Method for synchronizing an audio signal with devices

Abstract

Sensors for generating signals corresponding to penile movement during sexual intercourse – hereinafter referred to as sensorially generated synchronous signals (S13....S17, Fig. 23a, b, ; Fig.24) – for the purpose of detecting penile movement (RO) relative to the body of the partner engaging in sexual intercourse, wherein the generated synchronous signals (S13....S17) correspond to penile movement, and these sensors comprise: a) a sensor (L, E, B) attached at the rear (KP) of a condom (Fig. 22d) or of a condom part (RO, Fig. 22d) or contained in a penis ring (Fig. 22c), which measures or detects the distance between this sensor, which is pushed onto the penis, and the body of the partner engaging in sexual intercourse in the area of ​​the base of the penis, in order to recognize the distance variations occurring during this process and to derive the penis movements from this distance measurement, b) wherein the synchronous signals corresponding to the penis movement (S13....S17, Fig. 23a, b, ; Fig.24) are generated from the aforementioned sensory distance measurement.

Description

[0001] The present invention relates to a device and a method improvement of a method comparable to patent DE 41 43 257 C2, in which synchronization pulses input to a general rhythmic process, for example for the playback of an audio signal, are not only temporally evaluated in relation to a transport clock (MIDI clock, etc.), but are measured or evaluated in temporal relation to reference signals which are encoded to characteristic pitches or pauses of the audio signal and are used in a special way for synchronization in order to ensure, for example, the synchronization of the audio signal with regard to adherence to the rhythm when the playback speed of the audio signal changes.Unlike a simple synchronization of a transport clock independent of the rhythm of the reproduced audio signal, which merely changes the playback speed without considering the musical content of a piece of music and does not take into account the phase relationship to the rhythm or music beat.

[0002] In contrast to simple tempo synchronization of a transport clock, which, for example, transports MIDI note signals or slices (fragments) of an audio signal, reference signals used for synchronization are to be understood as any kind of signal temporally related to the (musical) content, which have a temporal relationship to the reproduced sound signal (here an audio signal synchronized in its playback speed) corresponding to the rhythmic content, in order to make the rhythmic changes resulting from a change in the tempo of the sound signal (or audio signal) measurable according to the musical content.

[0003] Rhythmic content here includes, for example, preferred points of tone sequences or pauses, or musical measures that correspond to the rhythmic flow of the piece of music, as already specified in DE 41 43 257 C2 in the scope of protection.

[0004] The application of DE 41 43 257 C2, in conjunction with means common according to the current state of the art, to synchronize an audio signal in its playback speed without changing the pitch, enables for the first time automated synchronization with constantly changing timing, in which the tempo change is not only according to referenceless time grid signals, but according to the musical content of the audio signal, by carrying out the synchronization in relation to, or assignment to, temporally marked reference points or reference signals contained in the audio signal.

[0005] This made it possible, for example, via the foot sensor of a jogger (who, in relation to the run, alternately places a right (R) and a left (L) leg), to synchronize the played piece of music exactly in time with the jogger's run, even in three-quarter time, in the special case where the reference signals (according to which synchronization takes place) are set according to the periodicity of the piece of music (e.g. in a Viennese waltz).

[0006] A synchronization system based on this principle, which uses a method according to patent DE 41 43 257 C2 and furthermore employs a prior art method for tempo control of a recorded audio signal, was presented as a corresponding device on NDR (North German Broadcasting) on ​​Monday / Tuesday, October 11 / 12, 2004 ("Jogging in 3 / 4 Time"). It is important that the synchronization is not based solely on a simple transport beat of the audio signal, but rather on reference signals that are temporally related to the rhythmic content of the piece of music, in this case, a three-quarter time signature. However, a disadvantage for most applications is the way the system adjusts when the jogger changes their pace, resulting in a deviation from the original rhythm of the reproduced piece of music that is usually unbearable to musical ears. Furthermore, a very unpleasant effect occurs: with a larger change in the jogger's pace (or...The tempo of the played audio signal changes linearly with the input frequency of the synchronization signals. While this is technically simpler to implement, it's not necessarily desirable for musically sensitive individuals. For example, if the user suddenly inputs a double beat (within a measure) via the synchronization signals (starting at any point), the tempo of the audio signal should not change at all. Similarly, within a measure, it should be possible to switch from a single to a double (or even half) beat, and vice versa, when inputting the synchronization signals. As long as this is done correctly in terms of rhythm and time signature (in a musical sense), the tempo of the audio signal should not change. The automatic tempo adjustment should still function correctly in a musical sense.

[0007] These new properties of synchronization are made possible by the present improvement invention, which makes the use of this synchronization as an inventive further development of patent DE 41 43 257 C2 significantly more universal and practical.

[0008] DE 41 43 257 C2 describes a method for adjusting the phase or frequency of a rhythmic process. WO 2003 / 002 218 A1 relates to a hiking or ski pole with a force sensor, a user interface, and means for transmitting the data from the force sensor to the user interface. DE 38 32 290 A1 describes a ski with a ski binding, wherein the pressure exerted on the ski binding is determined. DE 298 09 822 U1 describes a step-controlled speed and distance indicator for inline skaters. EP 1 375 324 A2 describes a method and a device for data transmission for bicycles.

[0009] The invention is defined by independent claims 1, 5 and 16, the dependent claims relate to embodiments of the invention. Preview:

[0010] The new method covered by the patent application is a fuzzy logic method and, unlike a simple synchronization method, possesses musical intelligence (hereinafter also referred to as the Musi Fuzy method). This means that we are no longer dependent on a simple correlation between the jogger's two-step movement and the musical beat; instead, the rhythm of the input synchronization signals can constantly change while maintaining musical authenticity, and yet the synchronization remains musically accurate. Furthermore, rhythmic patterns of the input synchronization signals can be decoded while maintaining synchronization (and encoded by a learning process or played back by a musician), with the purpose of retrieving MP3 slices (audio fragments) from these different input patterns, for example, enabling a beginner on an electronic percussion instrument to become a world-class drummer.There is also a mute function to initially input a rhythm, which is then played back after the mute function is released and can be constantly resynchronized, or the drum kit can be switched on and off at the respective synchronized times by pressing the pedal. In this application, not only is the synchronization process improved, but it is also possible to recall different audio slices by switching between different rhythms (via corresponding synchronization signals). This allows for a variety of percussion rhythms to be generated, controlled by the physical activity. For example, gentle movements of an expander or a spring during strength training produce sensitive rhythms, while fast, vigorous movements create a wild, drumming sound. A key focus here is ensuring that while the tempo changes trigger the different audio slices, the tempo does not become excessively fast or slow. Instead, it varies only within a musically pleasing range, as intended by the original, while still maintaining an automatic tempo adjustment in a musically appropriate manner.

[0011] First, the scope of work should be defined in order to formulate the technical task after determining the technical requirements. The purpose and requirements can be viewed from different perspectives: • to play along to recorded background music; • to train musical perception (musical instruments, dance); • to ensure that movements are as continuous as possible (sports, strength training, etc.); • or simply to have more fun with rhythmic movements.

[0012] Thus, the applications can be divided into two main application areas with different synchronization requirements: A primary application area of ​​the present invention is purely musical applications, in which audio files, synchronized in their playback tempo and stored, for example, in MP3 format, are intended to automatically adapt to the tempo of the user playing an instrument. At the same time, the tempo should remain stable enough to encourage the instrument-playing user to maintain the tempo corresponding to the rhythm of the piece. Furthermore, the rhythmic pattern of the synchronized impulse input may be varied at any time, even within the musical measure, as long as this is done in accordance with the musical measure. This freely positionable rhythmic variation option includes not only simple integer multiples of beats within a musical measure, but can encompass all notations commonly used in music, such as triplets, etc.This feature of the invention can also be understood as an extended technical problem. Besides this purely musical application, the method can increase the range of applications as a second main area of ​​application related to sports and music. In this context, the present invention refers to a very universal sensor (loss measurement sensor) for generating the synchronization signals, which corresponds to patent DE 42 40 739C2 of the same applicant and numerous other patent applications (improvement inventions of this sensor), some of which have already been examined and deemed patentable and are about to be granted (DE 100 82 058.1 and DE 10 2004 020 282.6; A1230 / 99, A 9122 / 2000, A716 / 2004). Different requirements: For the topic of sports and music, the tempo of the audio signal reproduced from the audio signal recording should adapt to the user's athletic movements, for example by adjusting the tempo linearly with the time within a bar, or over several bars, so that the bar duration changes, but not the rhythm within the bar duration. For a musical application to synchronize backing tracks played back from a recording, the tempo of the backing track should adapt to the user's tempo, but without altering the underlying musical beat. This means that the time signature corresponding to this beat may only change at defined intervals corresponding to the user's playing style, and never from bar to bar. Furthermore, the technical requirement is that within a bar, fluctuations in the interpretation of rhythmic dotted notes (or conversely, undotted notes, including triplets, etc.) must be compensated for in the backing track to prevent unwanted syncopation between the synchronized audio signal of the backing track and the real-time playing of an instrument (or vocals, etc.).Any syncopation that arises, or desired syncopations, must be reproduced in precise proportion to the time within a measure by the synchronized recording. This applies to both instrumental accompaniment and vocals; for example, in vocals, the consonants of the sung text should be placed exactly at their corresponding note values, and the same applies to the vowels. Changes in duration can be compensated for within the time of the measure, provided the duration of the music remains constant, and so on.

[0013] The present invention builds upon DE 41 43 257 C2 and fully meets its requirements. For both application areas, a special sensor is preferred, which allows all synchronization signal requirements for sports and music to be met, as well as a sensor mat with which the sensor signals for musical applications can be conveniently tapped in. A further development involves markings printed in a musical score, which, as a new symbolic system, correspond to tapping these sensor signals in at the sensitive points (where syncopation is intended or must be prevented).

[0014] The following applications (as examples) are described below: • Purely musical applications in connection with playing an instrument, in further connection with a new sensory multi-function tapping mat (sensor carpet) for inputting the rhythm using the aforementioned sensor); Using this new sensor DE 42 40 739C2 (with DE 100 82 058.1 and DE 10 2004 020 282.6; A1230 / 99, A 9122 / 2000, A716 / 2004), the following applications can be implemented according to the following description: • Nordic Walking Synchronization of the MP3 player, or a wave file, etc., • Skate roller skate synchronization of the MP3 player, or a wave file, etc., • Ice skating synchronization of the MP3 player, or a wave file, etc., • Ski synchronization of the MP3 player, or a wave file, etc., • Bicycle (pedal) synchronization of the MP3 player, or a wave file, etc., • Expander (for strength training) Syncr. of the MP3 player, or a wave file, etc., • Bending spring, for strength training, synchronization of the MP3 player, or a wave file, etc., • Synchronization of the MP3 player, or a wave file, according to body movements during sports and dance, or choreographed art.

[0015] And, the sensor based on the patents mentioned above finally makes it possible: • Sex synchronization of the MP3 player, or a WAV file, etc., especially for the controlled retrieval of MP3 slices that assemble themselves in a synchronized rhythm according to the movements performed during intercourse. Depending on the tempo of the sampled movements, the slices are not only synchronized in rhythm, but can also be selected according to their musical content by changing the rhythm. In principle, the synchronization is subject to similar requirements as when playing an electronic percussion instrument. This invention opens up entirely new possibilities for shaping interpersonal relationships, for example, conducting an entire orchestra through the movements during intercourse. The application area of ​​sex is described at the end of the description in the chapter "How musical is Germany?"

[0016] In all applications, it's possible, similar to a dance, to input synchronization signals at different tempos or to constantly vary them, for example, by entering twice as many signals or half as many as would correspond to the current beat. As long as the user generally stays in time with the music, the playback speed of the audio signal remains unchanged. If the user deviates from the music, the playback speed of the audio signal is adjusted accordingly. Depending on the application, this adjustment can also be masked, for example, to preserve the beat of the music, and the areas where correction should occur are also marked.

[0017] Furthermore, it is possible to adjust the tempo to the individual wishes of the user via a key input with which the user can also make larger changes in pace (faster, slower) during the exercise.

[0018] Due to the variety of applications, the method is particularly suitable for integrating a corresponding MP3 player into a mobile phone, from which the MP3 files can then be downloaded, especially the slices, which can be accessed via the additional possibility of rhythm variation during input in order to shape the playback.

[0019] Bicycle (crank) synchronization can be used, for example, to professionally learn the "round pedal stroke". Similarly, ski synchronization is also well-suited for training the rhythm in slalom skiing, etc.

[0020] The technical objective of the present invention is to improve the method specified in patent DE 41 43 257 C2 (of the same applicant) in such a way that the temporal progression of the synchronization of an audio signal can be ideally adapted to a wide variety of applications. This objective has been achieved by the specifications in claim 1, and furthermore by numerous further development options according to the specified dependent claims. Another special feature is the inclusion of a mode (which can optionally be switched off) in which the frequency and / or phase of the synchronization pulses can be varied as desired. As long as this variation aligns with the rhythm of the music being played, the playback speed remains completely unaffected. Only when the tempo of the synchronization signals, relative to the musical rhythm, changes, does the playback speed of the audio signal change accordingly. This provides a kind of musical intelligence for synchronization, which we will refer to here as Musi-Fuzzy because it corresponds to a fuzzy algorithm. In this algorithm, the input frequency of the synchronization pulses not only regulates the playback speed according to a basic pattern, but also takes musical aspects into account.

[0021] For example, in applications related to sports and music, such as jogging, Nordic walking, skiing, skating, or cycling, the music should be played back in sync with the athlete's movements, but the tempo should only vary within a range that is musically acceptable. This is comparable to a dance, where the exact same music (without tempo variation) can be danced at different tempos with different figures (including rhythmically dotted note durations, etc.). If the tempo is changed slightly, the dance can also be changed slightly in tempo. If the tempo is changed significantly, the dance can be performed twice or half as fast, or a 12 / 8 time signature can be danced as a 3 / 4 or 2 / 4 time signature (and vice versa). The same applies to tempo synchronization of background music to match the body movements of a sporting activity.

[0022] The situation is different for purely musical applications where the user wants to play along to recorded backing tracks. It's important to note that the beat (the basic time signature) should generally be kept very close to the beat, but within this basic time signature, the user should be allowed some room for improvisation when playing an instrument (or singing, etc.) in real time, while the backing track and / or vocals are played back as a synchronized audio signal (this room can extend over several musical bars if necessary).

[0023] The synchronization of the accompanying music, reproduced as an audio signal, should be such that any syncopation it contains is reproduced proportionally to the user's real-time playing, even if the user's timing is slightly off. The same applies to the precise synchronization of vocals, taking into account all other aspects required for accurate vocal synchronization. However, the beat (the basic time signature) should not be affected by the synchronization unless the user explicitly requests this to set the time signature. This is also possible without the user having to use cumbersome buttons to switch the synchronization (see Multifunctional Sensor Mat). Fig. 26 and Fig. 27)

[0024] All these requirements are met by solving the technical problem.

[0025] Furthermore, as an extension option for synchronization, the invention enables the generation of recognition patterns through the input synchronization signals, in order to address audio slices (fragments) and to play them back in a combined mode both triggered and synchronized.

[0026] Furthermore, suggestions have been made to use learning methods to input rhythm patterns corresponding to the reproduced piece of music, according to which the reference signals are automatically set correctly in the time sequence of the audio signal, whereby these reference signals are decisive for making a distinction as to whether the playback of the audio signal should be changed in speed by the respective current time pattern of the synchronization signals, or not.

[0027] First, an example (on the topic of sports and music), where the times t* in parentheses correspond to the tempo corrected by synchronization in time intervals: 1(t1) 2(t1) 3(t1) 1(t2) 2(t2) 3(t2) 1(t3) 2(t3) 3(t3) 1(t4) 2(t4) 3(t4).... L R L R L R L R L R L R......

[0028] The top line shows the three-quarter time signature; the bottom line shows the jogger's run, where L... corresponds to the synchronization signal generated by the left leg (via the shoe's pedal sensor), and R... corresponds to the synchronization signal generated by the right leg (also via the shoe's pedal sensor). While the temporal deviation is constantly measured by the synchronization signals, the correction only occurs within time intervals explicitly defined by correspondingly coded reference signals. Specifically, this occurs between 1 (start) and 3 (end) of the three-quarter time signature. The previously determined time deviation between 1 and 3 is corrected proportionally to the time (i.e., according to the periodicity), meaning the time deviation is measured and compensated for relative to the reference signals, as already described in DE 41 43 257 C2.Where t1, t2, t3, t4, t5 each correspond to the proportionality factors with which the note values ​​(according to their duration, each in the time intervals between 1 and 3) are changed in order to obtain the desired adjustment of the timing to the user.

[0029] For example, the time interval L, R, L is measured here in order to subsequently perform the proportional time correction over the sequence 1...3. At the same time, the deviation from the synchronization signals is also measured at RLR (during the playback of the corrected periodicity) in order to subsequently correct again over the sequence 1...3, and so on.

[0030] If the runner only changes his pace slightly, then the proportionality factors (t1, t2, t3, t4, ...) are simply adjusted to the change in pace (according to the synchronization signals) according to the respective measured change.

[0031] If the runner significantly changes their pace, for example, by running twice as fast, then the described synchronization with the emotional sensation of a waltz would be too fast, which, of course, can also occur if desired. However, in a further development of the present invention, a corresponding fuzzy mode is provided in which the input synchronization impulses can, for example, be twice as fast, and yet the tempo of the waltz does not change, allowing the jogger to still run in the rhythm of the waltz. 1(t1) 2(t1) 3(t1) 1(t2) 2(t2) 3(t2) 1 (t3) 2(t3) (t3) 1(t4) 2(t4) 3(t4) L R L R L R L R L R L R L R L R L R L R L R L R

[0032] This means that, for example, the time span is measured over the duration L,R,L,R,L,R, in order to subsequently perform the proportional time correction over the sequence 1...3. During this process, the deviation from the synchronization signals is also measured for L,R,L,R,L,R (during playback of the corrected periodicity) in order to subsequently correct it over the sequence 1...3, etc. Due to the automatic quantization based on the time grid of the reference signals, twice the frequency of the synchronization signals is measured in the correct time units, thus ensuring that the correct correction of the duration of each clock cycle is applied.

[0033] Another possibility, related to the fact that a 3 / 4 time signature can also be interpreted as a 12 / 8 time signature, would be a slower synchronization signal input. This could arise, for example, if, instead of a jogging application, the Viennese Waltz were to be played back in sync with the pedaling of a bicycle crank, or with the sequence of turns of a skier, as will be described later in connection with the proposed devices. In the bicycle crank example, a 180° scan would suffice, in which a synchronization pulse (R=0°, or L=180°) is generated every 180° relative to a specific (adjustable) zero point. 1 2 3 4 5 6 7 8 9 10 11 12 .... 1(t1) 2(t1) 3(t1) 1(t2) 2(t2) 3(t2) 1(t3) 2(t3) 3(t3) 1(t4) 2(t4) 3(t4).... L R L R L R L R L

[0034] The additional fourth line illustrates the further possibility of generating a synchronous signal half as slowly.

[0035] That is, the time span is measured here over the duration between L and R in order to correct over the sequence of 1...3 (concerning the third line).

[0036] With the input that is half as slow, measurements are taken over successive clock cycles L...R, but correction is made between the reference signals 1...3.

[0037] Another example would be a 12 / 8 time signature, which can optionally correspond to a 6 / 4 time signature or (only for timing purposes) a 3 / 4 time signature (2*3=6) or a 6 / 4 time signature or (only for timing purposes) a 2 / 2 time signature (3*2=5).

[0038] Thus, in this particular advanced training mode, the playback speed is essentially unaffected by the number of synchronization pulses (frequency) arriving within a musical bar, but is affected by their deviation from the reference signals (i.e., via phase). That is, with a continuous change (faster, slower) of the synchronization pulses, the control system adjusts accordingly; however, with an abrupt change where the number of synchronization pulses within a musical bar changes accordingly (e.g., doubled or halved, etc.), it does not, or only minimally with regard to the phase deviation. This is, for example,This is important in skiing because if the skier suddenly makes twice as many turns or only half as many, the tempo of the played audio signal should not change drastically, but rather adapt to the athlete's body movement according to musical perception (which is ensured by using reference signals corresponding to the rhythm of the audio signal). The same applies to cycling: if the cyclist suddenly pedals twice as fast or half as fast, or in a 2 / 4 time signature, matching the 12 / 8 time signature of a piece of music, although they could also pedal in a 3 / 4 time signature to match, etc.

[0039] This means that the present synchronization has a mode in which the tempo of the audio signal playback automatically adjusts over a wide range in response to a continuous frequency change in the synchronization signals (e.g., a change in a jogger's running pace). However, this does not occur with spontaneous changes, such as double or half the frequency of the synchronization signals, provided that this spontaneous change is in accordance with the musical rhythm, which is detected by the reference signal encoding.

[0040] As a further development step, an initialization is provided in which, if no defined playback speed of the audio signal is recognized as the initial condition for synchronization, the time interval(s) of the incoming synchronization signals are measured at a specific beat specification (e.g., 1 / 4) in order to measure the time values ​​between the synchronization signals and thus determine the speed of the audio signal at the start of playback, whereby playback starts (is triggered) after a certain number of such beats.

[0041] Within a range where changes to the audio signal's playback speed are permitted, the playback speed is adjusted so that, for example, integer multiples or divisor ratios fit the synchronization signals into the time grid of the reference signals. This determines the tempo at which the audio signal playback begins, or to which it adjusts if no synchronization signals have been input during a timeout. The quantization of the synchronization signals' time intervals relative to the audio signal's note values ​​is also determined by the current duration of the time spans marked by reference signals, such as the duration of a musical bar, or, if applicable, between other reference signals within the musical bar.

[0042] If, as an option, a significant spontaneous tempo change is to be set via controls on the playback device (audio recorder), then further development proposes the preferred measure of making this tempo change with a special remote control function (e.g., via Bluetooth), which has two buttons: Faster / Slower, and which, in addition to being present on the device, are assigned to a remote control input (a remote control) in such a way that the athlete can operate them while generating the synchronization impulses, e.g., on a mount attached to the handlebars of a bicycle (attached like, for example, a bicycle handlebar mount).the gearshift lever of a transmission), on which the buttons are provided, or as buttons provided at the top of the ski pole grips (one for each ski pole, which can be pressed with the thumb), of which pressing the button on one ski pole increases the speed by one step and on the other pole decreases it by one step. These two buttons could, for example, also be provided in the gearshift lever housing of a bicycle, with the connections then leading to a small housing, still attached to the bicycle, which also receives the sensor signals (200, 201 in . Fig. 15) are connected, and in which the Bluetooth interface to the playback device, e.g., an MP3-enabled mobile phone, is provided. In further development, if the mobile phone rings, the ringtone can be mixed into the audio signal, and an audible announcement can be made stating who the caller is. If the participant answers the call of the athlete (skier, cyclist, or skater, etc.), they press both buttons simultaneously, and the caller receives a message asking them to wait a little longer (e.g., until the skier can turn down, or the cyclist can stop, etc.). The announcement of the caller's identity is recorded by the mobile phone owner as a compressed audio signal when creating the call in their phonebook. Similarly, ambient sounds recorded by an external microphone can be incorporated into the MP3 player's playback, although these sounds are only transmitted and added above a certain level threshold.

[0043] For use by joggers or roller skaters, it makes sense to integrate the electronics of the speed-change button on the outside of a glove, while placing the button function itself on the inside of the hand. Fig. Section 18a will later describe an example of such a glove. Simply making a fist is sufficient to generate the "button pressed" status. The loss measurement sensor described below (see also references above) can be used for this purpose. This sensor can inductively measure even very high resistance losses to generate the status signal for the button function (fist or no fist). The glove can also leave the fingers free, i.e., only protect the palm and the base of the hand (see later for more details). Fig. 18a).

[0044] The special feature of the preferred input function is the tempo input. As discussed earlier, the tempo (apart from the necessary phase control with its associated automatic tempo adjustment) should be largely independent of the number of synchronization pulses per musical bar, provided these are entered in accordance with the musical bar. When the number of synchronization signals changes, the tempo is controlled by measuring the durations of successive synchronization signals and summing them (in relation to the time units of the reference signals). The time units of the reference signals correspond to the current tempo.

[0045] Pressing a corresponding button ("faster" or "slower") switches the time scale of the reference signals used to assign the summed time values ​​of the synchronization signals to the desired tempo change of the audio signal. This ensures that the audio signal remains within the synchronization range (between the reference signals and the synchronization signals), or, if the switching is changed accordingly, the tempo of the audio signal playback is also adjusted. The switching of the time values ​​then occurs in ratios corresponding to musical playback, e.g., twice as fast or half as fast. Furthermore, the switching occurs at specific points in time marked by special reference signals.

[0046] Note: The term "musical measure" or "measure" refers to the established reference signals, each marking the time interval within which the timing adjustment occurs in proportional time steps to the previously or currently measured deviation (see t1...t4 above). This can also occur, for example, in the middle of the musical measure when longer note values ​​are played, the duration of which should then be proportionally shortened or lengthened. In other words, specially marked reference signals define the time interval over which the synchronization adjustment takes place. These reference signals do not need to be explicitly highlighted; it is sufficient if the user can perceive them through their musical perception within the played audio signal.

[0047] Various modes may also be provided, e.g. one in which tempo synchronization is also carried out according to the frequency of the synchronization signals corresponding to the reference signals, whereby at double the frequency of the synchronization signals the playback speed of the audio signal results in double the frequency, and dropouts of the synchronization pulses can also be detected (without changing the playback speed of the audio signal). A significant improvement of the above-mentioned method is achieved by providing, as a particularly preferred measure of this improvement invention, differently weighted reference signals in accordance with the rhythm of the relevant piece of music or audio signal, namely a) those used only for measuring time deviation, but not for re-establishing time deviation, and b) and those which define the time span (correction time span) of the correction (or readjustment) of the phase or frequency of the rhythmically occurring process, which is proportional to the time of the synchronization signals, c) and, if applicable (as an option), further measures that are intended to allow, in addition to the time-proportional correction (adjustment) corresponding to the synchronization signals, a separately synchronized tempo setting via manual operation in correspondingly larger time ratios.

[0048] The time intervals (correction intervals) defined by reference signals (b), which each determine the time-proportional correction to the synchronization signals, can also be further subdivided, as can those mentioned under (a), or they may not be present at all. How the hierarchical gradation of the reference signals is implemented depends on the specific application. For example, it can be implemented such that synchronization signals detected for reference signals relating to individual beats (e.g., 1, 2, 3; 1, 2, 3; ...) within a measure can only cause a maximum change from beat to beat, which is adjustable by a parameter (a parameter associated with the respective reference signals), e.g., to 5%, etc., whereby the detected residual time deviation is then only compensated over the time interval of a full music measure (time linearly over this time interval). Encoding of reference signals in the audio signal: To simplify timing, the time measurement points of the reference signals contained in the audio signal can be encoded not only via the time base (for addressing the audio signal over the time axis), but also by frequencies that are contained in the audio signal but lie outside the audible range (or are filtered out) (also encoding of serial characters, etc.), roughly comparable to the stereo transmission method for broadcasting).

[0049] Both encoding methods (via the time base) and directly via the audio signal can be coupled. In this case, all points to which an audio signal can be accessed during playback (corresponding to the addressing of slices, etc.) are encoded via the timing of the time base (with sufficient additional address space for each address). Starting from these addresses (as an offset), the time markers embedded directly in the audio signal as inaudible frequency markers are used only as counting pulses for incrementing (relative to this offset) to achieve the highest possible resolution. The incremented addresses then provide the addresses for a table (reference table) from which the corresponding data of the reference signals (according to their respective definitions for synchronization) are read.The reference signals themselves are only transmitted to the user through the rhythm of the audio signal; the described measure only concerns the temporal coding as a measuring point for the preferred measurement of the time deviation to be compensated for in each case for the speed control.

[0050] With reference to Fig. 23a, Fig. 23b, and Fig. Section 24 will examine and discuss the fundamental synchronization with regard to different deviations and over several bars. The musical bars to which synchronization is to be performed correspond to the reference signals B12, B13, B14...B17, etc., where these outlined symbols represent the unsynchronized state, i.e., played back at an unchanging tempo, and those marked with the suffix N (B*N) represent the time-shifted state according to the synchronization.

[0051] The reference signals within the music bars, which for reasons of space are only labelled between B12 and B13 with the symbols a, b, c, d, relate to the synchronization time grid according to which the incoming synchronization signals are assigned and are shown on timeline 1.

[0052] Thus, the coding information of the reference signals B12, B13, B14......B17 (which here each correspond to the beginning of the musical measure and, in the simplest case, can also be positioned temporally according to a time grid corresponding to the musical measure) determines the time span of the correction (adjustment) of the phase or frequency of the rhythmically occurring process, which is proportional to the time of the synchronization signals; - whereby the reference signals a, b, c, d,..., which are each temporally encoded within a measure, can, in the simplest case, also correspond to a time grid, and, depending on the application (e.g., in conjunction with a sports device), are either used only for measuring the time deviation but not for adjusting the time deviation, or the relative time change in relation to the previously measured time span of corresponding reference signal pairs (a, b, c, d) is only permitted up to a certain limit (e.g.,(when playing the accompaniment of a musical instrument). By defining time ranges for measuring and adjusting the time deviation using reference signals (B*, a, b, c, d), which, with respect to the linearity of the time scale, either do not allow any non-linear adjustment (e.g., within a musical measure) or only allow a limited deviation from the linearity of the time scale, and similarly, by providing further reference signals (B12, B13, B14......B17) for adjusting the time deviation, marking ranges in which even a larger deviation (e.g., within a musical measure) can be linearly compensated, the tempo adjustment to correct the measured deviation can be carried out in such a way that it sounds musically acceptable. The timing of the reference signals B12, B13, B14...B17 for defining the correction time intervals in relation to the musical measure depends on the application, as does whether and how further reference signals within the musical measure (B*, a, b, c, d) are provided and used. Depending on the application, these further reference signals may be omitted, and the correction time intervals may also be defined for beats within the musical measure using reference signals B12, B13, B14...B17, with each reference signal being defined across adjacent musical measures.

[0053] Different examples: For the jogging application described, a reference signal is provided for each music bar to define the correction intervals. In the cycling application, where the cyclist is also supposed to learn a smooth pedal stroke, a reference signal for defining the correction interval can be used depending on the type of music, e.g., only every second or third bar, etc. In contrast, for the application of synchronizing background music (as a played audio signal) with a live-played musical instrument or live vocals, a significantly more complex pattern of correction intervals (which can also be nested within each other with different parameters) is provided.

[0054] Furthermore, for special applications, multiple encoding can be provided for a reference signal to allow the introduction of a correction period only every third beat (music bar) in the case of minor changes in the time interval of successive synchronization pulses, e.g., only every third beat; only every second beat in the case of slightly larger deviations; and every beat in the case of large deviations. The same applies to the correction of timings relative to reference signals provided within a music bar (see B*, a, b, c, d).

[0055] This means that, deviating from the currently measured time deviation, the number of musical bars over which the tempo must not change is fixed. Using the example of a bicycle crank, it is useful to synchronize the point at which the tempo may change to a specific bar with a corresponding angle of rotation or position of the crank (pedal crank) corresponding to this bar division. This encourages the music playback to follow a smooth pedal stroke (over one or more revolutions of the crank) and simultaneously adapts the tempo of the audio signal to the changing speed of the crank rotation. Using this method, a smooth pedal stroke can be learned, especially during acceleration, which requires less energy and ensures greater endurance for the cyclist, even when sprinting. To apply this example more generally, in this variant the use of reference signals is controlled by different priorities of different synchronization signal sources. This can also be applied, for example, to an electronic drum kit, where one hand assigns the tapped-in synchronization signals exclusively to those reference signals that correspond to the time interval of a musical measure, while the synchronization signals tapped in with the other hand correspond to the reference signals used within a musical measure; - with different design options for a time check or status check (to which the synchronization signals were entered).

[0056] In addition to these options, further training takes the musical aspect of synchronization into account by stipulating that the start of synchronization (correction) is only permitted if the tempo deviation of the musical beat does not become too great. This measure will be further explained below. Fig. 24 explained in more detail. First, we will... Fig. 23a, and Fig. 23b will be explained in more detail. Timeline 1...concerns the reference signals, Timeline 2...concerns the synchronization signals; Timeline 3...concerns the times as they run from the respective received synchronization times B*N, and correspond to the time intervals to the respective previous synchronization impulse (see following explanation).

[0057] B12, B13, B14......B17 each correspond to the beginning of a measure of music, a, b, c, d, ... correspond to (not immediately audible!) beats, or their points in time within a measure.

[0058] Case 1: According to a simplified mode, only the synchronization signals (S12.....S17....etc.) are entered, which directly correspond to the clock beats of the clock start, thus to the reference signals B12, B13, B14......B17....etc., which define the correction time intervals.

[0059] Case 2: Synchronous signals are still entered between the synchronization signals (S12, S17, etc.). These correspond to the reference signals a, b, c, d, etc., which are still intended for reference signals. The time deviation is measured against these reference signals, but either no adjustment of the time deviation occurs or only a limited adjustment. a, b, c, d, etc. correspond, for example, to reference signals assigned to beats within a measure. These beats do not have to be entered regularly but can also be omitted at any point, correspond to dotted notes, or be supplemented by further rhythmically appropriate beats for which no reference signals are then provided.

[0060] That is, in this case, the synchronization signals (S12.....S17....etc.), which directly correspond to each clock start, must therefore correspond to the reference signals B12, B13, B14......B17....etc., from the pattern of the synchronization signals, see also (burst in Fig. 13a, Fig. 13b) be separated in order to include the Fig. 23a Fig. 23b, and Fig. The synchronization patterns shown in Figure 24 are obtained. How this separation is achieved depends primarily on the application and can be accomplished, for example, by approximating the timing of the input synchronization signals relative to the reference signals, or by separately inputting the synchronization signals relating to the musical beat (S12, S17, etc., each corresponding to the reference signals B12, B13, B14, B17, etc.). For example, the separation can be achieved via the right and left hand if the application involves an electronic drum set, or via the intensity of the input, whereby this intensity is not absolute but relative to the other (temporally adjacent) synchronization signals. Separate input is also present when the synchronization signals are derived via the crank position of the pedals of a bicycle and by further scanning of the toothed disc (301), as shown below. Fig. 15 is described further. The separation of the synchronization signals relating to the musical beat (S12.....S17....etc., each belonging to the reference signals B12, B13, B14......B17....etc.) can also be achieved by reference to the status in which the synchronization is currently taking place and can be externally controlled via a music sequence program or a MIDI instrument played live to the synchronized accompaniment (beginning of recognition of a new movement of a piece of music, etc.). Example:

[0061] To filter out the synchronization signals in Case 2 that immediately correspond to the beginning of each clock cycle (S12, S17, etc.), the synchronization signals are interpreted as burst pulses bundled over the clock cycle length. For example, five clock beats (take five) within a single clock cycle (1, 2, 3, 4, 5) are entered (corresponding here to B*, a, b, c, d). It is assumed that those clock beats, or synchronization pulses, that occur at the beginning of each clock cycle are recognized for initiating synchronization (i.e., a tempo change of the audio signal) if these clock beats, or synchronization pulses, are entered in sufficient temporal proximity to a reference signal that marks the beginning of a correction period. Here, these are the possible reference signals (B12, B13, B14, B17, etc.). In reality, however, in this example, it is the synchronization signal S12 that arrives within a certain tolerance of the reference signal B12.The signal must arrive in order to be recognized as initiating synchronization (here labeled START). See also the later described alternatives of a start triggered by a synchronization signal, with the option of inputting synchronization pulses via playing the instrument while it is muted.

[0062] In practical terms, this means that to initiate synchronization, the user listens to the rhythm as they perceive it (comparable to a dancer), or, if necessary, plays it from a musical score, and starts playing at the beginning of the beat (B*) that corresponds to the reference signal which can initiate a correction period associated with the synchronization signal. The user can also start with a beat within a measure, e.g., with b, from the sequence B*, a, b, c, d, but only the proximity to B* is considered for initializing the synchronization (START), and starts playing when the synchronization pulse is close enough to the relevant reference signal B*.

[0063] If this is the case, as shown here for clarity, that the synchronization signal S12 arrives at the exact time B12 (of a clock start) (whereby the synchronization signal arriving within a time window specified for B12 is evaluated), then the synchronization is initiated (START), which results in the time span from S12 to the next synchronization pulse, here S13, being measured. For controlling the tempo of the audio signal, a relative time range Tvar [%] is defined, within which the time intervals between correspondingly defined reference signals, e.g., those relating to the beat, can be adjusted – here B12, B13, B14...B17...etc. This determines the factor by which the playback speed can change due to synchronization. This factor can be changed, for example, by the previously described key input to allow for larger tempo variations. However, this is unrelated to the extension option explained below, in which a time change of the reference signals (B*, a, b, c, d) of the beats within a musical measure (cf. between S12 and S13) is only permitted to a limited extent, in order to avoid altering the rhythm occurring within a measure.

[0064] If a synchronization pulse arrives within a time window of the reference signals coded for the detection of a correction time interval (see S12), the time interval to the subsequent synchronization pulse, here S13, is checked to see if it falls within the defined time range Tvar (here for the time intervals between B12-B13, B13-B14, B14-B15, etc.). If so, the time interval, here t12, is used for synchronization. If not, the synchronization pulse is interpreted as the corresponding clock pulse, as it is closest to a reference signal (B*, a, b, c, d, etc.) according to the current time grid (e.g., the respective time intervals B13 to B14N, B14N to B15N, etc.) and used to measure the deviation, which will be discussed in more detail later.

[0065] In Fig. 23a and Fig. 23b hits S13 as a valid, recognized synchronization pulse with time t12 within the permissible range (Tvar). <t12<Tvar für die Gültigkeit von S13) ein, um für die Messung der Synchronisationszeitspanne, mit welcher die Tempowiedergabe zu synchronisieren ist, verwendet zu werden. Dies erfolgt so, daß der zuvor zwischen S12 und S13 gemessene Zeitwert t12, d.h. die zu einem aktuellen (als gültig erkannten) Synchronisationsimpuls S13 zum vorherigen Synchronisationsimpuls S12 gemessene Zeitspanne t12, mit Zeitpunkt des Eintreffens des aktuellen (d.h.The synchronization pulse S13 (which is recognized as valid) is set as the starting point and as the correction value. For a time value corresponding to the elapsed time t12, it is checked whether the time interval t13N elapsed since the reference signal B13, which is associated with the current (recognized as valid) synchronization pulse S13, corresponds to a time value that would still correspond to the defined time tolerance Tvar, either directly or via a further mathematical relationship (factor, etc.). If the value t13N corresponds, then it is set as the new reference point associated with the next reference signal B14, which shifts to time B14N. If the reference signals, which each mark a correction time interval, are defined, for example, as a music bar, then the current bar length corresponds to the duration t13N, with B13 as the bar start and B14N as the bar end (or the bar start of the next bar).The same process is then repeated for the next synchronization pulse S14, or t13, whereby the time interval t13 then begins at the current time of the subsequent reference signal B14N (originally corresponding to B14, whose time is shifted due to the increase in playback speed) and ends at B15N, which, however, is only validly time-shifted (synchronized) when the aforementioned check, here of t13 as the resulting time interval t13 between the current synchronization signal S14 and the previous synchronization pulse S13, is such that the time interval t13, or, upon elapse of t13, the time shift of B15 (to B15N), in relation to the previous shifted reference signal B14N, results in a time value t14N that corresponds to a time value as it does directly as it does to the defined time range Tvar, or via a further mathematical relationship (factor, etc.).This process continues continuously as long as the process remains in synchronization mode. Fig. 23a relates to a synchronization pattern in which the time intervals of the synchronization pulses are shortened, thus increasing the speed of the audio signal playback accordingly. Fig. 23b relates to a synchronization pattern in which the time intervals of the synchronization pulses are lengthened, thus reducing the speed of the audio signal playback accordingly.

[0066] Between the reference signals newly obtained through synchronization, or over their correction time intervals t13N=(B13-B14N), t14N=(B14N-B15N), t15N=(B15N-B16N), t16N=(B16N-B17N),..., the playback speed is then corrected proportionally to the rhythm, or proportionally to the note values ​​(i.e., the note duration). To extract the time differences t12,t13,t14,t15,t16,..tn ( Fig. 23a, Fig. 23b, Fig. 24) To calculate the resulting correction time intervals t13N,t14N,t15N,t16N,.....tnN, which each follow the time of the previously shifted reference signal, in order to obtain the time of the reference signal currently to be shifted, the following procedure is used: See also in Fig. 23a, Fig. 23b: B14 becomes B14N, B15 becomes B15N,...etc.

[0067] Depending on whether the measured deviation is caused by an increase in playback speed ( Fig. 23a), or by reducing the playback speed ( Fig. 23b) to compensate for the deviation, the difference between the incoming synchronization signal (S*) and the reference signal B*N corresponding to the current synchronization is measured (if S* arrives behind B*N), or, if applicable, the difference between the reference signal B*N corresponding to the current synchronization and the incoming synchronization signal (S*) is measured (if S* arrives ahead of B*N). The fact that both directions of deviation are tested virtually simultaneously was already stated in DE 41 43 257 C2. In this measurement, the error time tf is measured, and the direction of deviation (whether a synchronization signal arrives ahead or behind its corresponding reference signal) is also determined.

[0068] tf... refers to the time lag by which a synchronization signal arrives ahead of or behind its corresponding reference signal (as contained in, or reproduced by, the audio signal). The synchronization signals correspond to a user-defined periodicity (here in a musical sense), to which the playback speed of the audio signal reproduced by the audio recording is adjusted by the preferred correction. This results in the reference signals contained in the audio signal being shifted in time according to the playback speed correction.

[0069] Note: The correction period t13N begins at B13 because the initialization (START) of the synchronization process only occurred at B12 via S12; therefore, the reference signals only appear with a leading shift from B14N onwards. Fig. 23a). This also applies to Fig. 23b, where the reference signals appear with a corresponding delay. This is why tf for B13 is also measured against B13, which has not yet been shifted in time due to synchronization.

[0070] ♫ ♫ The missing time -tf* received for the synchronization pulse (here S13) that leads a current synchronization pulse (e.g., BS14) ( Fig. 23a, here S13 around -tf* leading to B13), or tf* ( Fig. 23b, here S13 lagging B13 by tf*), is then added, with the correct sign, to the time interval measured in relation to the leading synchronization pulse (here S13) (here t13 between S14 and S13) to obtain the time value that begins with the last considered (here B13) and / or offset reference signal after synchronization, in order to obtain the time for the temporal correction of the periodically occurring process (here the tempo-controlled audio signal) after its expiry (here t13), which here corresponds to the shift of B14 leading to point B14N; whereby the time value tB13 (between B14 and B13) given without synchronization is shortened to t13N, which is achieved by increasing the frequency of the transport clock of the audio signal in the ratio tB13 / t13N.

[0071] Note: Since the synchronization of the music beat only begins at S12 (START) and a usable value only results in the correction period initiated by B13 (see also later for testing after Fig. 24), the start of the correction period refers to the last reference signal considered, B13, which, however, does not yet occur with a time shift.

[0072] The situation is different with the next reference signal, here with S15 as the current synchronization pulse (in Fig. 23a, or Fig. 23b), and the associated leading synchronous pulse of the synchronous signal S14, with the associated missing time -tf** ( Fig. 23a, here S14 um -tf** ahead of B14N), or tf** ( Fig. 23b, here S14 lags behind B14N by tf**). The time value, which here begins with the B14N reference signal already offset by the previous synchronization, in order to obtain the time for the temporal correction of the periodically occurring process (here the tempo-controlled audio signal) after its elapsed time (here B15N), corresponds here to t14N. This results in the shift from B15 to B15N corresponding to the temporal correction when tf** is added correctly.

[0073] Therefore, in general, the following applies to a current synchronization signal S(n) that has been identified as belonging to a reference signal B(n) to be shifted: (1) tf = tB(n-1) - tS(n-1), or tS(n-1) - tB(n-1), to obtain tf with the correct sign; (2) This changes the new reference time interval (over the relevant correction period), such that: t(n-1)N....as a newly obtained reference time interval after shifting B(n); t(n)B .......as the reference time interval existing before the shift of B(n); tf .............signed absence time between B(n-1) and S(n-1); t(n-1).......as the time interval of the synchronization signals measured between S(n) and S(n-1), t(n−1)N=t(n−1)+tf

[0074] The corrected tempo of the audio signal playback is calculated from the ratio of these correction time intervals t(n-1)N, or here t13N, t14N,...t16N, etc., resulting from the current synchronization, to the original time intervals t(n)B, or here tB13, tB14, tB15, etc., as they occurred between the respective reference signals before the synchronization occurring at a given reference signal time. This corrected tempo is then calculated such that it corresponds to the newly obtained correction time interval (t(n-1)N, or t13N, t14N,...t16N, etc.). Thus, in Fig. 23a Shortening factors t(n-1)N / t(n)B, e.g. tB14N / t14B, etc.; or in Fig. 23b Lengthening factors. With these shortening factors ( Fig. 23a) or extension factors ( Fig. 23b) The timings of the transport clock, with which the audio signal is output, are then multiplied to obtain the tempo corresponding to the synchronization by appropriately varying the clock frequency of the output clock.

[0075] Note: In Fig. 23a, Fig. In section 23b, the terminology tB14, tB15...etc. is used; it is to be equated here with the given formula, t14B, t15B, etc., or tn(B).

[0076] That is, if the reference signals, which define the time span of the correction (or adjustment) of the phase or frequency of the rhythmic process proportional to the synchronization signals, are set, for example, so that they each correspond to the beginning of a new musical bar, then the change in the tempo of the audio signal does not occur continuously, but bar by bar, etc. To measure the temporal deviation of the synchronization, additional beats can optionally be used as synchronization pulses, also belonging to a reference signal time grid B*, a, b, c, d, ..., measured in relation to their temporal position and included in the correction, which must of course be constantly taken into account when calculating the current output beat of the audio signal.

[0077] Time correction, which alters the duration of the musical measure, primarily applies to applications in sports and music, or in purely musical applications whenever the tempo needs to be deliberately changed, while the beat (the measure duration) must otherwise be precisely maintained. In purely musical applications, the correction occurs within the measure at the points marked by the reference signals. At the permitted points, the correction is made in a time ratio as specified by the reference signals, whereby proportional time divisions may also be provided.

[0078] ❖ In a more advanced version, the musical notation, e.g., of a song, is divided into slices (sections) of the audio signal. The start times of these slices within the notation are controlled by reference signal encodings, and the slices themselves contain these reference signal encodings. Furthermore, a basic framework can be defined that, based on the call to the slices (by the currently playing segment), controls the call to all slices at a higher level. During the course of time, the individual slices pass parameters to this framework for calling further slices.

[0079] The same considerations apply to synchronization in this variant, whereby the method described below involves incorporating played upper voices and user-generated real-time note data (see Real-time MIDI Signal in [link to relevant section]). Fig. 28) High-resolution synchronization is achieved precisely where it is needed, i.e., the changes in the notes of a melody. When the method is applied to slices, a trigger mode is preferably used in addition to synchronization, with automatic switching between the two modes depending on the current synchronization. A mode is provided as the overriding condition, which assumes an exact beat, i.e., a precise and stable beat duration.

[0080] During the duration of a musical measure, synchronization initially occurs only, whereby the audio slices are placed sequentially according to the sequence program, and the synchronization is performed as described for beat synchronization, except that instead of transferring absolute time values, the percentage changes to the next time interval of the next slice, whose duration is usually different from the previous one, are applied. Therefore, for each slice beginning addressed by the reference signals, its duration, normalized to a regular playback speed, is also stored. Furthermore, the reference signals placed within a musical measure (or, in the case of notes tied over several measures, over several measures) can be pre-scanned upon reaching a reference signal in order to make corrections so that the beat is maintained at the end of the measure.If, during this preliminary calculation, the notes reproduced by the audio signal are scanned in advance (i.e., before they are even played!) by being loaded into a corresponding scanner memory area, it is determined that the synchronization with the end of the measure is not exactly correct, then the trigger mode is engaged. However, the switch to trigger mode occurs only briefly if a synchronization measurement is currently received via the user-generated real-time audio signal in the current range; otherwise, the synchronization remains in effect according to the previous measurements. If a synchronization measurement is received via the real-time audio signal in the current range, the timing of a reference signal encoded for this purpose determines when the trigger gate is opened, with the reference signal, like all others, being controlled by the synchronization.

[0081] This means that the reference signal encoding also includes the control of a trigger gate, which prepares the triggering of an audio slice encoded to the reference signal within a time window. As long as the overarching trigger condition (e.g., an encoded note sequence of the real-time MIDI signal played by the user) does not arrive within the time window, the current audio signal slice, which might otherwise have already ended, is extended until the trigger signal arrives. If the trigger signal does not arrive, the next slice is addressed after the time window has expired. If the audio signal is extended within the time window while "waiting" for the trigger signal, this is done, for example, by addressing an additional slice encoded to this audio signal.

[0082] However, if the trigger signal arrives within the time window while the audio signal slice is being played back, then, as a rule, part of the previous slice must be carried over into the next one during singing, and the following slice must be sung correspondingly shorter.

[0083] This means that the audio signals, interpreted as trigger signals through the encoding of the reference signals, address different slices that are very similar in the reproduced audio signal but differ only in timing. These audio slices are processed by a compiler, whereby, for example, a melody is interpreted with different delays to the same normalized (beat) time signature. This can be achieved not only through editing with an editing program but also by playing the audio in real time using the method described below. Fig. The procedure described in 28 can be carried out, and depending on the time values, the correction is made once: a) by different speed control depending on the measurement result obtained, b) and furthermore, by addressing different slices, the selection of which is encoded for each reference signal and addressed by the quantized measurement of the time deviation, a musically adapted compensation is achieved. The synchronization signals take over the time window control of the associated reference signals, whereby within the time windows, the next audio slice is called up at the correct time from the sequence of the current one. The correct time is again determined by a reference signal, which is located in each of the available audio slices.

[0084] A good method for calculating such complex processes is simulation in program loops with stepwise changes to the parameters. In this context, the proposal made in DE 41 43 257 C2 should be discussed, which aims to improve synchronization by increasing the frequency (by a factor of MPY). The approach involves further subdividing the time grid for the reference signal time intervals by this factor, and this subdivision is also used for synchronization. Extending DE 41 43 257 C2, with reference to Fig. 28 a proposal will be discussed in which the synchronization also includes the notes entered in real time, or a corresponding MIDI signal, etc., which is derived from a vocal or natural instrument via a frequency / MIDI converter, or is played directly by a MIDI instrument played in real time.

[0085] The special feature here is that, synchronously with the played audio signal (Elastic Audio) a=f(t), whose transport clock TKT1 controls the playback speed, the corresponding MIDI note data (MIDI stream) (e.g., for the melody) are also played back. Both memories (audio and MIDI) follow the principle of signal output controlled by a transport clock (TKT1 for audio, TKT2 for MIDI). The MIDI clock TKT2 is coupled to the audio clock TKT1 via the time base, optionally using a separate address space in the working memory for this assignment (by storing corresponding time markers); or, alternatively, a further serial signal track of the audio signal is used for frequency-based encoding of the MIDI signal, from which the data corresponding to the notes can then be decoded again by frequency filtering (or FFT).

[0086] However, for the output of the MIDI signal, a time interval dT is provided, implemented by a combined transit / scan memory SCSP immediately before the output, which has the transit time DELAY=dT for the MIDI signal, whereby the MIDI signal appearing at output A of SCSP is time-synchronized to the associated, reproduced audio signal according to the tempo synchronization of the audio signal.

[0087] Note: The signal referred to here simply as MIDI signal concerns a data stream that, in addition to the data of note values ​​of a melody, can also only contain note values ​​that only relate to points in time, independent of a melody, which will be referred to later.

[0088] The delay time DELAY=dT of the combined scan / move memory area SCSP, which follows the serially reproduced MIDI data, is preferably adjustable and corresponds to the note value duration over which the audio signal, synchronized as described, is to be resynchronized in a special mode by notes played or sung in real time on an instrument (and quantized into a MIDI signal), e.g., by an eighth note, a quarter note, or the length of a musical measure, etc. Alternatively, instead of resynchronizing the audio signal, only the detection of rhythmically played errors for addressing audio signal slices may be performed, e.g., to draw the user to the correct rhythm by loudly overriding the errors (in the audio signal), e.g., by adding another audio track, etc.Error detection can also take into account more complex musical notation with choirs, etc.

[0089] The SCSP memory area is not a separate memory, but merely a memory area as part of the larger memory area, from which the note data (here MIDI Stream) is read synchronously for playback of the audio signal.

[0090] The scanning process is performed virtually in parallel for all note values ​​contained within the DELAY=dT time frame. This can be accomplished using a fast processor or a state machine configurable via RAM. For each individual comparison, every note of the real-time signal (real-time MIDI) presented for comparison, as played in real time (e.g., as the upper voice of a MIDI instrument, or of a vocal track converted to note values, etc.), is examined to determine if it matches the comparison pattern of a string. This corresponds to a standard scanning process, but with the difference that the comparison is not limited to a single pattern, but rather considers as many patterns as are contained in the SCSP (scanning memory). A pattern is obtained by reading all grade data from the SCSP memory area for each new writing process (E), in which a new data is written into the pass-through / scan memory (at input E), according to the chronological order of the writing.

[0091] From this extraction of data from the memory, a multitude of data strings are derived as comparison patterns by shifting the strings temporally by one step of the SCSP FIFO. This is done in such a way that the note string, which is written ahead of the playback of the associated audio signal by the measurement range, shifts temporally in a direction that reduces this lead.

[0092] This repositioning can also be performed within the SCSP FIFO itself between each write operation. However, before writing, the SCSP FIFO must be reset to its initial position (from the last write operation). Once a synchronization point has been reliably identified in this way, the FIFO's write clock is adjusted so that the data content of the SCSP FIFO, in terms of temporal alignment with the real-time MIDI signal, moves back towards the center position, allowing for sufficient advance and lag measurements. The time deviation is then measured by the number of SCSP FIFO clock cycles corresponding to the time shift at which the pattern string derived from this shift was recognized. To enable both advance and lag measurements, the note data is loaded into the SCSP FIFO with a corresponding lead. Fig. 28 this is symbolically represented by a dashed line, where output A of the FIFO SCSP is tapped.

[0093] Otherwise, the in Fig. 28 memories designated as MIDI Stream are considered FIFO (first in, first out) registers with output A, which is read synchronously with the tempo synchronization of the audio signal. For each newly written value (which is then pushed out at the output), the memory is read very quickly backwards from its address corresponding to the pushed-out value in the direction of the values ​​following that value, in order to obtain the complete comparison pattern associated with a write operation.

[0094] Further training includes hierarchical scanning, in which the scan memory SCSP comprises a clock length, but the pattern template is further subdivided from this clock length into hierarchically graded time values ​​(quasi) in order to obtain also abbreviated pattern comparisons, regarding: a) an eighth note b) a quarter note c) half a grade d) The memory of an entire note is read from its currently written value, with the address being incrementally decremented to obtain the individual pattern templates. This makes it possible to achieve, depending on the note content, e.g., if a measure contains only four quarter notes (as the upper voice), then two synchronization pulses are received over half a measure, but if half a measure contains, for example, eight sixteenth notes, then four synchronization pulses are received after just one quarter note.

[0095] Statistical evaluations can also be performed, such that instead of notes corresponding to specific pitches, only the duration of the notes is evaluated; that is, the data pattern then only concerns time values. This method can then be used to recognize the note values ​​contained in the real-time MIDI signal, when entered as dotted notes during improvisations, as specific note values ​​corresponding to their duration (quarter notes, eighth notes, triplets, etc.) according to the time grid corresponding to the current synchronization and a musical measure. These values ​​are then summed to obtain a match with the pattern recognition. This method makes it possible to include accompaniment music (e.g., vocals, percussion, etc.) or addressed slices, etc., even during improvisations within a measure.to synchronize exactly in real time according to a real-time game within a musical bar, while keeping the beat (that is the crucial beat).

[0096] The to Fig. The variant described in section 28 does not necessarily have to concern the notation of a melody (e.g., the upper voice), but can just as easily refer to beats entered with the foot, whose rests are likewise interpreted as note values. The data can also include note symbols (with, for example, alternating notes) that, while not notes in the notation played by the user, are nevertheless drawn as beat markers (see section 28). Fig. 6c). By tapping in these markers, the user can not only synchronize the accompaniment music during their performance, but also monitor it. In particular, with MIDI keyboards, certain keys can be assigned to trigger audio slices, which are then played back synchronized with the real-time performance.

[0097] In addition to, or rather alongside, synchronizing backing music, this method is particularly well-suited for error analysis. For example, it doesn't just measure the time deviation between the notes currently being played live (in real time) (as a decoded sync signal) and the sheet music file synchronized to the played audio (as a reference signal), but also the time interval between a sync signal entered by tapping, which might represent the beat (i.e., a rhythmic tick), and the notes currently being played live (in real time) (as a decoded sync signal). The measured time difference is then evaluated primarily in relation to the beat duration, and if it isn't met, the audio signal is "tapped" (by triggering an announcement within the audio signal), and an explanation of the error is provided. This can then, of course, lead to, for example...The syncopation can be synchronized according to the tapped-in (corresponding to the beat) time signature. By symbolically displaying the time signatures in the sheet music, excellent learning effects for understanding a syncopated score can be achieved. Furthermore, even with slight or intentional rhythmic deviations, for example, a vocal track within the accompaniment can be synchronized appropriately within a fixed time signature. It is also possible to synchronize different audio playback tracks according to different criteria, for example, to ensure that the syncopation between vocals, percussion, and another accompanying instrument is correct. All this information—which times are to be measured relative to each other, which notes are to be used for time alignment, etc.—is recorded by corresponding additional data assigned to the reference signals. For example, a note that is used for measurement according to the example below can also be... Fig. 28 is to be used, a corresponding reference signal is to be set, with a reference instruction against which, relating to a clock beat, a synchronous signal (which is encoded by another reference signal) a time used for monitoring and / or correction is to be measured. Another application involves tapping in the beat to a MIDI note signal. The notes are recorded in real time onto a data carrier, or a corresponding file is played through a MIDI instrument. The user then taps in the beat, and the synchronization process subtly synchronizes the time signature within each measure to produce usable notation. This means the synchronized periodic process does not affect the played audio signal or the MIDI notes transmitted to a MIDI instrument, but only the time signature relative to the played-out action, as long as this occurs within a single musical measure or several bound musical measures. The duration of the musical measure can be synchronized again using separately tapped-in synchronization signals.The time grid within the musical measures, which is slightly modified according to the predefined quantization of note values, can then be controlled by reference signals that are predefined in an editor, for example, as measures. This saves the user the tedious work of precisely setting the note values ​​within the measure by simply tapping them in while listening.

[0098] This means that the encoding of the reference signals optionally also includes: a) an indication of whether the reference signal is the mapping to an input synchronous signal, or, if not input, the mapping to a synchronous signal obtained by summing the clock grid (from a previous synchronous signal), b) an indication of whether the reference signal is the assignment to note passages generated by the user (as a decoded synchronous signal), c) a specification that determines the assignment of time measurements that occur between synchronous signals in relation to reference signals, and / or between user-generated musical passages and synchronous signals (in relation to reference signals) d) an indication of whether a synchronization signal received for a reference signal is used for synchronization and / or for correction announcement (calling of a relevant slice), e) an indication of whether the synchronization signals should change the time grid accordingly (within a specified quantization) or not.

[0099] This information also includes the connection addresses (identifiers) to define pairs or networks of the reference signals for measurement and / or correction, as well as addressing of audio slices, etc.

[0100] Fig. Figure 24 illustrates the case where, prior to the execution of the temporal shift of a reference signal B*N (which is carried out by correspondingly changing the playback speed of the audio signal over the relevant correction time interval), the check of the time span t*N (here t13N and -t14N) obtained before the start of the change does not correspond directly, or via a further mathematical relationship (factor, etc.), to the specified time range Tvar.

[0101] If trd=t13N, the synchronization process initiated by the synchronization signal S13 would result in a time t13N between B13 and drd that is too short (relative to the current time interval between B12 and B13). The time drd would correspond to the resulting displacement of B14, which, however, does not occur because the value t13N=trd is discarded (drd=discarded) and not synchronized.

[0102] If trd=-(t14N), the synchronization process initiated by the synchronization signal S14 would even result in a negative time (relative to B14), which is why no synchronization takes place.

[0103] Before a measured time interval is used to set a new synchronization point (concerning the resulting time shift of the reference signals B*N), a check is performed to determine whether a changing time shift of B*N results in a time interval that is too short or too long (relative to the parameter setting DIS), or even a negative value. If so, the synchronization is not performed.

[0104] In Fig. The 24 times are the points in time where synchronization does not occur, each marked with an x ​​on timeline 3.

[0105] Completely independent of this synchronization procedure, a further synchronization within a measure can be performed for the reference signals (a, b, c, d) encoded within each musical measure (e.g., between B12 and B13), which are of course also intended for the subsequent musical measures. This synchronization can be carried out using, for example, the same procedure as already explained for reference signals B12, B17, etc. The only difference is that the temporal shift of these reference signals (a, b, c, d) caused by the synchronization is limited as a percentage relative to the previous synchronization interval (which is measured between each reference signal). This limitation is not based on the directly measured values ​​of the time intervals between successive reference signals, but rather on the values ​​corresponding to the current beat grid (according to which the reference signals are also set).

[0106] To control the summation based on dotted note values, the above can be used. Fig. The methods described in section 28 can also be used to advantage. In this case, the pattern recognition contains patterns stored according to notation guidelines (1 / 8, 1 / 4, triplets).

[0107] Example: The beat tS is entered as the note, where tS represents an arbitrary note value in principle, used here only for synchronization. For example, tT, ts, tS, ts, tS can also be encoded as note data. tT can be used to encode a special beat, which is assigned to the end of the musical measure, and ts, tS, ts, tS can be used to encode successive beats where only the entered beat edge matters, i.e., only the transition from ts to tS or from tS to ts. The choice of symbol value, tS, ts, .tx, etc., implicitly contains the time at which the beat is to occur.

[0108] Note: With the to Fig. 26 and Fig. 27 explained sensor carpet, which scans the tapping of the beat with the foot, can distinguish, for example, whether the beat is entered with the heel or with the toe of the shoe, in order to encode further temporal associations, etc.

[0109] Therefore, if such encoding is applied to the audio signal as described for musical notation, then fast rhythms can be recognized, which the user can simply enter according to their intuition (following the beat of the piece of music, or the musical time signature). This can be done while playing an instrument or simply while listening to the audio recording. The purpose is to retrieve specific audio slices based on the entered pattern, which are then inserted within a measure with precise timing (synchronized in duration) without changing the beat (i.e., the measure length), which is generally desirable for purely musical applications. In addition to the reference signal pairs, which do not involve any change in time span (e.g.,(of the musical beat) allow the reference signal pairs placed within the beat to be further equipped with relation numbers indicating how a correction should have an effect, and at which points it should not be made at all.

[0110] Continue to Fig. 24: If, for example, only a relative change of 3% per quarter note (=3*5=15% over the measure) is allowed between the five consecutive time intervals (of a 5 / 4 measure), e.g., B*-a; ab; bc; cd; d-B13), this corresponds to a note value of approximately 1 / 32, which occurs as a delay of 1 / 4 note within each measure when the tempo change must be compensated for over the entire 5 / 4 measure (i.e., 1 / 8 time variation over the entire measure). This would then correspond to an application, for example, to synchronize the tempo of an MP3 player using the "smooth pedal stroke" of a cyclist.

[0111] To enable rapid phasing even with significant tempo changes, at the beginning of each musical measure (provided the reference signal is encoded accordingly), the entire measure's duration is adjusted proportionally to the measured deviation. This provides both effects: adjustment within a single measure and adjustment measure by measure when larger deviations occur or rapid phasing is required. For example, this is useful for synchronizing vocals in backing music with a live musician's performance. If a significant tempo change occurs during the performance, the tempo needs to be re-phased, while otherwise maintaining precise synchronization with the beat.

[0112] In this further development for musical applications, an automatic detection system is provided for switching between modes, indicating whether the bar length can be changed or not. This is done in a special mode where the beat corresponding to the essential beat is tapped out with the foot in a specific mode. It is intended that this will be followed by... Fig. 26 and Fig. The sensor mat described in section 27 should include a variant that can distinguish whether the beat is tapped with the heel, the toe, or both (by lifting the foot). In this mode, if the beat is tapped by lifting the foot, the beat is pulled in time with the input synchronization signals; otherwise, the beat is held. If the music beat is also pulled in time (e.g., by tapping with the foot lifted), then (depending on the mode) additionally, the times tapped within the beat, possibly without lifting the foot (i.e., only with the heel or toe), can also be synchronized.

[0113] Regarding Fig. 23a to Fig. 24 means that the reference signals shown in boxes (see B12......B17,....etc.) are already shifted in time by the control according to the reference signals present in the clock (see B*, a,b,c,d) according to the associated speed control, and furthermore the Fig. 23a to Fig. The immediate shift shown in Figure 24 occurs. A temporal shift also occurs at the reference signals present in the measure (see B*, a, b, c, d), the change of which is limited in relation to their respective previous temporal shift by a maximum value (e.g., 3% per quarter note, etc.).

[0114] The interaction of the temporal shift of the reference signals (B*, a, b, c, d) placed within a musical measure and the musical signals relating to the musical measures (cf. B12N.....B17N....) is to be examined with reference to Fig. 25a and Fig. 25b will be illustrated in more detail. The reference signals (B*, a, b, c, d) provided within a clock cycle are also shifted in time due to the constant synchronization. Fig. 25b shows the detail from Fig. 25a from the time domain (t_d-c) between B16N and B17N, between the reference signals d and c.

[0115] The synchronization procedure is carried out as previously explained: Upon arrival of the synchronization pulse Sd, which, after verification by summing the time units determined over the last clock cycle (e.g., a specific time unit of the synchronization time grid corresponds to 1 / 8 of a note), is assigned to the time window (capture range) of the reference signal d, we obtain the time interval tc, which would be used as the time interval starting at the time of the synchronization pulse Sd until time 1 (see bottom line). However, B17 is not shifted directly to B17N based on this time value; instead, it is checked whether the resulting time interval tdN between dN and B17N lies within the predefined tolerance range TKT (in %) of the previous time interval tcN.Since the deviation in this example is more than 3%, the obtained time value tdN is corrected so that the deviation does not exceed 3%, which corresponds to time 2 (see bottom line). The resulting larger error time tf2, measured relative to the synchronization signal, which can propagate and accumulate within a clock cycle from a...d, is then distributed over the subsequent total clock cycle, which here begins with B17N, and B18N (see...). Fig. 24) ends, linearly balanced, i.e., in the beat (between B17N and B18N), the missing time, as it results from limiting the maximum change of tdN (relative to tcN) to 3%, is balanced (this corresponds to in Fig. 25b of the difference tf2-tf1). So that this difference tf2-tf1 is distributed proportionally over the 5 time periods between B*,a,b,c,d, or the reference signals B*,a,b,c,d are shifted accordingly by a corresponding tempo control of the audio signal, which corresponds to the symbols a,b,c,d marked with a border ( Fig. 25b) corresponds to this, and this shift continues during synchronization with the reference signals B*, a, b, c, d within a bar. This synchronization ensures that the automatically running audio recording can be adjusted in time even within a bar without significantly distorting the rhythm, and that larger deviations cannot accumulate because they continue to be regulated linearly across the bar. This method can be further improved if the relative change in the beat duration is measured in each instance (here in Fig. 25b (symbolized by the factors Kb, Kc, and Kd), and the time value used for synchronizing the next time segment of beats B*, a, b, c, d is also corrected by this factor via this change parameter. The mean can also be calculated from the individual factors KB*, Ka, Kb, Kc, Kd to determine the current factor. For example, in Fig. 25b the factor Kd=0.98 corresponding to the ratio of Kc / Kb, then the time value td for generating the synchronization time B18N (no longer shown in Fig. 25b) is multiplied by Kd=0.98 before it is used as a set value at time B17N, according to the time td*0.98 to generate the new synchronization time B18N, which is achieved by the corresponding speed change over this time interval. In the example after Fig. Section 25b assumes a regular division of the beats (B*, a, b, c, d) occurring within a measure. Ideally, at a constant tempo, the time intervals (tB* = ta = tb = tc = td) used for inputting synchronization signals within a measure are all equal. Alternatively, if the tempo changes, these time intervals will change according to the direction of the deviation, in accordance with the maximum permissible step size, which must always be within the specified tolerance range TKT (in %). <ta<tb<tc<td, bzw. tb> ta>tb>tc>td). However, for the further developed procedure, the data from the previous time period, e.g. tc (see Fig. 25b) measured time, which is gridded according to the smallest time unit specified by the time grid of the reference signals, to determine the next time interval td (see Fig. 25b) to form if the synchronization pulse (here S18) should be entered at a time outside the immediate capture range of td (here as 1 / 4 of a 5 / 4 beat).

[0116] Three cases (CASE_A....CASE_C) are distinguished (where the numerical data are only to be understood as an arbitrary example for illustration): CASE_A: If the relevant synchronization pulse S18 arrives within td, within the capture range (e.g. with a maximum deviation of 25% of tc, which corresponds to 1 / 16 here), then B17N is calculated immediately as explained, or the speed of the audio signal is calculated so that B17N arrives at time 2, whereby, as already discussed, in this example the correction is limited to 3%. CASE_B: Unlike CASE_A, several synchronous pulses arrive within the capture area (e.g., with a maximum deviation of 25% of tc, which corresponds to 1 / 16 here). CASE_C: Unlike CASE_A, no synchronization pulse arrives within the capture range (e.g., with a maximum deviation of 25% of tc, which corresponds to 1 / 16 here). • In CASE_A, the temporal compensation is performed immediately upon an incoming synchronization pulse in close temporal proximity (within the capture range) to a reference signal to which synchronization is performed (i.e., which is also marked as such by an encoding). • In CASE_B, the times measured between the synchronization pulses are summed up, taking into account the time grid as it was last synchronized, until a time value is reached at which an approach into the capture range to a reference signal, to which synchronization is performed (i.e., also marked as such by encoding), is detected and the temporal compensation can be carried out as specified; • In CASE_C, after a time has elapsed (taking into account the time grid as it was last synchronized), which corresponds to the capture range of the associated reference signal, the system uses this to skip the assigned reference signals in the correct time, so that when a synchronization signal arrives again, it can be set in the correct assignment to the reference signals, in order to be able to assign the synchronization pulse to the capture range of the correct reference signal if, for example, a synchronization starting in 1 / 4 beats is suddenly restarted within a beat.

[0117] If, after a prolonged period of CASE_C, it becomes impossible to continue synchronizing (because no synchronization pulses have been received), the system switches to a state where a synchronization pulse is only recognized as valid if it coincides with a reference signal encoded as a clock signal, in order to restart synchronization within a single clock cycle. Thus, with reference to the explanation regarding Fig. 23a Fig. 24a the following status combinations may occur: A state in which the audio signal is not yet synchronized and in which the system waits for a synchronization pulse that must arrive within the capture range of a clock marker (a relevant reference signal B*) to be recognized as valid (see p. 12). In this state, the time window of a corresponding reference signal (here B12) is defined very narrowly for the detection of a valid synchronization pulse, so that synchronization begins as cleanly as possible. However, if synchronization pulses arrive continuously within the clock time interval (e.g., corresponding to t12) of the reproduced audio signal, and proximity to the narrow time window of B12 is not achieved, the time window can be gradually widened to extend the capture range (interpreting that the user is unable to synchronize with such precision). Currently measured times can also be used as a guideline for the capture range (and thus the temporal resolution for synchronization).Thus, the reference signals also contain an encoding regarding the temporal capture range of the synchronization signals assigned to them. a status in which clock synchronization is running using the reference signals provided for this purpose (B*, cf. B12, B13, B14N.... B17N, etc.); and another status, which is switched on from status b) to carry out further synchronization within a clock cycle, whereby the reference signals provided for this purpose (B*,a,b,c,d) are still used and if this synchronization is no longer reliably possible due to excessive absence or, if necessary, lack of interpretability of burst pulses, then it is switched back to status b, or to a pre-status to b (as preparation).

[0118] For synchronization within a clock cycle, reference signals may be provided to mark those time intervals that include the temporal changes that no longer correspond to the correction to be made (e.g., if the clock cycle is not to be changed). Summary: At the start of the synchronization state, which is shown here ( Fig. 23a, Fig. 23b) is marked with the symbol START and is initiated when the synchronization signal (here S12) occurs within the capture range of a reference signal (here B12) which relates to a correction time interval, the following steps are carried out in sequence: ➢ a) The time interval between the current synchronization signal (S12) and the subsequent synchronization signal (here S13), or possibly subsequent synchronization signals, is measured in multiples of the time unit to be considered as the shortest possible clock interval, or summed in such intervals as correspond to the number of intervals between the relevant reference signals (to indicate a correction time interval), whereby in the case of several synchronization signals, the errors are rounded accordingly.

[0119] The exact procedure for relating the time interval measured between the incoming synchronization signals to the time intervals between those reference signals that define the time-proportional correction (or adjustment) of the phase or frequency of the rhythmically occurring process (cf. here the time intervals between B12-B13, B13-B14, B14-B15....etc.) depends on the specific application and can be modified accordingly.

[0120] Here is an example of an MP3 player that is to play backing music to a piece of music, where the following encoding rule is used for the reference signals in this example: • The reference signals relating to the time intervals in which a time period is provided for time-proportional correction are encoded at the beginning of each measure (with the first beat) of the musical measure (see B12, B13, B14......B17....etc., in Fig. 23a, Fig. 23b). • Furthermore, reference signals are encoded, the timing of which corresponds to one beat within the musical measure, e.g., 1, 2, 3, 4, 5; 1, 2, 3, 4, 5; i.e., each 1 / 4 beat in a 5 / 4 time signature. These timings are used only to determine the time deviation of the synchronization signals and do not initialize a time interval for correcting the time values. • And thirdly, optionally, reference signals are also encoded, the timings of which each have a higher grid resolution than the beats (1, 2, 3, 4, 5) within a musical measure (e.g., a resolution of 1 / 8, or 1 / 16 etc.).

[0121] For synchronization to work well, the bundle of incoming synchronization signals must be assigned to the correct reference signals.

[0122] For this purpose, the rhythm is initially tapped out with the foot, only one synchronization signal at the beginning of each measure, until synchronization is achieved. This can be indicated to the user visually, for example, or, if the user is playing along, by the introduction of percussion, etc. The tempo of the audio signal playback is initially set by this so-called tap input. For further differentiation, the synchronization signals can be decoded in a sensor mat (or sensor pad) based on the tapping pattern.

[0123] Until synchronization takes effect, the device is in an operating mode, or state, in which the incoming synchronization signals are exclusively assigned to those reference signals that initiate the time period for the time-proportional correction and are provided here at the beginning of each clock cycle (see B12, B13, B14......B17....etc., in Fig. 23a, Fig. 23b). In the example shown, the fact that synchronization is effective means that the times t15N, t16N, etc., with their corresponding time-shifted reference signals B16N, B17N, coincide with the corresponding synchronization signals S16 and S17 within the tolerance time window of the reference signals.

[0124] Once the synchronization is engaged (locked in), the device switches to a state in which the other reference signals are also taken into account during synchronization, which, in terms of timing, relate to reference signals in the audio signal, whose times correspond to one beat within the music measure, e.g. 1,2,3,4,5; 1,2,3,4,5; i.e., each 1 / 4 in a 5 / 4 time signature.

[0125] Short synchronization pulses arrive in a 5 / 4 time frame (their duration is irrelevant; only the time of arrival is considered) and are tapped in at intervals of, for example, 1 / 4, 3 / 4, and 5 / 4. For missing synchronization signals, such as 2 / 4 and 4 / 4, the time is internally simulated by recognizing that two (rounded) raster units of 1 / 4 are missing. Therefore, a total of 5 / 4 is summed as the measured time interval, e.g., to determine the time value t15. Fig. to obtain 23a.

[0126] The unit of the beat (i.e., the time interval, which here corresponds to 1 / 4, or to an even higher resolution if summing is performed with a higher resolution) is derived from the time span that corresponds to the last currently played music bar (or generally to the reference signals marked for this purpose) (e.g., here 5 / 4:5=1 / 4).

[0127] The summation begins with the synchronization signal that occurs within the capture range of a reference signal (here B12) that corresponds to a correction time interval. Any missing synchronization signals are replaced by internally generated times (provided they fit within the rounding scheme). This means that once synchronization has locked, for example, the first quarter note may be missing; it will then be generated internally, with the timings corresponding to the most recent synchronization over a beat length.

[0128] Synchronous signals relating to the reference signals optionally specified above are only considered to belong to the beats if they also arrive within the respective tolerance time window of the reference signals relating to the beats (B*,a,b,c,d,); likewise, these synchronous signals are only assigned to the respective beginning of a musical measure if they also arrive within the respective tolerance time window of the reference signals B12, B13, B14......B17.... that mark the beginning of a musical measure. This means that the incoming synchronization signals are assigned to the reference signals with different priorities (regarding their influence on synchronization) in such a way that synchronization begins with synchronization signals that are exclusively assigned to the highest priority for indicating the reset time or the music bar. Only after the synchronization has locked on are further synchronization signals considered in order to measure time deviations even within a single bar.

[0129] An optional mode can be provided in which, if deviations are detected within a measure, the tempo is changed slightly within the measure with a continuous transition (e.g., within t14 in Fig. 23a) and not bar by bar. Thus, two modes are provided here: continuous adjustment within each musical bar, where the tempo changes accordingly within a bar, and linearly proportional adjustment within a musical bar, where the tempo changes bar by bar. If the method can no longer synchronize to the beats within a bar, then, for example, a corresponding percussion sound is displayed, indicating to the user that they must tap in the beat again with only one beat at the beginning of each bar until synchronization is restored. > b) the time difference t12 obtained under (a) upon arrival of the synchronous pulse (here S13) relating to the associated reference signal (here B13) to the previous synchronous pulse (here S12) (cf. Fig. 23a, Fig. 23b), refers to the reference signal time currently shifted by the synchronization (concerning a reference signal which relates to a correction time span). However, if no currently shifted reference signal time exists, e.g., because the synchronization status has only just been switched and synchronization has only just begun (here at time S13), or possibly also if synchronization is not carried out due to unusable values ​​(cf. Fig. 24), then the time value t12 obtained previously by measuring the time interval of successive synchronization pulses is referenced to the current synchronization signal (here S13). At the time t12 elapses (here by the delay tf after S14), the first currently shifted reference signal time B14N (corresponding to the measured time interval t12 between S13 and S12) is obtained. The procedure is then continued in this manner as long as corresponding synchronization signals arrive. • c) the relevant queries, as they are carried out before setting a synchronization point (concerning the resulting time shift of the reference signals B*N), are to Fig. 24 has already been explained.

[0130] Definition of synchronization status: Synchronization status is maintained as long as the procedure described here is carried out without interruption for the reference signals, each of which relates to a correction time period (see above). If the procedure is interrupted due to a lack of synchronization pulse input, specifically regarding synchronization pulses that are missing in relation to existing reference signals relating to a correction time period (see above), then synchronization status is lost, the tempo of the audio signal is no longer changed, and synchronization only begins when a synchronization signal occurs at a time when it is recognized as belonging to the capture range of a reference signal (here B12).

[0131] The described method extension offers the significant advantage of enabling a mode in which synchronization signals can be entered at different frequencies, and where one or more synchronization signals can be omitted if necessary (e.g., if the bicycle pedals are not being turned, or the skier is not currently performing turns, etc.). To allow for the omission of individual synchronization signals, or the spontaneous input of synchronization signals with shorter note values ​​(as interruptions of pauses), but still in accordance with the rhythm or musical tempo, the time measured between the synchronization pulses is further evaluated as multiples of these shortest note values ​​and summed accordingly. The note values ​​synchronized to their respective durations by the current synchronization serve as the reference point for this calculation. Further training measures using the example of an MP3 player, or similar, for the synchronization of background music:

[0132] Using the existing synchronization, a decoding device is provided which converts a melody recorded via a recorder into a musical notation by analyzing the fundamental frequencies. The time values, or rather the values ​​of the note durations, are normalized via this synchronization to a time grid corresponding to a melody or a suitable pattern for addressing the audio signal. The notes and their values ​​(in terms of duration) are each quantized according to a tolerance window of the time values ​​and decoded as a string. The recorded melody is thus decoded in relation to a normalized key signature.

[0133] Thus, the musician (in addressing mode to select a piece at the touch of a key) only needs to play one piece to address the MP3 file to which he wants to play along. Another option is to encode the MIDI signal in the audio signal synchronously with the audio signal's playback in the audio recorder. This can be achieved not only via addressing using the time base but also via an additional device using frequencies encoded outside the audible range (as a MIDI signal) (see [reference]). Fig. 28) The notes played by the user (via frequency / MIDI conversion or via MIDI) are then compared with those synchronously reproduced by the audio signal. Within a tolerance grid defined by the musical tempo (regarding duration), spikes (as points of non-matching) are also permitted. Missing notes (if a different note was played, or if the duration of a note was extended) can also be allowed, depending on the selected mode. If an error occurs, a specific percussion pattern, for example, is retrieved as an MP3 slice and superimposed onto the reproduced audio signal to show the user precisely the rhythmically incorrect point.

[0134] It is useful to input the MIDI signal played back by the audio recorder into a computer, and similarly the MIDI signal transmitted by a keyboard, for example, and to perform the corresponding analyses using the computer program.

[0135] Another preferred application is the continuous analysis of notes played by the user in order to synchronize improvisation played back from the audio signal. Based on the results of the harmonic analysis, audio slices are retrieved and played back in sync.

[0136] ♫ In particular, it is also planned to include the tap-in of the beats as a marker line in the printed (or displayed on a screen) musical notation, for example, by means of a thin, dashed, or colored vertical bar line. This line, between the lines, does not represent a measure but only a beat. It is intended that for note values ​​that extend beyond this beat, this bar line is drawn through the note and graphically represented in such a way that the temporal division of the note value, which lies partly before and partly after this marker line, is clearly visible. Alternatively, this marker line can also be drawn between the note and its corresponding dotted line, etc.In more complex notation layouts, where marker lines appear both alongside and intersecting a line, the lines can be broken at overlapping note values. Furthermore, for example, grace notes can be represented only by the beats (without notes), which are then tapped in. This tapping in then sets the beat at which the audio signal, played later (at the time of the grace note), begins. If, for example, an introduction is followed by an incomplete measure marked with a grace note, a switch signal can be used to mark this grace note. This allows the audio signal to be triggered immediately upon tapping in a beat, and then played back as a song at the tempo of the introduction.

[0137] ♫ The preferred synchronization method, based on different time grids of the reference signals, is suitable, for example, for synchronizing a recorded vocal performance after a live performance, because within a measure the user can tap in multiple beats, ensuring synchronization with the highest possible resolution on the one hand, and on the other hand, preventing any remaining deviation from accumulating over several measures into a larger deviation, instead ensuring that it is distributed as linearly as possible over the entire measure.Or conversely, if the user adheres exactly to the marked beats when tapping out the rhythm while playing from sheet music, timing can be monitored for learning purposes, regardless of the notes actually played, by measuring the time variation between the individual beats, and if there is too great a deviation, this is indicated to the user by a percussion insert (of a retrieved audio slice). Summing the time values ​​measured between the synchronization signals: The time values ​​measured between successive synchronization signals are summed in such a way that these time values ​​are related to the time values ​​between successive reference signals (time values ​​dependent on the current playback speed of the audio signal), whereby these reference signals are assigned to the synchronization signals by approximation measurement. In this approximation measurement, the relative deviation of the times between the synchronization signals from the times between the corresponding reference signals is evaluated. • Depending on the mode used, the following procedure may also be applied: Only those synchronization signals are used as successive synchronization signals which correspond to the reference signals in a temporal approximation measurement, whereby if a synchronization pulse is missing, this absence is detected by a missing detector (if the synchronization pulse does not arrive within the tolerance time grid of the reference signals) and then the time value for the assignment of a synchronization signal to a reference signal (not for the determination of the deviation) is summed according to the time value of the time grid of the reference signal in question.

[0138] If a synchronization pulse cannot be assigned within the tolerance time grid of the reference signals, it is considered a missing synchronization pulse. When summing the time intervals between the synchronization signals, the time interval measured between the synchronization pulses is related to the current duration of the music bar, and the note duration is calculated from this. This note duration is then related to the time intervals (corresponding to the note duration) of the reference signals. (If necessary, the remainder resulting from rounding is used as a carry for the next time value to prevent rounding errors from accumulating.) From this, the number of missing or excess synchronization signals can be determined, which are then used for synchronization depending on the encoding of the reference signals.It is ensured that excessively entered synchronization signals do not disrupt synchronization due to a lack of temporally correct reference signals, and similarly, in the case of insufficiently entered synchronization signals, the subsequently entered synchronization signals can again be interpreted temporally correctly in relation to the reference signals. Coded evaluation of the synchronization signals:

[0139] The synchronization signals used according to the different priorities of their recognized reference signals (with regard to their use) can also be used (depending on the mode) in such a way that the synchronization signals that occur within the tolerance time grid of the reference signals, which define or mark the time span of the correction (adjustment) proportional to the respective synchronization signals (see above), are given preferential consideration compared to the other synchronization signals. For example, if the synchronization signal is missing for such a reference signal, the temporal correction of the periodic process is not carried out according to the previously determined deviation measurements.

[0140] Averaging of time deviation measurements: If necessary, measured averages can also be used for corresponding corrections.

[0141] Musical notation: Fig. 6c shows a musical score for piano as an example (the piece Misty by Erroll Garner), where the user can play this melody and, using their preferred method, tap out the rhythm (e.g., over the to Fig. The sensor (carpet) described in section 26 can synchronize the audio signal played back from an audio recording (e.g., MP3). Within the beat, only a relative tempo variation is permitted, or (depending on the encoded reference signals, even none at all), whereby the beat duration remains constant unless it is changed by inputting specially encoded synchronization signals (e.g., stamping the foot on the sensor carpet), starting at the times marked with (1).

[0142] The beats (4), (4), (1), (3), (1), (2a), (2b), (3), (1) marked in the (e.g., printed) musical notation correspond to the reference signals contained in the reproduced audio signal (and corresponding to the musical notation), or rather their timing. Thus, immediately after the end of the measure, the introduction (which is represented here only by the last quarter beat and is without vocals) is followed by the input of the synchronization signal for beat 4 (by tapping the foot on the sensor carpet). This is followed by another beat 4 due to the subsequent grace note, corresponding to a grace note of the incomplete grace note of measure 1 played (on the piano) at this beat, whereby beats 1 to 3 are not present in the grace note.For this example, there are two modes: either the last beat of the introduction (here the immediate beat 4 of the last quarter) or the first beat (for calculating the last quarter of the last measure) must be entered, whereby this may also be automatically recognized due to the large time difference (depending on how the operation of the device or the different modes is intended).

[0143] With beat 4 of the incomplete grace note (I), the tempo-controlled playback of the audio recording (e.g., MP3 player) is started, whereby synchronization pulses (corresponding to time t1 / 4 in) are entered beforehand by measuring the time between the last measure (the introduction E, which is not only represented here as the end of the measure) and beat 4 of the grace note. Fig. 6c) the playback tempo is initially synchronized, i.e., the reference signals between the single beat (4) of the incomplete grace note and (1) of the first full measure (measure II) mark a correction period whose duration corresponds to the note value of the reference signals, which here is 1 / 4 for the tempo synchronization of the audio signal. In contrast, the reference signals of the last beat (4) of the last note of the introduction E and the single beat (4) of the incomplete grace note mark a duration of t1 / 4 (in Fig. 6c) Only reference points for measurement and no adjustment points (or possibly only with very limited scope for change), since if there is synchronization present in the introduction, e.g., for an accompanying instrument reproduced by the audio recording, the correction period then applies to the entire last bar of the introduction (also encoded by corresponding reference signals), over which the tempo is then adjusted proportionally without changing the rhythm within a bar. There may well be passages in a piece of music where the proportionality of the note values ​​is to be maintained not just over one but over several bars, in which case, for example, at each reference signal point provided in the audio signal, the reference signal point at which a correction period has begun is read from the reference table.The same applies to the maximum deviations that may occur during resetting, in each case over reference signals defined by such codings, or over the time span which is encoded by an assigned pair of reference signals; likewise, if applicable, the resolution of the smallest note value to be taken into account during measurement; likewise, the time values ​​associated with the reference signals for the capture ranges within which an incoming synchronization signal is recognized as belonging to the reference signal (e.g., for a time signature), etc.

[0144] The times entered in the musical notation indicate when the user is to enter a synchronization signal as beats (4), (4), (1), (3), (1), (2a), (2b), (3), (1), corresponding to the reference signals to which it directly relates. If beats or synchronization signals are entered between these points, they are calculated proportionally based on the current measurement of the time intervals of the received synchronization signals in relation to a corresponding note value (corresponding to the respective bar duration), and Spiegel, No. 39 / 22.9.03 is used for the reference time measurement to the reference signals. The procedure is such that by stepwise summing these synchronization pulses not directly recognized as belonging to a reference signal, a virtual synchronization pulse is internally generated each time the temporal proximity of the capture range of a reference signal is reached. If there is no synchronization pulse directly assigned to the reference signal, this virtual synchronization pulse then replaces it.The system acts as a missing detector to more accurately identify the missing synchronization pulse in relation to the time at which it should have arrived. The missing synchronization pulses are then detected by the internal reference signal's time grid, allowing reference signals for which no synchronization pulses have been input to be skipped in the sequence of synchronization signals to be evaluated. This prevents misinterpretation during the temporal approximation measurement, i.e., it allows the system to determine whether a synchronization signal is within the capture range of the correct reference signal.If reliable recognition is no longer possible, synchronization is prevented and restarted only through a new initialization. In this process, at the beginning of the correct music bar (as heard by the user via the audio signal), a synchronization signal is detected (after a short pause for input of the synchronization signals) corresponding to the music bar's reference signal. MIDI decoding may also be included, which recognizes a played melody and thus improves the reliability of the assignment to the correct reference signal.

[0145] The in Fig. Example 6c concerns a composer and performer who himself did not know how to read music and possessed a highly interesting timing technique involving the rhythmic delay of note values ​​into the next measure to achieve a striking effect, which is clearly demonstrated in measure III. This is why the quarter-beat, composed of two consecutive eighth notes, is indicated for better synchronization. The note played as the first eighth note of measure III is played 1 / 32 of a second longer (which would be impossible to represent with a dot in musical notation). This short extension is then shortened again over the following three eighth notes, which are then followed by four correctly played eighth notes to conclude the measure.It is evident that with such complex timing, not only can the vocals be perfectly synchronized, but also, conversely, the timing can be measured using the entered synchronization pulses, and rhythmic guidance can be provided by accessing various audio slices (percussion, etc.). Furthermore, the entered timing can be compared with the original recording played back as an audio signal, and so on, to enable the user to learn the timing perfectly.

[0146] ♫ ♫ ♫ Further training option: According to the state of the art, only the synchronization method described in patent DE 41 43 257 C2 or even just a simple clock control, etc., are common for such tempo controls of an audio signal.

[0147] However, it is also still considered state of the art to play back audio slices at predetermined, fixed tempos in response to trigger signals. With the in Fig. The example shown in section 6c illustrates a further training option that uses both methods, synchronization and triggering, simultaneously. In addition to triggering the sound generation, the duration of each tone or sound triggered by a signal is determined, or at least partially determined, via the current synchronization. Since the timing is largely linear, the characteristic of a played tone is largely preserved, for example, the tone of string instruments or wind instruments as played by the performer. The tone is determined in advance of the real-time (live) performance, and its subsequent lag is determined in advance. For example, many violinists want their playing to sound like a concert violinist, but struggle with the tempo of a piece.It is therefore useful to distinguish between additional synchronization through the notes currently being played by the user (see real-time MIDI), as in . Fig. 28 explains how to make use of this, whereby, for acoustic instruments or vocals, a pickup / microphone with subsequent frequency decoding of the tones is provided to obtain the real-time MIDI signal. As shown below in the musical notation. Fig. As explained in the example shown in Figure 6c, the mixed method, in which the successively played audio slices are both synchronized and triggered in their timing, has particular advantages when the audio signal played back as accompaniment is vocals. The synchronization of the vocal track can also be decoupled from a track still being played back as accompaniment, e.g., a drum track. In this case, separate reference signal encodings are provided for the vocal track and the drum track, so that the beat of the drums, which the user is supposed to follow while playing (and in which, for example, exact syncopations between the user's playing and the drums played back as accompaniment are to be maintained within a measure during synchronization), is not negatively affected by the vocal synchronization.Because the wording of the lyrics should also be taken into account during vocal synchronization, as explained below. Fig. 6c will be explained further. In further training, two variants are provided for this combined synchronization and triggering: 1) The note data generated by the user in real time is used exclusively to synchronize or, if necessary, address (trigger) a played audio signal or specific audio slices; 2) In addition to 1), the reproduced audio signal is transposed, or, if necessary, audio slices of different pitches are retrieved. The pitches then correspond to the decoded notes of the user (real-time MIDI), who can, for example, play a MIDI instrument directly alongside a natural instrument. For real-time transposition, reference is made to the two applications DE10 2005 029 026.4 and DE 10 2005 032 995.0, or their priorities, of the same applicant.

[0148] Note: In conjunction with the transposition method according to patent applications DE10 2005 029 026.4 and DE 10 2005 032 995.0, the synchronization method can also be used to reproduce spoken text as singing. The synchronized melody is then fed into this real-time transposition as a modulation track to achieve the required frequency change (df) of the audio signal's spectrum over the specified time difference (dt) for the singing. The synchronized melody can also be input by an instrument without a pitch grid, such as a violin, etc., to preserve the intermediate tones in the singing. The method can also be used to add a new vocal track to an already good vocal performance. In both cases, the melody is then played by the instrument, e.g., a violin.The fundamental tone of a song input to a violin was compared with the fundamental tone of the song, and the frequency deviation was used as a control variable to adjust the pitch via the function df=function(dt) of the real-time transposing device according to DE10 2005 029 026.4 and DE 10 2005 032 995.0.

[0149] Variant 1) represents the state of the art when the audio slices are merely addressed by the note data. The situation differs when synchronization and triggering are combined, particularly when a correspondingly encoded reference signal determines when note data is used as a trigger signal and when it is not. In this case, it is still uncommon and unknown to use such a synchronized file simultaneously as a musical instrument, where, on the one hand, the duration of the note or sound played back by the audio recording (or slice) is pre-configured by the synchronization, and on the other hand, the precise trigger point is determined by a trigger signal generated by the user's real-time playing. Two different modes can be implemented: 2.1) that audio slices addressed by the pitches of the tone sequence played by the user (e.g. as generated MIDI data) are played back, whereby the played tone is decisive for triggering and addressing a slice which lies within the capture range of the current reference signal (which is shifted accordingly in time by the current synchronization); 2.2) that the played sequence of tones only synchronizes the audio slices, whereby instead of tones (notes) in Fig. 28 only the duration of the notes is compared, or in the pattern comparison some incorrectly played notes (= improvisation) are also statistically allowed.

[0150] How to Fig. As explained in section 6c, the synchronization signals to be tapped in are shown in a musical notation; similarly, notes from which a synchronization signal is decoded may also be colored, etc. Fig. For example, in 6c these are only the shorter note values ​​of the upper voice.

[0151] Using this method, a music student can not only play along to sounds played by professional musicians, but also has the impression that they are creating the playing, which has a positive influence, since, for example, when playing a violin, they are synchronized with the sound they are producing, which is replicated in the recording. However, this is achieved without varying the time signature (musical time). The same applies even more so to singing; that is, with this system we also have an ideal training system for vocal lessons.

[0152] For reasons of space, the diagram for the following explanation is not drawn across the entire staff, but only for the catch areas of the reference signals B1, B2...B5. This concerns the sung text excerpt "a kitten up a", which is to be considered from the entire text "I'm as helpless as a kitten up a tree", in measure III ( Fig. 6c). The synchronization preferred in this procedure includes both the user-defined synchronization (e.g., via the user interface) and the synchronization selected by the user (e.g., via the user interface). Fig. The synchronization includes the entered beats (1), (2a / 2b), (3), (1), whose timings are precisely indicated in the musical notation (see section 6c), as well as the trigger impulses generated by the played notes. If the user omits some beats or enters too many, the synchronization is not significantly disrupted, as the time intervals measured between the synchronization signals are summed according to the note values, thus allowing the entered synchronization signals to be correctly assigned to the reference signal, the time grid. An exception is made for synchronization impulses entered solely to change the duration of the musical measure, in which case the desired measure duration is measured directly from the time between two synchronization impulses.

[0153] The reference signal B1, whose time window is combined with the string recognition of the played notes (see also...) Fig. 28) If the note corresponding to the word “a” is recognized, the following procedure is followed: String recognition of the played notes also allows for improvisation, where, for example, instead of or in addition to the notes, only the rhythm is evaluated, and two sixteenth notes can be played instead of an eighth note, etc. Similarly, statistical evaluations can recognize a note pattern even if the notes are no longer correct due to improvisation, but the improvised notes fit into the temporal scheme. Since such a scheme is very complex, it is also provided that if a note recognition signal is not detected, then time synchronization is automatically activated. This will be explained using the following example.

[0154] If the sung note of the word "a" (at B1) is too short with the note "es", it is lengthened until either the note "es" occurring in the trigger time window B2 (coded to reference signal B1) is played again by the user, thereby generating the trigger signal t1 (according to the condition coded to B2), or until the timeout coded to reference signal B1 expires if the repeated note "es" is not played. This timeout is then derived according to the synchronization and corresponds in principle to the known state of the art of a music sequence program, namely that a time-controlled advancement occurs if the trigger signal of the note does not arrive; likewise, that this advancement is triggered by the trigger signal of the note if it arrives beforehand. What is new, however, is using this technique together with preferred synchronization and encoding various control information to the reference signal, which determines how the correction is to be made depending on the audio signal, e.g., a sung text, by encoding the reference signal from the outset also allowing time periods in which the assignment of a trigger signal to a reference signal is not possible, i.e. that the type of synchronization is absolutely determined by the encoding of the reference signal: free-running according to a synchronized time grid or triggered.

[0155] In the example according to Fig. 6c The sung text passages, or audio slices a, ki, tte, are ended by the respective subsequent notes, which generate the trigger signals t1, t2, t3, with each of these trigger signals initiating the subsequent slices. The audio slices are subdivided in relation to the vocals in such a way that the lengthening or shortening only affects vowels, and not consonants, and furthermore, does not affect vowels where the sung word would sound strange.

[0156] Thus, in the phrase "a kitten up a tree" in measure III, all vowels can be lengthened or shortened, except for the "u" in the word "up," because otherwise it would sound strange. These sections must be synchronized with the rhythm of the melody, which is why the reference signals that control this lengthening or shortening are placed accordingly. This is particularly evident in the phrase "... kitten up...", where it is clear that the slices are not necessarily divided by words, but by syllable sequences. For each vowel that is to be lengthened or shortened, the vowel is placed at the end of the slice. For example, [ki] [tte] [n up]. The exception is the word "up," where no lengthening or shortening of the vowel "u" ​​is permitted, which is marked by the corresponding reference signal B4. The scheme for the reference signals is then presented in a musical or...A music notation editor program is created automatically by making the vocal track sung to a musical score with its associated audio track shiftable in time, and by marking the words or vowels specified in the musical score that must not be changed while continuously listening to the vocals (in a corresponding loop), so that the automatically set reference signals are then encoded accordingly.

[0157] Another option concerns the statistical evaluation of how trigger signals that deviate significantly from the synchronization are incorporated into the synchronization evaluation. This again depends heavily on the musical notation and can be further modified by appropriately expanding the set of possible encodings for a reference signal.

[0158] Furthermore, alternative audio slices can also be encoded, which are called up when time becomes tight, or when time becomes too long, and then a different emphasis of a word depending on the timing is to be realized, or a variation of the melody, etc.

[0159] In this way, vocals can be perfectly synchronized with a melody, even if the user is not yet able to maintain the required precise timing. The beat can still be reproduced exactly in time with percussion (drums), thus guiding the user towards the correct rhythm or enabling them to learn it quickly.

[0160] More on Fig. 6c, concerning the beats indicated in the musical notation: In this example, emphasis is placed on ensuring that the notes reproduced by the audio signal, whether accompanying music or vocals, are played back exactly in sync with the beats 2a and 2b (see measure III), which are entered as synchronization pulses, corresponding to the text "as a"..... On the other hand, if the synchronization pulses 2a, 2b, (or even just one pulse) are missing, synchronization must still occur (albeit perhaps not as precisely). This problem is again solved by the reference signals assigned to the synchronization signals in the audio signal, which are provided with a corresponding encoding. Fig. 6c means that, with reference to signals 2a and 2b, the tempo for the playback of the audio signal is slightly slowed down with respect to the currently running synchronization by slightly increasing the time value obtained for the tempo to be set, so that the internal triggering of the notes belonging to beats 2a and 2b is correspondingly slightly delayed, whereby if these beats are detected as synchronization impulses, then the corresponding audio signal point marked by the reference signal (here the singing “as a”) is immediately played back for one of the note durations belonging to the beat (which here corresponds to a corresponding correction time interval according to the reference signals 2a and 2b).If the synchronization pulses are missing, the audio signal point marked by the reference signal ("as a") will be played back slightly later with respect to ideal synchronization; however, even if a relevant synchronization pulse is missing, the corresponding time window will be opened for a trigger pulse that may be generated by the user, which will then end the current slice and trigger the next one.

[0161] The same applies, of course, if the audio signal playback involves another instrument instead of vocals. The crucial factor for this measure—slightly increasing the current synchronization time value and, depending on whether a synchronization pulse is received for the corresponding reference signal, shortening the synchronization time value again so that, upon arrival of the synchronization pulse, exactly the point in the audio signal corresponding to the reference signal is reproduced—is whether a corresponding encoding is provided for this reference signal, which initiates this method of interpreting a synchronization pulse as a trigger signal. The possibility remains to also interpret the currently played notes (as a query result to determine if they are the correct notes) as a trigger signal, as described previously.If different modes are to be selectable, then different MP3 files with different reference signals are provided.

[0162] Another option, which can also be encoded with reference signals, concerns the encoding of time intervals in the musical notation, which within a measure may only be changed proportionally to each other, for example, via time intervals in the musical notation that are in Fig. 6c, for example, corresponds to the respective played legato eighth notes. However, care must be taken to ensure that no syncopation occurs with the other voices if none is specified, etc. This is why the encoding of the correction procedures to the reference signals is of particular importance.

[0163] This encoding is again performed via an editor that displays the exact notation of the reproduced audio signal. In the case of vocal parts, there may be several slightly differently synchronized audio signal tracks, for example, to link the triggered tempo synchronization of one track with the synchronization of notes on another track that are tied to the beats of the trigger or held. Note ranges that are to be reproduced in unchanged proportionality are then marked. The software then automatically assigns the classification data according to the time signature and any other specifications (permissible tolerance for deviations in time proportionality, etc.) to the reference signals set in the notation. Other features (characteristics, or further implementation possibilities):

[0164] This invention thus makes it possible for an average pianist to play Mozart's operas not only on the piano, but also with vocals and orchestra. Different tolerance modes can be provided: some where the pianist can play the note values ​​carelessly and the vocals are adjusted accordingly, and others where the pianist must play the note values ​​precisely at their chosen tempo. For MIDI pianos, a sophisticated mode is provided using a mute function. When notes are played, a mute pedal is pressed, preventing playback. For this purpose, the MIDI signal output is routed through an adapter. When the pedal is pressed, this adapter blocks the signal from being sent to the sound generator (synthesizer, electric piano, etc.). However, it converts the MIDI signal received when the pedal is pressed into corresponding synchronization signals to decode the played notes. For example, four sixteenth notes (over the duration of a quarter note), which are then "heard" as a rest, are sufficient to establish a tempo. The specific notes played are irrelevant; only their values ​​matter.

[0165] The subsequent start of the piece, detected by tapping or as the first MIDI signal, is then interpreted as a trigger signal to start the new output of the audio signal belonging to the new movement of the piece, which is interrupted by pressing the pedal. This additional pedal function can also be triggered, for example, by a decoded swipe (with the shoe) forward (pedal pressed), or similarly a swipe backward (pedal released). Fig. 26 and Fig. The sensor array described in section 27 is implemented. If the instrument lacks MIDI tone generation, then, for example, the practically soundless strings of a stringed instrument (e.g., a slightly taut string without resonance with a pickup, see also electric guitar, etc.) are used to input the tempo. Alternatively, the current beat can be tapped in while a pedal is pressed, and so on. Depending on the mode, this overarching tempo recognition status can be deactivated either after the pedal is released or with the last tapped synchronization pulse in this status (corresponding to the agreed-upon number of notes played). After this status, depending on the reference signal encoding contained in the audio signal (which switches between "free-running" and "triggered" modes and may also be displayed in the printed score), audio playback can begin either "free-running," "triggered," or triggered.Free-running means that the audio signal starts automatically and the user adjusts their actions accordingly. Triggered means that playback of the audio signal begins with the first played note, whereby the audio signal from the recording can also start with a pause (after the trigger), and a synchronization signal can optionally be used for triggering, etc. (depending on the mode). Another special feature is the input of coded synchronization signals, e.g., to delay (change) the music beat by tapping the foot, which is done, for example, by stamping instead of tapping (see the explanation of the tapping pad or the sensor mat). Fig. 26). However, the following is also taken into account: If synchronization signals can be clearly assigned to specific reference signals via an external encoding (e.g., entered by stamping, etc.) and not via timing, then an automatic switch is provided that deactivates the temporal quantization, in which the time intervals of the synchronization signals can vary within the current note grid depending on the note value (and are synchronized by summing them to match the time grid of the reference signals). This means that the input of the synchronization signal durations then corresponds to the duration of the time intervals marked by the respective reference signals (to which these encoded synchronization signals are assigned), e.g., the time interval to which the beat (musical measure, or even half a musical measure, etc.) is synchronized. These points in time can then be easily discerned musically, or they are indicated accordingly in a musical score.

[0166] Furthermore, the playback device is equipped with copy protection such that the reference signals, encoded as timestamps, are recognized differently for each device (by a query code, which can also be serially encoded via the reference signals). This allows files downloaded via the internet to be synchronized and played back at variable speed only by a specific device, for example, one that is linked to this device or its corresponding device number. The device number can be read via a corresponding interface to the internet-connected end device (or computer). Further details about the procedure:

[0167] In this improved version, the reference signals (which correspond to the character of the music being played, thus providing the user with acoustic reference signals according to the rhythmic process) are encoded (marked) according to priorities for the correct evaluation of incoming synchronization signals (corresponding to the rhythm of the music). The temporal proximity of the synchronization signals to the reference signals determines the assignment between the reference signal and the synchronization signal. These reference signals are used for synchronizing the tempo of the audio signal playback in such a way that, above all, the rhythm of the music being played is maintained even when the tempo of the synchronization pulses changes. This offers two fundamental application possibilities: for sports and music, or purely musical applications.

[0168] Thus, a time window evaluation is provided for each reference signal, in which linked measurement or evaluation criteria are used to decide whether an incoming synchronization pulse is used for synchronization (immediately or possibly also with a delay averaged over several synchronization pulses, etc.) or not, and to which reference signal an incoming synchronization pulse belongs.

[0169] An optional extension concerns the evaluation performed for time window assessment, which determines which reference signal from a temporal sequence of reference signals receives a synchronization signal (S = Signal detection) or does not receive a synchronization signal (S! = Missing detection), whereby strings can also be encoded / decoded as recognition patterns for a reference signal.

[0170] As a result of such string recognition, the rhythmic patterns played back from an MP3 file, for example, can be decoded: Example: String 1 = S(t1) * S(t2) * !S(t3); String 2 = S(t1) * S(t2) * S(t3); etc. (...... * AND function, !.... negation = missing synchronization signal). String=String1+String2;……(+…..OR function). (t*)...here means the time position relative to the beat (i.e., not absolute);

[0171] Any number of such strings and combinations can be defined, which are then grouped together as an OR function. The omission (!...missing) of entire strings within other existing strings can also be defined as a new detection string: String=String1*String2*!String3;

[0172] "Omit" means that the string is not fulfilled with respect to synchronization signals. To implement such a process cost-effectively, a state machine sequencer with programmable logic (e.g., stored in RAM) is preferably used, and the transfer equations (of the state machine) are automatically generated using music editing software. The relevant files are then loaded from the data carrier into the state machine sequencer for playback of the audio signal. The sequencer can also be very well suited for decoding patterns in the... Fig. The procedures described in section 28 are used.

[0173] In particular, it is further explained that the creation of recognition patterns can be programmed not only through input via a musical notation, but also primarily through learning, by having a good drummer or percussionist play along to a reproduced audio signal. - In this process, those parts which correspond to the recognition pattern (of the entered synchronization signals) can also trigger the switching of the audio sources (slices), (e.g.) in order to retrieve rhythms of varying complexity depending on the entered synchronization signals in the case of a synthetic drum set played back from an MP3 file.

[0174] The input synchronization signals are supplied, for example, by a MIDI drum kit played by an average musician. The retrieved patterns, however, originate from a world-class percussionist. Using this method, and with the further assistance of appropriate music software, the average musician can learn the recognition patterns (which is novel here, as the current state of the art only involves learning the reproduced patterns, not the input ones) and thus create a multitude of complex rhythms that constantly support their personal playing while remaining rhythmically consistent.

[0175] The possibilities of this new technology extend so far that not only can the performer be cloned for percussion or drum rhythms, but also for other instruments, provided that methods are used such as those already proposed by the same applicant in DE 10 2005 029 026.4 and DE 10 2005 032 955.0 for cloning instruments or human voices. In such cases, upon recognition of the recognition patterns, not only is the harmonic characteristic of a tone altered in pitch or range manipulated, but the interpretation decoder used in these applications, which provides the addressing for phase-correct harmonic manipulation, is also manipulated.This manipulation is quite comparable to the briefly explained manipulation when retrieving different rhythm patterns from drum sets, except that the string formation for generating the recognition pattern then takes place via the output of the interpretation decoder used in the cited applications, and its actual output then uses the playback patterns assigned to these recognition patterns through learning, or stored in a pattern memory, which then in turn address the harmonic correction (or its memory).

[0176] So much for the performance of the new system presented here in contrast to the prior art. Further implementation measures of the invention will be discussed below. - The first measurement or evaluation criterion is the phase relationship between a synchronization pulse and the time window controlled by the reference signal (within or outside the window); - The second measurement or evaluation criterion, which is decisive for the validity of a synchronization pulse as an AND function (coincidence condition), is the check of the assignment to which coding of a reference signal corresponding from the temporal sequence of reference signals, the synchronization pulse occurs or not; - Another criterion is to encode the synchronization signals externally (via the input device) and to use them as reference signals (with regard to the measurement of the temporal deviation) only if they correspond to this encoding in time (see multifunction sensor mat as described above). Fig. 26 and Fig. 27 explained).

[0177] The advantage of such an evaluation, in order to either not evaluate incoming synchronization signals at all or to evaluate them against a specific reference signal (from a sequence of coded reference signals), is that the user can musically and continuously change the tap-in tempo, from which the synchronization pulses are derived, without experiencing the disruptive side effect of incorrect synchronization (tempo change), or in the case of externally coded input of synchronization signals (cf. sensor carpet according to Fig. 26), the pace can also be increased immediately.

[0178] For example, the rhythm can be tapped in twice as fast, or half as fast (by skipping every second tap) without changing the tempo, or a 12 / 8 time signature can be tapped in 3 / 4 time or even 6 / 8 time, and so on. And this can be done with constant changes to the rhythm (so the user doesn't get bored). However, the tempo of the played music should not be slowed down by half or doubled, but should remain constant, or only follow the very slight fluctuations of the basic beat. This means the system constantly recognizes whether the synchronization beat is tapped in with a single beat or double beat, etc., adapting to the type of music, which is achieved through priority encoding of the reference signals in the data carrier.

[0179] It is also possible to switch the played piece of music depending on defined points in the reference signals of correctly timed synchronization signals, e.g., to implement percussion, etc. The strength of the system lies in the fact that it does not have to rely on a simple time grid, but rather considers the synchronization signals with different priorities at any given point in time, according to the rhythm of the played piece of music. For example, different synchronization can be provided for different tracks of the audio signal (vocals, melody instrument, percussion) within the musical measure, and a common synchronization can be provided for the duration of a musical measure (cf. the notation). Fig. 6c explained example).

[0180] Example of the encoding of a reference signal, where these reference signals are encoded into characteristic sequences of tones and rests, as in a music notation program, and where, with a changing time axis, i.e., the playback speed of the audio signal, the temporal position of the reference signals changes accordingly, since these are transmitted to the user according to the rhythmically occurring process.

[0181] Note: The current reference signal is understood to be the one that is currently relevant in terms of the timing of the playback of the associated audio signal;

[0182] The coding, or usage code, of the reference signals concerns (depending on the application): - Reference signal no. # (corresponding to the time of execution); - Time window duration of the time window associated with each reference signal, whereby this time window duration is defined relative to the playback speed of the audio signal and therefore changes proportionally to the playback speed; - Usage code when a synchronization signal corresponding to the current reference signal arrives within the time window; - Usage code if the synchronization signal does not arrive within the time window of the current reference signal; - possibly also a string decoder that normalizes the rhythm of the synchronization signals to the time grid of the reproduced process; - and the other functions mentioned in this description, which are used depending on the application. This can also include sequences of the synchronization signals arriving at the reference signals according to the encoding of the reference signals (which can then also relate to several consecutive reference signals).

[0183] The usage code of the reference signals must not only control the synchronization, it can also, for example, switch the playback source (e.g., the memory) of an MP3 file so that the user can drum various complex rhythms from the synthetic drum kit using simple rhythms, also controlled via MIDI interface, etc.

[0184] The creation of the more complex data set assigned to each reference signal does not necessarily have to be done manually, but can also be played into compiler software via synthesizer and MIDI or simply modified (while continuing to use the method), and compiled according to predefined parameters in order to create the data automatically, etc.

[0185] One approach is to first create a simple pattern by hand, and then gradually make it more complex through professional input.

[0186] Fig. Figure 3 illustrates the principle with a very simple example. The rhythm of a piece of music, or audio signal, which runs along the time axis t, can be synchronized as a synchronization signal according to beats 1, 2, 3, 4, 5, ... n, of which several occur in each measure, or with twice the number if further beats occur between these (see a). The double beats can alternate arbitrarily with the single beats, and these beats can still be entered to match the rhythm of the piece of music. It should be avoided that this freely synchronized, but otherwise arbitrary, possibility of varying the entered beats negatively affects the synchronization; that is, if the arbitrarily alternating input corresponds to an unchanged tempo of the played audio signal, then the tempo of the audio signal should also remain unchanged.For example, a 12 / 8 time signature can be tapped out as a 3 / 4 time signature or as a 6 / 8 time signature, while maintaining the same tempo; this principle is applicable to any kind of complex rhythm.

[0187] With reference to the midpoint of the respective time intervals between 1 and 1a, or 1a and 2, or generally n and na, or na and n, this midpoint is marked at 50%. For the reference signal of the time value 2 (in Fig. 3) This is designated as the synchronization margin, with a range of + / - 50% relative to 2. Furthermore, for this reference signal 2 (which corresponds to an audible rhythmic element or acoustic feature in the audio signal), it is defined that if a synchronization signal (S1, S2) occurs within the indicated + / - 50% range (from n to na or na to n it is 100%), the synchronization signal then corresponds to a corresponding temporal displacement of the reference signal by changing the tempo of the audio signal. However, if it exceeds this time span (within ta, i.e., without exceeding twice the beat a), then it is not considered a synchronization signal, but only a double beat, e.g., if a 3 / 4 time signature (only 3 beats per beat) is used instead of a 6 / 8 time signature (6 beats per measure).A regulation can further specify at which reference signal times (as audible rhythmic elements) such a change in the beat may occur, such that it is interpreted directly as a synchronization impulse, or only in conjunction with further signals. Likewise, by measuring the time interval between the synchronization signals in relation to the time interval between the reference signals, and also the phase relationship between each synchronization signal and a reference signal, it can be determined at what multiple of the beat the synchronization signals are actually tapped. In this example, if the synchronization signal refers to one of the reference signal time values ​​1, 2, 3, 4, ..., then the synchronization signal is evaluated as a synchronization value; however, if it refers to twice the frequency, i.e., also to the values ​​specified with 'a', it is not evaluated as a synchronization value.The entered 50% query here is a temporal approximation of whether the synchronization signal is closer to a 1, 2, 3, 4... value or to the time values ​​a that lie in the middle.

[0188] This + / -50% figure was only given as an example; the resolution of the time grid within which this evaluation is carried out is dynamically controlled by the reference signal and corresponds to the musical notation of the reproduced audio signal, which can also take syncopation into account, etc.

[0189] To conveniently encode an ideal evaluation time grid for the reference signals to be set when creating the audio signal file, especially with complex rhythms (the one in Fig. (3 is only simplified as a regular time grid), it is simply drummed in, using, for example, two drums (with separate signal output), one to drum the high-resolution time grid 1, 1a, 2, 2a, 3, 3a....n, na etc., and another to drum half the time grid 1, 2, 3, ...n), whereby it is not necessarily necessary to drum half a time grid, but rather one drum should be used to absolutely synchronize the beat, and the other drum should be used to drum arbitrarily shifted intermediate times.During subsequent synchronization, a distinction is made by encoding the reference signals between synchronization signals assigned (temporally and / or by external encoding) which correspond to the absolute beat, and those synchronization signals where (taking into account the resulting higher temporal resolution) a summation is then carried out to determine the exact synchronization time (of the time intervals measured between the excess synchronization pulses and determined for the missing synchronization pulses).

[0190] Note: The terms excess synchronous pulses or missing synchronous pulses refer to the difference obtained when the reference signal time grid is aligned with the entered synchronous signal time grid in such a way that the synchronous pulses coincide in time, taking into account the assignment rules encoded for the reference signals.

[0191] Based on the automatically resulting resolution, a + / - tolerance window, e.g., 50% of the shortest time to the next reference signal, which is, for example, drummed in, is taken into account. It is evident that the reference signals can also be coupled with a musical notation, as described in an embodiment in DE 41 43 257 C2.

[0192] Synchronous signals that do not synchronize directly, but are entered at a higher resolution than currently perceived, can also be decoded in a further training option using the aforementioned pattern recognition (which can be programmed in the same way by drumming) in order to derive an address from this decoding that starts a synthesizer, which in turn reproduces more complex rhythms (drums, percussion, also melody, etc.) that were likewise entered (in a further learning process) through learning, whereby the timing is carried out by the preferred synchronization method, which can be applied three times here: - to input the recognition patterns using a learning process, which, during later use, decodes corresponding addresses to the recognition pattern through beats (e.g., of a drum) or keystrokes of a MIDI keyboard, etc. These addresses, in turn, address the playback pattern of a synthesizer. This synthesizer is synchronized in phase and playback speed with the synchronization pulses of the recognition pattern, as well as with any additional input synchronization signals (which are not assigned to the recognition pattern because the corresponding temporal reference signals are interpreted differently). This ensures that acoustic percussion elements are appropriately inserted into the pauses of the recognition pattern, or even simultaneously with the beats of the recognition pattern.

[0193] The recognition pattern is entered while listening to the playback pattern (i.e., by tapping or playing it), which allows the assignment to be made and different recognition patterns to be played for different playback patterns, and likewise different recognition patterns to be played for the same playback patterns. - to perform further synchronization tasks, if necessary, when learning the playback pattern, - and to synchronize the playback patterns addressed by the recognition pattern when used by the recognition pattern. Key difference from the state of the art:

[0194] A further significant difference from the prior art is that, for the reference signals corresponding to the rhythm of the audio signal, for which synchronization signals are expected, missing or excess synchronization signals also control the synchronization for the first time, whereby the reference measurement of previously received synchronization signals in temporal relation to the reference signals is used for the interpretation of detected missing synchronization signals.

[0195] According to the prior art (see the sources cited in DE 41 43 257 C2), it is known that when a note is omitted, i.e., not played, in a piece of music played according to a music sequence program, the music sequence program can be advanced by means of an internal clock for the omitted note (here relating to a omitted synchronization beat concerning the advancement of a music sequence program). However, no special reference signals are provided for this purpose, the timing of which would be evaluated in relation to the synchronization signals. This is done in the present invention, however, in order to correctly evaluate the synchronization signals that arrive, or do not arrive, according to the temporal course of the audio signal.

[0196] Fig. Figure 4 shows an example where a piece of music in 3 / 4 time (123, 123, across the time axis t) is walked in a two-step pattern (left, right) (......1), whereby it is also possible to walk twice as fast alternately (......2) without this affecting the synchronization, because the synchronization signals detected, for example, via the sole of the shoe, are not intended to make the piece of music play twice as fast, but only to synchronize it musically, whereby the synchronization signals can then also slowly extend the tempo of the piece over a wide range, only in the case of an abrupt change [from line (1) to (2), ditto vice versa] is the tempo of the piece not changed.

[0197] This is achieved firstly by ensuring that even missing synchronization signals contribute to the synchronization process, and secondly by automated proximity measurement (here 50% of the highest synchronization beat), which determines the reference point to which a synchronization signal belongs. If appropriate, and with suitable encoding of the reference signals, there is the option to assign externally encoded synchronization signals to specific reference signals absolutely, instead of using this time-window-verified assignment. This is particularly useful for tracking the musical beat in a purely musical application (synchronization signal input encoded via the sensor array).

[0198] In Fig. 4. Therefore, the synchronization signal Sa belongs to the reference signal (time point) 1a, but the synchronization signal S2 already belongs to the reference signal (time point) 2. If the synchronization signal Sa is recognized as belonging to the reference signal 1a, then six synchronization signals (emitted by L or R) occur in one clock cycle; however, if the synchronization signal S2 is recognized as belonging to the reference signal 2, then three synchronization signals (emitted by L or R) occur in one clock cycle.

[0199] To measure the synchronization signals in relation to the reference signals and to perform synchronization correctly, it is not absolutely necessary to measure the time difference between the reference signal and the synchronization signal directly. It is also possible to measure the time difference between the synchronization signals and the reference signals and to relate these time differences. (See example below.) Fig. 4. This means that a distinction can be made as to whether a synchronization signal (Sa, or S) belongs to a reference signal 1, 2, 3, 1, 2, 3, or whether a synchronization signal belongs to twice the density of reference signals 1, 1a, 2, 2a, 3, 3a, .... The synchronization times are then obtained by correctly summing the times between the synchronization signals, whereby these times then correspond again to the times between the associated reference signals, i.e., the time span of several consecutively inputted synchronization signals is measured in temporal relation to the reference signals, as already proposed in DE 41 43 257 C2, but with the additional improvement that the number of reference signals defined between them (e.g., within the range defined in DE 41 43 257 C2) is also determined. Fig. 4 synchronization signals occurring within any arbitrarily drawn period X) may be variable and still be used for synchronization.

[0200] Synchronization is best achieved, as already stated in DE 41 43 257 C2, by summing the time values ​​between the synchronization pulses, or by summing their deviation, always in relation to the time values ​​resulting from the summation of the time values ​​corresponding to the reference signals.

[0201] Should the reference signals in the example be according to Fig. 4. If reference signals are automatically set through learning by simply being played along with the audio signal (and stored in the playback device), then reference signals can also be omitted during playback, which can then be generated internally using the same method if such a mode is provided (option).

[0202] According to DE 41 43 257 C2, the corresponding time grids within which the synchronization signals are to arrive are generated for the reference signals, or, in the present invention, optionally also (if the possibility of encoding a recognition pattern is to be used) the synchronization signals are not to arrive or are to arrive too frequently, according to the playback speed of the audio signal. In the second case, this can also be done by learning, for example, by...An excellent percussionist (drummer) records (taps in) the playback pattern in a first step, which is then played back in a repeated step, with a less experienced percussionist (drummer) then playing the recognition pattern and the omitted parts of the playback pattern being stored in the device as the code "missing synchronous signal" so that the missing detector can recognize this case, as in . Fig. Figure 5 illustrates this for the purpose of automatically determining the capture area of ​​the reference signals.

[0203] Regarding Fig. 4, where, however, in a simplified representation, the times of the reference signals are shown according to a simple time grid (which is not necessary, since the reference signals played in once during learning can have time differences corresponding to any arbitrarily complex rhythm), the synchronization signals (L,R...) shown in line (...2) then correspond to the pattern as they are played in as reference signals to an audio signal during the learning process for creating the playback pattern, and the synchronization signals (L,R...) shown in line (....1) correspond to the pattern as they are played in during the learning process for creating the recognition pattern. That is, during learning, the synchronization signals are each recorded as reference signals to the played audio signal (as a further track).A mode switch can also be provided, in which, during the learning process, the synchronization signals of the recognition pattern, if they are set at a position where no reference signals have been set in the playback pattern, are also stored as additional reference signals when learning the recognition pattern. Storing (during learning) and subsequently decoding recognition patterns in real time makes sense when the further development of the invention is used to control a synthesizer via the recognition patterns, which continuously retrieves corresponding rhythms, e.g., from an MP3 file (from RAM or ROM).

[0204] The real-time decoding of the recognition patterns concerns the reference signals with their time values, as well as the information on whether a synchronization signal must be received for a reference signal, or not, and above all, how the synchronization signals are used for synchronization (priority, e.g., whether the measured time value is used directly in relation to the reference signal when the synchronization signal coincides with a clock point; see time point 1 in each case). Fig. 4, or whether the measured time value is only used for summation to obtain a continuous correction value, cf. 1, 2, 3 ditto 1a, 2a, 3a, etc....in Fig. 4).

[0205] The difference with the cited jogging player (see the NDR broadcast mentioned in the introduction) is that temporal variations of the input synchronization signals, when incorporated into the synchronization process, do not cause an abrupt change in the playback speed of the audio signal, as long as this is somehow synchronized with the music beat. However, large shifts detected at the beginning of the beat (1) do occur, as does the case when externally encoded synchronization signals arrive, since these are always related to specific reference signals (according to their encoding). For example, in addition to the example of a multifunctional sensor carpet according to Fig. 26, a coding of the preferred angular position of a bicycle crank according to Fig. 15. Since, by decoding the crank position, any coarse angular division of the associated (also sampled) toothed disc (301) can be preselected by the MP3 player's software, the (marked by corresponding encoding of a reference signal) start of the clock signal in the bicycle application can, in principle, be set in absolute relation to any angular position (for which the relevant pulse measured by sampling the toothed disc is then encoded as a special external synchronous pulse) of the bicycle crank.

[0206] Furthermore, the user can employ a variety of rhythmic recognition patterns to change the playback speed and, optionally, the percussion patterns being played. This can be used, for example, to detect irregularities in the smooth pedaling motion of a bicycle crank ( Fig. 15.) can be displayed musically, with the regulation sounding musically like a musician varying the tempo; similarly, in skiing, the regularity of the turns can be displayed, etc. However, rhythmic changes within the musical measure can also be synchronized accordingly. For example, the basic beat for a track (percussion, drums) can be maintained, and the melody (also vocals) can be followed by the synchronization signals, thus enabling the learning of a smooth pedal stroke while cycling, etc. Furthermore, it is intended that if deviations measured via the impulse detection of the toothed disc at the relevant crank positions, where the user typically deviates significantly from a smooth pedal stroke, are exaggerated and synchronized as tempo variations within a musical measure (see also [reference to]). Fig. 15).

[0207] Fig. Figure 5 illustrates the operation of the Missing Detector. The depicted pulse corresponds to the time window assigned to a reference signal time, the width of which lasts until the next reference signal. At the beginning of the time window, the status log.1 is set. If a synchronous pulse S occurs, the pulse is reset prematurely. If it does not occur, the pulse remains until it is reset after the test. Depending on whether the test results in log.0 or log.1, the synchronous pulse was present or not. We obtain the same result if the time of the synchronous pulse is measured when the timer exceeds the overflow value (maximum value) determined by the time window width of the reference signal (then the synchronous pulse was not present). How to Fig. 6a, Fig. As explained in section 6b below, the synchronization impulse corresponds to a note duration, which is evaluated such that the measures corresponding to the highest note resolution count the note duration. It is evident that during rests, the note duration is extended accordingly (until the next note) in this evaluation. The note duration can, of course, also result from the sustain of the individual notes after the attack phase of the instrument used for recording. Furthermore, the currently synchronized (corrected) time grid is always used for counting the note duration.

[0208] The output of this time window check (log.0 / log.1) is used as the input to the transfer condition of the state machine sequencer, whose logical equations are generated and compiled by appropriate software and loaded into the sequencer's RAM as a JEDEC file. The sequencer's outputs then provide control signals for managing the use of the time values ​​of the synchronization signals, measured in relation to the reference signals. This also includes, if necessary, real-time decoding of the strings (as described above) to address different MP3 files containing the corresponding playback patterns, using addresses determined by the JEDEC file's generation. This approach is very efficient because the playback device can be built small, since the compilation of the JEDEC file for the state machine sequencer chip (a corresponding programmable logic) is performed simultaneously in a computer during the recording of the encoding patterns.Using this technique, complex recognition and synchronization patterns can be encoded very quickly into an audio signal stored on a data carrier.

[0209] For most applications, it makes sense to measure the timing of the synchronization values ​​simply by counting time units that correspond to the shortest note values ​​(included in the string used for recognition or synchronization, see [reference]). Fig. 6) correspond. Fig. 6a represents a 1 / 16 note. Based on the + / -50% tolerance, a resolution of 1 / 32 (or possibly 1 / 64) is used to determine the number of consecutive time windows of the reference signals. Thus, 3 / 16 of a note corresponds to 3 consecutive time windows (3B), comparable to the representation in Fig. 5, or only one for the 1 / 15 note. At higher resolution, e.g. 1 / 64, we obtained double the number, whereby a further 1 / 64 digit error can be added for each point when distinguishing the note values.

[0210] Fig. 6a then corresponds to a pattern as it is played or tapped into the reference signals of the playback pattern by learning to create an audio signal.

[0211] Fig. 6b then corresponds to a pattern as it is played or tapped into an audio signal as a recognition pattern through learning, whereby an internally generated counting beat (-B) is missing at the first note (= 1 / 8), which is considered a missing synchronization beat accordingly. Fig. 5 is interpreted, and an internally generated counting pulse is added to the second note (= 1 / 8) (2B). This difference to the reference signals of the playback pattern is then used for synchronization (to control the interpretation of the measured time values ​​according to the note values) and, in optional further development, as a recognition pattern to retrieve a playback pattern that can be far more complex and have an even higher resolution than the reference signal pattern available for the playback pattern. Fig. 6a.

[0212] A very advantageous use of this method is to be able to determine, by dotting (or the respective note duration) the input reference signal pattern, how large the synchronization margin is, i.e., from when, in the case of a temporal change of the synchronization signals (e.g. frequency doubling), the playback speed also doubles, or remains the same, whereby different patterns can also be used for selective application.

[0213] Fig. Figure 7 schematically illustrates the processes for creating a new signal from a recorded reference signal pattern (see Figure 7). Fig. 6a), in which, for example, the pattern was played with the synchronization signal SYNC1, and a recognition pattern entered during normal synchronization (see Fig. 6b), where, for example, the synchronization signal SYNC2 was played in, the actual synchronization data (cf. the sync module in Fig. 7) to derive, and if necessary, to generate the addresses from them (see option Synth. Address in Fig. 7) to synchronize a synthesizer to selectively retrieve MP3 fragments (short pieces or slices).

[0214] The reference signals stored for the audio signal (corresponding to Fig. 6a) each contain a minimum number of time units B, which are based on the shortest time to be considered (corresponding to the times determined by the duration of SNYC1, cf. musical notation in Fig. 6a) a reference signal, and during normal use (synchronization by SYNC2) are measured in relation to the SYNC2 synchronization signals. This is done by measuring the time interval between the short SYNC2 tap signals as current time values ​​(111) and using it as a gate signal (GATE). This gate signal switches the clocks of a clock generator (Clock GEN) on or off according to the duration of the time values, so that the number of clock pulses corresponding to this time interval can be measured with a counter and evaluator Z. Based on the respective reference signal duration (from memory 100), this counter determines how many smallest time units B (corresponding to the shortest reference signal duration) fall within the duration of the time intervals of the synchronization signals (SYNC2 at the output of 111), whereby as described above... Fig. 6a and Fig. 6b explains (see also regarding Fig. 5) The difference is measured, i.e., how many such time units B occur too many or too few in relation to a reference signal, in order to deduce from this information, normalized to the shortest duration of a reference signal (to determine the required resolution), and, taking into account tolerances (e.g., + / - 25% of this shortest duration), to obtain the necessary information for any required adjustment of the playback speed (or addressing of MP3 slices, etc.). The evaluator Z also contains a summing unit that, depending on the respective duration of the current time intervals between the synchronization signals SNC2 and the additional information contained in a reference signal (i.e., whether it is, for example, a clock start, i.e., an absolute reference point, or reference signals still contained within the clock, which form further synchronization reference points), sums the time intervals of SYNC2.The process checks, in relation to the reference signals, whether a phase shift should be interpreted as a tempo deviation (if the summation does not fit into the time grid of the reference signals) or whether a phase shift should be interpreted as a musical element (as a missing or extra synchronization pulse). Missed synchronization pulses occur when synchronization signals are missing for a given reference signal time pattern. Fig. Figure 6 illustrates this: the first grade shows a difference of 2B-3B= - 1B, the second grade shows a surplus of 2B-B= B, as a recognition pattern.

[0215] In Fig. Figure 7 illustrates that the time values ​​of the reference points are scanned to determine the required resolution with which the clock generator (Clock GEN) must be set. This process can also be permanently set if only pre-recorded audio files are to be played back (without the additional design options provided here).

[0216] In Fig. 3 and Fig. 4. The principle can also be simplified, whereby essentially each received synchronization signal is checked: - whether, in accordance with the time duration measured between the synchronization signals, which is measured or evaluated in multiples of the smallest time unit used for the times of the reference signals (as synchronization points) (possibly also measured with higher resolution and then rounded), temporal tolerance fluctuations are provided for or tolerated in relation to the reference signals, which correspond to a change in speed, - whether the time shift determined according to an received synchronization signal and a reference signal relates to a reference signal belonging to the beginning of a music measure, or to a reference signal occurring within a music measure, wherein encodings are provided for the reference signals that allow such distinctions, - and that synchronization is carried out depending on the aforementioned encodings of the reference signals, or may not be carried out at all, - where, if necessary, the time duration measured between the synchronization signals is summed to obtain time values ​​corresponding to the reference signals set according to different priorities (according to the musical content) of the audio signal. Devices:

[0217] One method for generating suitable synchronization impulses involves using the movement of poles, also known as Nordic walking, to derive the synchronization signal. This has the advantage over equipping footwear with sensors that it is more versatile in its application to different individuals.

[0218] In addition to the possibility of performing a sound scan of the stick's use (of tips on a hard surface), the following is also possible: Fig. 1. The sensor variant shown is preferred, which is suitable for both rubber ends 1b ( Fig. 1a) the sticks as well as for ski poles ( Fig. 1b) is well suited.

[0219] Fig. Figure 1 shows an embodiment for housing the sensor in the poles, which is also suitable for skiers. In the variant for skiers, it is further preferred to measure the time between the right and left pole planting and then derive the synchronization from half this time, so that the rhythmic synchronization of the body movement occurs accordingly (as in Figure 1). Fig. 8 (which will be explained in more detail).

[0220] Furthermore, when used in sports, it is advisable to equip the playback device with a microphone connection so that ambient sounds can be mixed into the headphones in case of danger (while skiing, cycling, etc.), possibly with the intensity of this mix being switched on and off according to the intensity of the microphone signal's amplitude, for example by a monostable multivibrator time that is triggered from a certain level threshold of the microphone signal.

[0221] In addition to the possibility of using motion sensors (based on the inertial principle, accelerometer, etc.) to detect the movement of the poles or (when skiing, also of the body), a pressure sensor is preferred here, which emits a signal whenever the pole touches the ground or is inserted into the snow.

[0222] The in Fig. The variant shown in Figure 1a is suitable for both contact and non-contact signal generation and consists of a bushing 8b inserted at the lower end of the pole (8), in which a sliding bolt 1c is inserted. The rubber tip 1b (as the pole tip) is attached to the bolt. The bolt 1c, with its pole tip (rubber tip 1b), is constantly pressed downwards by the spring tension of a compression spring (6, which is supported by a plate 7 inserted into the pole) and held in place by a stop (disc 5) that abuts the guide bushing 8b at its front. When the pole is placed on the ground, or, in the case of a ski pole, when the tip touches the ground (or, in a further development, also when the edge of the ski basket touches the slope), the bolt is moved against the pre-tensioned spring force, and this movement is detected as a synchronization signal.The contact can be made by ohmic contact (pressing disks together), or, as is particularly preferred here and explained in more detail below, by inductive scanning. Fig. Figure 10 shows an example of the priorities of a synchronization process. For each incoming synchronization signal, the timing relative to the other synchronization signals is determined based on the arrival time and / or a separate signal source or pre-decoding regarding its temporal position (cf. the example of scanning the revolution or angle of a bicycle crank 300 in Figure 10). Fig. 15) checks which reference signal the incoming synchronization signal belongs to. If it relates to the beginning, or another characteristic point of a musical measure, then synchronization is performed to this reference signal. If the incoming synchronization signal does not relate to such a preferred reference signal, but to another reference signal, then the temporal position of the synchronization signal relative to the nearest reference signals is determined, and by a relative time measurement, which takes into account the temporal sequence of the reference signals (the audio signal) in relation to the temporal sequence of the synchronization signals, the temporal deviation of the synchronization signal in relation to the corresponding reference signal, i.e., in relation to the audio signal, is determined and compensated for according to the established ranking of the reference signals.For the example of a bicycle crank: In the case of a continuous acceleration of the bicycle crank, such that the playback speed of the audio signal changes, but not the rhythm (see "Assign reference signal by n * B, determine tolerance, SYNCHRONIZATION, in . Fig. 10”) or, if necessary, in the event of a sudden change corresponding to a different round step, the rhythm within a musical measure changes accordingly.

[0223] In applications related to sports and music, depending on the specific application, the timing corresponding to the input of the synchronization signals can be checked / analyzed in order to call up the function, and possibly also the slices (sections) of the audio signal, according to which the synchronization (correction of the deviation) should take place. This may also include algorithms for rounding. For example, in the analysis of a smooth pedal stroke, the measurement of the speed change of the toothed disc as a function of the angular position of a bicycle crank is taken into account.

[0224] Fig. Figure 11 illustrates the synchronization process with a current synchronization pulse, depending on the detection of whether the synchronization with the previous synchronization pulse has locked in. Locked synchronization is understood as the beginning of the audio signal's phasing to a correspondingly coded reference signal (corresponding to the musical beat). These specially coded reference signals control the precise time interval, relative to these reference signals (and thus to the audio signal), within which the synchronization adjustment must occur. Fig. 13 and Fig. Figure 14a illustrates this process. The interesting aspect is that the synchronization signals can also be omitted without the synchronization being misinterpreted by subsequent synchronization signals. This is made possible by the fact that the reference signals, according to which the synchronization is performed, are encoded in different hierarchies.

[0225] Fig. 13 and Fig. 14a concerns time diagrams in which the reference signals 1, 2, 3, 4, 1, 2, 3, 4, ... are plotted on the time axis, where for Fig. 13 the synchronization pulse (S2) corresponding to the music beat arrives with a delay, whereby the playback speed slows down (by 10% in Fig. 13a, or a 20% extension of time in Fig. 13b), and for Fig. 14a the synchronization pulse (S2) corresponding to the music beat arrives ahead of time, thereby increasing the playback speed (by 20% time reduction).

[0226] In both cases, this time correction occurs at the beginning of each measure, without altering the rhythm within a bar. However, this change doesn't necessarily have to be related to the musical bar; it depends on the encoding of the reference signals and could, for example, begin at a suitable point in the middle of a measure, etc. Alternatively, there might be several fragments (slices) available as MP3 files, played at different speeds in the original, perhaps with different musical variations, and then retrieved according to the decoded pattern, etc.

[0227] Meets in Fig. If, in addition, a synchronization pulse is introduced within a beat (13a), the proximity of the synchronization pulse to reference signals 3 and 4 is checked in both directions, leading and lagging (here, respectively). This is done using synchronously running time counters for both the reference signals and the synchronization signals, whose measuring range extends over several music bars (and is then renewed each time, taking the carry into account).

[0228] The time values ​​(t1 and t2) of the synchronization signal Sx, measured here against the nearest reference signals 3 and 4, are checked to see if they fall within a target time window. If so, it is assumed that a reference signal is encoded for the value. If not, the synchronization signal is not evaluated due to the lack of a reference signal. If the synchronization signal is evaluated, the reference signal used is the one closest to the synchronization signal, which in this case is reference signal 3, where Sx lags by Toption. Extrapolated to reference signal 1 of the next clock cycle (Tmeß), this results in a difference of twice Toption. These time values, including the difference of synchronization signal S2 (relative to reference signal 1), are summed over a synchronization period, which can, in principle, be arbitrarily encoded by the reference signals, and only corrected over the synchronization period.

[0229] In the event of a detected lagging deviation ( Fig. 13), the percentage error by which the time grid of the reference signals must be increased here (10% in Fig. 13a and Fig. 20%, each over the period Tsyncr in Fig. 13b) is determined, and the time interval (the time segment to the synchronization signal) that has already begun after the coded reference signal, which defines the period for correction, is corrected accordingly. This interval is located between reference signal 1 and synchronization signal S2. The other times corresponding to the periods between the reference signals are also corrected. The correction period does not necessarily have to begin with the music beat, but merely marks a suitable point where desired. These points can be entered via an editor or by playing in samples or fragments (slices) of different tempos. The synchronization to the coded reference signal times switches between these tempos, depending on the measured time deviation, and is also synchronized.

[0230] This allows a faster piece of music to be played back differently than a slower one, with the switchover occurring based on the measured time deviation. Very good effects can be achieved using this method when playing back percussion.

[0231] In the event of a detected premature deviation ( Fig. 14a), a similar procedure is followed, except that the time intervals between the reference signals, starting exactly with the coded reference signal which concerns the designation of the period for the correction, are shortened proportionally to the measured deviation (here to 80% over the period Tsyncr.)

[0232] In Fig. Figure 13a also shows a series of burst pulses (burst) as an input option for the synchronization pulses, for which no individual, temporally associated reference signals are encoded. In this case, the first (I) pulse as well as the last pulse (e) of the burst chain are evaluated in their proximity to the time window boundary of the reference signal into which they fall. The burst pulse chain (burst) is then assigned to these time values ​​of the time window boundary as a single synchronization pulse of the time window boundary of the individual reference signal. In this way, excess synchronization signals can also be used for synchronization.However, in addition to the reference signal, which is encoded according to the temporal progression of the audio signal for synchronization, several consecutive reference time values ​​can be encoded to recognize a recognition pattern in order to synchronize corresponding slices (fragments) of the audio signal via string recognition. The temporal decoding of the pattern of the input burst pulse chain (burst) takes place within the time window of the reference signal recognized as belonging to it (see I and e), roughly comparable to a trigger time window of a logic recorder. However, the time values ​​decoded as strings within this time window (of the respective reference signal) (see the example above of a state machine sequencer used for decoding) are then used to recognize the address for addressing a corresponding slice (fragment) of the audio signal.This address can also consist of another address (evaluated by coincidence), namely an address derived from the temporal position in the audio signal of the reference signal associated with the burst pulse chain (burst), or its time window, and the address resulting from the decoding of the temporal sequence of the input burst pulse chain (burst). For decoding the temporal sequence between the first (I) and last (e) pulse of the burst pulse chain (burst), the time interval is measured, and the incoming pulses over this time interval are adjusted proportionally to the measured time interval in order to decode the recognition pattern.The times of a burst pulse chain (burst), adapted to the measured time span within the duration of a reference signal, are then evaluated within the tolerances (to the other patterns) and the resulting code values ​​are linked to recognition chains (strings).

[0233] Fig. Figure 14b illustrates how, within a specific time interval, a recognition pattern is decoded from the burst pulse chain (burst) consisting here of four pulses (1, 2, .....4), which corresponds to the time interval of a relevant reference signal, which, due to the ongoing synchronization, corresponds temporally to the depicted position (gate). The first pulse (I) of the burst pulse chain (burst = 1, 2, ... 4) is used as a trigger signal for a timing measurement. The time intervals between the pulses (burst = 1, 2, ... 4), here a, b, c, are summed as long as the pulses remain within the time interval (Gate) corresponding to the reference signal. This results in a measurement time (Tmeßp) between the first (I) and last (e) pulse of the burst pulse chain. At this measurement time (Tmeßp), the relative ratios of the time intervals (a, b, c) are calculated (a / Tmeßp, b / Tmeßp, c / Tmeßp). Based on these ratios, which are rounded to predefined values ​​within a tolerance, the recognition values ​​for establishing transmission conditions are determined. Following these conditions, the state machine switches to recognize the corresponding recognition pattern (as the output of a specific status).As always, any number of branches can be encoded, such that common subsets of the recognition patterns are grouped into a state machine. If a state machine fails to recognize a transmission condition, it switches to a special state, which in turn serves as a transmission condition for other parallel state machines (which recognize this state). In this way, any number of branches (outputs) can be created to generate addresses corresponding to the recognition patterns (by the state machines). The system remains freely programmable if a standard compiler is used to create the state machines. Its input is written by a corresponding program, and the creation of the D flip-flops and the logical combination of the transmission conditions can be configured using corresponding memory locations in RAM.A large number of recognition patterns can be decoded simultaneously in parallel in order to obtain the relevant one from a set of recognition patterns.

[0234] The corresponding music fragment (slice) in the audio signal source (RAM, ROM) is then addressed based on the recognized recognition pattern, but playback only begins at the point in time when specially marked or encoded reference signals indicate this point. Playback then occurs at the currently active playback speed.

[0235] Thus, for this example, the following encoding (as a classification) is used for each of the time reference signals with stored addresses to indicate the use of the reference signals: a) Time tolerances to the reference signals with their temporal position; b) The use of a reference signal only for measuring the time deviation: (with respect to an incoming synchronization signal); where, by measuring the time interval between the synchronization signals, it is determined to which reference signal time value (position) a synchronization signal is to be regarded as belonging; c) Reference signals indicating the time period within which a previously determined time deviation (also via several synchronization signals) is to be corrected so that the rhythm (the time proportionality) is maintained when the speed changes; d) and reference signals indicating the time span within which the addressed audio slice is started synchronously with the current playback, based on a previously recognized recognition pattern from which the access address to an audio slice (fragment) has been derived (decoded).

[0236] Thus, for example, a percussion instrument can be realized in which the reproduced audio signal (percussion) can be constantly influenced by adding a relatively simple rhythm to the drum; i.e., even a beginner can create complicated percussion rhythms that are automatically reproduced, even with several instruments simultaneously, if correspondingly different surfaces are provided for tapping out the rhythm.

[0237] It is evident that a reaction time correction can also be made for the input of the synchronization signals, as has already been described in principle as a further embodiment in a learning instrument in DE 41 43 257 C2.

[0238] To Fig. 2 and Fig. 9a,b: Fig. 2 (as a mixed analog / digital circuit) and Fig. 9a, Fig. 9b (as a preferred analog circuit) relates to a proposal for an inductive loss measurement of a loss coupled into a measuring coil by the measuring element. This sensor, as a basic method for which the applicant is also the inventor, has already been used and is also published as a valid German patent, with further applications for improvements to this sensor by the same applicant (corresponding to the file numbers indicated above). Specifically, it is a basic measuring method (not just a circuit). The circuit is optimized for the purpose used here and is briefly described again below. Despite its unique performance (as a robust displacement sensor, or an extremely overloadable pressure sensor with high sensitivity and self-adjusting continuous range switching, etc.), the sensor presented here can be manufactured for approximately $1 (depending on the application and the quantity required).

[0239] An oscillator, self-excited by a resonant circuit (L,C), whose oscillation frequency is determined by the resonant frequency of the resonant circuit (L,C) (oscillator fed back to L / / C via Ck), feeds the current ig into the resonant circuit at the feed point E. The loss inductively coupled into the coil can be considered as the parallel conductance Gp, transformed across the coil, in parallel between the feed point E and the ground point GND. However, Gp also includes the surrounding losses Gu, e.g., through the aluminum tube of the rod in which the measuring coil is installed as an air-core inductor.

[0240] To achieve the highest possible sensitivity for the aluminum pin (as the measured loss component) located, for example, in the center of the coil, whose movement is intended to generate a pulse at the sensor coil L due to its coupled loss component dGk (as a change in the value Gu + dGk), the ambient loss Gu is reduced by a negative conductance -G (Gtot = Gu -G + dGk + Ge), thus making dGk cause a larger relative change in the total loss. Ge... corresponds to the parallel connection of the ohmic series resistance of the measuring coil (contained in L), which is transformed as a parallel conductance via the inductance of the measuring coil L, and the further influence of the measuring resistor R connected in series with the resonant circuit, which, like the series supply resistance of the oscillator, is to be considered a further parallel loss of the resonant circuit and is therefore also compensated by the negative parallel conductance -G.

[0241] This negative admittance -G is achieved by feeding back a portion of the active current ig+ir flowing into the resonant circuit in an antiphase manner. This portion is fed into the resonant circuit's feed point E via a voltage-controlled current source (200), whose control voltage uST is the resonant circuit voltage us. This feedback current is a resistive current ir=k*uST, thus corresponding to a negative admittance -G, as it appears as a parallel admittance across the resonant circuit. Due to the phase delay of the current source 200, the fed-back current ir will detune the resonant circuit, but this is negligible for loss measurement purposes. The active current flowing into the resonant circuit is therefore ig+ir-ir=ig.

[0242] State of the art: The described arrangement essentially corresponds to the principle of an already published application or patent of the applicant.

[0243] The measures for dynamic sampling described below enable continuous automatic recalibration of the voltage-controlled current source 200, whose gain k is controllable via the Control input. This gain k is controlled such that, based on the current difference between the supply current and the feedback current (ig - ir), a mean voltage amplitude (u=Uref) is established at the resonant circuit according to the corresponding parallel admittance Gtot. If the coupled loss of the loss component to be measured, dGk, changes, this is compensated for or regulated by a corresponding change in the gain at the Control input via the voltage-controlled current source 200. The setpoint then corresponds to the measured value to be sampled = OUTPUT ( Fig. 2 or Fig. 9a).

[0244] The voltage amplitude u=Uref corresponds here to a DC voltage, whereby the regulation according to the specified voltage Uref is measured via the permissible fluctuation 2d between the voltage values ​​Uref+d and Uref-d by comparators (204 and 203) and the outputs of the comparators determine the counting direction (for counter 201 in Fig. 2), or for the direction of change (for ramp generator 201 in Fig. 9a) specified (for up / down counter or forward / reverse counter 201 or for controlling the current direction of the ramp generator 201). For the digital version, the counter (201 in Fig. 2) Clocked with a clock signal TKT. Since the active current ir is changed via the gain control of the voltage-controlled current source 200 by the clock signal TKT, it is advantageous to keep the clock signal TKT synchronized with the zero crossings. This is achieved here via a comparator 202 (which generates a square wave signal corresponding to the zero crossings of the resonant circuit voltage). The output of this comparator clocks an (optional) synchronous divider (TE) to derive an arbitrary clock frequency, which determines the rise time with which the negative admittance -G is to compensate for a disturbance in the loss component dGk to be measured. Thus, the resonant circuit voltage tapped after the demodulator (rectifier) ​​is constantly regulated to u=Uref.The sensitivity with which the respective (dynamically measured) change in the loss component dGk can be measured as a resulting change in the manipulated variable Control (= OUTPUT) depends on how large the negative admittance -G must be relative to the total admittance Gtot so that the quiescent voltage u=Uref is established at the resonant circuit. This, in turn, depends on the difference in the supply current i= ig - ir flowing through the resonant circuit at a given voltage u=Uref. Since u=Uref establishes itself after the reference voltage Uref, i= ig - ir is determined by the internal resistance of the oscillator's current source Qi, or rather by its current ig. For this application, it is sufficient to choose an internal resistance for the oscillator that is sufficiently high compared to 1 / Gtot, thus eliminating the need for a regulated current source for the oscillator.

[0245] The gain control of the voltage-controlled current source 200 is achieved, for example, by a digitally adjustable resistor, whereby the controlled gain is proportional to the negative admittance -G.

[0246] The digital output signal (OUTPUT from Control) then provides the synchronization pulse, not as an absolute value (due to the drift of the power source and the respective compensated environmental losses), but as a differential change, where, for the example of a ski pole in relation to Fig. 1b the following statements can be made: Is the ski pole attached to the tip (1d, Fig. 1b) pressed downwards, then the pin 1d is pushed upwards (according to the force Fu) and the core attachment 5 of the steel pin 1c ( Fig. 1a), which generates the loss change dGk in the measuring coil 2, is pushed into the measuring coil (2), which is designed as an air coil, i.e., a positive loss change dGk is compensated for by a corresponding increase in the negative conductance -G. If, on the other hand, the ski pole is only attached to the basket 1e, Fig. 1b (at the edge 300) is reground on the slope, which is usually the case, then according to the force F(o) the pin 1d is pulled out and the core 5 of the steel pin 1c ( Fig. 1a), which generates the loss change dGk in the coil, is pushed out of the measuring coil 2, which is designed as an air coil, i.e., a positive loss change dGk is compensated for. In neutral, that is, without load, the pin is held in the center position by spring force 6. In this application, spring 6 can optionally be used as a tension spring or a compression spring, or a second spring is optionally provided as a counter-spring (slid over pin 1 and held by a washer). Pin 1 is then prevented from falling out by a metal plate (via washer 3). Furthermore, the stop elements, which primarily concern limiting the pin stroke when the tip (1d) is pressed down, are dampened with rubber pads, since the athlete can also support their entire weight on the poles. Conversely, however, even with a frictional resistance of a few tens of milliponds, the snow baskets of the pole should pull the pin out against the spring force.This explains why this very cost-effective, non-contact sensor measurement is ideally suited for this application.

[0247] If the basket 1e of the ski pole is dragged along the snow for an extended period, bruising can occur, which is integrated into the processor that evaluates the synchronization signal. However, only the differences in values, i.e., the pulses, are evaluated, since the absolute value of the control variable Control of the voltage-controlled current source (200) can drift extremely strongly. If the ski pole is dragged along the snow, the skier can alternately drag the poles according to their body movements, thus synchronizing the rhythm of the music with their body movements. The point in time corresponding to the synchronization signal is always given when the snow basket of one pole touches the snow, while the other pole is no longer touching the snow (as a transmission condition for status detection).Before the edge detection, which corresponds to a synchronization signal for the audio playback speed, the other pole must be returned to its resting position. When switching poles, only the first contact signal (when the snow basket touches the slope) is detected; subsequent contacts (of the same pole) are not registered until the pole is switched again. This means that only one signal is detected for each pole switch. A synchronization signal is generated both when the snow basket is dragged and when the pole is deployed, if it corresponds to a detected pole switch.

[0248] Example of the definition of a status machine for generating the synchronization signals: Inputs: L ... left stick touches snow, L!... left stick does not touch snow, R.... right stick touches snow, R! ... right stick does not touch snow;

[0249] The inputs are smoothed with a monostable multivibrator time, which, if necessary, generates a pulse from excessively fast burst pulses. Definition of States:

[0250] The air-core inductor L, with a diameter of approximately 2 cm, can be easily installed in the lower third of the tube (which can be slightly widened for this purpose). At a capacitance of approximately 1 mH, a resonant frequency between 50 kHz and 200 kHz can be achieved, allowing for the construction of a very sensitive sensor with a single-chip solution, suitable for aluminum. If a slightly higher inductor current is permitted, the inductor can be positioned closer to the tube and made more compact. A keyed version is also recommended. For example, at a resonant frequency of 500 kHz of the resonant circuit, the supply voltage can be keyed at 500 Hz with a keying ratio of 1:10 to reduce power consumption. The keying frequency is designed to be variable downwards from 500 Hz, e.g., down to 50 Hz (with a keying ratio up to 1:100), and synchronized in phase with the detected synchronous pulses, so that the duration between the synchronous pulses coincides with the pauses in the keying frequency.However, if it is determined that a synchronization pulse is not sufficiently detected within a timeout period that continues to be adjusted after this pause, then this keying starts again at 500 Hz. In this way, power can be saved.

[0251] The sensor's circuit board, which has a serial data output, can be placed on the coil or vertically in the center of the tube. The serial data is then routed, for example, to a circuit board 11b of the handle 11 and from there via a miniature transmitter (e.g., Bluetooth, etc.) to the audio playback device attached to the skier's body.

[0252] Fig. Figure 1d shows an example of how a cable can also be coiled on the outside of the stick. However, in Fig. 1 c The stick is screwed together from two halves, and a circular ring K, insulated from the stick, forms the second contact. The power supply and data (sent by the sensor when the supply voltage is applied to ground) are routed via this two-wire connection to the handle of the stick. The periods when the supply voltage is applied are then bridged at the sensor via a diode and a capacitor.

[0253] The synchronization signals R, L, generated alternately by the right and left sticks, are then decoded as a synchronization signal sequence, as already explained (see below). Fig. 4).

[0254] In principle, a piezoelectric sensor could also be used, but it would be problematic to build such a sensitive sensor while simultaneously ensuring robustness. Above all, the proposed system has the advantage that if it should freeze, the bolt can be forcefully turned back and forth to activate the sensor.

[0255] Fig. 9a, Fig. 9b concerns an analogous implementation of Fig. 2, in which the gain control of the voltage-controlled current source is performed by an analog control variable, which is generated by a ramp generator instead of an up / down counter (via constant currents 201 switched according to the "counting direction up / down" by FET1 or FET2, cf. VDD and VSS). The polarity reversal then occurs again depending on the comparator signals (see also the table in Fig. 9a, ditto Fig. 2) Circuit section 201 corresponds in the usual way to delta ramp generators that can be controlled in the rise phase. The manipulated variable used as the output signal (Control) can be directly output as synchronous signals corresponding to the coupled loss change via AC coupling. However, the digital output after Fig. 2. The advantage is that signal processing can be carried out more effectively by a processor, e.g., the differentiation of the rise of the small control oscillation from the steep rise of a pulse (cf. Fig. 9b), or that only the change is output as a value, with recalibration then being carried out at the maximum or minimum points of the measured value.

[0256] For both circuits, after Fig. 2, Fig. 9a. It must be ensured that the total admittance Gtot never becomes negative, so that the oscillator's self-excitation is not caused by the negative admittance -G, but only by the externally connected oscillator, whose input (Ck) taps the voltage fed from its output to the measuring resonant circuit (LC). If the negative admittance -G were to not only reduce damping (the total loss) but also feed in the voltage, then the quality factor of the measuring resonant circuit (LC) would be so high that the sensor would no longer provide usable signal edges due to insufficient bandwidth. The control range of the gain of the negative admittance -G (via Control) must be large enough that the feedback current ir of the negative admittance within the control circuit can be reduced to u=Uref (+ / -d) to such an extent that the circuit does not oscillate at its lowest loss.This minimal loss of the circuit can be achieved either by connecting a parallel resistor or by the coupled (minimal) steady-state ambient loss of the sensor coil. Another option involves determining whether the circuit is already overshooting, for example, if the control (via Control of 200) is too slow relative to the input-side change in the inductively coupled loss dGk in the measuring coil. This option is described in [reference missing]. Fig. 9a is shown (and also related to Fig. 2 usable). For both half-waves (positive and negative) of the resonant circuit voltage uS, a comparator circuit determines whether the amplitude exceeds the value of Uref+d or -(Uref+d) = overflow. If this is the case, a parallel resistor Rp is briefly connected to the resonant circuit L,C (with st) until the resonant circuit voltage uS is back within the control range. Another comparator circuit is also provided to detect this status Uref-x or -(Uref-d). This circuit is summarized in block 333. The method can, of course, also be implemented by a processor. Similarly, Rp can also be made controllable. See the published patent specifications (from the same applicant) for this sensor. If the comparator circuit (contained in 333) detects an overflow, a pulse st is switched on to activate Rp (via the electronic switch).If the resonant circuit voltage uS returns to its control range, the pulse st is immediately reset (switched off). As stated in the cited applications, the loss can be further influenced by a positive cascade resistor to set an operating point, so that the conductance -G (or the current source 200) regulates a higher current component -ir.

[0257] Another application that can be very well implemented with the sensor described is to allow a cyclist to hear an audio signal synchronized in playback speed to their pedaling movements, illustrated in Fig. 15. With a sensor 200, which scans the number of crank rotations (of the crank 300), and a sensor 201, which scans the toothed disc 301 (for fine resolution). Both sensors are held by a sleeve 202 on the frame tube (302), which carries the crank bearing. Depending on the piece of music in the audio signal, one musical measure can correspond to one full crank rotation, or one crank rotation to a multitude of musical measures, or several crank rotations to one musical measure, whereby this is determined by limiting the temporal variation range of the musical measure, or by encoding the reference signals with respect to synchronization, in accordance with the software-defined placement of the reference signals.

[0258] The crank's sensor (200) is used to maintain the phase relationship to the reference signal of the musical piece, which corresponds to this sensor. As long as a smooth pedal stroke is detected according to the previously described method, the increase in the frequency of the input synchronization signals that occurs during acceleration is compensated proportionally (linearly) from one musical measure to the next within each measure. The time delay between the detection of the deviation and its compensation in the following measure can be slightly overcorrected to allow sufficient reserves for further reductions in the measure time. If a deviation from the definition of a smooth pedal stroke is detected, the rhythm within the musical measure is distorted accordingly until the deviation is corrected, which in this case corresponds to the detection of a smooth pedal stroke.If the frequency of regular input of the synchronization signals falls below a minimum in this variant, then no impulses are evaluated at all and the speed of the audio signal playback is not changed.

[0259] Option (Variant): In a further development, a delay is provided with regard to the decoding of the crank position, which controls the synchronization in such a way that the synchronization point, fixed at one crank revolution (or half a crank revolution, etc.), does not necessarily coincide with the angular position of the crank (300) at which the maximum damping (loss coupling) occurs at the relevant sensor 200, i.e., the synchronization signal of this sensor (200). This synchronization signal is only the fixed point for detecting a whole, or even just an (integer) division or multiple, of crank revolutions, the angular position of which results from the teeth of the toothed disc scanned by the second sensor (301), or from the synchronization signals of this second sensor (301) after appropriate division by a divider, which yield the actual synchronization signals. The assignment to the reference signal characterizing the musical beat (see 1 in each case) Fig. 13 and Fig. 14) This is achieved by recognizing, after a brief resting position in which the crank is not turned or is turned backwards, the position where the forward pedaling begins in the direction of travel is recognized as a synchronization signal. This signal corresponds to the subsequent time-coded reference signal or, within the still-accounted tolerance range, to the immediately preceding reference signal, which marks the musical beat. In this way, the cyclist can precisely adjust the timing of the music being played in relation to the effort exerted while pedaling and maintain this mode, for example, by using corresponding push buttons on the handlebars to switch this mode on and off. These buttons can also switch the synchronization range of the music (slow, normal, fast). This method also ensures that a continuous change in the crank speed, e.g.,The speed is constantly readjusted, whereas an abrupt change (e.g., also a slowdown) can also be used to switch to the slower control range (e.g., twice as many synchronization signals over the clock period, etc.), depending on the selected mode (see also [reference to]). Fig. 4) This musically adapted synchronization of pedaling results in a particularly smooth pedal stroke when cycling. Notice It is a state-of-the-art bicycle crank in which a spring force acts between the pedal crank and the attached toothed disc, with the crank being blocked against reverse rotation by a freewheel. While this device offers advantages in terms of intermediate torque storage corresponding to the leverage of the pedals, it also has the disadvantage of encouraging deviations from a smooth pedal stroke. Therefore, such a device is particularly suitable in conjunction with the tempo synchronization of an MP3 player to achieve the desired performance (fulfillment) for the user. Only if the user maintains a smooth pedal stroke can they benefit from this device. With reference to Fig. Figure 15 shows this option, which is known in the prior art. In this case, the spring force acts between the actual disc (option 301b) mounted on the pedal crank and the actual chainring 301. The pedal shaft with the disc 301b is secured against reverse rotation by a pre-tensioned freewheel. The spring-loaded lever connection between the actual drive disc 301b (which sits on the crank 301c) and the (not shown here) spring tension (acting as a storage spring) which drives the sprocket of the chainring 301, will not be discussed in detail here, as this is known in the prior art.

[0260] In this variant, it also makes sense to use an additional sensor 201b to measure the rotation of the drive disc 301b relative to the (front) sprocket of the chainring 301, which is wound onto this disc by spring force. This measurement is derived from the difference between the impulses received by the two sensors 201 (relating to the sprocket) and 201b (relating to the drive disc). This allows the increase in force fed into the spring for each angular position of the pedal crank to be measured directly. This increase should also be continuous and not instantaneous in order to ensure a smooth pedal stroke.If this difference is spontaneously increased, this is indicated by the excessively fast tempo of the audio signal (compared to the lagging percussion), whereby it is advisable to synchronize the change in the duration of the musical measure, measure by measure, according to the possible continuous change during accelerated pedaling and to reproduce it accordingly to the percussion (corresponding to the beat), and to reproduce the accompanying part (exaggerated at the point where the spring is wound up) correspondingly ahead of the percussion, or possibly also lagging behind if the pedal position approaches the dead center (the vertical plumb line) and no force should be applied here, etc.

[0261] Similarly, not only can the spontaneous increase in the rotational speed of the drive disc 301b relative to the driven (front) sprocket 301 be measured, but also the spontaneous decrease. In the latter case, the spring is always wound too much, and the rear wheel spins (e.g., on steep climbs and gravel roads). This is also indicated by the preferred timing in the audio signal. To prevent this effect, a bolt (301d) guided on the pivot arm (spoke) of the drive disc 301b, which is held against a compression spring by a rotatable locking mechanism, is released from this locking mechanism and inserted into the outermost sprocket via a corresponding bore to act as a driver, thus preventing the locking spring from functioning.

[0262] The sensor 201b, which detects the rotation of the drive disc 301b, can do this either via a toothing of the disc, or via a grid of holes provided on the circumference of the disc (or by scanning notches on the edge, etc.). A comparable application to the circular pedal stroke is to apply synchronization to general body movements. This involves deriving synchronization signals from the course of the body movements. This applies, for example, to the variant described for skiing, where the sensor signal is generated from different signal sources: via the ski poles ( Fig. 1) via the weight load on the binding ( Fig. 19, Fig. 20), and also via body posture through sensors appropriately provided on the ski clothing (see also...) Fig. 18b), which can also be applied, for example, to the jogging application described at the beginning, in order to scan the smooth flow of movements. The different sensor sources not only synchronize the movements, but also play back audio slices triggered by the sensor signals, e.g., as percussion, matching the synchronized melody, in order to keep the active person precisely focused on their body movements through the rhythm of the music. This can also be done, for example, for movements (downward) when lifting weights, or for push-ups (on a sensor mat with embedded coils), etc.

[0263] Another option for the preferred sensor in this context shows Fig. 12. How a foot pressure sensor can be formed by means of a shoe insole or, if applicable, as a base, etc., in which a coil L printed on a film is provided with an elastic intermediate layer (foam, rubber, etc.) on top of which is an aluminum foil covered with protective fabric, which may also be perforated for ventilation, is located. This foil performs the pressure-dependent loss coupling into the coil (via proximity measurement). It is evident that the same principle can also be embedded in a shoe sole, etc. The necessary cable connection is then led out laterally (at the rear of the shoe sole).

[0264] Fig. Figure 16 also shows a pressure sensor, such as those used for roller skates, ice skate blades, or ski bindings, to evaluate the relative weight changes that occur directly under the binding or under the boot sole (variant) during skiing as synchronization signals. These weight changes can also be used, for example, to offer ski lessons via an MP3 player. By detecting ski loads, and possibly also considering synchronization signals detected by the use of poles, the system analyzes the ski load during turns and retrieves the corresponding MP3 file to report errors to the skier. This system can also additionally use deflection sensors (piezoelectric, etc.).), which are embedded in rubber for protection and additionally attached to the front and back of the ski, etc.

[0265] As a "music sensor", the pressure sensor provided under the binding also offers the possibility of calling up percussion slices in the rhythm of the skier's turns, or even yodeling, which is interesting for skiers coming from flat terrain.

[0266] Speaker technology has advanced so far in terms of performance and compactness that there's no reason not to also wear a helmet (like a bicycle helmet) with a centrally mounted speaker. If several skiers are connected via Bluetooth, they can not only ski in unison but also make music together. The Bluetooth connection can be established via mobile phones (which are also used as MP3 players), or, for greater range, the mobile network could be used directly for transmitting the synchronization signals (which would be possible with low bandwidth and therefore cost-effective), thus adding the grapevine to the SMS craze of the mobile generation.This combination of sport and music isn't just fun on the slopes, but also in the city, ensuring that skaters riding on the sidewalk, even if they might be overlooked by pedestrians, can't be ignored. Mountain bikers would also enjoy this system if they could ride to a concert while in nature reserves where hunters are active. Such a network would be a real boon for a mobile phone manufacturer promoting this system.

[0267] Fig. Figure 16 shows the principle of the proposed pressure sensor as an intermediate plate for attaching the wheels of a skateboard. Since the Fig. 2 and Fig. 9a, Fig. 9b explained sensor, which, with high-impedance coupling of the feed oscillator to the measuring resonant circuit (L,C), can detect sensitivities down to the µm range, the following simple setup can be implemented: Two metal plates 500a and 500b in a sandwich construction are provided (or, if necessary, non-metallic plates, one of which has a small aluminum sheet at a suitable point facing the sensor coil, etc.). Rubber discs (gm) are clamped between these plates, with the rubber discs being glued to the metal plates and pressed together by the plates (preload). Bent-over, pressed-together edge corners 501a, 501b, 501c, and 501d are provided at the four corners of the plates, which hold the metal plates 500a and 500b against the interposed rubber discs (gm). These U-shaped edge fixings are not only provided at the corners but, if necessary, can also be extended along the circumference of the plate pair for further fixing in the case of larger plates. On a plate, e.g. the lower 500b, the edge corners 501a, 501b, 501c, and 501d, or edge fixings, are firmly fixed with a fixed connection (e.g. screwed on, etc., cf. fix in Fig. 16) On the other plate, e.g., the upper 500a, rubber (gg) is placed under the edge fixings, pressing against the surface of the metal plates. This rubber (gg) compensates for the compression of the metal plates when they are pressed together under load, while still allowing the plates to be held pre-tensioned by the bent, pressed-together edge corners 501a, 501b, 501c, and 501d (see also top view, corner 501*). Optionally, one plate (500a) has holes (505) into which pins (506) with a sufficiently smaller diameter than the other plate protrude to prevent slippage if this connection loosens; this is a simple additional safety measure.

[0268] Directly above the pivot point (508) of the roller (508) mounted on the lower plate 550b at a corresponding angle 520, a plastic bushing 502 with a sufficiently large diameter is provided in the lower plate 500b opposite a small cylindrical coil 2 (air coil), which is pressed into this plastic bushing 502 as a measuring coil and uses the space between it and the upper metal plate 500a as the end-face measuring air gap. Since the negative conductance -G is constantly recalibrated to compensate for the static loss (with stationary plates), which here, besides the smaller loss of the lower plate (due to the insulating plastic bushing 502), is essentially the immediate proximity of the upper plate 500b, only the slight change results in the large deflection of the measured quantity, this sensor is therefore extremely sensitive to pressure changes.The sensitivity can be determined by the internal resistance of the oscillator coupled to the measuring resonant circuit (. Fig. 2, Fig. 9a, Fig. 9b) or set a parallel resistance (to the measuring resonant circuit) and the amplitude associated with the parallel conductance Gtot, i.e., how large the current component ir of the negative conductance - G is in relation to the current component ig of the feed oscillator. • Should the pressure sensor be extremely flat, e.g. for a variant where it is designed to look like Fig. 19 to Fig. As described in section 21, the spool 2 (L) is installed in conjunction with the holding surface (500) of a ski stopper (1002). In this case, the spool 2 (L) can also be designed as a printed foil spool (2 = 500x), which can, for example, be glued directly onto the ski surface, as will be explained later. Fig. 19 and Fig. 20 will be explained further (see option cable), the measured loss is an aluminum sheet or metal grid which is installed in the holding surface (500) of the ski stopper, which is on the underside via a rubber pad (P2, attached to the underside of 500). Fig. 19) is pressed down onto the foil coil of the ski surface by the ski boot. Each time the skier puts weight on the ski, the aluminum plate embedded in the holding surface (500) of the ski stopper is pressed closer to the foil coil by a factor of micrometers; conversely, when the weight is released, the distance increases again. This is how the sensor signals are generated.

[0269] It is easy to replace the mounting surface (500) of the ski stopper to select the appropriate rubber pad P2 (corresponding to the pressure), which is glued to the underside of the mounting surface (500) of the ski stopper, for different body weights or release settings of the heel release mechanism, as well as for the ski boot. Since the ski stopper is the most standardized part among the many ski bindings and is easy to install and remove even for beginners, tapping into the synchronization signals is ideal for skiing (in addition to the option of doing so at the poles).

[0270] Another variant shows Fig. 19a). In this variant, the rubber is inserted under the holding surface (500) of the ski stopper with locking studs, so that only different rubbers (corresponding to different thicknesses of the rubber discs) can be used to compensate for the height differences of different shoe soles, and also to adjust for the skier's weight. The measuring coil 2 (or L of the loss sensor) is then glued directly under the holding surface (500) of the ski stopper onto the ski (as a foil coil) and covered with a plastic layer (1005), except for the connecting wires (cables), which are, for example, pulled through the heel mechanism and attached to the housing of the electronics (500), which is mounted on the ski directly behind the heel mechanism ( Fig. 21) connected. This housing (500) then contains the Bluetooth interface for the MP3 mobile phone or a corresponding cable connection connector.

[0271] Regarding cable routing: If the measuring coil 2 (L) is arranged on the surface of the ski (under the holding surface 500 of the stopper) (as under protective surface 500x in Fig. 20), then the cable routing of the coil connections is carried out, for example, as a flat ribbon cable glued to the ski, which is routed under a corresponding recess in the mounting plate P of the rotary lever attachment dp1 of the ski brake, or the mounting plate P can also be extended to the holding surface 500 of the brake; the same applies to the continuation of the cable to the heel mechanism, whereby the plate P can also cover the cable. The cable is then routed through the center of the heel mechanism (if possible), or to both sides next to the binding attachment via a suitable tube guide with a semicircular cross-section (which can be glued to the ski) to the electronics box (HF) mounted directly behind the heel mechanism binding.

[0272] For the variant of the skate roller shoe, the upper plate 500a has a recess in which the circuit board LP with the sensor electronics is inserted directly above the coil, with the coil connecting wires being led through a hole in the plate.

[0273] In principle, it would be sufficient if only a metal surface approximating the coil, depending on the contact force, were provided over the measuring coil, however, the use of two steel plates (500a, 500b) is more stable.

[0274] For roller skate bindings, the lower plate may also be part of the bearing holder for the wheel(s). For ski bindings, the upper plate may also be part of the binding's sole plate (e.g., at the heel).

[0275] Fig. Figure 17 illustrates another interesting option for the sensor, which serves the purpose of counteracting the adverse effect where a reduction in the loss of the measuring resonant circuit L,C leads to an increase in its quality factor and thus an increase in the settling time (or a decrease in the measurement rate of the loss to be measured). A patent application has also been filed for this further development.

[0276] To reduce the quality factor of a resonant circuit L,C for a given loss conductance Gtot, we must maximize the L / C ratio, i.e., large L, small C. However, for the sensitivity of loss coupling, a smaller L would, in principle, be better. Therefore, for the design, the inductance L is not increased with respect to the loss coupling dGK; however, it is increased with respect to the connected resonant circuit capacitor C at the feed point E. Consequently, the capacitor can be dimensioned smaller by the factor by which the inductance at the feed point E increases, in order to obtain the largest possible L / C ratio. To increase the inductance L, it is sufficient, at the same voltage (induced according to the law u = -dϕ / dt, i.e., with the same electromagnetic flux dϕ), to correspondingly reduce the inductive reactive current i0L flowing across the connection point of the parallel resonant circuit L,C, so that L increases accordingly (L = ϕ / di0L).

[0277] To achieve this, the current iL flowing through the inductance L is coupled out via a measuring resistor RLext (which is also compensated by the negative admittance -G), or optionally via an inductive coupling of another winding of L (via amplifier 299), and a corresponding fraction p (%) of it is fed back to the feed point E of the resonant circuit as feedback current iLext = p*iL, where p is set by appropriate dimensioning of the gain k (of the voltage-controlled uStL current source 222 used for this current feedback) with respect to the dimensioning of the measuring resistor Rlext carried out for coupling out the control voltage uStL.Thus, the resonant circuit capacitor C no longer needs to supply the inductive source current iC0 = -i0L, but only the difference - (iC - iext) to keep the resonant circuit in resonance. Therefore, it can be correspondingly smaller at a comparable resonant frequency (compared to a circuit without current feedback). Here, iC0 is the current that the capacitor would have had to supply at a given resonant frequency if iext = 0. Thus, the current in the actual inductance is iL = iC + iext. Fig. 17) flows, i.e., with respect to the switching point of the resonant circuit, the current i0L flowing into the resonant circuit is reduced by iext with respect to the power source, thus L increases accordingly with respect to the ratio L / C, which in turn causes the desired bandwidth widening.

[0278] The gain k of the voltage-controlled (uStL) current source (222) can then be controlled accordingly via the gain control (via the control input Control L), thus controlling the value of the inductance that determines the resonant frequency of the measuring resonant circuit. Adjusting the resonant frequency of the measuring resonant circuit to a constant value corresponds to a constant L (relative to the increased L) when C is constant. For this purpose, the resonant circuit voltage uS is fed to a PLL (phase-locked loop), which compares the resonant frequency of the measuring resonant circuit with a predefined reference frequency fref. The control voltage for gain control of the voltage-controlled current source (222) is generated from the deviation via a conventional low-pass filter TP and is supplied to the control input Control.

[0279] If the currents (ig+jiLg), -ir, iLg, iLext) are to be pulsed with a corresponding duty cycle to reduce power consumption, it is important that the current sum iL=iC+iext is roughly proportional to the resonant circuit voltage even during the initial oscillation. In pulsed operation (where, for example, the supply voltage is constantly switched on and off), the measured current sum iL=iC+iext is therefore initially regulated to a value corresponding to the peak value measurement of the resonant circuit voltage us. This value is determined by the selected gain factors of the control circuit so that it corresponds to the inductance value L corresponding to the regulated resonant frequency. After switching on, following a corresponding oscillation period (during which no measurement is evaluated), this control (output AS = Control L2) switches to the adjusted frequency (Control L) (see switching 400 in [reference missing]).Fig. 17) The control voltage is obtained by comparing the peak measurement of the resonant circuit voltage us with the peak value of the current sum iL=iC+iLext, taking into account the corresponding scaling, which corresponds to the resonant inductance L (when fres = fref), so that the correct value of L is already established when, after the settling time has subsided (when the supply voltage is pulsed), the PLL control is switched on. Depending on the application, instead of switching, 400 ( Fig. 17) for the gain control of the voltage-controlled (uStL) current source 222 for the generation of iLext, the gain control can also be carried out only by controlling the current sum iL=iC+Lext according to the peak value of the resonant circuit voltage us, or only by adjusting the resonant inductance (via Lext) to a predetermined reference frequency (PLL, fref).

[0280] Because Rp= (ω*L) 2Since the inductance should not be changed as much as possible during transient response, the current iC+iLext for the keyed variant is regulated by controlling iLext according to the resonant circuit voltage us in order to obtain the fastest possible transient response.

[0281] It is evident that an extremely low power consumption can be achieved with such a sensor (each buffered with a capacitor), and that the chip can also be implemented as a transponder.

[0282] For both the voltage-controlled current source (200) for generating the negative conductance -G, and the voltage-controlled current source (222) for increasing the inductance value relevant for the resonant circuit L,C, the analog gain control can be carried out by controlling a variable ohmic resistance of a FET characteristic (as usual).

[0283] For the coupling of the voltage drop across the measuring resistor RLext to measure the current flowing in the inductor iL, a direct tap against the feedpoint potential GND can be made, because the ohmic voltage drop across the ohmic resistor RLext is also largely compensated by the negative conductance -G realized via the further current source 200.

[0284] The described reactive power feedback (iLext) can also be used for capacitors, although due to the inverse proportionality of current and voltage, the capacitance does not increase but decreases. Similarly, the described reactive power feedback could also be implemented as a branch (from the feed point E), in which case an inductance decreases accordingly, while a capacitance increases. The principle can also be used outside of a resonant circuit (only for L or only for C). Other features of the sensor, specifically for this dynamic application:

[0285] To obtain the highest possible boost in the output signal (OUTPUT) for the dynamic change without impairing the continuous long-term drift compensation, it is advisable (as an OPTION) to route the manipulated variable Control for controlling the negative admittance -G through a low-pass filter. This slightly delays the control response, resulting in an increased boost in the controlled variable Control due to the higher control deviation at the input of the window comparator circuit (204, 203). This boost is amplified by the rate of change, or conversely, by a stronger change in the value at the sensor's output (OUTPUT). In the variant according to Fig. 2. This low-pass function results from the counter 201 used, according to its counting clock, the frequency of which can optionally be controlled by the deviation magnitude of the comparator signal in order to achieve a desired match (e.g., suppression of the control oscillation, etc.). In Fig. 9b corresponds to this low-pass function (TP) the output of the constant current source (201) of the ramp generator which recharges a capacitor CL.

[0286] It is evident that the described sensor can be used in a variety of other ways besides the applications mentioned.

[0287] For the derivation of synchronization signals according to the revolution of a bicycle crank (300, Fig. 15) Two sensors are provided. The sensor (201) for scanning the toothed disc (301) is mounted either on the fork leg (380) under the front derailleur, or on the tubular frame 302 via a correspondingly bent mounting bracket (passing the derailleur on the inside). The other sensor 200 scans the crank rotation (300). The same principle could also be used, for example, to scan the spokes of a wheel, e.g., to implement ABS for motorcycles or bicycles.

[0288] When evaluating the synchronization signals emitted by the sensor for scanning the teeth of the crank wheel, the homogeneity of the rotational speed (increase / decrease / constant) is further assessed by comparing the time intervals between each tooth in order to detect any uneven pedaling. If this is the case, the cyclist can be encouraged to achieve a smooth pedal stroke by appropriately changing the music and its timing in a direction that compensates for the deviation (in the generation of the synchronization signals, i.e., the pedaling). The reference signals for the audio playback are encoded, for example, so that the timing of the audio playback (in relation to tempo) is corrected after every 180°; furthermore, the emphasis can also change, etc.

[0289] Since even the smallest deviations can be detected, the cyclist can be instructed to pedal as smoothly as possible, i.e., in a rounded motion.

[0290] The same applies, for example, to slalom training in skiing, where one can even go so far as to determine the timing of the music the skier hears while skiing from two sources: the first source, which generates the synchronization signals via the pressure sensor to determine the load on the skis; the second source, a real-time analysis of the distance covered between the gates over the duration of the music. Besides sophisticated image analysis using cameras, the proposed sensor would be well-suited to be attached to the gate poles (at the insertion point) to determine when the skier passes the gates with their bindings. Furthermore, it could be determined and measured, via the load on the skis, when the skier begins their turn before entering the gate.These measurements are then incorporated into the synchronization of the timing of the audio signal playback, so that the skier learns not to ski through the gates, but to dance through them, thereby achieving an optimal speed.

[0291] Similar professional training can be applied to all sports, including figure skating (free skating). Another interesting possibility would be to suspend the trapeze ropes of acrobats on swivel bearings and use angle sensors (comparable to the crank rotation of a bicycle) to generate synchronization impulses so that the music played is precisely timed to the swinging of the trapeze, etc.

[0292] The individual figures show: Fig. 1a... Fig. 1d, an application for a stick sensor: Fig. 1a concerns the installation of the sensor, here with rubber end 1b of a Nordic walking pole (as a pressure sensor); Fig. 1b concerns the design for a ski pole with snow basket 1e (pull sensor as well as pressure sensor); Fig. 1c relates to a concentric contact coupling for a screw connection of stock parts; Fig. 1d concerns the accommodation of the battery and Bluetooth interface for transmitting the synchronization signals to the device; Fig. Figure 2 shows the preferred sensor circuit for generating the synchronous signals, where the generated control variable and thus the OUTPUT is directly digital. Fig. 3, Fig. 4, Fig. 5, Fig. Figure 6 shows time sequences to explain the synchronization process. Fig. 7 concerns an explanatory scheme for the synchronization of an audio signal, Fig. Section 8 concerns a timing scheme for deriving a synchronization signal when two sensors detect the left and right active body movements, respectively. Fig. Figure 9a shows the preferred sensor circuit for generating the synchronous signals, where the generated control variable and thus the OUTPUT is analog. Fig. 9b shows one of the circuits Fig. 2, as well as Fig. 9b, associated decoding table (concerning the LOG rating), wherein in Fig. 9b the counting direction specified in the table refers to the respective switching of the ramp (rising, falling) to control the control variable for a gain control. Fig. 10 to Fig. 14b illustrates the procedures and timelines for synchronization. Fig. 15 concerns the generation of synchronous pulses by a bicycle. Fig. 16 concerns production using a skate roller (roller skate). The same principle can also be applied to a ski binding. rg... then refers to a rubber insert provided at the edge to prevent snow from entering the space between the plates. Fig. 17 concerns an extension of the circuit to Fig. 2 and Fig. 9a to increase the ratio of L / C with a real significantly smaller L, in order to keep C as small as possible compared to L at a comparable resonance frequency. Fig. Article 18a concerns a glove in which the preferred sensor is used to perform a button function. Independent protection is being sought for this glove because, in addition to its use in sports, it can also be used, for example, as an emergency call trigger. If the user makes a fist three to five times in succession (within a time limit), an emergency call with location data (GPS) is sent via mobile phone. This could be useful, for example, for elderly people living alone to call emergency services if they are unable to get out of bed or press a button, or in everyday life to discreetly trigger an alarm, etc. Even in the event of a heart attack, triggering such an emergency call should still be possible. The glove has its own battery power supply and communicates with the mobile phone via Bluetooth.

[0293] The glove can then be partially open and perforated (with a wrist strap, etc.) to be worn comfortably all the time, or can be switched from the left hand to the right hand daily.

[0294] The sensor coil L is equipped with a shielding plate on the back. Thanks to the good, soft padding, the sensor does not cause any pressure points. Due to the negative conductance of the circuit, the sensor optimally adjusts itself and can measure extremely high-impedance coupled losses.

[0295] The same principle can also be used, for example, to measure skin resistance without contact on limbs in plaster casts, etc.

[0296] Fig. 19a , Fig. 19b , Fig. Section 20 concerns three variants in which the ski brake is used as a pressure sensor. This variant has the advantage that the pressure sensor can be quickly retrofitted to any ski and any binding. In all three variants, the surface of the ski is used as a second "plate". Variant 1 is illustrated in Fig. 19a.

[0297] It means: 2....the printed coil L glued to the surface of the ski with a plastic protective cover 1005 and routing of the connections through the heel mechanism to the housing HF ( Fig. 21) the electronics; Alu...,plate, or the usual retaining part 500 of the ski stopper, here however made of aluminium (whose loss is measured), which opposes the spring force of the rotary lever attached to the pivot joint dp (which rotates around dp1, Fig. 20) is held by the sole of the ski boot, with 500, P1 on the underside of the holding part ( Fig. 19) the rubber intermediate layer is attached (replaceable by retaining studs np), which is compressed by the pressure of the ski boot (held by the heel mechanism) and this pressure varies with every load / unloading (corresponding to the skier's turns), whereby due to the enormous (constantly self-calibrating) sensitivity of the loss measuring sensor, even fractions of µm can be converted into impulses, i.e. the rubber can also be very hard, ditto an extremely small spring play of the heel mechanism is sufficient to measure these pressure changes.

[0298] Variant 2 illustrates Fig. 19b, wherein the measuring coil 2 (L) is not attached to the ski, but rather embedded in the plate, or the usual retaining part 500 of the ski stopper (which is, as usual, made of plastic), whereby a cylindrical coil cast in hard resin can also be used instead of the foil coil, and a thin aluminum or steel sheet is attached to the surface of the ski (1001) as a loss component under the retaining part 500. The rubber is then again provided between the retaining part 500 and the contact surface, here the aluminum sheet. For both variants, the rubber can, in principle, be located on the underside of the retaining part 500 or on the top side of the ski (in Fig. 19a on the foil reel 2, L; in Fig. 19b on the aluminum sheet), or attached to the underside of the retaining part 500 of the ski stopper. Variant according to Fig. 19b is more suitable if it is a metal ski, or a ski with an embedded metal plate, variant according to Fig. 19a is better suited for non-metallic skis and is simpler in terms of coil contact design. When designed according to Fig. 19a The coil connections can be routed behind the heel mechanism via a simple cable. In the version according to Fig. 19b, however, contact is made via the lateral rotary levers (one for each coil connection), or their bearing dp in the holding part 500, ditto via their bearing in the mounting plate P (of the actual pivot joint dp1 of the rotary levers for the spring-loaded release of the ski stoppers when the counterforce held by the ski boot is absent), whereby the coil connections supplied in this way are then led stationary behind the heel mechanism by a simple cable via the mounting plate P of the ski stopper, which is screwed to the ski.

[0299] Variant 3 then refers to the version after Fig. 16, where, however, this is provided between the ski and the binding, and a plate can also be the ski surface. The open side edges are then likewise closed with soft rubber (rg) (in the case of point-by-point rubber bands, gm) or a continuous rubber band is used. Regarding Fig. 22a and Fig. 22b:

[0300] Further examples include, as in Fig. 22a and Fig. 22b shows an expander (for strength training, Fig. 22b) provided for, or a bending spring (for strength training, Fig. 22a) provided. Both embodiments use the spring as a measuring inductance. In addition to the usual method of measuring the change in inductance via the change in the resonant frequency of a resonant circuit, the loss of the resonant circuit can also be measured here using a series measuring resistor of the inductance by measuring the loss of the resonant circuit. Since the parallel resistance is measured, the inductance contributes quadratically to the measurement result. In parallel, a parallel conductance can also be realized by a voltage-controlled current source, the gain of which can be used to control the conductance, e.g., by a forward / reverse counter.

[0301] The electronics with the Bluetooth interface for transmitting the synchronization pulses are then installed on one side of the handle, with the individual bending spring ( Fig. 22a) a cable is pulled through the spring to connect the second connection point a of the spring (as the second coil connection to connection point d) to the electronics (point c). In the case of the expander ( Fig. 22b) the outer springs (spring 1 and spring 3) are connected in series on one side by a connecting piece VB (a,b) and the coils connected in series on the other side (c,d) are used as measuring coil L (with the electronics housed in the handle and the parallel capacitor). Regarding Figs. 22c to 22e:

[0302] The universality of the sensor proposed for realizing synchronous pulse generation, which is universally used here for pressure or length sensing (shoe, ski binding, ski pieces, skate roller skate, ice skates, Nordic walking poles, bicycle crank or toothed disc, sensor glove, etc.) to synchronize sport and music and thus also increase the performance of an athlete, will be demonstrated here using an exclusive example and under the motto: "This is how musical Germany is" the method will also be used in sex.

[0303] One such embodiment is described in Fig. 22c to Fig. Figure 22e shows a simple penis ring that is pushed up to the base of the penis. The outer circumference of this ring consists of a plastic body KP, into which a coil body is inserted, on which the measuring coil L is wound. The inner side of this ring consists of a soft latex insert LTX ( Fig. 22d), whereby a short cylindrical extension made of latex rubber may also be provided, which can also be made replaceable by having a sleeve on the ring that can be slid over it from behind and holds the short latex extension RO that is slid over the inner ring. Alternatively, the short latex part RO, which sits firmly on the penis, holds the loosely fitting ring. It is evident that any commercially available condom can also be inserted into the ring instead of the short cylindrical latex part.

[0304] The ring is sealed at the rear, front, and also on the narrow side of the cylinder with an electrically conductive cover (circular ring LMS, Fig. 22c, Fig. 22d) which may be made of conductive plastic (in addition to metal, covered with latex) or of a material with high permeability. If the circuit (E) is to have particularly low power consumption, the circular ring LMS may also be made of a sintered material (HF iron). The covering (circular ring LMS) serves the purpose of reducing the body's own loss coupling of the ring carrier's influence on the loss coupled into the measuring coil, and only the other loss, measured from the open end face of the coil L, which in turn depends on the momentary proximity of the partner's skin resistance, is relevant for the measurement. By using the negative conductance in the measuring circuit of the coil, it is possible to measure such high skin resistances without contact over such distances.

[0305] Thus, the linear penis movements are measured by the sensor, and corresponding to the turning points at the respective maximum and minimum values ​​of the measured loss change dGk, the synchronization signals for tempo synchronization and slice addressing (addressing the fragments via the decoded recognition patterns of the synchronization signals) of the audio signal played back by the MP3 player are generated. The measurement of the loss change dGk can also be used, for example, with the Fig. to compare with the glove variant described in 18a, which also measures the approximation of body resistance. In the variant according to Fig. 22c, for direct sensing of penile movements, which in Fig. As shown in Figure 23d, the ring can be extended upwards, for example, to accommodate the sensor's electronics E, including a Bluetooth interface and a small battery B with a voltage converter. To reduce power consumption, the circuit is pulsed with respect to the generated currents in the manner already described for the sensor. Thus, without using a cable, the synchronization signals can be transmitted to an MP3 player, such as a mobile phone with a connector for good speaker playback. The latest hits and rhythms, which are particularly suitable for this purpose, and the coded reference signals for recognizing the recognition patterns of the synchronization signals, or the corresponding suitable slice files of an audio signal, can then be downloaded directly to the MP3 memory of the mobile phone and processed.

[0306] Continue to Fig. 22d: In Fig. Figure 23d primarily shows a variant in which the condom is fixed to the ring, which should sit as loosely as possible on the penis.

[0307] To attach the ring to the condom, or to a piece of condom (RO) that has been cut off at the front, the condom end (KE) must be pulled over the wider diameter of the inner ring (KP). Then, the outer ring (RA), which is also provided, is pushed from back to front. A latex ring cover (RLA) is slipped over the outer ring (RA) to prevent hard pressure points. The inner ring (KP) tapers towards the rear at its outer diameter so that when the condom is pulled over, the rim (KE) does not protrude, allowing the outer ring (RA) to be pushed over the condom end for clamping. To make this as easy as possible, the outer ring is slightly conical, allowing its inner diameter to be precisely matched to the outer diameter of the inner ring.Furthermore, the condom or condom section RO is held in place by the bead KE in the posterior narrowing of the inner ring's outer diameter. This ensures that the sensor's coil ring is attached to the condom end as loosely as possible. Because the ring exhibits a relatively constant loss towards the rear due to the frontal electrical cover, only the change in loss dGk measured from the front is recorded. The latex cover RLA also features a latex battery cover, which is secured by a corresponding snap-fit ​​mechanism.

[0308] It is evident that as an alternative to the one in Fig. 22d and Fig. In the proposal shown in Figure 22e, which involves keeping the ring with the measuring coil L as loose as possible, it is also possible to integrate the measuring coil, electronics, and miniature battery into standard latex rings. For all the examples listed here concerning the synchronization between sports and music, an additional step counter option can be integrated into the audio signal playback devices, allowing the athlete(s) to read the number of sensor-detected movements, for example, on a mobile phone, and reset the counter.

[0309] In addition to the explained use of eddy current scanning for condom or penis movements, an RF coil can also be used on the preferred penis ring to detect distance variations, or an optical reflection measurement can detect distance variations (to the partner).

[0310] Further training includes an evaluation of the detected movement signals based on pauses. After longer pauses, the resumption of a movement signal is counted to obtain usage statistics, for example, when the system is used commercially for a fee or on a voluntary basis. This statistic is recorded by integrating the synchronization signals derived from the penis movements according to the principle of a retriggerable monostable multivibrator, using only the longer pauses as counting pulses. This counting pulse is then used to determine the total number of users, which, for example, is used to calculate the rental fee for the system in the case of (voluntary) commercial use.

[0311] As previously explained using the example of combining sport and music in skiing and cycling, the method allows users (activists) to also make music together by, for example, synchronizing the percussion of techno music with their movements and thus creating the music together. Practical application: With such a training method, for example, the works council of the Volkswagen plant, which, according to newspaper reports, also fosters its team spirit with shared sexual experiences, could further strengthen its teamwork skills by using the method according to the invention. Since the method can not only synchronize the tempo of audio elements (slices) but, above all, also address the slices themselves, an entire orchestra could be formed with a large number of activists, which would certainly attract a large audience.

[0312] Another option for sensors to detect penis movements is in Fig. 29a, Fig. Figure 29b illustrates this. However, this variant requires more complex condoms, which are equipped with high-resistance conductor tracks running lengthwise. Depending on the penetration depth of the condom, a corresponding portion of the conductor track(s) is short-circuited (starting from the tip s). In this example, each conductor track is connected at one end to a ring circuit kR1 kR2, which is divided into two halves ( Fig. 29b) is divided, and the measuring conductor ends are arranged opposite each other, so that no through-hole connection is required. This ring circuit, formed from two semicircles, is connected to the electronics E, which is housed in a latex ring (LTX ring) that is slid over the condom and thus over the conductors. The contact between the ring circuit halves kR1 and kR2 is simply provided by the pressure p. The ring circuit is inserted as a conductive plastic ring into the latex ring (LTX ring), and connection paths to the electronics (a, b) are provided. Fig. 29b). From the presentation Fig. 29a and Fig. 29b it is clearly evident that the tracks b2 (each) is the front one, and b1 the rear one, likewise kR1 is the front half of the ring and kR2 the one behind it. Fig. Figure 26 illustrates the new tapping pad for the application-oriented tapping of the rhythm while playing an instrument. It is significantly more versatile than if the sensor were, for example, directly attached to the sole of a shoe (heel and front part of the shoe). Here, the sensor mentioned in DE 42 40 739C2 (with DE 100 82 058.1 and DE 10 2004 020 282.6; A1230 / 99, A 9122 / 2000, A716 / 2004) from the same applicant is used again, which, in the preferred variant here, only ever generates short pulses and constantly adjusts itself automatically in terms of offset.

[0313] In conjunction with the improved synchronization process, a highly musical accompaniment "robot" can be realized, with which for the first time it is possible to play together with a music recording in live performance just as well as with a live partner (e.g. a singer), in constant exchange of musical communication (via the new fuzzy synchronization) between musician and audio recording.

[0314] To precisely input a multitude of regular beats within a single measure, a type of pressure-sensitive mat (or tray) is required. This mat should be as flat as possible, and the shoe can be placed on it to tap the beat firmly or very gently, alternating between the heel and the front part of the sole. The user's full weight can be applied, or the tapping can be very subtle. Specifically, the heel and the front part of the sole can be tapped simultaneously, with this simultaneity detected within a tolerance time window. This type of tapping is interpreted as stamping and output as a specially coded synchronization signal. This signal is assigned, for example, only to those reference signals of the audio signal that pertain to the synchronization of the beat (e.g., the measure duration).

[0315] The sensor carpet's construction follows the previously discussed principle, in which an elastic layer is placed between a flat coil (air coil) and an electrically conductive surface (e.g., foil), and a proximity measurement is performed via loss measurement. The other side can also be shielded with an electrically conductive foil.

[0316] Fig. Figure 26 shows a side view (section) and a top view (to illustrate the arrangement of the measuring coils). A film (5002) is placed on a thin, robust rubber or foam part (5000). Alternatives include: a thin, spring-hard, e.g., perforated metal sheet (5002), or, because the high sensitivity of the loss measuring sensor allows it through the use of a negative conductance value (see Figure 26). Fig. 9a and Fig. 17) also elastically compressible electrically conductive foam (5002). The electrically conductive surface 5002 is covered by a protective layer 5003. Since this compressible sandwich surface is placed on the floor, it is sufficient to sew this sandwich surface into a carpet (1 carpet as the support surface 5001 with another sewn-on carpet 5003 as the surface), with cable connection kb for the electronics.

[0317] The nine measuring coils used in this example are simple wire coils (e.g., air coils L1...L9) sewn into the carpet as parallel longitudinal coils and each fed with three different frequencies, so that each adjacent coil has a different measuring frequency (fA, fB, fC). The longitudinal coils are oriented perpendicular to the length of the shoe as it rests on the surface, with the pressure variations of the heel and / or toe being measured by the coils directly below them.

[0318] This arrangement allows the shoe placed on the carpet to be moved laterally or even offset lengthwise. The sensors detect this: • a) when the carpet is tapped with the heel of the shoe; • b) when the front part of the shoe sole is tapped on the carpet; • c) when the front part of the shoe sole and the heel of the shoe are tapped (stomped) on the carpet simultaneously, whereby this is recognized and output as an externally encoded synchronous signal; • d) when the shoe is slid forward, and likewise when it is slid backward, to generate a switching function; • e) and, if applicable, relative intensity changes are also detected and output as an externally encoded synchronous signal.

[0319] The first two actions (a, b) correspond to synchronous signal generation, while the subsequent actions (c) correspond to switching signal generation, similar to pressing a button. This allows, for example, the playback of an audio signal to be switched on or off, or the marking of suggested beats, etc.

[0320] Further distinctions, e.g. between the heel and the front part of the shoe sole, can be reliably made if a metal sheet is glued onto the heel, since the measuring coils will then measure a greater change in loss (via the sheet, not via the approach of, for example, a relatively high-resistance metal foil placed on a rubber coating, etc.).

[0321] Fig. Figure 27 illustrates circuit details: In addition to the simple option of providing the described loss measurement sensor for each coil, with the parallel capacitance acting as the resonant capacitance of the measuring coils, here the measuring coils are connected to the measuring circuit sequentially via a multiplexer. This is easily possible because the negative admittance -G also reduces the switching resistance of the FET switches. Fig. The nine coils L1...L9 are each divided into three groups, with each group having different frequencies fA, fB, and fC. The coils in each group with the same measurement frequencies are connected to multiplexers MUXA, MUXB, and MUXC (see inputs I1, I4, I7; I2, I5, I8; and I3, I6, I9). The outputs of these multiplexers are connected to the sensor circuits (SfA, SfB, SfC) with their different measurement frequencies fA, fB, and fC (and the parallel capacitors CA, CB, and CC to form the measurement resonant circuit). The inputs of the multiplexers are switched via their addressing (ADDA, ADDB, ADDC) at the moment of the current zero crossing in the coil. Since a separate sensor is provided for each measurement frequency fA, fB, and fC, any three adjacent coils can be measured simultaneously.Thus, only three cycles [], [], [], each addressed with ADDA, ADDB, ADDC, are necessary to detect all 9 coils: [L1,L2,L3] in the first cycle; [L4,L5,L6] in the second cycle; [L7,L8,L9] in the third cycle. Furthermore, it is intended, for example to better detect weight changes caused by the toe of a shoe, to constantly vary the addressing distribution so that the maximum change in loss occurs in the middle coil. If this were the case at L4, for example, then the coils would be addressed in the three cycles: [L9,L1,L2] in the first cycle; [L3,L4,L5] in the second cycle; (L6,L7,L8] are addressed in the third cycle to detect the coils. This has the advantage that with slight displacement, if the foot slips forward or backward, the respective tap is detected immediately without delay, thus enabling the scanning of larger fields.It is advisable to use a larger carpet area, divided into two sections for the right and left foot by two different colors, and similarly featuring two different coil sections, so that additional key signals can be entered, for example, by sliding the right foot forward or backward. For the marker signal, which triggers a new start of the audio signal at a specific point determined by a played melody or a forced sequence defined in the musical notation (after the audio signal is switched off or paused), a monostable reset time can be initialized, which becomes active if no notes are played by the user after a start signal has been entered.

[0322] To Fig. Figure 18b shows an example where the generation of synchronous pulses on a ski suit is comparable to the one described above. Fig. 18a and Fig. The principle described in section 22d is applied, whereby the sensor coil 2, a very flat coil (air coil) of larger diameter (also in elliptical shape, etc.), is sewn into the ski suit above the knee (back), and a similarly conductive foil for proximity measurement (via the loss coupled into the coil) is sewn below the knee as its counterpart. Of course, directly electrically conductive fabric can also be used instead of the foil.

[0323] On the body side, the coil is shielded by a foil, so that no loss occurs due to the body resistance of the adjacent leg. The same can, of course, be done on any limb of the human body, e.g., in the shoulder and wrist area during various sports, exercise bikes, weightlifting, etc., to scan movements and thus not only obtain pulse signals as synchronization signals at the turning points, but also to be able to measure the speed over the path of the movement, in each case relative to the values ​​obtained at the turning points (of the path). The recalibration (to compensate for drift) of the preferred, extremely sensitive loss sensor can also be carried out in such a way that this is done at the turning points or...The reversal points of the movements (measured as distance measurements for coupling the body resistance or electrically conductive surfaces) occur very quickly, thus only the relative change of the control variable from reversal point to reversal point of the coupled loss is evaluated as a measured value, and from this, depending on the relative increase corresponding to the speed, the synchronization signals are derived in such a way that virtual markers are placed between reversal point and reversal point of the movement, which correspond to the reference signals contained in the audio signal (in order to control the synchronization). Appendix: Supplementary information about the figures:

[0324] Fig. 1d: 12....Battery, 10...removable battery cover (plug), embedded in the handle 11 of the ski pole, 11b electronics.

Claims

[1] Sensors for generating signals corresponding to penis movement during sexual intercourse - hereinafter referred to as sensorially generated synchronous signals (S13....S17, Fig. 23a, b, ; Fig. 24) designates - , for the purpose of detecting the movement of the penis (RO) relative to the body of the partner engaging in sexual intercourse, wherein the generated synchronous signals (S13....S17) correspond to the movement of the penis, and this sensory system comprises: a) a posterior (KP) on a condom ( Fig. 22d) or on a condom part (RO, Fig. 22d) attached or in a penis ring ( Fig. 22c) sensor technology (L, E, B) contained in the area of ​​the base of the penis, which measures or detects the distance between this sensor technology, which is pushed onto the penis, and the body of the partner engaging in sexual intercourse, in order to recognize the distance variations occurring during this process, and derives the penis movements from this distance measurement, b) wherein from the aforementioned sensory distance measurement, the aforementioned synchronous signals corresponding to the penis movement (S13....S17, Fig. 23a, b, ; Fig. 24) are generated. [2] Sensor technology according to claim 1, characterized by , that the aforementioned synchronization signals (S13....S17, Fig. 23a, b, ; Fig. 24) each at the times of the turning points of the penile movement, as determined by the aforementioned sensory distance measurement as maximum and / or minimum values. [3] Sensor according to claim 1 or 2, with a further device for influencing the playback speed of an audio signal playback by the said sensor-generated synchronization signals (S13....S17, Fig. 23a, b, ; Fig. 24), which includes, i. an audio playback device for playing back a sound recording ( Fig. 28) corresponding audio signal from a storage medium, ii. wherein the playback speed of the audio signal reproduced by the audio playback device (Elastic Audio with loudspeaker in Fig. 28) by the aforementioned sensor-generated synchronous signal (S13....S17, Fig. 23a, b, ; Fig. 24) is controlled and / or regulated. [4] Sensor technology according to claim 3, i. wherein audio slices retrievable from the sound recording, which are audio signal fragments reproduced by the audio playback device (MIDI stream in Fig. 28) using the aforementioned sensor-generated synchronous signals (S13....S17, Fig. 23a, b, ; Fig. 24) addressed in the audio playback device, ii. where this addressing is achieved by assigning between the aforementioned synchronization signals (S13....S17, Fig. 23a, b, ; Fig.24) and time intervals (tf) measured in the audio signal directly, or in reference signals (B14N.....B17N) contained in a file played back synchronously with the audio signal, to the addresses used for addressing the audio slices. [5] Device for sensor technology according to any one of claims 1 to 4, characterized by a latex ring holder (LATEX in Fig. 22c, LTX in Fig. 22d, LTX - Ring in Fig. 29a and Fig. 29b), on which, or in which the sensory equipment is arranged. [6] Device for sensor technology according to claim 5, characterized by , that the aforementioned sensors have an independent power supply, such as a rechargeable battery or a battery (B Fig. 29 a) contains and the battery-powered electronic sensor circuit (E, Fig. 17) has a Bluetooth interface through which the sensor-generated synchronization signals (S13..S17, Fig. 23a ,b; Fig. 24) are directed to the device to be synchronized. [7] Device according to one of claims 5 or 6, characterized by , that the aforementioned sensor technology performs the aforementioned distance measurement by means of an inductive eddy current or RF attenuation measurement (dGK) via a sensor at the rear end (KP) of a condom ( Fig. 22d) or a condom part (RO, Fig. 22d) or in a cylindrical coil (L) placed on the penis, corresponding to this ring shape, whereby a change in loss (dGK) corresponding to the movement of the penis is detected by this sensor and the respective approach of the sensor to the partner during the movements of the penis is detected by measuring the body resistance detected by the electromagnetic field of the cylindrical coil. [8] Device according to claim 7, characterized by , i. that the cylindrical coil (L) is covered at the rear, on the body side of the person wearing the ring with the cylindrical coil (L) at the base of the penis, with an annular, electrically conductive cover (LMS) on the relevant end face of the cylindrical coil (L), ii. wherein the material of this electrically conductive cover (LMS) is conductive plastic or a metal. [9] Device according to claim 7, characterized by , i. that the cylindrical coil (L) is covered at the rear, on the body side of the person wearing the ring with the cylindrical coil (L) at the base of the penis, with an annular, magnetically conductive cover (LMS) on the relevant end face of the cylindrical coil (L), ii. wherein the material of this magnetically conductive cover (LMS) for the said cylindrical coil (L) has an electromagnetic permeability. [10] Device according to any one of claims 7 to 9, characterized by , i. that the aforementioned penis ring ( Fig.22d) consists of a plastic ring, hereinafter referred to as the inner ring (KP), which is dimensioned to be correspondingly larger than the diameter of the penis. ii. that a latex ring insert (LTX) is inserted into the aforementioned inner ring (KP), which stabilizes and holds the inner ring (KP) on the penis, iii. that a plastic ring, hereinafter referred to as the outer ring (RA), is provided as a fitting ring which can be slid over the said inner ring (KP), the inner ring being held in a snap-fit ​​position on the outer ring, iv. that a gap is provided between the outside of the inner ring (KP) and the inside of the outer ring (RA) which allows the bead end (KE) of a condom or condom part (RO) pulled over the inner ring (KP) to pass through. Fig. 22d) can record and hold, v. wherein the aforementioned outer ring (RA) is part of the actual ring housing of the penis ring and contains the electronics (E) with the battery (B) in a lateral projection, vi. and that the aforementioned sensor coil (L) is inserted on the inside of the outer ring (RA), with the inside of the coil facing the aforementioned gap for inserting the condom or condom part (RO, Fig. 22d). [11] Device according to claim 10, characterized by that the ring casing of the penis ring has an outer coating as a ring cover made of LATEX (RLA). [12] Device according to any one of claims 7 to 9, characterized by , that the aforementioned penis ring is made of a latex ring ( Fig. 22c) consists of the said sensor coil (L) being mounted on top of which the latex ring is arranged inside the coil, and the entire arrangement is enclosed by a covering as a ring cover made of latex (RLA) and a corresponding projection ( Fig.29b) for housing the battery and sensor electronics. [13] Device according to one of claims 5 or 6, characterized by , that the aforementioned sensor technology has an optical reflection measurement directed towards the aforementioned partner, which detects the distance variations to the partner that occur during penis movements. [14] Device according to claim 13, wherein the sensor housing designed as a latex penis ring has a projection for accommodating the electronics (E) with a Bluetooth interface and the battery (B). [15] Device according to claim 13 or 14, wherein the entire arrangement is enclosed by a covering as a ring cover made of latex (RLA). [16] Method for sensor technology in one of claims 1 to 4, in which the playback speed of an audio signal playback played back from a sound recording is controlled by synchronous signals (S13 ....S17) supplied by the said sensor technology, a) wherein the time interval between each arriving synchronization signal time (S13 .... S17) and each reference signal time (B14N ... B17N) contained directly in the audio signal or in a file played back synchronously with the audio signal is measured accordingly, leading or lagging the sign, b) and from the measured time interval (tf) over the respective determined time deviation of the reference signal times, the control of the playback speed of the sound recording is derived, characterized by, that in the audio signal, or in a file played back synchronously to the audio signal, distinguishable time ranges - hereinafter referred to as correction time intervals (tB13.....tB15) - are marked and encoded, wherein a function assignment is encoded for each correction time interval (tB13.....tB15), which, upon the arrival of a synchronization signal within such a correction time interval (tB13.....tB15), triggers a selection of the action for the synchronization process corresponding to the encoding of the respective correction time interval (tB13.....tB15), and this selection comprises: i) that during the time interval measured between each arriving synchronization signal time (S13 ... S17) and each reference signal time (B14N ... B17N) contained directly in the audio signal or in a file played back synchronously with the audio signal, no adjustment of the playback speed of the audio recording is made corresponding to the measured time deviation (tf), ii) or that the time interval (tf) measured between each arriving synchronization signal time (S13 ... S17) and each reference signal time (B14N ... B17N) contained directly in the audio signal or in a file played back synchronously with the audio signal, is compensated by adjusting the playback speed of the audio recording or is adjusted in the opposite direction to a certain extent of deviation read from the encoding of the correction time interval (tB13.....tB15). [17] Method according to claim 16, characterized by , i. that the aforementioned coding of the function assignment of the aforementioned correction time intervals (tB13.....tB15) further includes coded addresses with which audio slices stored directly in the audio signal, or in a file played back synchronously with the audio signal, are selected and addressed during audio signal playback. ii. wherein this addressing of the audio slices is derived from the aforementioned time measurement between the arrival of a synchronization signal time within such a correction time interval (tB13.....tB15) and a reference signal time contained directly in the audio signal or in a file played back synchronously with the audio signal. [18] Method according to claim 17, characterized by , that certain recognition patterns of the synchronous signals are assigned to the aforementioned correction time intervals (tB13.....tB15) encoded directly in the audio signal or in a file played back synchronously with the audio signal, which perform a selection and addressing of the aforementioned audio slices stored as audio signal fragments directly in the audio signal or in a file played back synchronously with the audio signal. [19] Method according to any one of claims 16 to 18, characterized by, that the aforementioned encoding of the function assignment of the correction time intervals (tB13.....tB15) as well as the further reference signals (B13 ... B17 ; B14N .... B17N) and their temporal placement in the aforementioned audio signal, or in the aforementioned file played back synchronously to the audio signal, and / or the encoding of the decoding of the recognition patterns of the synchronous signals belonging to a respective correction time interval (tB13.....tB15), has been created and defined in an editor for audio or MIDI note editing software.

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