G10H

ELECTROPHONIC MUSICAL INSTRUMENTS

INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE

This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument.

In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme.

G10H1/00

Details of electrophonic musical instruments

G10H1/0008

Associated control or indicating means

G10H1/0016

Means for indicating which keys, frets or strings are to be actuated, e.g. using lights or leds

G10H1/0025

Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece automatically producing a series of tones G10H1/26

G10H1/0033

Recording/reproducing or transmission of music for electrophonic musical instruments

G10H1/0041

in coded form

G10H1/005

on magnetic tape

G10H1/0058

Transmission between separate instruments or between individual components of a musical system G10H1/0083 takes precedence

G10H1/0066

using a MIDI interface

G10H1/0075

with translation or conversion means for unvailable commands, e.g. special tone colors

G10H1/0083

using wireless transmission, e.g. radio, light, infrared

G10H1/0091

Means for obtaining special acoustic effects combined with modulation G10H1/043

G10H1/02

Means for controlling the tone frequencies, e.g. attack or decay

Means for producing special musical effects, e.g. vibratos or glissandos

G10H1/04

by additional modulation

G10H1/043

Continuous modulation

G10H1/045

by electromechanical means

G10H1/047

by acousto-mechanical means, e.g. rotating speakers or sound deflectors

G10H1/053

during execution only

voice controlled instruments G10H5/005

G10H1/0535

by switches incorporating a mechanical vibrator, the envelope of the mechanical vibration being used as modulating signal

G10H1/055

by switches with variable impedance elements

G10H1/0551

using variable capacitors

G10H1/0553

using optical or light-responsive means

G10H1/0555

using magnetic or electromagnetic means

G10H1/0556

using piezo-electric means

G10H1/0558

using variable resistors

G10H1/057

by envelope-forming circuits

G10H1/0575

using a data store from which the envelope is synthesized tones synthesized from a data store G10H7/00

G10H1/06

Circuits for establishing the harmonic content of tones

, or other arrangements for changing the tone colour

G10H1/08

by combining tones G10H1/14, G10H1/16 take precedence; chord G10H1/38

G10H1/10

for obtaining chorus, celeste or ensemble effects continuous modulation G10H1/043

G10H1/12

by filtering complex waveforms G10H1/14, G10H1/16 take precedence

G10H1/125

using a digital filter

G10H1/14

during execution

voice controlled instruments G10H5/005

G10H1/16

by non-linear elements G10H1/14 takes precedence

G10H1/18

Selecting circuits

G10H1/181

Suppression of switching-noise

G10H1/182

Key multiplexing G10H1/185 takes precedence

G10H1/183

Channel-assigning means for polyphonic instruments

G10H1/185

associated with key multiplexing

G10H1/186

Microprocessor-controlled keyboard and assigning means

G10H1/187

using multiplexed channel processors G10H1/186 takes precedence

G10H1/188

with means to assign more than one channel to any single key

G10H1/20

for transposition

G10H1/22

for suppressing tones

Preference networks

G10H1/24

for selecting plural preset register stops

G10H1/26

for automatically producing a series of tones

G10H1/28

to produce arpeggios

G10H1/30

to reiteratively sound two tones

G10H1/32

Constructional details

G10H1/34

Switch arrangements, e.g. keyboards or mechanical switches specially adapted for electrophonic musical instruments

G10H1/342

for guitar-like instruments with or without strings and with a neck on which switches or string-fret contacts are used to detect the notes being played electric guitars in which the tones are generated by the vibration of strings G10H3/18

G10H1/344

Structural association with individual keys electrically operated wind-actuated organs G10B3/22

G10H1/346

Keys with an arrangement for simulating the feeling of a piano key, e.g. using counterweights, springs, cams

G10H1/348

Switches actuated by parts of the body other than fingers

G10H1/36

Accompaniment arrangements

G10H1/361

Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems

G10H1/363

using optical disks, e.g. CD, CD-ROM, to store accompaniment information in digital form

G10H1/365

the accompaniment information being stored on a host computer and transmitted to a reproducing terminal by means of a network, e.g. public telephone lines

G10H1/366

with means for modifying or correcting the external signal, e.g. pitch correction, reverberation, changing a singer's voice

G10H1/368

displaying animated or moving pictures synchronized with the music or audio part

G10H1/38

Chord

G10H1/383

Chord detection and/or recognition, e.g. for correction, or automatic bass generation

G10H1/386

One-finger or one-key chord systems

G10H1/40

Rhythm

G10H1/42

comprising tone forming circuits

G10H1/44

Tuning means

G10H1/46

Volume control

G10H3/00

Instruments in which the tones are generated by electromechanical means

G10H3/02

using mechanical interrupters

G10H3/03

using pick-up means for reading recorded waves, e.g. on rotating discs

drums, tapes or wires

G10H3/06

using photoelectric pick-up means

G10H3/08

using inductive pick-up means

G10H3/09

using tapes or wires

G10H3/10

using capacitive pick-up means

G10H3/12

using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument

G10H3/125

Extracting or recognising the pitch or fundamental frequency of the picked up signal

G10H3/14

using mechanically actuated vibrators with pick-up means G10H3/24 takes precedence

G10H3/143

characterised by the use of a piezo-electric or magneto-strictive transducer

G10H3/146

using a membrane, e.g. a drum; Pick-up means for vibrating surfaces, e.g. housing of an instrument

G10H3/16

using a reed

G10H3/18

using a string, e.g. electric guitar

mechanical features G10D1/085

G10H3/181

Details of pick-up assemblies

G10H3/182

using two or more pick-up means for each string

G10H3/183

in which the position of the pick-up means is adjustable

G10H3/185

in which the tones are picked up through the bridge structure

G10H3/186

Means for processing the signal picked up from the strings filtering G10H1/12

G10H3/187

for distorting the signal, e.g. to simulate tube amplifiers changing the tone color by non-linear elements G10H1/16

G10H3/188

for converting the signal to digital format transmission using a MIDI interface G10H1/0066

G10H3/20

using a tuning fork, rod or tube

G10H3/22

using electromechanically actuated vibrators with pick-up means G10H3/24 takes precedence

G10H3/24

incorporating feedback means, e.g. acoustic

G10H3/26

using electric feedback

G10H5/00

Instruments in which the tones are generated by means of electronic generators G10H7/00 takes precedence

G10H5/002

Instruments using voltage controlled oscillators and amplifiers or voltage controlled oscillators and filters, e.g. Synthesisers

G10H5/005

Voice controlled instruments

G10H5/007

Real-time simulation of G10B, G10C, G10D-type instruments using recursive or non-linear techniques, e.g. waveguide networks, recursive algorithms

G10H5/02

using generation of basic tones

G10H5/04

with semiconductor devices as active elements G10H3/10, G10H3/12 take precedence

G10H5/06

tones generated by frequency multiplication or division of a basic tone

G10H5/07

resulting in complex waveforms

G10H5/08

tones generated by heterodyning

G10H5/10

using generation of non-sinusoidal basic tones, e.g. saw-tooth

G10H5/06 takes precedence

G10H5/12

using semiconductor devices as active elements

G10H5/14

using electromechanical resonators, e.g. quartz crystals, as frequency determining element

G10H5/02, G10H5/08 take precedence

G10H5/16

using cathode ray tubes

G10H7/00

Instruments in which the tones are synthesised from a data store, e.g. computer organs

G10H7/002

using a common processing for different operations or calculations, and a set of microinstructions (programme) to control the sequence thereof

G10H7/004

with one or more auxiliary processor in addition to the main processing unit

G10H7/006

using two or more algorithms of different types to generate tones, e.g. according to tone color or to processor workload

G10H7/008

Means for controlling the transition from one tone waveform to another

G10H7/02

in which amplitudes at successive sample points of a tone waveform are stored in one or more memories

G10H7/04

in which amplitudes are read at varying rates, e.g. according to pitch

G10H7/045

using an auxiliary register or set of registers, e.g. a shift-register, in which the amplitudes are transferred before being read

G10H7/06

in which amplitudes are read at a fixed rate, the read-out address varying stepwise by a given value, e.g. according to pitch

G10H7/08

by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform

G10H7/10

using coefficients or parameters stored in a memory, e.g. Fourier coefficients G10H7/12 takes precedence

G10H7/105

using Fourier coefficients

G10H7/12

by means of a recursive algorithm using one or more sets of parameters stored in a memory and the calculated amplitudes of one or more preceding sample points

G10H2210/00

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 processing aspects without intrinsic musical character G10H2250/00

G10H2210/005

Musical accompaniment, i.e. complete instrumental rhythm synthesis added to a performed melody, e.g. as output by drum machines background music G10H2210/021

G10H2210/011

Fill-in added to normal accompaniment pattern

G10H2210/015

Accompaniment break, i.e. interrupting then restarting

G10H2210/021

Background music, e.g. for video sequences, elevator music musical accompaniment G10H2210/005

G10H2210/026

for games, e.g. videogames

G10H2210/031

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 neural networks for electrophonic musical instruments or musical processing G10H2250/311

G10H2210/036

of musical genre, i.e. analysing the style of musical pieces, usually for selection, filtering or classification

G10H2210/041

based on mfcc [mel -frequency spectral coefficients]

G10H2210/046

for differentiation between music and non-music signals, based on the identification of musical parameters, e.g. based on tempo detection

G10H2210/051

for extraction or detection of onsets of musical sounds or notes, i.e. note attack timings

G10H2210/056

for extraction or identification of individual instrumental parts, e.g. melody, chords, bass

Identification or separation of instrumental parts by their characteristic voices or timbres

G10H2210/061

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

G10H2210/066

for 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

G10H2210/071

for rhythm pattern analysis or rhythm style recognition rhythm pattern per se

G10H2210/341

G10H2210/076

for extraction of timing, tempo

Beat detection tempo display G10H2220/081; tempo control G10H2210/375

G10H2210/081

for automatic key or tonality recognition, e.g. using musical rules or a knowledge base

G10H2210/086

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 pianoroll format

G10H2210/091

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

G10H2210/095

Inter-note articulation aspects, e.g. legato or staccato

G10H2210/101

Music Composition or musical creation

Tools or processes therefor

G10H2210/105

Composing aid, e.g. for supporting creation, edition or modification of a piece of music

G10H2210/111

Automatic composing, i.e. using predefined musical rules

G10H2210/115

using a random process to generate a musical note, phrase, sequence or structure using a random process to build a rhythm pattern G10H2210/356; random rhythm pattern selection G10H2210/366

G10H2210/121

using a knowledge base

G10H2210/125

Medley, i.e. linking parts of different musical pieces in one single piece, e.g. sound collage, DJ mix

G10H2210/131

Morphing, i.e. transformation of a musical piece into a new different one, e.g. remix

G10H2210/136

Morphing interpolation, i.e. interpolating in pitch, harmony or time, tempo or rhythm, between two different musical pieces, e.g. to produce a new musical work

G10H2210/141

Riff, i.e. improvisation, e.g. repeated motif or phrase, automatically added to a piece, e.g. in real time

G10H2210/145

Composing rules, e.g. harmonic or musical rules, for use in automatic composition

Rule generation algorithms therefor

G10H2210/151

using templates, i.e. incomplete musical sections, as a basis for composing

G10H2210/155

Musical effects

G10H2210/161

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, also rapid repetition of the same note onset, e.g. on a piano, guitar, e.g. rasgueado, drum roll smooth variations of amplitude, pitch or timbre within a note without distinct onsets, e.g. vibrato G10H2210/201

G10H2210/165

Humanizing effects, i.e. causing a performance to sound less machine-like, e.g. by slightly randomising pitch or tempo

G10H2210/171

Ad-lib effects, i.e. adding a musical phrase or improvisation automatically or on player's request, e.g. one-finger triggering of a note sequence

G10H2210/175

Fillnote, i.e. adding isolated notes or passing notes to the melody

G10H2210/181

Gracenote, i.e. adding a different and very short ornamental note at the beginning or at the end of a melody note, e.g. appoggiatura, acciaccatura, sparsh-swar

G10H2210/185

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

G10H2210/191

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 other common forms of tremolo, e.g. same note repetition, bisbigliando, amplitude tremolo, tremulants, percussion roll G10H2210/161 or G10H2210/205

G10H2210/195

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 stepwise or discontinuous variations over time, e.g. sequence effects G10H2210/161

G10H2210/201

Vibrato, i.e. rapid, repetitive and smooth variation of amplitude, pitch or timbre within a note or chord discontinuities, note sequences or separate note onsets during the variation G10H2210/161; tremolo, i.e. stepwise pitch alternation G10H2210/191

G10H2210/205

Amplitude vibrato, i.e. repetitive smooth loudness variation without pitch change or rapid repetition of the same note, bisbigliando, amplitude tremolo, tremulants percussion roll G10H2210/161

G10H2210/211

Pitch vibrato, i.e. repetitive and smooth variation in pitch, e.g. as obtainable with a whammy bar or tremolo arm on a guitar non-repetitive smooth pitch variation, e.g. glissando G10H2220/221; repeatedly alternating stepwise in pitch between two notes G10H2210/191

G10H2210/215

Rotating vibrato, i.e. simulating rotating speakers, e.g. Leslie effect

G10H2210/221

Glissando, i.e. pitch smoothly sliding from one note to another, e.g. gliss, glide, slide, bend, smear, sweep; "discrete glissando" on instruments not permitting continuous glissando, like the xylophone or the piano, e.g. arpeggio G10H2210/185

G10H2210/225

Portamento, i.e. smooth continuously variable pitch-bend, without emphasis of each chromatic pitch during the pitch change, which only stops at the end of the pitch shift, as obtained, e.g. by a MIDI pitch wheel or trombone pitch bend with emphasis of each chromatic pitch during pitch change, e.g. glissando, G10H2210/221

G10H2210/231

Wah-wah spectral modulation, i.e. tone color 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

G10H2210/235

Flanging or phasing effects, i.e. creating time and frequency dependent constructive and destructive interferences, obtained, e.g. by using swept comb filters or a feedback loop around all-pass filters with gradually changing non-linear phase response or delays

G10H2210/241

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

G10H2210/245

Ensemble, i.e. adding one or more voices, also instrumental voices

G10H2210/251

Chorus, i.e. automatic generation of two or more extra voices added to the melody, e.g. by a chorus effect processor or multiple voice harmonizer, to produce a chorus or unison effect, wherein individual sounds from multiple sources with roughly the same timbre converge and are perceived as one

G10H2210/255

Unison, i.e. two or more voices or instruments sounding substantially the same pitch, e.g. at the same time

G10H2210/261

Duet, i.e. automatic generation of a second voice, descant or counter melody, e.g. of a second harmonically interdependent voice by a single voice harmonizer or automatic composition algorithm, e.g. for fugue, canon or round composition, which may be substantially independent in contour and rhythm

G10H2210/265

Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays physical modeling of room acoustics G10H2250/531; formant synthesis G10H2250/481

G10H2210/271

Sympathetic resonance, i.e. adding harmonics simulating sympathetic resonance from other strings

G10H2210/275

Helmholtz resonance effect, i.e. using, exciting or emulating air resonance in a cavity

G10H2210/281

Reverberation or echo

G10H2210/285

Electromechanical effectors therefor, i.e. using springs or similar electromechanical audio delay units

G10H2210/291

Reverberator using both direct, i.e. dry, and indirect, i.e. wet, signals or waveforms, indirect signals having sustained one or more virtual reflections

G10H2210/295

Spatial effects, musical uses of multiple audio channels, e.g. stereo Helmholtz resonance effects G10H2210/275; reverberation or echo G10H2210/281

G10H2210/301

Soundscape or sound field simulation, reproduction or control for musical purposes, e.g. surround or 3D sound

Granular synthesis

G10H2210/305

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

G10H2210/311

Distortion, i.e. desired non-linear audio processing to change the tone color, e.g. by adding harmonics or deliberately distorting the amplitude of an audio waveform distortion functions G10H2250/201, G10H2250/205

G10H2210/315

Dynamic effects for musical purposes, i.e. musical sound effects controlled by the amplitude of the time domain audio envelope, e.g. loudness-dependent tone color or musically desired dynamic range compression or expansion crossfading or envelope processing per se

G10H2250/025

G10H2210/321

Missing fundamental, i.e. creating the psychoacoustic impression of a missing fundamental tone through synthesis of higher harmonics, e.g. to play bass notes pitched below the frequency range of reproducing speakers

G10H2210/325

Musical pitch modification pitch analysis G10H2210/066; musical effects G10H2210/155

G10H2210/331

Note pitch correction, i.e. modifying a note pitch or replacing it by the closest one in a given scale

G10H2210/335

Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony natural chords G10H2210/586

G10H2210/341

Rhythm pattern selection, synthesis or composition Rhythm analysis G10H2210/071; accompaniment G10H2210/005

G10H2210/346

Pattern variations, break or fill-in accompaniment G10H2210/005

G10H2210/351

Inserting a drum roll, e.g. as pattern break

G10H2210/356

Random process used to build a rhythm pattern

G10H2210/361

Selection among a set of pre-established rhythm patterns

G10H2210/366

Random process affecting a selection among a set of pre-established patterns

G10H2210/371

Rhythm syncopation, i.e. timing offset of rhythmic stresses or accents, e.g. note extended from weak to strong beat or started before strong beat

G10H2210/375

Tempo or beat alterations

Music timing control tempo display G10H2220/081; tempo analysis G10H2210/076; humanising effect G10H2210/165; scratch effect G10H2210/241

G10H2210/381

Manual tempo setting or adjustment tempo setting by interpretation of conducting movements G10H2220/206

G10H2210/385

Speed change, i.e. variations from preestablished tempo, tempo change, e.g. faster or slower, accelerando or ritardando, without change in pitch with repetitive changes in pitch, e.g. scratch DJ effects G10H2210/241

G10H2210/391

Automatic tempo adjustment, correction or control

G10H2210/395

Special musical scales, i.e. other than the 12- interval equally tempered scale

Special input devices therefor keyboards G10H2220/221

G10H2210/401

Microtonal scale

i.e. continuous scale of pitches, also interval-free input devices, e.g. continuous keyboards for violin, singing voice or trombone synthesis

G10H2210/405

Honkytonk scale, for producing, e.g. a honky-tonk piano effect, i.e. with deliberately detuned notes within each octave

G10H2210/411

Railsback scale, i.e. stretched scale for piano tuning with bass keys having lower pitches and treble keys having higher pitches than foreseen by the equally tempered scale

G10H2210/415

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

G10H2210/421

10 equal intervals per octave

G10H2210/425

19 equal intervals per octave, offering better major thirds, far better minor thirds and overall far greater consonance than normal 12-semitone equal temperament, at the cost of a flatter fifth

G10H2210/431

Quarter tone scale, i.e. 24 equal intervals per octave, e.g. for Arabic music other Arabic scales, double harmonic scale or major locrian scale G10H2210/511

G10H2210/435

Huygens scale, i.e. 31 equal intervals per octave, provides near-just major thirds, and provides decent matches for harmonics up to at least 13, despite a slightly less accurate fifth than the standard 12 interval equally tempered scale

G10H2210/441

Janko scale, i.e. 41 equal intervals per octave, e.g. as used in the "tonal plexus" keyboard with 211 keys per octave arranged in 12 staggered columns, i.e. in 41 regions of 5 keys each plus 6 duplicate enharmonic keys janko keyboards, i.e. not using the janko scale G10H2220/251

G10H2210/445

45 equal intervals per octave

G10H2210/451

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

G10H2210/455

70 equal intervals per octave

G10H2210/461

Jankovski scale or twelfth tone scale, i.e. octave divided in 72 equal intervals, e.g. moria in Byzantine music theory janko keyboard G10H2220/251

G10H2210/465

84 equal intervals per octave

G10H2210/471

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 pitch correction only when playing chords to ensure chord consonance G10H2210/586

G10H2210/476

Zarlino scales, e.g. octave subdivision based on the pitch ratios 9/8 + 10/9 + 16/15 + 9/8 + 10/9 + 9/8 + 16/15

G10H2210/481

Pythagorean scale, i.e. in which the frequency relationships of all intervals should be based on the perfect fifth, with ratio 3:2

G10H2210/486

Werckmeister scales, i.e. family of scales with 12 mostly rational intervals, e.g. for organs

G10H2210/491

Meantone scales, i.e. in which all non-octave intervals are generated from a stack of tempered perfect fifths

and wherein, by choosing an appropriate size for major and minor thirds, the syntonic comma is tempered to unison, e.g. quarter comma meantone, syntonic comma, d'Alembert modified meantone

G10H2210/496

Redfield scales, i.e. 12 intervals per octave, based on note ratios equal to (2**p)*(3**q)*(5**r) with p, q, r positive or negative integers

G10H2210/501

Altered natural scale, i.e. 12 unequal intervals not foreseen in the above

G10H2210/506

Danielou 53 interval scale, with note ratios equal to (2**p)(3**q)(5**r), with p, q, r positive or negative integers 53 interval equally tempered Holder scale G10H2210/451

G10H2210/511

Arabic scales, i.e. either double harmonic scale or major locrian scale

vosta or zaid modes 17 or 24 equal interval scales used in arabic music G10H2210/415 or G10H2210/431

G10H2210/515

Balinese scales, e.g. for gamelan, with instruments played in pairs and tuned slightly apart to produce interference beating ideally at a consistent speed for all pairs of notes in all registers

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 pentatonic javanese slendro scale G10H2210/541

G10H2210/521

Polynesian scales

G10H2210/525

Diatonic scales, e.g. aeolian, ionian or major, dorian, locrian, lydian, mixolydian, phrygian, i.e. seven note, octave-repeating musical scales comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps

G10H2210/531

Bluenote scale, i.e. 7-tone scale of 2+1+2+1+3+1+2 semitones hexatonic blues scales G10H2210/535

G10H2210/535

Hexatonal or hexatonic scales, i.e. six pitches or notes per octave, e.g. whole tone scale, augmented scale, Prometheus scale, blues scale

G10H2210/541

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, japanese shakuhachi flute balinese pentatonic scales with deliberate interference beating, e.g. balinese gamelan slendro scale G10H2210/515

G10H2210/545

Yona Nuki, i.e. a family of pentatonic scales without fourth or seventh, e.g. Hirajoshi, Iwato, Kumoi, Sino-indian [Raga Amritavarsini] used, e.g. for japanese traditional music, koto or shamisen tunings

G10H2210/551

Okinawa pentatonic scale, i.e. Okinawan min'yo, e.g. including the half-steps omitted in the min'yo pentatonic scale used in the main japanese islands

G10H2210/555

Tonality processing, involving the key in which a musical piece or melody is played tonality analysis, detection or identification G10H2210/081

G10H2210/561

Changing the tonality within a musical piece

G10H2210/565

Manual designation or selection of a tonality

G10H2210/571

Chords

Chord sequences special keyboards for playing chords, e.g. accordion G10H2230/245, janko keyboard G10H2220/251

G10H2210/576

Chord progression

G10H2210/581

Chord inversion

G10H2210/586

Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords scale natural G10H2210/471; chord correction G10H2210/335; musical analysis G10H2210/031

G10H2210/591

Chord with a suspended note, e.g. 2nd or 4th

G10H2210/596

Chord augmented

G10H2210/601

Chord diminished

G10H2210/606

Chord ninth, i.e. including ninth or above, e.g. 11th or 13th

G10H2210/611

Chord ninth or above, to which is added a tension note

G10H2210/616

Chord seventh, major or minor

G10H2210/621

Chord seventh dominant

G10H2210/626

Chord sixth

G10H2220/00

Input/output interfacing specifically adapted for electrophonic musical tools or instruments

G10H2220/005

Non-interactive screen display of musical or status data graphical user interfaces specifically adapted for electrophonic musical instruments G10H2220/091; fingering displays G10H2220/041

G10H2220/011

Lyrics displays, e.g. for karaoke applications

G10H2220/015

Musical staff, tablature or score displays, e.g. for score reading during a performance. graphical musical score editing G10H2220/121; musical score displays resulting from a transcription G10H2210/086

G10H2220/021

Indicator, i.e. non-screen output user interfacing, e.g. visual or tactile instrument status or guidance information using lights, LEDs, seven segments displays screen displays G10H2220/005, graphical user interfaces adapted for electrophonic musical instruments G10H2220/091; tactile key feedback G10H2220/311

G10H2220/026

associated with a key or other user input device, e.g. key indicator lights

G10H2220/031

Blinking or flashing indicator lights

G10H2220/036

Chord indicators, e.g. displaying note fingering when several notes are to be played simultaneously as a chord

G10H2220/041

Remote key fingering indicator, i.e. fingering shown on a display separate from the instrument itself or substantially disjoint from the keys

G10H2220/046

Drumpad indicator, e.g. drumbeat strike indicator light on a drumpad or rim

G10H2220/051

Fret indicator, e.g. for playing guidance on a string instrument or string instrument emulator

G10H2220/056

Hand or finger indicator, e.g. for indicating which hand or which specific finger should be used

G10H2220/061

LED, i.e. using a light-emitting diode as indicator

G10H2220/066

Colour, i.e. indications with two or more different colours

G10H2220/071

Pedal indicator, e.g. guitar pedal status lights

G10H2220/076

String indicator, e.g. on a stringed musical instrument for indicating which string is to be played, plucked or bowed

G10H2220/081

Beat indicator, e.g. marks or flashing LEDs to indicate tempo or beat positions analysis tempo G10H2210/076; tempo or beat alterations G10H2210/375; rhythm pattern G10H2210/341

G10H2220/086

Beats per minute [bpm] indicator, i.e. displaying a tempo value, e.g. in words or as numerical value in beats per minute analysis tempo G10H2210/076; tempo or beat alterations G10H2210/375

G10H2220/091

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 GUI in general G06F3/048

G10H2220/096

using a touch screen touch screen note input, e.g. using a displayed keyboard G10H2220/241; personal digital assistant [PDA] G10H2230/015

G10H2220/101

for graphical creation, edition or control of musical data or parameters

G10H2220/106

using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters

G10H2220/111

for graphical orchestra or soundstage control, e.g. on-screen selection or positioning of instruments in a virtual orchestra, using movable or selectable musical instrument icons soundstage sound field effects G10H2210/305

G10H2220/116

for graphical editing of sound parameters or waveforms, e.g. by graphical interactive control of timbre, partials or envelope non-graphical waveform editing G10H2250/615

G10H2220/121

for graphical editing of a musical score, staff or tablature mere score display G10H2220/015; score transcription G10H2210/086

G10H2220/126

for graphical editing of individual notes, parts or phrases represented as variable length segments on a 2D or 3D representation, e.g. graphical edition of musical collage, remix files or pianoroll representations of MIDI-like files

G10H2220/131

for abstract geometric visualisation of music, e.g. for interactive editing of musical parameters linked to abstract geometric figures

G10H2220/135

Musical aspects of games or videogames

Musical instrument-shaped game input interfaces game background music G10H2210/026; musical game scoring or performance evaluation G10H2210/091

G10H2220/141

Games on or about music, i.e. based on musical knowledge, e.g. musical multimedia quizzes teaching of music per se

G09B15/00

G10H2220/145

Multiplayer musical games, e.g. karaoke-like multiplayer videogames

G10H2220/151

Musical difficulty level setting or selection

G10H2220/155

User input interfaces for electrophonic musical instruments graphical user interfaces specifically adapted for electrophonic musical instruments G10H2220/091; input means in general G06F3/00

G10H2220/161

with 2D or x/y surface coordinates sensing graphical user interface or touchscreen input G10H2220/091; microtonal keyboard G10H2210/401

G10H2220/165

for string input, i.e. special characteristics in string composition or use for sensing purposes, e.g. causing the string to become its own sensor transducers, e.g. piezoelectric or magnetic G10H2220/461; plectrum sensors G10H2220/191; guitar neck sensors or fret switches G10H2220/301

G10H2220/171

using electrified strings, e.g. strings carrying coded or AC signals for transducing, sustain, fret length or fingering detection

G10H2220/175

using nonmagnetic string materials, e.g. nylon

Sensors specially adapted therefor piezoelectric transducers G10H2220/525

G10H2220/181

by nonresonant wave interaction, i.e. string sensing using wavelengths unrelated to string resonant wavelengths, e.g. ultrasonic waves, microwave or light waves, propagated along a musical instrument string to measure its fret length, e.g. for MIDI transcription

G10H2220/185

Stick input, e.g. drumsticks with position or contact sensors stick for music conducting applications, e.g. conductor baton movement detection G10H2220/206

G10H2220/191

Plectrum or pick sensing, e.g. for detection of string striking or plucking Plectra in general, e.g. for stringed musical instruments G10D3/173

G10H2220/195

Particle energy or molecular configuration used as musical control data

G10H2220/201

for movement interpretation, i.e. capturing and recognizing a gesture or a specific kind of movement, e.g. to control a musical instrument

G10H2220/206

Conductor baton movement detection used to adjust rhythm, tempo or expressivity of, e.g. the playback of musical pieces

G10H2220/211

for microphones, i.e. control of musical parameters either directly from microphone signals or by physically associated peripherals, e.g. karaoke control switches or rhythm sensing accelerometer within the microphone casing microphones per se

H04R

G10H2220/215

using a magnetic strip on a card or sheet

G10H2220/221

Keyboards, i.e. configuration of several keys or key-like input devices relative to one another details of individual keys or key-like devices G10H2220/265; continuous keyboards or keyboards implementing specific musical scales, e.g. quartertone G10H2210/395; switch matrix keyboards, e.g. on guitar necks G10H2220/295

G10H2220/226

Whole-tone keyboards, i.e. having as many keys on the upper row as on the lower row

G10H2220/231

Alphanumeric, used for musical purposes or with additional musical features, e.g. typewriter or pc-type keyboard reconfigured such that letters or symbols are assigned to musical notes

G10H2220/236

representing an active musical staff or tablature, i.e. with key-like position sensing at the expected note positions on the staff active keyboard representation on a touchscreen G10H2220/241

G10H2220/241

on touchscreens, i.e. keys, frets, strings, tablature or staff displayed on a touchscreen display for note input purposes

G10H2220/246

with reduced number of keys per octave, some notes missing

G10H2220/251

arranged as 2D or 3D arrays

Keyboards ergonomically organised for playing chords or for transposing, e.g. Janko keyboard special keyboards for playing chords, e.g. accordion G10H2230/245

G10H2220/256

foldable or rollable, e.g. for transport

G10H2220/261

Numeric keypad used for musical purposes, e.g. musical input via a telephone or calculator-like keyboard

G10H2220/265

Key design details

Special characteristics of individual keys of a keyboard

Key-like musical input devices, e.g. finger sensors, pedals, potentiometers, selectors keyboards G10H2220/221, special musical scales G10H2210/395

G10H2220/271

Velocity sensing for individual keys, e.g. by placing sensors at different points along the kinematic path for individual key velocity estimation by delay measurement between adjacent sensor signals velocity sensing common to several keys G10H2220/221

G10H2220/275

Switching mechanism or sensor details of individual keys, e.g. details of key contacts, hall effect or piezoelectric sensors used for key position or movement sensing purposes

Mounting thereof

G10H2220/281

with two contacts, switches or sensor triggering levels along the key kinematic path

G10H2220/285

with three contacts, switches or sensor triggering levels along the key kinematic path

G10H2220/291

with four or more contacts, switches or sensor triggering levels along the key kinematic path

G10H2220/295

Switch matrix, e.g. contact array common to several keys, the actuated keys being identified by the rows and columns in contact

G10H2220/301

Fret-like switch array arrangements for guitar necks

G10H2220/305

using a light beam to detect key, pedal or note actuation light beams in general G10H2220/411

G10H2220/311

with controlled tactile or haptic feedback effect

output interfaces therefor

G10H2220/315

for joystick-like proportional control of musical input

Videogame input devices used for musical input or control, e.g. gamepad, joysticks joysticks per se G06F3/033, G05G9/047, A63F13/20

G10H2220/321

Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet, intelligent clothing vital parameter sensing G10H2220/371; wearable interfaces in general G06F3/00

G10H2220/326

Control glove or other hand or palm-attached control device

G10H2220/331

Ring or other finger-attached control device

G10H2220/336

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 garment sensors G10H2220/321; floor sensing devices, e.g. sensing mats G10H2220/341

G10H2220/341

Floor sensors, e.g. platform or groundsheet with sensors to detect foot position, balance or pressure, steps, stepping rhythm, dancing movements or jumping shoe sensors G10H2220/336

G10H2220/346

Hopscotch sensing mats, i.e. including several step sensing zones, e.g. for detection of rhythmic dancing in time to background music according to stepping indications games involving music G10H2220/135; performance evaluation or scoring G10H2210/091, videogames in general A63F13/00

G10H2220/351

Environmental parameters, e.g. temperature, ambient light, atmospheric pressure, humidity, used as input for musical purposes

G10H2220/355

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

G10H2220/361

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

G10H2220/365

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 bowed string instrument sound synthesis per se G10H2250/445; electrophonic stringed instrument details G10H2230/075

G10H2220/371

Vital parameter control, i.e. musical instrument control based on body signals, e.g. brainwaves, pulsation, temperature, perspiration

biometric information signals from body positions or movements G10H2220/321

G10H2220/376

using brain waves, e.g. EEG

G10H2220/381

using glottal signals from an electroglottograph [EGG] or from a neck-worn glottis pick-up device

G10H2220/386

using genetic information [DNA] or unique characterizing features of individuals, e.g. fingerprints, iris, facial or vocal features

G10H2220/391

Angle sensing for musical purposes, using data from a gyroscope, gyrometer or other angular velocity or angular movement sensing device angles measured by an accelerometer or gravimeter G10H2220/395; angles calculated from 3D position sensing G10H2220/401; player body joint angle sensing G10H2220/321

G10H2220/395

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. conductor baton movement sensing G10H2220/206, angle sensing without reference to gravity G10H2220/391; player body joint angle sensing G10H2220/321

G10H2220/401

3D sensing, i.e. three-dimensional (x, y, z) position or movement sensing. movement pattern or gesture sensing G10H2220/201; geolocation sensing G10H2220/355, 3D sensing with accelerometer G10H2220/395

G10H2220/405

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 theremins G10H2230/051

G10H2220/411

Light beams key actuation detection using light G10H2220/305

G10H2220/415

Infrared beams

G10H2220/421

Laser beams

G10H2220/425

Radio control, i.e. input or control device involving a radio frequency signal

G10H2220/431

Use of microwaves

G10H2220/435

Ultrasound, i.e. input or control device involving inaudible pressure waves, e.g. focused as a beam

G10H2220/441

Image sensing, i.e. capturing images or optical patterns for musical purposes or musical control purposes image analysis, inspection, positioning or tracking G06T7/00, recognising music notations G06V30/304

G10H2220/445

Bar codes or similar machine readable optical code patterns, e.g. two dimensional mesh pattern, for musical input or control purposes bar codes G06K7/10

G10H2220/451

Scanner input, e.g. scanning a paper document such as a musical score for automated conversion into a musical file format

G10H2220/455

Camera input, e.g. analyzing pictures from a video camera and using the analysis results as control data

G10H2220/461

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 contact microphones for use on musical instrument H04R1/46

G10H2220/465

Bridge-positioned, i.e. assembled to or attached with the bridge of a stringed musical instrument

G10H2220/471

at bottom, i.e. transducer positioned at the bottom of the bridge, between the bridge and the body of the instrument

G10H2220/475

on the side, i.e. picking up vibrations from a side of the bridge

G10H2220/481

on top, i.e. transducer positioned between the strings and the bridge structure itself

G10H2220/485

One transducer per string, e.g. 6 transducers for a 6 string guitar

G10H2220/491

Two or more transducers per string, e.g. 8 transducers on a 4-string violin bridge

G10H2220/495

Single bridge transducer, common to all strings

G10H2220/501

Two or more bridge transducers, at least one transducer common to several strings

G10H2220/505

Dual coil electrodynamic string transducer, e.g. for humbucking, to cancel out parasitic magnetic fields

G10H2220/511

Stacked, i.e. one coil on top of the other

G10H2220/515

Staggered, i.e. two coils side by side

G10H2220/521

Hall effect transducers or similar magnetic field sensing semiconductor devices, e.g. for string vibration sensing or key movement sensing

G10H2220/525

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

G10H2220/531

made of piezoelectric film

G10H2220/535

Piezoelectric polymer transducers, e.g. made of stretched and poled polyvinylidene difluoride [PVDF] sheets in which the molecular chains of vinylidene fluoride CH₂-CF₂ have been oriented in a preferential direction

G10H2220/541

using piezoceramics, e.g. lead titanate [PbTiO₃], zinc oxide [Zn₂ O₃], lithium niobate [LiNbO₃], sodium tungstate [NaWO₃], bismuth ferrite [BiFeO₃]

G10H2220/545

Barium titanate piezoceramics [BaTiO₃]

G10H2220/551

using LZT or PZT [lead-zirconate-titanate] piezoceramics [Pb[ZrxTi1-x]O3, 0=x=1]

G10H2220/555

Bimorph transducers, i.e. piezoelectric bending multilayer structures with one or more piezoelectric layers, e.g. piezo on metal, serial bimorph or parallel bimorph

G10H2220/561

Piezoresistive transducers, i.e. exhibiting vibration, pressure, force or movement -dependent resistance, e.g. strain gauges, carbon-doped elastomers or polymers for piezoresistive drumpads, carbon microphones

G10H2220/565

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 dual coil humbucking transducers G10H2220/505

G10H2230/00

General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture

G10H2230/005

Device type or category

G10H2230/011

Hybrid piano, e.g. combined acoustic and electronic piano with complete hammer mechanism as well as key-action sensors coupled to an electronic sound generator

G10H2230/015

PDA [personal digital assistant] 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 touch-screen interfaces G10H2220/096

G10H2230/021

Mobile ringtone, i.e. generation, transmission, conversion or downloading of ringing tones or other sounds for mobile telephony

Special musical data formats or protocols herefor mobile telephone transmission specifically adapted for electrophonic musical tools or instruments G10H2240/251

G10H2230/025

Computing or signal processing architecture features

G10H2230/031

Use of cache memory for electrophonic musical instrument processes, e.g. for improving processing capabilities or solving interfacing problems

G10H2230/035

Power management, i.e. specific power supply solutions for electrophonic musical instruments, e.g. auto power shut-off, energy saving designs, power conditioning, connector design, avoiding inconvenient wiring

G10H2230/041

Processor load management, i.e. adaptation or optimization of computational load or data throughput in computationally intensive musical processes to avoid overload artifacts, e.g. by deliberately suppressing less audible or less relevant tones or decreasing their complexity

G10H2230/045

Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category

G10H2230/051

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, water jet controlled musical instrument, i.e. hydrolauphone

G10H2230/055

Spint toy, i.e. specifically designed for children, e.g. adapted for smaller fingers or simplified in some way

Musical instrument-shaped game input interfaces with simplified control features

G10H2230/061

Spint organ, i.e. mimicking acoustic musical instruments with pipe organ or harmonium features

Electrophonic aspects of acoustic pipe organs or harmoniums

MIDI-like control therefor

G10H2230/065

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

G10H2230/071

Spint harpsichord, i.e. mimicking plucked keyboard instruments, e.g. harpsichord, virginal, muselar, spinet, clavicytherium, ottavino, archicembalo

G10H2230/075

Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard

MIDI-like control therefor string instrument sound synthesis G10H2250/441

G10H2230/081

Spint viola

G10H2230/085

Spint cello

G10H2230/091

Spint hurdygurdy, i.e. mimicking characteristics of acoustic instruments with rosined wheel rubbing against strings

G10H2230/095

Spint zither, i.e. mimicking any neckless stringed instrument in which the strings do not extend beyond the sounding board

G10H2230/101

Spint koto, i.e. mimicking any traditional asian-style plucked zither with movable bridges

G10H2230/105

Spint dulcimer, i.e. mimicking any zither-like instrument with small hand-played mallet hammers Appalachian dulcimer G10H2230/095

G10H2230/111

Spint ukulele, i.e. mimicking any smaller guitar-like flat bridge string instruments

G10H2230/115

Spint sitar, i.e. mimicking any long-necked plucked string instrument with a large number of additional non-playable sympathetic resonating strings or an additional gourd-like resonating chamber

G10H2230/121

Spint mandolin, i.e. mimicking instruments of the lute family with hard sounding board, e.g. with strings arranged and tuned in pairs for tremolo playing lute with skin -like sounding board G10H2230/151

G10H2230/125

Spint harp, i.e. mimicking harp-like instruments, e.g. large size concert harp, with pedal

G10H2230/131

Spint harp celtic, i.e. mimicking smaller sized harps without pedal, eg. celtic harp, lever harp, folk harp, Irish harp

G10H2230/135

Spint guitar, i.e. guitar-like instruments in which the sound is not generated by vibrating strings, e.g. guitar-shaped game interfaces

G10H2230/141

Spint guitar drum, i.e. mimicking a guitar used at least partly as a percussion instrument

G10H2230/145

Spint guitar keyboard, i.e. mimicking a combination of a guitar-like instrument, with or without strings, and a piano-like keyboard, e.g. with white and black keys arranged like on a piano

G10H2230/151

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

G10H2230/155

Spint wind instrument, i.e. mimicking musical wind instrument features

Electrophonic aspects of acoustic wind instruments

MIDI-like control therefor. wind instrument sound synthesis G10H2250/461; mouth control, e.g. breath G10H2220/361; natural aerodynamic noise synthesis, e.g. wind G10H2250/431

G10H2230/161

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, pea whistle

whistle-emulating mouth interfaces

MIDI control therefor, e.g. for calliope

G10H2230/165

Spint recorder, i.e. mimicking any end-blown whistle flute with several finger holes, e.g. recorders, xiao, kaval, shakuhachi and hocchiku flutes

G10H2230/171

Spint brass mouthpiece, i.e. mimicking brass-like instruments equipped with a cupped mouthpiece, e.g. allowing it to be played like a brass instrument, with lip controlled sound generation as in an acoustic brass instrument

Embouchure sensor or MIDI interfaces therefor

G10H2230/175

Spint trumpet, i.e. mimicking cylindrical bore brass instruments, e.g. bugle

G10H2230/181

Spint trombone, i.e. mimicking trombones or other slide musical instruments permitting a continuous musical scale microtonal scale G10H2210/401

G10H2230/185

Spint horn, i.e. mimicking conical bore brass instruments hornpipes G10H2230/241

G10H2230/191

Spint French horn, i.e. mimicking an orchestral horn with valves for switching pipe lengths English horn G10H2230/231

G10H2230/195

Spint flute, i.e. mimicking or emulating a transverse flute or air jet sensor arrangement therefor, e.g. sensing angle, lip position, etc, to trigger octave change; input breath G10H2220/361; end-blown flutes G10H2230/161

G10H2230/201

Spint piccolo, i.e. half-size transverse flute, e.g. ottavino piccolo clarinet G10H2230/241

G10H2230/205

Spint reed, i.e. mimicking or emulating reed instruments, sensors or interfaces therefor

G10H2230/211

Spint harmonica, i.e. mimicking mouth operated wind instruments with multiple tuned free reeds, a.k.a. harmonica, blues harp, mouth organ, pitch pipe, ChengGong, free reed instruments not operated by mouth, e.g. accordion G10H2230/245

G10H2230/215

Spint bagpipe, i.e. mimicking instruments with enclosed reeds fed from a constant reservoir

Bagpipe-like electrophonic instrument

Midi-like interfaces therefor

G10H2230/221

Spint saxophone, i.e. mimicking conical bore musical instruments with single reed mouthpiece, e.g. saxophones, electrophonic emulation or interfacing aspects therefor

G10H2230/225

Spint oboe, i.e. mimicking double reed woodwind with conical bore, e.g. oboe

G10H2230/231

Spint english horn

G10H2230/235

Spint bassoon, i.e. mimicking double reed low range woodwind with doubled back conical bore, e.g. bassoon

G10H2230/241

Spint clarinet, i.e. mimicking any member of the single reed cylindrical bore woodwind instrument family, e.g. piccolo clarinet, octocontrabass, chalumeau, hornpipes, zhaleika

G10H2230/245

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

G10H2230/251

Spint percussion, i.e. mimicking percussion instruments

Electrophonic musical instruments with percussion instrument features

Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor gensound percussion G10H2250/435

G10H2230/255

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, gamban, anklong

G10H2230/261

Spint triangle

G10H2230/265

Spint maracas, i.e. mimicking shells or gourds filled with seeds or dried beans, fitted with a handle, e.g. maracas, rumba shakers, shac-shacs

G10H2230/271

Spint gong, i.e. mimicking circular flat, nippled or bowl-shaped metallic percussion instruments G10H2230/321 takes precedence

G10H2230/275

Spint drum

G10H2230/281

Spint drum assembly, i.e. mimicking two or more drums or drumpads assembled on a common structure, e.g. drum kit multi-toned percussion instruments G10H2230/255

G10H2230/285

Spint drum tomtom, i.e. mimicking side-mounted drums without snares, e.g. in a drumkit

G10H2230/291

Spint drum bass, i.e. mimicking bass drums

Pedals or interfaces therefor

G10H2230/295

Spint drum brush, i.e. mimicking use of a brush to generate or trigger a percussive sound

G10H2230/301

Spint drum rim, i.e. mimicking using or striking the rim of a drum or percussion instrument, rimshot

Interfacing aspects of the generation of different drumsound harmonic contents when a drum sensor is struck closer to the rim

G10H2230/305

Spint drum snare, i.e. mimicking using strands of snares made of curled metal wire, metal cable, plastic cable, or gut cords stretched across the drumhead, e.g. snare drum, side drum, military drum, field drum

G10H2230/311

Spint bongo

G10H2230/315

Spint conga

G10H2230/321

Spint cymbal, i.e. mimicking thin center-held gong-like instruments made of copper-based alloys, e.g. ride cymbal, china cymbal, sizzle cymbal, swish cymbal, zill, i.e. finger cymbals

G10H2230/325

Spint cymbal crash, i.e. mimicking thin-edged cymbals designed to produce a loud, sharp "crash", either mounted on a stand and played with a drum stick, e.g. crash cymbal, or played in pairs by hand, e.g. clash cymbals

G10H2230/331

Spint cymbal hihat, e.g. mimicking high-hat cymbal

Details of the pedal interface, of the pedal action emulation or of the generation of the different sounds resulting from this pedal action

G10H2230/335

Spint cyldrum [cylindrical body hit or struck on the curved surface for musical purposes, e.g. drinking glass, oil drum]

G10H2230/341

Spint claves, i.e. mimicking a pair of thick dowels producing a bright clicking sound when struck against each other

G10H2230/345

Spint castanets, i.e. mimicking a joined pair of concave shells held in the hand to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks, e.g. castanets, chácaras, krakebs, qraqib, garagab

G10H2230/351

Spint bell, i.e. mimicking bells, e.g. cow-bells bells in general G10K1/06

G10H2230/355

Spint spint, i.e. electrophonic musical instruments with features of acoustic instruments covered by G10D17/00, electrophonic aspects of acoustic instruments covered by G10D17/00, e.g. aeolian harps, MIDI-like control therefor

G10H2230/361

Spint mechautomatic, i.e. electrophonic musical instruments with features of traditional mechanical automatic acoustic instruments, e.g. electrophonic emulation of historic mechanical pianoroll pianos, electrophonic aspects of partly mechanical automatic acoustic instruments covered by G10F, e.g. hybrid pianos, MIDI-like control therefor

G10H2230/365

Ergonomy of electrophonic musical instruments

G10H2230/371

Using hook and loop-type fastener or similar attachment to fasten detachable elements

G10H2240/00

Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments

G10H2240/005

Data structures for use in electrophonic musical devices

Data structures including musical parameters derived from musical analysis audio retrieval G06F16/60

G10H2240/011

Files or data streams containing coded musical information, e.g. for transmission audio coding G10L19/00

G10H2240/016

File editing, i.e. modifying musical data files or streams as such editing by means of a graphical user interface G10H2220/091

G10H2240/021

for MIDI-like files or data streams

G10H2240/026

File encryption of specific electrophonic music instrument file or stream formats, e.g. MIDI, note oriented formats, sound banks, wavetables digital rights management [DRM] G06F21/00; encryption H04L9/00

G10H2240/031

File merging MIDI, i.e. merging or mixing a MIDI-like file or stream with a non-MIDI file or stream, e.g. audio or video

G10H2240/036

File multilingual, e.g. multilingual lyrics for karaoke

G10H2240/041

File watermark, i.e. embedding a hidden code in an electrophonic musical instrument file or stream for identification or authentification purposes audio watermarking G10L19/018

G10H2240/046

File format, i.e. specific or non-standard musical file format used in or adapted for electrophonic musical instruments, e.g. in wavetables details of musical waveform synthesis G10H2250/541

G10H2240/051

AC3, i.e. Audio Codec 3, Dolby Digital

G10H2240/056

MIDI or other note-oriented file format

G10H2240/061

MP3, i.e. MPEG-1 or MPEG-2 Audio Layer III, lossy audio compression

G10H2240/066

MPEG audio-visual compression file formats, e.g. MPEG-4 for coding of audio-visual objects MP3 G10H2240/061

G10H2240/071

Wave, i.e. Waveform Audio File Format, coding, e.g. uncompressed PCM audio according to the RIFF bitstream format method

G10H2240/075

Musical metadata derived from musical analysis or for use in electrophonic musical instruments additional information unrelated to its juxtaposed musical file data G10H2240/091; audio retrieval G06F16/60

G10H2240/081

Genre classification, i.e. descriptive metadata for classification or selection of musical pieces according to style analysis genre G10H2210/036

G10H2240/085

Mood, i.e. generation, detection or selection of a particular emotional content or atmosphere in a musical piece

G10H2240/091

Info, i.e. juxtaposition of unrelated auxiliary information or commercial messages with or between music files metadata G10H2240/075

G10H2240/095

Identification code, e.g. ISWC for musical works

Identification dataset

G10H2240/101

User identification

G10H2240/105

User profile, i.e. data about the user, e.g. for user settings or user preferences

G10H2240/111

User Password, i.e. security arrangements to prevent third party unauthorised use, e.g. password, id number, code, pin

G10H2240/115

Instrument identification, i.e. recognizing an electrophonic musical instrument, e.g. on a network, by means of a code, e.g. IMEI, serial number, or a profile describing its capabilities

G10H2240/121

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 audio retrieval G06F16/60

G10H2240/125

Library distribution, i.e. distributing musical pieces from a central or master library

G10H2240/131

Library retrieval, i.e. searching a database or selecting a specific musical piece, segment, pattern, rule or parameter set

G10H2240/135

Library retrieval index, i.e. using an indexing scheme to efficiently retrieve a music piece

G10H2240/141

Library retrieval matching, i.e. any of the steps of matching an inputted segment or phrase with musical database contents, e.g. query by humming, singing or playing

the steps may include, e.g. musical analysis of the input, musical feature extraction, query formulation, or details of the retrieval process

G10H2240/145

Sound library, i.e. involving the specific use of a musical database as a sound bank or wavetable

indexing, interfacing, protocols or processing therefor

G10H2240/151

Thumbnail, i.e. retrieving, playing or managing a short and musically relevant song preview from a library, e.g. the chorus thumbnail extraction, analysis phrases G10H2210/061

G10H2240/155

Library update, i.e. making or modifying a musical database using musical parameters as indices data structures involving musical parameters G10H2240/005

G10H2240/161

Memory and use thereof, in electrophonic musical instruments, e.g. memory map data structures G10H2240/005; memory cache G10H2230/031; libraries G10H2240/121; files G10H2240/011

G10H2240/165

Memory card, i.e. removable module or card for storing music data for an electrophonic musical instrument

G10H2240/171

Transmission of musical instrument data, control or status information

Transmission, remote access or control of music data for electrophonic musical instruments details about the transmitted data contents G10H2240/011

G10H2240/175

for jam sessions or musical collaboration through a network, e.g. for composition, ensemble playing or repeating

Compensation of network or internet delays therefor

G10H2240/181

Billing, i.e. purchasing of data contents for use with electrophonic musical instruments

Protocols therefor

Management of transmission or connection time therefor

G10H2240/185

Error prevention, detection or correction in files or streams for electrophonic musical instruments

G10H2240/191

CRC, i.e. error detection using a cyclic redundancy check

G10H2240/195

Reed-solomon error detection or correction, i.e. by considering the message symbols as polynomial coefficients

G10H2240/201

Physical layer or hardware aspects of transmission to or from an electrophonic musical instrument, e.g. voltage levels, bit streams, code words or symbols over a physical link connecting network nodes or instruments

G10H2240/205

Synchronous transmission of an analog or digital signal, e.g. according to a specific intrinsic timing, or according to a separate clock

G10H2240/211

Wireless transmission, e.g. of music parameters or control data by radio, infrared or ultrasound beam G10H2220/405

G10H2240/215

Spread spectrum, i.e. transmission on a bandwidth considerably larger than the frequency content of the original information

G10H2240/221

Time division multiplexing, with different channels in different time slots, the data in the time slots may be in digital or analog form

G10H2240/225

Frequency division multiplexing

G10H2240/231

Quadrature modulation, e.g. QAM

G10H2240/235

Pulse amplitude modulation, e.g. quantized or analog

G10H2240/241

Telephone transmission, i.e. using twisted pair telephone lines or any type of telephone network

G10H2240/245

ISDN [Integrated Services Digital Network]

G10H2240/251

Mobile telephone transmission, i.e. transmitting, accessing or controlling music data wirelessly via a wireless or mobile telephone receiver, analog or digital, e.g. DECT GSM, UMTS smartphone, PDA or palmtop used for musical purposes G10H2230/015; mobile ringtone G10H2230/021

G10H2240/255

Optical fibre transmission for electrophonic musical instrument purposes, e.g. hum mitigation

G10H2240/261

Satellite transmission for musical instrument purposes, e.g. processing for mitigation of satellite transmission delays

G10H2240/265

CATV transmission, i.e. electrophonic musical instruments connected to community antennas or cable television networks

G10H2240/271

Serial transmission according to any one of RS-232 standards for serial binary single-ended data and control signals between a DTE and a DCE

G10H2240/275

Musical interface to a personal computer PCI bus, "peripheral component interconnect bus"

G10H2240/281

Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument

G10H2240/285

USB, i.e. either using a USB plug as power supply or using the USB protocol to exchange data

G10H2240/291

SCSI, i.e. Small Computer System Interface

G10H2240/295

Packet switched network, e.g. token ring circuit-switched networks, e.g. traditional analog telephone transmission G10H2240/241

G10H2240/301

Ethernet, e.g. according to IEEE 802.3

G10H2240/305

Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes

G10H2240/311

MIDI transmission G10H2240/056 takes precedence

G10H2240/315

Firewire, i.e. transmission according to IEEE1394

G10H2240/321

Bluetooth

G10H2240/325

Synchronizing two or more audio tracks or files according to musical features or musical timings synchronised lyrics, e.g. for karaoke G10H2220/011

G10H2250/00

Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing methods with intrinsic musical character G10H2210/00

G10H2250/005

Algorithms for electrophonic musical instruments or musical processing, e.g. for automatic composition or resource allocation mathematical functions therefor G10H2250/131; details of musical waveform synthesis G10H2250/541

G10H2250/011

Genetic algorithms, i.e. using computational steps analogous to biological selection, recombination and mutation on an initial population of, e.g. sounds, pieces, melodies or loops to compose or otherwise generate, e.g. evolutionary music or sound synthesis

G10H2250/015

Markov chains, e.g. hidden Markov models [HMM], for musical processing, e.g. musical analysis or musical composition

G10H2250/021

Dynamic programming, e.g. Viterbi, for finding the most likely or most desirable sequence in music analysis, processing or composition Viterbi decoding H03M13/41

G10H2250/025

Envelope processing of music signals in, e.g. time domain, transform domain or cepstrum domain

G10H2250/031

Spectrum envelope processing

G10H2250/035

Crossfade, i.e. time domain amplitude envelope control of the transition between musical sounds or melodies, obtained for musical purposes, e.g. for ADSR tone generation, articulations, medley, remix audio mixers H04H60/04

G10H2250/041

Delay lines applied to musical processing reverberation effects G10H2210/281; time-delay networks H03H9/30; chain of active-delay devices H03K5/133

G10H2250/046

with intermediate taps

G10H2250/051

with variable time delay or variable length

G10H2250/055

Filters for musical processing or musical effects

Filter responses, filter architecture, filter coefficients or control parameters therefor tone controls H03G5/00; graphic equalizers H03G9/00; digital filters in general H03H17/00; current or voltage-controlled filters H03H11/1291

G10H2250/061

Allpass filters

G10H2250/065

Lattice filter, Zobel network, constant resistance filter or X-section filter, i.e. balanced symmetric all-pass bridge network filter exhibiting constant impedance over frequency

G10H2250/071

All pole filter, i.e. autoregressive [AR] filter IIR defined by their temporal impulse response G10H2250/121

G10H2250/075

All zero filter, i.e. moving average [MA] filter or finite inpulse response [FIR] filter FIR defined by their temporal impulse response G10H2250/115

G10H2250/081

Autoregressive moving average [ARMA] filter

G10H2250/085

Butterworth filters

G10H2250/091

Chebyshev filters Chebyshev polynomials G10H2250/191

G10H2250/095

Filter coefficient interpolation

G10H2250/101

Filter coefficient update

Adaptive filters, i.e. with filter coefficient calculation in real time

G10H2250/105

Comb filters

G10H2250/111

Impulse response, i.e. filters defined or specifed by their temporal impulse response features, e.g. for echo or reverberation applications reverberation effects G10H2210/281

G10H2250/115

FIR impulse, e.g. for echoes or room acoustics, the shape of the impulse response is specified in particular according to delay times FIR filters for musical processing G10H2250/075

G10H2250/121

IIR impulse all pole filters for musical processing G10H2250/071

G10H2250/125

Notch filters

G10H2250/131

Mathematical functions for musical analysis, processing, synthesis or composition algorithms for musical processing G10H2250/005; computation of mathematical functions G06F17/10 and G06F7/544

G10H2250/135

Autocorrelation

G10H2250/141

Bessel functions, e.g. for smoothing or modulating, for FM audio synthesis or for expressing the vibration modes of a circular drum membrane

G10H2250/145

Convolution, e.g. of a music input signal with a desired impulse response to compute an output transforms, i.e. mathematical transforms into domains appropriate for musical signal processing, coding or compression G10H2250/215

G10H2250/151

Fuzzy logic

G10H2250/155

Graham function, i.e. mathematical description of the fluid dynamics of air flowing through a gap, where there is a given pressure differential on either side of the gap, e.g. to model air velocity in wind instruments for physical modeling sound synthesis

G10H2250/161

Logarithmic functions, scaling or conversion, e.g. to reflect human auditory perception of loudness or frequency

G10H2250/165

Polynomials, i.e. musical processing based on the use of polynomials, e.g. distortion function for tube amplifier emulation, filter coefficient calculation, polynomial approximations of waveforms, physical modeling equation solutions

G10H2250/171

Hermite polynomials

G10H2250/175

Jacobi polynomials of several variables, e.g. Heckman-Opdam polynomials, or of one variable only, e.g. hypergeometric polynomials

G10H2250/181

Gegenbauer or ultraspherical polynomials, e.g. for harmonic analysis

G10H2250/185

Legendre polynomials, e.g. for the modeling of air flow dynamics in wind instruments

G10H2250/191

Chebyshev polynomials, e.g. to provide filter coefficients for sharp rolloff filters Chebyshev filters G10H2250/091; Chebyshev windows G10H2250/271

G10H2250/195

Lagrange polynomials, e.g. for polynomial interpolation or cryptography

G10H2250/201

Parabolic or second order polynomials, occurring, e.g. in vacuum tube distortion modeling or for modeling the gate voltage to drain current relationship of a JFET

G10H2250/205

Third order polynomials, occurring, e.g. in vacuum tube distortion modeling

G10H2250/211

Random number generators, pseudorandom generators, classes of functions therefor musical processes using white noise or nonwhite noise generators G10H2250/295; noise formant generator G10H2250/495; magnetic or electromagnetic noise shielding G10H2220/565

G10H2250/215

Transforms, i.e. mathematical transforms into domains appropriate for musical signal processing, coding or compression

G10H2250/221

Cosine transform

DCT [discrete cosine transform], e.g. for use in lossy audio compression such as MP3 MP3 format G10H2240/061

G10H2250/225

MDCT [Modified discrete cosine transform], i.e. based on a DCT of overlapping data adaptive MDCT compression, e.g. ATRAC [adaptive transform acoustic coding] G10H2250/575

G10H2250/231

Fermat transform

G10H2250/235

Fourier transform

Discrete Fourier Transform [DFT]

Fast Fourier Transform [FFT]

G10H2250/241

Hadamard transform, Walsh-Hadamard transform, Hadamard-Rademacher-Walsh transform, Walsh transform, or Walsh-Fourier transform

G10H2250/245

Hartley transform,

Discrete Hartley transform [DHT]

Fast Hartley transform [FHT]

G10H2250/251

Wavelet transform, i.e. transform with both frequency and temporal resolution, e.g. for compression of percussion sounds

Discrete Wavelet Transform [DWT]

G10H2250/255

Z-transform, e.g. for dealing with sampled signals, delays or digital filters

G10H2250/261

Window, i.e. apodization function or tapering function amounting to the selection and appropriate weighting of a group of samples in a digital signal within some chosen time interval, outside of which it is zero valued

G10H2250/265

Blackman Harris window

G10H2250/271

Chebyshev window Chebyshev polynomials G10H2250/191; Chebyshev filters G10H2250/091

G10H2250/275

Gaussian window

G10H2250/281

Hamming window

G10H2250/285

Hann or Hanning window

G10H2250/291

Kaiser windows

Kaiser-Bessel Derived [KBD] windows, e.g. for MDCT

G10H2250/295

Noise generation, its use, control or rejection for music processing white noise or pseudorandom generators G10H2250/211; use of noise in formant synthesis G10H2250/495; automatic gain control H03G3/32; speech or noise detection G10L25/84

G10H2250/301

Pink 1/f noise or flicker noise

G10H2250/305

Noise or artifact control in electrophonic musical instruments transducer shielding G10H2220/565; filter notch G10H2250/125; waveform aliasing G10H2250/545

G10H2250/311

Neural networks for electrophonic musical instruments or musical processing, e.g. for musical recognition or control, automatic composition or improvisation musical analysis G10H2210/031; neural networks G06N3/02

G10H2250/315

Sound category-dependent sound synthesis processes [Gensound] for musical use details of musical waveform synthesis G10H2250/541; general musical sound synthesis principles G10H2250/471

Sound category-specific synthesis-controlling parameters or control means therefor

G10H2250/321

Gensound animals, i.e. generating animal voices or sounds

G10H2250/325

Birds

G10H2250/331

Ducks

G10H2250/335

Sea birds, e.g. seagulls

G10H2250/341

Cats

G10H2250/345

Cattle, e.g. cows

G10H2250/351

Dogs

G10H2250/355

Elk or other animals in the Cervidae family, e.g. moose, wapiti, reindeer

G10H2250/361

Insects, e.g. cricket

G10H2250/365

Gensound applause, e.g. handclapping

Cheering

Booing crowd sounds G10H2250/401

G10H2250/371

Gensound equipment, i.e. synthesizing sounds produced by man-made devices, e.g. machines

G10H2250/375

Harbour, i.e. sounds which are part of a harbour soundscape, e.g. ships, fog horn, buoy, bells, cranes

G10H2250/381

Road, i.e. sounds which are part of a road, street or urban traffic soundscape, e.g. automobiles, bikes, trucks, traffic, vehicle horns, collisions

G10H2250/385

Train, i.e. sounds which are part of a railroad soundscape, e.g. steam engines, diesel, electric, train whistles, rail wheels, railway crossing

G10H2250/391

Gensound footsteps, i.e. footsteps, kicks or tap-dancing sounds

G10H2250/395

Gensound nature

G10H2250/401

Crowds, e.g. restaurant, waiting hall, demonstration, subway corridor at rush hour applause, cheering, booing G10H2250/365

G10H2250/405

Fire, e.g. cracks and pops of burning wood

G10H2250/411

Water, e.g. seashore, waves, brook, waterfall, dripping faucet

G10H2250/415

Weather

G10H2250/421

Rain

G10H2250/425

Thunder

G10H2250/431

Natural aerodynamic noises, e.g. wind gust sounds, rustling leaves, beating sails gensound wind instruments G10H2250/461; spint wind instruments G10H2230/155

G10H2250/435

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, hand spint percussion G10H2230/231

G10H2250/441

Gensound string, i.e. generating the sound of a string instrument, controlling specific features of said sound spint piano G10H2230/065; spint stringed instruments G10H2230/075

G10H2250/445

Bowed string instrument sound generation, controlling specific features of said sound, e.g. use of fret or bow control parameters for violin effects synthesis bow interfaces per se G10H2220/365; modulation effects G10H2210/195; spint viola G10H2230/081; spint cello G10H2230/085

G10H2250/451

Plucked or struck string instrument sound synthesis, controlling specific features of said sound spint harpsichord G10H2230/071; spint stringed instruments G10H2230/075

G10H2250/455

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 G10H2250/481; parcor synthesis G10H2250/505; modulation effects G10H2210/195; ensemble effects G10H2210/245; speech synthesis in general G10L13/00

G10H2250/461

Gensound wind instruments, i.e. generating or synthesising the sound of a wind instrument, controlling specific features of said sound spint wind instruments G10H2230/155; mouth or breath sensors G10H2220/361; natural aerodynamic noise synthesis, e.g. wind G10H2250/431

G10H2250/465

Reed instrument sound synthesis, controlling specific features of said sound spint reed G10H2230/205

G10H2250/471

General musical sound synthesis principles, i.e. sound category-independent synthesis methods details of musical waveform synthesis G10H2250/541; special instrument [spint] G10H2230/045; sound category-specific synthesis G10H2250/315

G10H2250/475

FM synthesis, i.e. altering the timbre of simple waveforms by frequency modulating them with frequencies also in the audio range, resulting in different-sounding tones exhibiting more complex waveforms

G10H2250/481

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 gensound singing voices G10H2250/455; parcor synthesis G10H2250/505; effect Helmholtz G10H2210/275

G10H2250/485

Formant correction therefor

G10H2250/491

Formant interpolation therefor

G10H2250/495

Use of noise in formant synthesis

G10H2250/501

Formant frequency shifting, sliding formants wah-wah spectral modulation G10H2210/231

G10H2250/505

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 gensound singing voices G10H2250/455; formant synthesis G10H2250/481

G10H2250/511

Physical modelling or real-time simulation of the acoustomechanical behaviour of acoustic musical instruments using, e.g. waveguides or looped delay lines models in general G05B17/00

G10H2250/515

Excitation circuits or excitation algorithms therefor

G10H2250/521

Closed loop models therefor, e.g. with filter and delay line

G10H2250/525

Pluridimensional array-based models therefor

G10H2250/531

Room models, i.e. acoustic physical modelling of a room, e.g. concert hall reverberation or echo G10H2210/281; soundscape or sound field simulation G10H2210/301

G10H2250/535

Waveguide or transmission line-based models

G10H2250/541

Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent sound category-dependent sound synthesis G10H2250/315; special instruments [spint] G10H2230/045; general musical sound synthesis principles G10H2250/471

G10H2250/545

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

G10H2250/551

Waveform approximation, e.g. piecewise approximation of sinusoidal or complex waveforms

G10H2250/555

Piecewise linear waveform approximation

G10H2250/561

Parabolic waveform approximation, e.g. using second order polynomials or parabolic responses parabolic or second order polynomials G10H2250/201

G10H2250/565

Polynomial waveform approximation, i.e. using polynomials of third order or higher third order polynomials G10H2250/205

G10H2250/571

Waveform compression, adapted for music synthesisers, sound banks or wavetables audio compression G10L19/00

G10H2250/575

Adaptive MDCT-based compression, e.g. using a hybrid subband-MDCT, as in ATRAC non adaptive MDCT G10H2250/225

G10H2250/581

Codebook-based waveform compression

G10H2250/585

CELP [code excited linear prediction]

G10H2250/591

DPCM [delta pulse code modulation]

G10H2250/595

ADPCM [adaptive differential pulse code modulation]

G10H2250/601

Compressed representations of spectral envelopes, e.g. LPC [linear predictive coding], LAR [log area ratios], LSP [line spectral pairs], reflection coefficients

G10H2250/605

Dynamic range companding algorithms, e.g. "mu"-law, primarily used in the digital telephone systems of North America and Japan, or A-law as used in European digital telephone systems

G10H2250/611

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

G10H2250/615

Waveform editing, i.e. setting or modifying parameters for waveform synthesis. graphical sound editing G10H2220/116

G10H2250/621

Waveform interpolation

G10H2250/625

Interwave interpolation, i.e. interpolating between two different waveforms, e.g. timbre or pitch or giving one waveform the shape of another while preserving its frequency or vice versa

G10H2250/631

Waveform resampling, i.e. sample rate conversion or sample depth conversion waveform decimation G10H2250/611

G10H2250/635

Waveform resolution or sound quality selection, e.g. selection of high or low sampling rates, lossless, lossy or lossier compression algorithms

G10H2250/641

Waveform sampler, i.e. music samplers

Sampled music loop processing, wherein a loop is a sample of a performance that has been edited to repeat seamlessly without clicks or artifacts

G10H2250/645

Waveform scaling, i.e. amplitude value normalisation