent information mostly orthogonal to ECLA groups and should be systematically used to classify information relevant to the main described concepts and ideas, although it need not be invention information. The number of Indexing Code symbols assigned to a document is not limited.
It is considered acceptable to allocate three or four ECLA classes to a particular document if needed.
In this place, the following terms or expressions are used with the meaning indicated:
Musical instrument | "tool", "device" , "process" or "protocol" for performing some musical task involving electrophonic signals, e.g. musical parameters |
Music | A n art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.Music (including singing, the vocalized form of music) is distinguished from speech by its particular and deliberate emphasis on the above common elements, especially rhythm and melody.By contrast, speech is distinguished from music by its particular and deliberate emphasis on conveying meaning: Speech is the vocalized form of human communication |
Musical | Generally employed in a restrictive limiting sense with respect to speech, general audio and sound, i.e. implying an intentional and artistic main focus at least by the performer on at least one of harmony, melody, rhythm, timbre, or expressivity. Even though one person's music may be noise to another, music is a performing art, and musical character is defined by the mere artistic intent of the performer |
Musical content | Set of musical parameters. |
Musical parameters | Constituent element of "musical content" as defined above. Musical parameters include e.g. pitch, rhythm, timbre, texture, expressivity or dynamics. |
MIDI | MIDI stands for Musical Instrument Digital Interface and refers to a note oriented music file and transmission format. Many variations and improvements of this note oriented format exist. The use of the acronym MIDI should be broadly interpreted as also referring to any note oriented format for transmission or recording. |
Performance | has three meanings in this field : -in a first meaning, it is an event in which a performer or group of (typically human) performers behave in a particular way (e.g. in their manner of singing or performing music) for another group of people. -in a second meaning it refers to a metric quantifying how well an entity (human, device, or process) deals with a specific aspect of a specific (not necessarily musical, e.g. mflops for a DSP processor in a synthesiser) task- in a third, narrower meaning, it is meant as the strict intersection of the above two meanings, i.e. quantifying the closeness of a performer's performance to a predetermined musical or singing reference i |
Karaoke | (translation from the Japanese: "empty orchestra"; synonyms: KTV, Noraebang) Karaoke refers to singing into a microphone by amateur performers along e.g. recorded music or a music video, often with a lyrics display or with performance evaluation |
Instrument karaoke | Playing a predetermined melody on a musical instrument or a musical instrument interface, often with score following along with recorded or synthesised accompaniment, often with means for evaluating or scoring the quality of the performance |
Rhythm | Regular recurrence or pattern in time, associated concepts: meter, tempo, articulation and beat: |
Expressivity | Musical properties which cannot be properly described by notions of harmony, rhythm, pitch, timbre or texture, and which are linked to a particular manner of execution of a musical piece, e.g. indications of mood, e.g. "dolce", or to corresponding note execution parameters such as vibrato or legato, some of which can be coded in communications protocols such as MIDI e.g. expressivity controller. |
Polyphony | Ability of a synthesiser to simultaneously generate a limited number of unrelated melodic lines, Polyphony is conventionally quantified as the number of available "voices": a sound-generating device with six voices may be described as being, for example, six-voice polyphonicEach melodic line or simultaneous note requires one resource entity (for example a block of electronic hardware or a time-slot in a Digital Signal Processor program) capable of generating a single tone, and this is what is known as one "voice" |
Voice | Has several important meanings in this field :- Resource entity (hardware, time slot) needed to generate a single tone or a single melodic line, in the context of polyphony. The term is generic, and is not meant to imply that the line should necessarily be vocal in character, instead referring to instrumentation or simply to register.This field-specific meaning of "voice" is relevant for G10H 1/18 selecting circuits; it is further defined in the definition of "polyphony" and in that of "part" - Sounds generated by vocal chords (e.g. human vocal folds) or synthetic versions thereof, e.g.: - as the medium of speech to communicate meaning; - for artistic musical purposes, e.g. with greater emphasis on melody or rhythm, as in singing, chorus, descant; or - for instrument control purposes (e.g. G10H 5/005 voice controlled instruments) |
Speech | Definite vocal sounds that form words to express thoughts and ideas |
Part | In addition to the usual meaning, a piece of a whole, a part has three more preci se meanings in a musical sense:- A part is a strand or melody of music played by an individual instrument or voice (or group of identical instruments or voices) within a larger work. In the context of polyphonic composition the term voice may be used instead of part to denote a single melodic line or textural layer. This field-specific meaning is very commonly used in connection with MIDI - A part also refers to the separate printed or manuscript copies of the music for each individual instrument in an ensemble or orchestra, as distinct from the score, which holds the music for all the instruments.- A part in great Highland Bagpipe music is a musical strain or sentence. Usually each part consists of four phrases, either one or two bars long. Several sentences combine to produce a paragraph or complete work or tune. |
Audio signal | An audio signal is a representation of sound, usually electrical, in analog, digital or coded form, without restriction as to the category of sound being represented, e.g. speech, music, noise, The category of sound being represented, e.g. speech, music or noise, is primarily defined with respect to the features of the audio signal and with respect to the main intent of the source or performer. This category, as defined in this glossary, is very relevant for proper classification |
This place covers:
Details of electrophonic musical instruments, electrophonic musical tools, electrophonic musical data or electrophonic musical processing.
Attention is drawn to the following places, which may be of interest for search:
Instruments in which the tones are generated by electromechanical means | |
Instruments in which the tones are generated by means of electronic generators | |
Voice controlled electrophonic musical instruments | |
Real-time simulation of G10B, G10C, G10D-type instruments using recursive or non-linear techniques, e.g. waveguide networks, recursive algorithms | |
Electrophonic musical instrument processor architecture | |
Sample based waveform production processes from data store samples in electrophonic musical instruments | |
Functions based waveform production processes with parameters stored in data store in electrophonic musical instruments | |
Details or accessories of organs, harmoniums or similar wind instruments | |
Details or accessories of pianos, harpsichords, spinets or similar stringed musical instruments with one or more keyboards | |
Arrangements for producing a reverberation or echo sound |
Documents dealing with details of musical instruments and which do not contain features corresponding to a subgroup of G10H 1/00 shall be classified in G10H 1/00 and appropriate Indexing Code G10H 2210/00 - G10H 2250/645.
In patent documents, the following abbreviations are often used:
ADSR | Attack Decay Sustain Release, an approach to note synthesis and note envelope control |
IR | Impulse response or Infrared, depending on context |
FIR | Finite impulse response |
IIR | Infinite impulse response |
Spint | Special Instrument, instrument with unusual features |
PCM | pulse code modulation |
WAV | Waveform audio file format |
ADPCM | Adaptive Differential Pulse Code Modulation |
CELP | Code excited linear prediction, used for audio coding |
MP3, AC3, ATRAC | various audio compression formats |
RFID | radio frequency identification |
LFO | low frequency oscillator |
VCF | Voltage controlled filter (see G10H 5/002) |
CRC | Cyclical redundancy check |
LZT | lead zirconate (piezoelectric sensors) |
PDA | personal digital assistant, tablet computer |
GSM | time division multiplexed mobile telephony standard |
3D | three dimensional |
DFT | discrete fourier transform |
DCT | discrete cosine transform |
FFT | fast fourier transform |
IFFT | inverse fast fourier transform |
Mplay | multiplayer |
Velocity | volume of a note |
This place covers:
Producing, processing or displaying musical information, status information or musical parameters, e.g. for information of the user or as control parameters, e.g. for controlling electrophonic musical instruments, indexing or retrieving musical data from musical databases.
Musical analysis of audio or music signals; extraction of musical parameters.
User interfaces for musicians, such as specialised displays.
Control of electrophonic musical instruments: This group is appropriate for classifying control details which are not otherwise provided for in all other groups in G10H 1/00.
Music databases relying on musical parameters which are the result of musical analysis, relate to composing or synthesis, e.g. wavetables or sound banks, include note oriented data, or are otherwise specifically meant for use by a device classified in electrophonic musical instruments.
Audio data information retrieval, indexing or data structures relating to audio waveform synthesis should be classified in G10H 7/02 - G10H 7/12, e.g. audio sample libraries such as synthesiser wavetables, G10H 7/02.
General purpose audio data information retrieval using content features or bibliographical data associated with the audio data, e.g. libraries of PCM or MP3 audio files not indexed with musical parameters, and not used for composition or synthesis: G06F 16/60.
Attention is drawn to the following places, which may be of interest for search:
Musical transmission parameters, protocols, transmission or storage formats or encoding for transmission or storage | |
Information retrieval of audio data | |
Teaching of music per se | |
Means for the representation of music | |
Chord or note indicators, fixed or adjustable, for keyboard of fingerboards |
Audio data information retrieval, indexing or data structures should be classified in G10H 1/0008 (if the invention is the index, index extraction or data structure) or G10H 1/0041 (if the nature of the stored musical data or associated metadata is important, e.g. different piano note samples at different playing loudnesses for a piano synthesiser) whenever they rely on musical parameters such as pitch, dynamics, harmony , timbre, texture, melody, rhythm or expressivity.
Audio data information retrieval, indexing or data structures relating to composing, e.g. musical collage, medley, should be classified in G10H 1/0025, along with musical rule bases, and databases of music fragments suitable for composing, organised according to a certain composing logic.
Libraries relating only to specific electrophonic musical instruments such as synthesisers, libraries generated or organized or managed by a music sampler, or libraries specifically organised or indexed to facilitate musical composing G10H 2210/101 ("composing"), G10H 2240/121 ("library").
Attention is drawn to the following places, which may be of interest for search:
Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems | |
Recording or reproducing of audio signals using Pulse Code Modulation [PCM] |
This place covers:
Musical content recording, reproducing or storage or corresponding data formats or data structures, in coded form e.g. PCM, MP3, ADPCM; also corresponding metadata contents in cases the metadata includes musical parameters (transmission of musical contents G10H 1/0058, wireless transmission G10H 1/0083).
Musical data structures used for recording, e.g. in musical libraries such as wavetables or song fragments indexed with musical parameters such as tempo, chord, genre, for remix composing applications.
Attention is drawn to the following places, which may be of interest for search:
Instruments in which the tones are digitally synthesised from a data store using a common processing for different operations or calculations and a programme to control the sequence thereof |
The indication of additional groups in G10H 2240/121 for further definition of the musical library or G10H 2240/075 metadata should be given if appropriate. Also an indication of intended processes in G10H 2210/00 or G10H 2250/00, if applicable, should be given.
This place covers:
Modes of transmission or transmission protocols, e.g. MIDI to or from an electrophonic musical instrument.
Any transmission, also when it is not music per se, even if it only represents control data or transmission of network information for electrophonic musical instruments: e.g. latency data transmission for music jamming over the internet (see also G10H 2240/175 ("transmission jams")), G10H 2240/281 transmission protocols specially used for musical instruments.
This place does not cover:
Transmission between separate instruments or between individual components of a musical system using wireless transmission, e.g. radio, light, infrared |
Whenever a wireless aspect is important for an electrophonic musical instrument, then it should be coded here (ignore the hierarchy), regardless of whether music or other control data is transmitted.
This place covers:
Musical effects not otherwise provided for, e.g. DJ scratch effects.
This place does not cover:
Means for controlling the tone frequencies, e.g. attack, decay; Means for producing special musical effects, e.g. vibrato, glissando | |
Means for controlling the tone frequencies by additional continuous modulation | |
Circuits for establishing the harmonic content of tones, by combining tones, for obtaining chorus, celeste or ensemble effects | |
Means for processing the signal picked up from the strings, for distorting the signal, e.g. to simulate tube amplifiers | |
Aspects of games using an electronically generated display having two or more dimensions, e.g. 3D sound effects in virtual videogame spaces | |
Arrangements for producing a reverberation or echo sound |
Attention is drawn to the following places, which may be of interest for search:
Accompaniment arrangements: Chord | |
Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel: reproducing continuously a part of the information, i.e. repeating | |
Stereophonic Systems, e.g. Electronic adaptation of multi-channel audio signals to reverberation of the listening space |
Classification G10H 1/0091 should also be assigned whenever details of turntable-like DJ interfaces covered by G11B 27/005 go beyond mere mechanical details of the turntable and include details about the generation of audio control signals, e.g. MIDI, or real-time audio signal processing details specifically for providing the DJ scratch effect.
Indexing Codes of the Indexing Code main group G10H 2210/155 ("effect") shall be assigned to define effect types.
This place covers:
The time dependent control of:
- Amplitude modulation of musical signal in general, e.g. envelope, dynamics, ADSR,
- Pitch modulation of a musical signal in general, e.g. glissando, vibrato.
The control of tone colour modulation of musical signal (e.g. spectral contents, timbre variation, filtering).
Attention is drawn to the following places, which may be of interest for search:
Instruments using voltage controlled oscillators and amplifiers or voltage controlled oscillators and filters |
In this place, the following terms or expressions are used with the meaning indicated:
ADSR | denotes a form of envelope used for synthesizing a tone which is split into four time segments: Attack, Decay, Sustain, Release. An ADSR envelope is defined by an attack time, decay time, sustain level and release time |
Attack time | is the time taken for initial run-up of level from nil to peak, beginning when the key is first pressed |
Decay time | is the time taken for the subsequent run down from the attack level to the designated sustain level |
Sustain level | is the level during the main sequence of the sound's duration, until the key is released |
Release time | is the time taken for the level to decay from the sustain level to zero after the key is released |
This place covers:
Continuous modulation by acousto-mechanical means.
Electronic or computer simulations of the effect of such acousto-mechanical means, e.g. Leslie effect.
This place covers:
Electric or mechanical switches or analogue control elements with variable impedance for controlling electrophonic musical instruments or computer music interfaces.
Analogue variable impedance elements, e.g. strain gauge, potentiometer, variable inductor, as used in electrophonic musical instruments, regardless of its control effects.
Indexing Codes G10H 2220/275 (input key switch) and G10H 2220/561 (transducer resistor) represent additional aspects which should be considered for finer classification.
This place does not cover:
Attention is drawn to the following places, which may be of interest for search:
Speech analysis or synthesis |
Attention is drawn to the following places, which may be of interest for search:
Digital filters per se |
This place does not cover:
Voice controlled instruments |
Attention is drawn to the following places, which may be of interest for search:
Modulation during execution |
This place does not cover:
Circuits for establising the harmonic content of tones during execution |
Attention is drawn to the following places, which may be of interest for search:
Generation of non-sinusoidal basic tones |
If the nonlinear element e.g. semiconductor such as JFET or diode, is used for voluntary distortion of existing audio waveforms for musical purposes, then G10H 3/187 should be assigned as well, irrespective of whether it is used with a string instrument or not.
This place covers:
Selecting which notes or voices to suppress from polyphonic music, e.g. to alleviate the effects of insufficient hardware capabilities or to save processing power.
Also covers deliberately simplifying polyphony or melody, suppressing notes for correcting errors in music signal transmission (e.g. frozen notes due to a missing note-off command).
When applicable, also classify in Indexing Code group G10H 2230/041 if processor load is important, for mobile telephones see Indexing Code group G10H 2230/021 for mobile ringtones.
This place covers:
Details specifically dealing with relevant aspects of selection of different tone colours or instrument voices, e.g. piano, violin, trumpet.
This place covers:
Automatically producing a predetermined and unchangeable sequence of musical tones upon initial triggering, specifically dealing with musical parameters.
Circuits for musical cards or the like, algorithmically producing a pre-programmed, unchangeable melody, e.g. from a coded sequence of tones in a ROM.
Attention is drawn to the following places, which may be of interest for search:
Musical or noise- producing devices for additional toy effects other than acoustical |
This place covers:
Mechanical details of electrophonic musical instruments, where such mechanical details are not otherwise provided for.
This includes for example:
- Details of the body, frame, casing, electronic keyboard cover lid,
- Ergonomic details such as shape of its body, position of its connectors,
- Portability aspects, shoulder straps,
- Power supply arrangements,
- Unusual details of the appearance of the electrophonic instrument.
Indexing Codes under G10H 2230/00 provide additional subdivisions for indexing features of constructional details.
Indexing Code symbol under G10H 2230/045 relating to "spint" (special instrument) shall be used for classifying electrophonic instruments according to their similarity to, or improvement to, a specific conventional acoustic instrument type, shape, usage, characteristic feature, sound signature or overall character in combination with G10H 1/32 if mechanical constructional details are involved and if a suitable special instrument category is listed as Indexing Code.
This place covers:
Constructional details at keyboard level or key level, mechanisms linked to individual keys or keyboards.
Key-like user input controls for electrophonic musical instruments, e.g. pedals, touchscreen active zones, not only including mechanical switches with contacts, but also switches in a generalised sense, e.g. light barriers, even with continuously varying output.
Attention is drawn to the following places, which may be of interest for search:
Controlling tone frequencies by continuous modulation by switches with variable impedance elements | |
Keyboards applicable to acoustic instruments |
G10H 1/34 should be used when the arrangement of multiple keys with respect to one another is ergonomically or musically important (whole keyboard features).
G10H 1/344, G10H 1/346 or G10H 1/348 should be restricted to constructional details at key level, e.g. mechanisms linked to individual keys, whole keyboard arrangements should be classified in G10H 1/34 or G10H 1/342.
Indexing Codes provide additional subdivision: see G10H 2220/265 ("input key"), G10H 2220/221 ("input keyboard"); for continuous keyboards see G10H 2210/401 ("scale microtonal").
Processing information on key actuation: see key multiplexing G10H 1/182.
This place covers:
Accompaniment systems, e.g. karaoke.
G10H 1/361 also includes instrument karaoke, in which the performer does not sing to recorded music but is expected to play a specific melody on an instrument in synchrony with recorded music.
Attention is drawn to the following places, which may be of interest for search:
Teaching of music per se |
Whenever accompaniment systems unrelated to karaoke are allocated in G10H 1/361 or subgroups thereof, Indexing Code G10H 2210/005 ("accompaniment") should be assigned if applicable.
karaoke systems per se should be classified in G10H 1/361 and subgroups, but not in G10H 1/36.
The JPO classifies karaoke in FI and IPC G10K 15/04, with a detailed cross-indexing in FT 5D108. Search in those fields is necessary for any complete search involving karaoke.
Attention is drawn to the following places, which may be of interest for search:
Recording or reproducing by optical means |
This place covers:
Features specific to synchronisation of musical parameters to moving images, musical accompaniment of slide shows, background music dependence on videogame environment or videogame character actions.
Features specific to karaoke synchronized with animated pictures (karaoke lyrics G10H 1/0008, G10H 2220/011 display lyrics).
Musical games where user actions on musical parameters are expected to be synchronized to music and video, e.g. rhythmic hopscotch type games such as Dance Revolution.
Generation of artistic images related to music parameters (informative musical displays G10H 1/0008).
This place covers:
Analysis of rhythmic information such as tempo, timing, e.g. of onsets, beat.
Processing of rhythmic information for processing music, such as selecting music from a database, music composition.
Generation of rhythmic information for use in electrophonic musical instruments: e.g. timing control, timing processing, timing classification, timing synchronisation, timing encoding of musical data, synthesis of rhythmic information.
Display of rhythmic information in music such as tempo, timing, beat, onsets.
Attention is drawn to the following places, which may be of interest for search:
Synchronisation of music with video | |
Training appliances or apparatus for special sports: for running, jogging or speed-walking | |
Metronomes | |
Modification of at least one characteristic of speech waves: time compression or expansion |
Beat or rhythm synchronisation of two successive pieces, e.g. in remix, also consider G10H 7/008 in addition to G10H 1/40.
For rhythms selected according to exercising or body rhythms, also consider A63B 69/00 in addition to G10H 1/40.
For databases with tempo or rhythm indexing, please consider a dual classification in G06F 16/60 and G10H 1/0041 in addition to G10H 1/40.
This place covers:
Volume control specifically provided in electrophonic musical instruments: e.g. MIDI volume control, MIDI velocity controller, volume control for electric guitars, for musical keyboards.
This place covers:
Instruments in which a mechanically moving part is caused to move at the frequency of the generated note, and in which this movement is sensed by a movement sensor other than a microphone.
Details of movement transducers therefor, e.g. magnetic guitar pick-up;
Instrument-specific adaptations for contact microphones.
Audio signal processing specially adapted for further musical processing of signals from said transducers or for musical parameter extraction.
Percussion synthesis or drumpad triggers, even if the mechanically moving part is non-resonant, i.e. does not have a frequency of oscillation, see in particular G10H 3/146.
Attention is drawn to the following places, which may be of interest for search:
Loudspeaker enclosure specifically adapted to a musical instrument and interacting with musically, structurally or ergonomically relevant parts of the musical instrument | |
Acoustic musical instruments equipped with microphones or microphone, e.g. microphone positioning on specific acoustic instruments; musical instruments | |
Microphones or loudspeakers | |
Loudspeaker enclosures | |
Special adaptations for use as contact microphones, e.g. on musical instrument, on stethoscope |
This place covers:
Any pitch analysis for musical parameter extraction of an audio signal not specifically using a mechanical resonant generator.
This includes: note extraction, score transcription, performance evaluation e.g. of karaoke singing, pitch processing for query by humming.
Attention is drawn to the following places, which may be of interest for search:
Pitch determination of speech signals in general |
Special rules of classification within this group
Relevant Indexing Codes under G10H 2210/031 ("analysis") must be assigned.
Additional classification under G10H 1/40, e.g. associated beat or note onset timing analysis or G10H 1/0008, e.g. other types of musical analysis is frequent.
Database retrieval based on pitch queries, classified both in G10H (e.g. G10H 3/12, G10H 1/0008, G10H 1/0041 if the emphasis is on the pitch analysis algorithm, the type of indexing, or the data structure or metadata organisation of the musical parameters derived from pitch analysis) and G06F 16/60.
Attention is drawn to the following places, which may be of interest for search:
Piezoelectric or magnetostrictive loudspeakers for mechanical vibrations | |
Piezoelectric or magnetostrictive transducers or microphones |
This place covers:
Electronic drums (see also Indexing Code G10H 2230/275 ("spint drums"));
Vibration sensors sensing the vibrations of instrument bodies, also of guitars or other stringed instruments.
Attention is drawn to the following places, which may be of interest for search:
Guitars used as percussion instruments |
This group is also appropriate for classifying anything related to percussion synthesis, even if not using a membrane or a vibrating surface, e.g. optically triggered drum sounds drum triggers, non-resonant drumpads, sensors therefor.
It is essential in this group to assign enough classification symbols to be able to quickly retrieve the specific type of percussion, e.g. a hihat pedal typically would be coded here, in G10H 1/348, and in the Indexing Code G10H 2250/435 ("Gensound percussion") and especially in the relevant subdivisions of Indexing Code G10H 2230/251 ("Spint percussion"), e.g. G10H 2230/331 ("Spint cymbal hihat").
This place covers:
Generation of musical tones by analogue electronic circuits.
Voice controlled instruments, even if the voice processing is performed by computer, and even if the output tone is synthesised from a data store.
Physical modelling of acoustic instruments, e.g. implemented by appropriate software.
Simulation of analogue circuits using digital means.
This place does not cover:
Instruments in which the tones are synthesised from a data store, e.g. computer organs |
This place covers:
Electrophonic musical instruments in which the output sound is controlled by processing the human voice or glottal signals of the performer in order to control parameters of the output audio signals, e.g. a trumpet sound, controlled by voice.
This is the correct classification for voice-controlled instruments even if the musical voice processing is performed by computer, and even if the output tone is synthesised from a data store under the control of the processed voice signals.
This place does not cover:
Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems: with means for modifying or correcting the external signal, e.g. pitch correction, reverberation, changing a singer's voice |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis of a singing voice signal, including other aspects than pitch | G10H 1/0008, G10H 2210/031 analysis |
Mere pitch determination of a musical or singing signal | |
Pitch determination of speech signal in general |
This place covers:
Physical modelling of acoustic instruments implemented by digital or analogue means (e.g. using computer based simulation).
This place covers:
Computer architecture, computing hardware or waveform computation schemes specific to digital music synthesis.
Attention is drawn to the following places, which may be of interest for search:
Synthesis of acoustic waves not specific to musical instruments | |
Speech synthesis | |
Speech or audio signal analysis-synthesis for redundancy reduction |
The G10H 7/00 main group is to be used to classify specific details of:
- Music synthesiser architecture;
- Musical signal processor architecture for musical analysis or musical processing (see narrow definition of "musical") in the glossary;
- For all sub-groups of G10H 7/00, Indexing Codes under G10H 2230/00 ("hardware, shape or architecture aspects") and G10H 2240/00 ("data or communications aspects") provide an orthogonal scheme for indexing features of sub-groups of G10H 7/00;
- As the G10H 7/00 groups are very imprecise regarding actual function, if there are relevant classes in G10H 1/00, G10H 3/00 or G10H 5/007 or G10H 5/005, or corresponding Indexing Codes, they should be systematically assigned in addition to the G10H 7/00 symbols.
This place covers:
Transition processing or controlling from one tone or music waveform to another, or from one music segment or music piece to another; means therefor.
Attention is drawn to the following places, which may be of interest for search:
Glissando or legato per se |
Documents classified here should be given Indexing Codes under G10H 2210/101 ("composing"; e.g. G10H 2210/125 ("composing medley")), G10H 2250/00 (e.g. G10H 2250/035 ("crossfade")) or G10H 2250/541 ("waveform").
Attention is drawn to the following places, which may be of interest for search:
Recording or reproducing of audio signals using Pulse Code Modulation [PCM] |
Documents classified here should be given Indexing Codes under G10H 2250/541 ("waveform").
Attention is drawn to the following places, which may be of interest for search:
Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing |
Attention is drawn to the following places, which may be of interest for search:
Background music, e.g. for video sequences or elevator music |
Attention is drawn to the following places, which may be of interest for search:
Musical accompaniment, i.e. complete instrumental rhythm synthesis added to a performed melody, e.g. as output by drum machines |
Attention is drawn to the following places, which may be of interest for search:
Neural networks for electrophonic musical instruments or musical processing, e.g. for musical recognition or control, automatic composition or improvisation |
Attention is drawn to the following places, which may be of interest for search:
Rhythm pattern selection, synthesis or composition |
Attention is drawn to the following places, which may be of interest for search:
Tempo or beat alterations; Music timing control | |
Beat indicator, e.g. marks or flashing LEDs to indicate tempo or beat positions |
Attention is drawn to the following places, which may be of interest for search:
Random process used to build a rhythm pattern | |
Random process affecting a selection among a set of pre-established patterns |
Attention is drawn to the following places, which may be of interest for search:
Vibrato, i.e. rapid, repetitive and smooth variation of amplitude, pitch or timbre within a note or chord |
Attention is drawn to the following places, which may be of interest for search:
Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset | |
Amplitude vibrato, i.e. repetitive smooth loudness variation without pitch change or rapid repetition of the same note, bisbigliando, amplitude tremolo or tremulants |
Attention is drawn to the following places, which may be of interest for search:
Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset |
Attention is drawn to the following places, which may be of interest for search:
Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset | |
Tremolo, tremulando, trill or mordent effects, i.e. repeatedly alternating stepwise in pitch between two note pitches or chords, without any portamento between the two notes |
Attention is drawn to the following places, which may be of interest for search:
Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset |
Attention is drawn to the following places, which may be of interest for search:
Tremolo, tremulando, trill or mordent effects, i.e. repeatedly alternating stepwise in pitch between two note pitches or chords, without any portamento between the two notes | |
Keyboards, i.e. configuration of several keys or key-like input devices relative to one another |
Attention is drawn to the following places, which may be of interest for search:
Arpeggio, i.e. notes played or sung in rapid sequence, one after the other, rather than ringing out simultaneously, e.g. as a chord; Generators therefor, i.e. arpeggiators; Discrete glissando effects on instruments not permitting continuous glissando, e.g. xylophone or piano, with stepwise pitch variation and on which distinct onsets due to successive note triggerings can be heard |
Attention is drawn to the following places, which may be of interest for search:
Glissando, i.e. pitch smoothly sliding from one note to another, e.g. gliss, glide, slide, bend smear or sweep |
Attention is drawn to the following places, which may be of interest for search:
Formant synthesis, i.e. simulating the human speech production mechanism by exciting formant resonators, e.g. mimicking vocal tract filtering as in LPC synthesis vocoders, wherein musical instruments may be used as excitation signal to the time-varying filter estimated from a singer's speech | |
Room models, i.e. acoustic physical modelling of a room, e.g. concert hall |
Attention is drawn to the following places, which may be of interest for search:
Helmholtz resonance effect, i.e. using, exciting or emulating air resonance in a cavity | |
Acoustic effect simulation, reverberation or echo |
Attention is drawn to the following places, which may be of interest for search:
Parabolic or second order polynomials, occurring, e.g. in vacuum tube distortion modelling or for modelling the gate voltage to drain current relationship of a JFET | |
Third order polynomials, occurring, e.g. in vacuum tube distortion modelling |
Attention is drawn to the following places, which may be of interest for search:
Envelope processing of music signals in, e.g. time domain, transform domain or cepstrum domain |
Attention is drawn to the following places, which may be of interest for search:
Pitch analysis as part of wider processing for musical purposes, e.g. transcription, musical performance evaluation; Pitch recognition, e.g. in polyphonic sounds; Estimation or use of missing fundamental | |
Musical effects |
Attention is drawn to the following places, which may be of interest for search:
Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords |
Attention is drawn to the following places, which may be of interest for search:
Musical accompaniment, i.e. complete instrumental rhythm synthesis added to a performed melody, e.g. as output by drum machines | |
Musical rhythm pattern analysis or rhythm style recognition |
Attention is drawn to the following places, which may be of interest for search:
Musical accompaniment, i.e. complete instrumental rhythm synthesis added to a performed melody, e.g. as output by drum machines |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for extraction of timing, tempo; Beat detection | |
Humanizing effects, i.e. causing a performance to sound less machine-like, e.g. by slightly randomising pitch or tempo | |
Scratch effects, i.e. emulating playback velocity or pitch manipulation effects normally obtained by a disc-jockey manually rotating a LP record forward and backward | |
Beat indicator, e.g. marks or flashing LEDs to indicate tempo or beat positions |
Attention is drawn to the following places, which may be of interest for search:
Conductor baton movement detection used to adjust rhythm, tempo or expressivity of, e.g. the playback of musical pieces |
Attention is drawn to the following places, which may be of interest for search:
Scratch effects, i.e. emulating playback velocity or pitch manipulation effects normally obtained by a disc-jockey manually rotating a LP record forward and backward |
Attention is drawn to the following places, which may be of interest for search:
Keyboards, i.e. configuration of several keys or key-like input devices relative to one another |
Attention is drawn to the following places, which may be of interest for search:
Arabic scales, i.e. either double harmonic scale or major locrian scale; Vosta or zaid modes |
Attention is drawn to the following places, which may be of interest for search:
Keyboards ergonomically organised for playing chords or for transposing, e.g. Janko keyboard |
Attention is drawn to the following places, which may be of interest for search:
Keyboards ergonomically organised for playing chords or for transposing, e.g. Janko keyboard |
Attention is drawn to the following places, which may be of interest for search:
Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords |
Attention is drawn to the following places, which may be of interest for search:
Holder scale or Holdrian comma, i.e. 53 equal intervals per octave, with 31 intervals equal to an almost just perfect fifth; Keyboards therefor, e.g. "generalized keyboard" of Robert Holford Macdowall Bosanquet |
Attention is drawn to the following places, which may be of interest for search:
Equally tempered scale, i.e. note tuning scale in which every pair of adjacent notes has an identical frequency ratio equal to 2 to the power 1/n if the scale has n notes per octave | |
Quarter tone scale, i.e. 24 equal intervals per octave, e.g. for Arabic music |
Attention is drawn to the following places, which may be of interest for search:
Pentatonal or pentatonic scale, i.e. five pitches or notes per octave, e.g. basic Chinese musical scale, black piano keys, Javanese gamelan slendro scale or Japanese shakuhachi flute |
Attention is drawn to the following places, which may be of interest for search:
Hexatonal or hexatonic scales, i.e. six pitches or notes per octave, e.g. whole tone scale, augmented scale, Prometheus scale or blues scale |
Attention is drawn to the following places, which may be of interest for search:
Balinese pentatonic scales, e.g. Balinese slendro scale, or five-tone modes of the heptatonic pelog scale, itself substantially a 7-note subset of 9-tone equal temperament |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for automatic key or tonality recognition, e.g. using musical rules or a knowledge base |
Attention is drawn to the following places, which may be of interest for search:
Keyboards ergonomically organised for playing chords or for transposing, e.g. Janko keyboard | |
Spint accordion, i.e. mimicking accordions; Electrophonic instruments with one or more typical accordion features, e.g. special accordion keyboards or bellows, electrophonic aspects of mechanical accordions, MIDI-like control therefor |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal | |
Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony | |
Natural or just intonation scales, i.e. based on harmonics consonance such that most adjacent pitches are related by harmonically pure ratios of small integers |
Attention is drawn to the following places, which may be of interest for search:
Remote key fingering indicator, i.e. fingering shown on a display separate from the instrument itself or substantially disjoint from the keys | |
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for transcription of raw audio or music data to a displayed or printed staff representation or to displayable MIDI-like note-oriented data, e.g. in piano roll format | |
Graphical user interface [GUI] for graphical editing of a musical score, staff or tablature |
Attention is drawn to the following places, which may be of interest for search:
Non-interactive screen display of musical or status data | |
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith | |
Key design details; Special characteristics of individual keys of a keyboard, with controlled tactile or haptic feedback effect; Output interfaces therefor |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for extraction of timing, tempo; Beat detection | |
Rhythm pattern selection, synthesis or composition | |
Tempo or beat alterations; Music timing control |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for extraction of timing, tempo; Beat detection | |
Tempo or beat alterations; Music timing control |
Attention is drawn to the following places, which may be of interest for search:
Input arrangements for interaction between user and computer with interaction techniques based on graphical user interface [GUI] |
Attention is drawn to the following places, which may be of interest for search:
Keyboards on touchscreens, i.e. keys, frets, strings, tablature or staff displayed on a touchscreen display for note input purposes | |
Personal digital assistant [PDA] or palmtop computing devices used for musical purposes, e.g. portable music players, tablet computers, e-readers or smart phones in which mobile telephony functions need not be used |
Attention is drawn to the following places, which may be of interest for search:
Source positioning in a soundscape, e.g. instrument positioning on a virtual soundstage, stereo panning or related delay or reverberation changes; Changing the stereo width of a musical source |
Attention is drawn to the following places, which may be of interest for search:
Waveform editing, i.e. setting or modifying parameters for waveform synthesis |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for transcription of raw audio or music data to a displayed or printed staff representation or to displayable MIDI-like note-oriented data, e.g. in piano roll format | |
Musical staff, tablature or score displays, e.g. for score reading during a performance |
Attention is drawn to the following places, which may be of interest for search:
Background music for games, e.g. videogames | |
Musical analysis for performance evaluation, i.e. judging, grading or scoring the musical qualities or faithfulness of a performance, e.g. with respect to pitch, tempo or other timings of a reference performance |
Attention is drawn to the following places, which may be of interest for search:
Teaching music |
Attention is drawn to the following places, which may be of interest for search:
Graphical user interface [GUI] specially adapted for electrophonic musical instruments | |
Input/output arrangements for transferring data in general |
Attention is drawn to the following places, which may be of interest for search:
Microtonal scale, i.e. continuous scale of pitches, also interval-free input devices, e.g. continuous keyboards for violin, singing voice or trombone synthesis | |
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus |
Attention is drawn to the following places, which may be of interest for search:
Plectrum or pick sensing, e.g. for detection of string striking or plucking | |
Fret-like switch array arrangements for guitar necks | |
Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal |
Attention is drawn to the following places, which may be of interest for search:
Piezoelectric transducers for vibration sensing or vibration excitation in the audio range; Piezoelectric strain sensing, e.g. as key velocity sensor; Piezoelectric actuators, e.g. key actuation in response to a control voltage |
Attention is drawn to the following places, which may be of interest for search:
Conductor baton movement detection used to adjust rhythm, tempo or expressivity of, e.g. the playback of musical pieces |
Attention is drawn to the following places, which may be of interest for search:
Plectra or similar accessories for playing; Plectrum holders |
Attention is drawn to the following places, which may be of interest for search:
Loudspeakers, microphones, gramophone pick-ups per se |
Attention is drawn to the following places, which may be of interest for search:
Special musical scales, i.e. other than the 12-interval equally tempered scale; Special input devices therefor | |
Key design details; Special characteristics of individual keys of a keyboard; Key-like musical input devices, e.g. finger sensors, pedals, potentiometers or selectors | |
Switch matrix, e.g. contact array common to several keys, the actuated keys being identified by the rows and columns in contact |
Attention is drawn to the following places, which may be of interest for search:
Keyboards on touchscreens, i.e. keys, frets, strings, tablature or staff displayed on a touchscreen display for note input purposes |
Attention is drawn to the following places, which may be of interest for search:
Spint accordion, i.e. mimicking accordions; Electrophonic instruments with one or more typical accordion features, e.g. special accordion keyboards or bellows, electrophonic aspects of mechanical accordions, MIDI-like control therefor |
Attention is drawn to the following places, which may be of interest for search:
Special musical scales, i.e. other than the 12-interval equally tempered scale; Special input devices therefor | |
Keyboards, i.e. configuration of several keys or key-like input devices relative to one another |
Attention is drawn to the following places, which may be of interest for search:
Keyboards, i.e. configuration of several keys or key-like input devices relative to one another |
Attention is drawn to the following places, which may be of interest for search:
Beam sensing or control, light beams |
Attention is drawn to the following places, which may be of interest for search:
Input arrangements for video game devices | |
Manually-actuated control mechanisms provided with one single controlling member being movable by hand about orthogonal axes, e.g. joysticks | |
Pointing devices displaced or positioned by the user, e.g. joysticks, for converting the position or the displacement of a member into a coded form |
Attention is drawn to the following places, which may be of interest for search:
Vital parameter control of user input interfaces for electrophonic musical instruments, i.e. musical instrument control based on body signals; Biometric information | |
Input/output arrangements for transferring data in general |
Attention is drawn to the following places, which may be of interest for search:
Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet or intelligent clothing | |
Floor sensors, e.g. platform or groundsheet with sensors to detect foot position, balance or pressure, steps, stepping rhythm, dancing movements or jumping |
Attention is drawn to the following places, which may be of interest for search:
Control shoe or boot, i.e. sensor-equipped lower part of lower limb, e.g. shoe, toe ring, sock, ankle bracelet or leg control attachment |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for performance evaluation or scoring | |
Musical aspects of games or videogames | |
Video games in general |
Attention is drawn to the following places, which may be of interest for search:
Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor | |
Bowed string instrument sound generation, controlling specific features of said sound, e.g. use of fret or bow control parameters for violin effects synthesis |
Attention is drawn to the following places, which may be of interest for search:
Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet or intelligent clothing |
Attention is drawn to the following places, which may be of interest for search:
Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet or intelligent clothing | |
Acceleration sensing or accelerometer use, e.g. 3D movement computation by integration of accelerometer data, angle sensing with respect to the vertical, i.e. gravity sensing | |
User input interfaces for electrophonic musical instruments with 3D sensing, i.e. three-dimensional (x, y, z) position or movement sensing |
Attention is drawn to the following places, which may be of interest for search:
Conductor baton movement detection used to adjust rhythm, tempo or expressivity of, e.g. the playback of musical pieces | |
Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet or intelligent clothing | |
Angle sensing for musical purposes, using data from a gyroscope, gyrometer or other angular velocity or angular movement sensing device |
Attention is drawn to the following places, which may be of interest for search:
User input interfaces for electrophonic musical instruments for movement interpretation, i.e. capturing and recognizing a gesture or a specific kind of movement, e.g. to control a musical instrument | |
Geolocation input, i.e. control of musical parameters based on location or geographic position, e.g. provided by GPS, WiFi network location databases or mobile phone base station position databases | |
Acceleration sensing or accelerometer use, e.g. 3D movement computation by integration of accelerometer data, angle sensing with respect to the vertical, i.e. gravity sensing |
Attention is drawn to the following places, which may be of interest for search:
Spint theremin, i.e. mimicking electrophonic musical instruments in which tones are controlled or triggered in a touch-free manner by interaction with beams, jets or fields, e.g. theremin, air guitar or water jet controlled musical instrument, i.e. hydrolauphone |
Attention is drawn to the following places, which may be of interest for search:
Special characteristics of individual keys of a keyboard using a light beam to detect key, pedal or note actuation |
Attention is drawn to the following places, which may be of interest for search:
Image analysis | |
Character recognition based on music notations |
Attention is drawn to the following places, which may be of interest for search:
Methods for sensing record carriers by electromagnetic radiation, e.g. optical sensing |
Attention is drawn to the following places, which may be of interest for search:
Special adaptations of transducers for use as contact microphones, e.g. on musical instrument |
Attention is drawn to the following places, which may be of interest for search:
Dual coil electrodynamic string transducer, e.g. for humbucking, to cancel out parasitic magnetic fields |
Attention is drawn to the following places, which may be of interest for search:
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments using a touch screen |
Attention is drawn to the following places, which may be of interest for search:
Mobile telephone transmission, i.e. transmitting, accessing or controlling music data wirelessly via a wireless or mobile telephone receiver, analogue or digital, e.g. DECT GSM or UMTS |
Attention is drawn to the following places, which may be of interest for search:
Gensound string, i.e. generating the sound of a string instrument, controlling specific features of said sound |
Attention is drawn to the following places, which may be of interest for search:
Spint zither, i.e. mimicking any neckless stringed instrument in which the strings do not extend beyond the sounding board |
Attention is drawn to the following places, which may be of interest for search:
Spint banjo, i.e. mimicking a stringed instrument with a piece of plastic or animal skin stretched over a circular frame or gourd, e.g. shamisen or other skin-covered lutes |
Attention is drawn to the following places, which may be of interest for search:
Mouth control in general, i.e. breath, mouth, teeth, tongue or lip-controlled input devices or sensors detecting, e.g. lip position, lip vibration, air pressure, air velocity, air flow or air jet angle | |
Natural aerodynamic noises, e.g. wind gust sounds, rustling leaves or beating sails | |
Gensound wind instruments, i.e. generating or synthesising the sound of a wind instrument, controlling specific features of said sound |
Attention is drawn to the following places, which may be of interest for search:
Microtonal scale, i.e. continuous scale of pitches, also interval-free input devices, e.g. continuous keyboards for violin, singing voice or trombone synthesis |
Attention is drawn to the following places, which may be of interest for search:
Spint clarinet, i.e. mimicking any member of the single reed cylindrical bore woodwind instrument family, e.g. piccolo clarinet, octocontrabass, chalumeau, hornpipes or zhaleika |
Attention is drawn to the following places, which may be of interest for search:
Spint wind instrument, Spint English horn |
Attention is drawn to the following places, which may be of interest for search:
Mouth control in general, i.e. breath, mouth, teeth, tongue or lip-controlled input devices or sensors detecting, e.g. lip position, lip vibration, air pressure, air velocity, air flow or air jet angle | |
Spint whistle, i.e. mimicking wind instruments in which the air is split against an edge, e.g. musical whistles, three tone samba whistle, penny whistle or pea whistle; Whistle-emulating mouth interfaces; MIDI control therefor, e.g. for calliope |
Attention is drawn to the following places, which may be of interest for search:
Spint clarinet, i.e. mimicking any member of the single reed cylindrical bore woodwind instrument family, e.g. piccolo clarinet, octocontrabass, chalumeau, hornpipes or zhaleika |
Attention is drawn to the following places, which may be of interest for search:
Spint accordion, i.e. mimicking accordions; Electrophonic instruments with one or more typical accordion features, e.g. special accordion keyboards or bellows, electrophonic aspects of mechanical accordions, MIDI-like control therefor |
Attention is drawn to the following places, which may be of interest for search:
Gensound percussion, i.e. generating or synthesising the sound of a percussion instrument; Control of specific aspects of percussion sounds, e.g. harmonics, under the influence of hitting force, hitting position, settings or striking instruments such as mallet, drumstick, brush or hand |
Attention is drawn to the following places, which may be of interest for search:
Spint xylophone, i.e. mimicking any multi-toned percussion instrument with a multiplicity of tuned resonating bodies, regardless of their material or shape, e.g. xylophone, vibraphone, lithophone, metallophone, marimba, balafon, ranat, gambang or angklung |
Attention is drawn to the following places, which may be of interest for search:
Resonating devices having the shape of a bell, plate, rod or tube |
Attention is drawn to the following places, which may be of interest for search:
Information retrieval of audio data |
Attention is drawn to the following places, which may be of interest for search:
Coding or decoding of speech or audio signals |
Attention is drawn to the following places, which may be of interest for search:
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith |
Attention is drawn to the following places, which may be of interest for search:
Security arrangements for protecting computers against unauthorised activity, digital rights management [DRM] | |
Arrangements for secret or secure communications; Network security protocols |
Attention is drawn to the following places, which may be of interest for search:
Audio watermarking |
Attention is drawn to the following places, which may be of interest for search:
Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent |
Attention is drawn to the following places, which may be of interest for search:
File format, MP3, i.e. MPEG-1 or MPEG-2 Audio Layer III, lossy audio compression |
Attention is drawn to the following places, which may be of interest for search:
Data organisation info, i.e. juxtaposition of unrelated auxiliary information or commercial messages with or between music files | |
Information retrieval of audio data |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis of musical genre, i.e. analysing the style of musical pieces, usually for selection, filtering or classification |
Attention is drawn to the following places, which may be of interest for search:
Musical metadata derived from musical analysis or for use in electrophonic musical instruments |
Attention is drawn to the following places, which may be of interest for search:
Information retrieval of audio data |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis for extraction of musical phrases, isolation of musically relevant segments, e.g. musical thumbnail generation, or for temporal structure analysis of a musical piece, e.g. determination of the movement sequence of a musical work |
Attention is drawn to the following places, which may be of interest for search:
Data structures for use in electrophonic musical devices; Data structures including musical parameters derived from musical analysis |
Attention is drawn to the following places, which may be of interest for search:
Use of cache memory for electrophonic musical instrument processes, e.g. for improving processing capabilities or solving interfacing problems | |
Data structures for use in electrophonic musical devices; Data structures including musical parameters derived from musical analysis | |
Files or data streams containing coded musical information, e.g. for transmission | |
Musical libraries, i.e. musical databases indexed by musical parameters, wavetables, indexing schemes using musical parameters, musical rule bases or knowledge bases, e.g. for automatic composing methods |
Attention is drawn to the following places, which may be of interest for search:
Files or data streams containing coded musical information, e.g. for transmission |
Attention is drawn to the following places, which may be of interest for search:
Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle |
Attention is drawn to the following places, which may be of interest for search:
Personal digital assistant [PDA] or palmtop computing devices used for musical purposes, e.g. portable music players, tablet computers, e-readers or smart phones in which mobile telephony functions need not be used | |
Mobile ringtone, i.e. generation, transmission, conversion or downloading of ringing tones or other sounds for mobile telephony; Special musical data formats or protocols therefor |
Attention is drawn to the following places, which may be of interest for search:
Telephone transmission, i.e. using twisted pair telephone lines or any type of telephone network |
Attention is drawn to the following places, which may be of interest for search:
Lyrics displays, e.g. for karaoke applications |
Attention is drawn to the following places, which may be of interest for search:
Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments |
Attention is drawn to the following places, which may be of interest for search:
Mathematical functions for musical analysis, processing, synthesis or composition | |
Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent |
Attention is drawn to the following places, which may be of interest for search:
Sequence estimation using the Viterbi algorithm or Viterbi processors |
Attention is drawn to the following places, which may be of interest for search:
Studio equipment for generating broadcast information; Interconnection of studios |
Attention is drawn to the following places, which may be of interest for search:
Acoustic effect simulation being reverberation or echo | |
Time-delay networks comprising electromechanical or electro-acoustic devices | |
Arrangements having a single output and transforming input signals into pulses delivered at desired time intervals using a chain of active delay devices |
Attention is drawn to the following places, which may be of interest for search:
Tone control or bandwidth control in amplifiers | |
Combinations of two or more types of control, e.g. gain control and tone control | |
Current or voltage-controlled filters of frequency selective two-port networks using amplifiers with feedback | |
Networks using digital techniques |
Attention is drawn to the following places, which may be of interest for search:
Impulse response, i.e. filters defined or specified by their temporal impulse response features, e.g. for echo or reverberation applications, Infinite impulse response [IIR] |
Attention is drawn to the following places, which may be of interest for search:
Finite impulse response [FIR], e.g. for echoes or room acoustics, the shape of the impulse response is specified in particular according to delay times |
Attention is drawn to the following places, which may be of interest for search:
Chebyshev polynomials, e.g. to provide filter coefficients for sharp roll-off filters |
Attention is drawn to the following places, which may be of interest for search:
Acoustic effect simulation, reverberation or echo |
Attention is drawn to the following places, which may be of interest for search:
All zero filter, i.e. moving average [MA] filter or finite impulse response [FIR] filter |
Attention is drawn to the following places, which may be of interest for search:
Filter responses, filter architecture, filter coefficients or control parameters therefor, all pole filter, i.e. autoregressive [AR] filter |
Attention is drawn to the following places, which may be of interest for search:
Algorithms for musical processing | |
Methods for evaluating functions by calculations | |
Complex mathematical operations |
Attention is drawn to the following places, which may be of interest for search:
Transforms, i.e. mathematical transforms into domains appropriate for musical signal processing, coding or compression |
Attention is drawn to the following places, which may be of interest for search:
Filter responses, filter architecture, filter coefficients or control parameters therefor, Chebyshev filters | |
Chebyshev window |
Attention is drawn to the following places, which may be of interest for search:
Shielding, electromagnetic or magnetic, e.g. for transducers, i.e. for controlling, orienting or suppressing magnetic fields or for preventing unintentional generation, propagation and reception of electromagnetic energy in electrophonic musical instruments, their vicinity or their interconnections | |
Noise generation, its use, control or rejection for music processing | |
Use of noise in formant synthesis |
Attention is drawn to the following places, which may be of interest for search:
File format, MP3, i.e. MPEG-1 or MPEG-2 Audio Layer III, lossy audio compression |
Attention is drawn to the following places, which may be of interest for search:
Adaptive MDCT-based compression, e.g. using a hybrid subband-MDCT, as in ATRAC |
Attention is drawn to the following places, which may be of interest for search:
Chebyshev filters | |
Chebyshev polynomials, e.g. to provide filter coefficients for sharp roll-off filters |
Attention is drawn to the following places, which may be of interest for search:
Random number generators, pseudorandom generators for musical analysis, processing, synthesis or composition | |
Use of noise in formant synthesis | |
Detection of presence or absence of voice signals for discriminating voice from noise | |
Automatic control in amplifiers having semiconductor devices, being dependent upon ambient noise level or sound level |
Attention is drawn to the following places, which may be of interest for search:
Shielding, electromagnetic or magnetic, e.g. for transducers, i.e. for controlling, orienting or suppressing magnetic fields or for preventing unintentional generation, propagation and reception of electromagnetic energy in electrophonic musical instruments, their vicinity or their interconnections | |
Notch filters for musical processing or musical effects | |
Aliasing, i.e. preventing, eliminating or deliberately using aliasing noise, distortions or artifacts in sampled or synthesised waveforms, e.g. by band limiting, oversampling or undersampling, respectively |
Attention is drawn to the following places, which may be of interest for search:
Musical analysis | |
Neural networks |
Attention is drawn to the following places, which may be of interest for search:
General musical sound synthesis principles, i.e. sound category-independent synthesis methods | |
Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent |
Attention is drawn to the following places, which may be of interest for search:
Crowds, e.g. restaurant, waiting hall, demonstration or subway corridor at rush hour |
Attention is drawn to the following places, which may be of interest for search:
Gensound applause, e.g. handclapping; Cheering; Booing |
Attention is drawn to the following places, which may be of interest for search:
Spint wind instrument, i.e. mimicking musical wind instrument features; Electrophonic aspects of acoustic wind instruments; MIDI-like control therefor | |
Gensound wind instruments, i.e. generating or synthesising the sound of a wind instrument, controlling specific features of said sound |
Attention is drawn to the following places, which may be of interest for search:
Spint wind instrument, Spint English horn |
Attention is drawn to the following places, which may be of interest for search:
Spint piano, i.e. mimicking acoustic musical instruments with piano, cembalo or spinet features, e.g. with piano-like keyboard; Electrophonic aspects of piano-like acoustic keyboard instruments; MIDI-like control therefor | |
Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor |
Attention is drawn to the following places, which may be of interest for search:
Modulation effects, i.e. smooth non-discontinuous variations over a time interval, e.g. within a note, melody or musical transition, of any sound parameter, e.g. amplitude, pitch, spectral response, playback speed | |
Bow control in general, i.e. sensors or transducers on a bow; Input interface or controlling process for emulating a bow, bowing action or generating bowing parameters, e.g. for appropriately controlling a specialised sound synthesiser | |
Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor, spint viola | |
Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor, spint cello |
Attention is drawn to the following places, which may be of interest for search:
Spint harpsichord, i.e. mimicking plucked keyboard instruments, e.g. harpsichord, virginal, muselar, spinet, clavicytherium, ottavino, archicembalo | |
Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor |
Attention is drawn to the following places, which may be of interest for search:
Modulation effects | |
Ensemble, i.e. adding one or more voices, also instrumental voices | |
Formant synthesis | |
Parcor synthesis | |
Speech synthesis; Text to speech systems |
Attention is drawn to the following places, which may be of interest for search:
Mouth control in general, i.e. breath, mouth, teeth, tongue or lip-controlled input devices or sensors detecting, e.g. lip position, lip vibration, air pressure, air velocity, air flow or air jet angle | |
Spint wind instrument, i.e. mimicking musical wind instrument features; Electrophonic aspects of acoustic wind instruments; MIDI-like control therefor | |
Natural aerodynamic noises, e.g. wind gust sounds, rustling leaves or beating sails |
Attention is drawn to the following places, which may be of interest for search:
Spint reed, i.e. mimicking or emulating reed instruments, sensors or interfaces therefor |
Attention is drawn to the following places, which may be of interest for search:
Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category | |
Sound category-dependent sound synthesis processes [Gensound] for musical use | |
Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent |
Attention is drawn to the following places, which may be of interest for search:
Helmholtz resonance effect, i.e. using, exciting or emulating air resonance in a cavity | |
Gensound singing voices, i.e. generation of human voices for musical applications, vocal singing sounds or intelligible words at a desired pitch or with desired vocal effects, e.g. by phoneme synthesis | |
PARCOR synthesis, i.e. music synthesis using partial autocorrelation techniques, e.g. in which the impulse response of the digital filter in a PARCOR speech synthesizer is used as a musical signal |
Attention is drawn to the following places, which may be of interest for search:
Wah-wah spectral modulation, i.e. tone colour spectral glide obtained by sweeping the peak of a bandpass filter up or down in frequency, e.g. according to the position of a pedal, by automatic modulation or by voice formant detection; Control devices therefor, e.g. wah pedals for electric guitars |
Attention is drawn to the following places, which may be of interest for search:
Gensound singing voices, i.e. generation of human voices for musical applications, vocal singing sounds or intelligible words at a desired pitch or with desired vocal effects, e.g. by phoneme synthesis | |
Formant synthesis, i.e. simulating the human speech production mechanism by exciting formant resonators, e.g. mimicking vocal tract filtering as in LPC synthesis vocoders, wherein musical instruments may be used as excitation signal to the time-varying filter estimated from a singer's speech |
Attention is drawn to the following places, which may be of interest for search:
Systems involving the use of models or simulators of said systems |
Attention is drawn to the following places, which may be of interest for search:
Acoustic effect simulation, reverberation or echo | |
Soundscape or sound field simulation, reproduction or control for musical purposes, e.g. surround or 3D sound; Granular synthesis |
Attention is drawn to the following places, which may be of interest for search:
Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category | |
Sound category-dependent sound synthesis processes [Gensound] for musical use | |
General musical sound synthesis principles, i.e. sound category-independent synthesis methods |
Attention is drawn to the following places, which may be of interest for search:
Parabolic or second order polynomials, occurring, e.g. in vacuum tube distortion modelling or for modelling the gate voltage to drain current relationship of a JFET |
Attention is drawn to the following places, which may be of interest for search:
Third order polynomials, occurring, e.g. in vacuum tube distortion modelling |
Attention is drawn to the following places, which may be of interest for search:
Speech or audio signals analysis-synthesis techniques for redundancy reduction |
Attention is drawn to the following places, which may be of interest for search:
Modified discrete cosine transform [MDCT], i.e. based on a discrete cosine transform [DCT] of overlapping data |
Attention is drawn to the following places, which may be of interest for search:
Graphical user interface [GUI] specifically adapted for electrophonic musical instruments for graphical editing of sound parameters or waveforms, e.g. by graphical interactive control of timbre, partials or envelope |
Attention is drawn to the following places, which may be of interest for search:
Waveform decimation, i.e. integer division of the sampling rate for reducing the number of samples in a discrete-time signal, e.g. by low-pass anti-alias filtering followed by the actual downsampling |