A sound method for synchronizing one or more musicians (band) and possibly one or more vocal or spoken voices (singer / actor). These can interact even when far apart, creating a sound quality typical of a live performance, as if all the artists were present simultaneously in the same location and had extensively rehearsed the performance. The method is implemented using an electronic implementation system that automatically manages the sound, voices, and any synchronous video and lighting effects.

Description

2. DESCRIPTION A) FIELD OF TECHNOLOGY Live performances are the beating heart of music because it is during a live performance that the musician or singer establishes a deep connection with the audience. Live music is considered to be music in which the artists are at the centre of the performance, which takes place with instruments played by them and without the use - or with merely marginal use - of pre-recorded bases - recorded. The definition of live was born on the radio in the 1930s to distinguish pre-recorded content. recorded by those made and transmitted in real time. It is then in music that the idea of Liveness becomes synonymous with authenticity, a genuine and unfiltered performance. A concert it is a mass-produced event, technologically mediated by amplification and audio software, spectacularized by mega screens and stage effects: but the performer must appear real, The concert must be perceived as a unique event. But it happens that even the musical part concerts are not always live: pre-recorded musical bases are used, reproduced in playback and mimed on stage by the performer. For some years now, live formats for platforms are widespread ways of promoting music, with a similar function to that than music videos: they seem even more authentic, without the annoying playback. Like music recorded, even live performance has become a «Digital Music Commodity», that is a «particular combination of data and sounds that exists as a separate entity, for sale or accessible online". The platformization of musical performance on social networks taught «the need for liveliness in the era of social distancing», hypothesizing for the future blended forms of live entertainment. The real challenge will be the creation and diffusion of new digital models that integrate with in-person performances and have a value capable of compensate at least in part for the platform filter: non-visible details, forms of interaction different and in real time. B).-STATE OF PRE-EXISTING TECHNOLOGY Before moving on to the technical aspect, it is worth making some remarks on the organizational aspect of a event like the one the method aims to simplify. Organizing a concert It can become a complicated issue and in these cases the management of the men you have at your disposal the arrangement and the operations to be carried out must be entrusted to various subjects, including the Stage manager, who is essential in organizing large events. This figure is called stage manager and is essential in organizing large events. His task is to to direct the operations on the stage keeping in mind the progress of the work and the sequence of the operations to be carried out; he is the contact person for everyone. Naturally, not all concerts are large enough to require a stage manager, however it is essential that there are situations without the help of sound engineers. Not only that, in a live situation there must be two mixers are always present: the room mixer, as you can imagine, is used to create the mix that will feed the main broadcast system (plus any delay systems); the stage mixer is used to provide musicians on stage with personalized listening of the sounds they produce. Each musician on stage has one or two dedicated monitors. These monitors (also called spies) serve as a reference for each musician to listen to himself and others. Imagine for example the drummer who is behind the singer and who is also already overwhelmed by the sounds he himself produces. To allow the drummer to hear the others musicians, including the singer, a monitor is set up (for the drummers even two, called drumfill) which is fed by a signal generated through the stage mixer. On the stage mixer stage, where all the signals from the stage come in, it is possible to create a series of mixes different, typically one for each musician. This depends on the fact that each musician has different listening needs, for example a drummer needs to hear the sound above all of the bassist rather than the singer's voice or the lead guitar. Therefore, concert mixers they have the feature of being able to create a high number of separate mixes intended for the various monitors present on stage. In small (very small) live situations, it is possible to use only one mixer. which performs the functions of stage mixer and hall mixer simultaneously. The signals of the stage, through the splitter, are also forwarded to the hall mixer. It will be on the latter that the sound engineer in front of the stage - that is, the sound engineer - will perform the mix which will power the system (in English the speaker system dedicated to the diffusion of sound in the room it is called PA - Public Address - and for simplicity this will be adopted in the following denomination). So you can see how the mix that arrives at the room's system and the mixes present on stage are completely independent. Let's now look at the chain of connections to the stage mixer and the one to the hall mixer and the equipment involved. 1) Stage mixer chain; 2) Hall mixer chain; 3) The live mixer; 4) Sound reinforcement: delay towers; 5) Equipment setup; 6) The soundcheck; 7) The concert. C) PURPOSE OF THE INVENTION A method for producing high-quality musical performances without the aid of personnel. technical and which allows musicians and singers to independently manage the musical bases and of the same instruments that play <live=. The Method, through an integrated electronic system, is capable of managing all the elements electronics and the connections necessary for the optimal performance by the artists. The Method allows live performing musicians to adjust the volume of signals and of the instruments at will even by excluding some instruments or amplifying others, for improve your performance, without this affecting the final effect of the sounds and the show perceived by the audience, so as to create an effective musical performance. The Method allows musicians to perform <live= in maniera armonizzata anche da luoghi diversi and distant from each other as if the artists were all present at the live performance. The Method aims to reproduce videos, images and / or texts in synchrony with the sound performance. and to manage the singing, musical and / or theatrical performances in total autonomy by the artists without the help of sound engineers through a series of phases which include: .- set up a system that is implemented by connecting the device to a device that remotely, using the help of musicians and / or the organizer, creates the insertion of the bases into a specific database stored in a RAM memory upgradeable and expandable which contains songs of 120 seconds duration and which also displays the specific application that relates to the event; .- set up the musical instruments needed for the performance which are connected with the box thanks to input connections that allow musical instruments, video screens, light effects and speakers to communicate with each other with the possibility of storing the volumes of the instruments which may however undergo personalized modifications and adjustments in real time during the performance; .- create possible functionalities that can be managed autonomously and under different aspects from the musicians, singers and voices who will perform. The Method in particular, as far as the functional aspect is concerned, allows musicians to perform various possibility of managing the song to be played with regard to the start metronome click exhibition and reference system, with the possibility of adding and / or excluding sounds, voices etc., as well as the harmonization of different musical instruments and the control of videos and texts in sync with the performance itself. The Method also allows the creation of very high quality shows even between subjects who have never performed together, and between subjects who are not in the same same place, allowing the performance of an artist with musical accompaniment <live= da part of the musicians with the use of video / projections, images etc. The Method also allows a single user, be he / she an organizer of an event or owner of the place where the event takes place, to manage the exhibition of the artists live or remotely live. The Method allows the user, where there is a base recorded with four instruments such as drums, guitar, piano and bass, to exclude the drummer and guitarist from the references which he has in his presence, and therefore to use exclusively the references of the bass and the piano. The possibility of this selection does not affect the audience's ability to listen in the hall, who will listen to an optimized song complete with all the musical elements live in sync between them both in person and remotely. The method therefore allows: .- also check the video of the performance allowing, while the performance is taking place performance, the projection of texts and / or images in synchrony with the ongoing performance; .- to solve the economic problem of the concert co-program by reducing it significantly lower costs and management. Sound and video technicians are replaced from the mechanized system of the method, which automatically achieves the synchronization of the signals video with the sound performance made up of live elements that blend with the base recorded, creating the final effect perceived by the public of witnessing a real concert, obtaining a sound of the highest quality level; .- allow musicians not only to perform in accompaniment to singers, but to support any theatrical and acting performance and / or representation with the production of a show with sounds, images, lights and voices simultaneously; .- to enable optimal performance to be achieved by achieving the goal of producing a show, concert, performance of the highest quality without the need for rehearsal between artists who they exhibit at a distance. Even the leading voice of the singer, the actor, or the narrator has the possibility of finding benefit in using the method, as the automatism allows you to adopt the tone (peatch) of the sound emitted by modulating and adjusting it during the performance of the piece, improving until the artist's voice is perfected so that the final listening is free from any imperfection. D) DESCRIPTION OF THE METHOD The method consists of 4 phases that allow the management of any singing performance, musical and theatrical performances with complete autonomy by the artists and without the assistance of sound technicians. The phases are 1) system setup; 2) transmission of input to the system; 3) output of signals – various and sundry references that can be activated by musicians and voices; 4) output of the 2 signals that are transmitted: a) video to which the system is connected, b) sounds reworked system. The first phase is related to the preparation of the system which is implemented on one hand by connecting the device to a remote device, using the help of musicians and / or the organizer, inserts the bases into the appropriate database stored in upgradeable and expandable RAM memory and which contains songs lasting 120 seconds and also displays the specific application it concerns The event. The bases can also be downloaded remotely, in a virtual environment. <cloud=, ma il The system will still have within it the basis of an indefinite number of updatable files and expandable immediately available lasting one hundred and twenty seconds. The second phase concerns the CD input. Before the start of the show, which may take place in any place where it is possible to house the integrated electronic system of the musicians They will perform tests to connect all the instruments and to memorize their volumes which may however undergo personalized changes and adjustments in real time during the exhibition. If the performance is a live concert, the musicians will start the show, in that case in which the performance consists of a singing or theatrical and / or amateur competition the software which the electronic system is equipped with allows you to generate a QR code that can be put on provision of third parties, customers and / or beginners who direct the device by opening the web page that contains the database stored in an upgradeable and expandable RAM memory in which contains songs lasting 120 seconds, displaying the specific application that it concerns the event. Within the electronic system it is possible to choose one or more songs in ladder and assign each user a username by registering their data. This step is stored in the device control panel which generates a list of the reasons that will be reproduced. The third phase is related to the CD output and the possible features that can be managed in autonomy from the musicians, singers and voices who will perform. The method allows the musician various possibilities for managing the piece to be performed with regard to in particular to the click, to the reference system, to the harmonization of the different tools musical and video and text control in sync with the performance itself. The method aims to allow performances of the highest sound quality even among subjects who they have never performed their performance together, as well as between subjects who are not found in the same place. In one of its embodiments, the method allows the display of a artist with live musical accompaniment by the musicians with the use of videos and projections lights automatically synchronized with the performance, allowing the management of shows musical, singing, theatrical performances from multimedia locations, even remote ones. The method also allows a single user, be it the organizer of the event or the owner of the place where the event takes place, etc., to manage the exhibition in full autonomy of live and remote artists. The method, as mentioned above, uses the system electronic device that implements it allows you to acquire data coming from a normal device, and sends three different impulses, the first of which is able to control the video system, the second of transmit the basics and references to the musicians who will perform live both in person physically at the location of the event, or remotely from different locations, and the third party transmitting the click metronome to the musicians. The metronome click - that is, the necessary signal to start the performance and which also has the function to mark the times of the various singing, musical or theatrical shows - is broadcast in automatic to the ear of the musician who is at the location of the event or at a distance, allowing the latter to synchronize with all the other artists performing on the song chosen in order to achieve a synchronized and optimal performance. The method allows to the musician the reception by ear of the click as well as of the reference. By reference, means the sound base that is mainly used by the keyboard player but can also be used for each instrument and which completes all the instruments that make up the piece, even pre-recorded sound effects. The musician, when he receives the reference of all the instruments of the song being played have the possibility to select the amplitude of the volumes of each reference as well as excluding the reference that he himself performs by replacing the recording the performance with his instrument, as other musicians can do They play live, both in person and remotely. To better clarify what was said above, in an optimal form of implementation where there is the presence of a recorded base with 4 instruments: drums, guitar, piano and bass, the user of the method can exclude from the references the drummer and guitarist available in the presence using only the references of the bass and piano. The possibility of this selection does not preclude the audience from listening in the hall will listen to an optimized song complete with all its musical elements, together with one or multiple live instruments in sync with each other both in person and remotely. The fourth phase concerns the further signals that are managed by the system with the help of the musical performance as well as the potential of the method. At this stage: .- the signal to the video monitor is managed <tappo= alternato a testo canzone switchando da video mixer (file folder in laptop hd); the sound is reworked and then through an electronic implementation system, allowed the musician and / or artist to optimize and make the most of his performance. The method through the electronic system that implements it also controls the video allowing the insertion or removal of the CD cap while the performance is taking place so as to allow the projection of texts and / or images in synchrony with the performance in progress. A video cap is a sequence of pre-recorded images and / or texts that scroll through a automatic with consecutive and repetitive cycles. The method which is the subject of the patent application allows to solve the economic problem of the so-called Concert program significantly reducing costs and management: sound engineers and the video are in fact replaced by the mechanized system of the method that automatically achieves the synchronization of the video signals with the sound performance consisting of live elements that blend with the recorded base, creating the final effect perceived by the audience to attend a real concert that offers a very high level sound qualitative. The method allows not only musicians to perform in accompaniment to singers but can support any theatrical, acting and / or performance any situation that involves a show composed simultaneously of sounds, images, lights and voices. The method allows you to achieve optimal performance, achieving the goal of produce a very high quality show / concert / performance without the need for rehearsals artists who perform remotely. Even the protagonist, singer, actor, narrator, has the possibility of finding benefit in using the method as the automatism allows adapt the pitch (peatch) of the emitted sound by modulating and correcting it during the performance of the piece, improving the artist's voice until it is perfect, so that listening the final result is free from any imperfection. E) TECHNICAL DESCRIPTION The Method works through an integrated electronic system, also known as a box, capable of handling all electronic elements and connections. The box appears as a casing, definable as a casing, which contains the components and is controlled by two boards: a motherboard and a RAM memory board that encloses a updatable and expandable database of bases. For remote performances by artists, the Method uses a box for each workstation from which the performance takes place, and the connection occurs by providing the artist <ospite= di analogous electronic system. The system is implemented on the one hand by connecting the device to a device which remotely, using the help of the musicians and / or the organizer, carries out the insertion of the bases in the dedicated database stored in upgradeable and expandable RAM memory and which contains songs lasting 120 seconds, on the other hand displays the application specific to the event. The bases can also be downloaded remotely, environment virtual cloud, but the box will still have a base of an indefinite number of updatable files and immediately available expandable lasting one hundred and twenty seconds. The following components are housed in the box: 1. On / Off switch for turning the unit on and off; 2. Power cord connector. Turns the unit on and off; 3. HDMI standard video output cable connector that allows you to connect a external screen; 4. Standard Ethernet input connector that allows connection to the fixed network; 5. USB connector type <C= per il collegamento ad apparecchi esterni o aggiornamento del firmware. The following components are housed in the front part: 1.- Two OUT PUT connectors in XLR / 6.35 mm JACK format that allow you to play the backing track sound emitted by the unit when the performance does not include a live band. in this case the metronome click signal will not be played. 2.- Four 6.35 mm XLR / JACK outputs for direct connection to the channels of an external mixer which allow you to reproduce the sound of individual instruments separately by directing them to separate mixer channels. The following components are housed on the right side of the box: 1.- A mini WiFi antenna connector that allows you to send the signal to the silent headphones disc. 2.- A mini 2.4 – 5 – 5.8 GHz Dual Band 3dBi MIMO rp – sma WiFi antenna connector for Pad signal that allows you to connect to your computer or smartphone and control the unit via external wireless devices. Inside the box are positioned the outputs that allow you to reproduce the sound of the individual instruments separately by directing them to the separate channels of the mixer. The latter have a 6.35 mm XLR / jack type socket. There are also two outputs L / R which have two XLR / 6.35mm jack format Output connectors that allow you to reproduce the backing track sound emitted by the unit when the performance does not involve a band live. In this case, the metronome click signal will not be played. The system provides for the setting of the musical instruments necessary for the performance which are connected to the box thanks to the components housed in it, that is, all the connections in entrance that will allow musical instruments, video screens, light effects and speakers speakers to communicate with each other. Inside the electronic system there is a RAM memory where you can choose one or more songs in the playlist and assign each one a username by registering the own data. This step is stored in the control panel which generates a list of reasons which will be reproduced. Specifically: .- through the connection to the audio mixer present in the box, the in-ear monitors, the musicians will receive the click to start the performance; .- through the audio mixer present in the box, musicians can also manage the reference base to be modulated as they please in the sense of excluding some or all of the instruments; .- through the audio mixer present in the box the musicians are able to correct the emission of the voice and its tone; .-through the audio mixer in the box the band sound will be transmitted to the mixing board, as well as the other signals from radio microphones to the presenter, singers and audio signals all9impianto. .- the system manages the signal to the video monitor of <tappo= alternato a testo canzone switchando from video mixer (file folder in hd laptop); .- the system re-elaborates and corrects the sound, therefore through an electronic system of implementation allows the musician and / or artist to optimize and make the most of his performance. The electronic system also controls the video allowing, while the performance is taking place, to insert or remove the CD <tappo= in modo da permettere la proiezione di testi e / o images synchronized with the current performance. For video <tappo= si intende una sequenza di pre-recorded images and / or texts that scroll automatically in consecutive and repetitive cycles. F) DESCRIPTION OF THE DESIGN The description of the drawings requires particular attention to the components suitable for the implementation of the method described above. Table 1 shows the electronic system that allows the execution of the 4 phases that make up the method. In particular, the component present in the containment casing of the components and is made up of a card and an additional RAM memory card which contains a database of updatable and expandable bases. Square in shape, like a parallelepiped, it features the key housing <On-Off= che allows you to turn the unit on and off, Position 1, table 1. There is a power cord connection that allows you to turn it on and off l9unità, Position 2 table 1. On the side we find a standard HDMI connection for connecting the video output for connect one or more external screens, Position 3, table 1. There is a standard Ethernet input connector that allows connection to the fixed network, Position 4 table 1. Finally we find a USB Type C socket to connect the system to external devices and for Firmware update, Position 5 table 1. On the side of the casing there is a connector for a mini 2.4 -5 – 5.8 30 Wi-Fi antenna GHz B band 3 dBi mimo RP - SMA to send the signal to the headphones. Position 6 Table 1. On the same short side of the casing is located the connector for the mini 2.5 – 5 -5.8 – Wi-Fi antenna GHz band 3 dBi mimo RP - SMA for Pad, computer or smartphone signal. Allows you to control the unit via external wireless devices. On the front side of the casing there are two 6.35mm XLR JACK output connectors. mm which allow you to play the base sound emitted by the unit when it is not provided a live band: in this case the metronome click signal will not be played when the performance does not include a live band. In table one position 10, always on the front side of the crankcase, there are 5 slots for 5 XLR Jack outputs, for connection to the channels of an external mixer. The sequence of the outputs are as follows: .- metronome click output; .- battery output; .- low output; .- guitar output; .- exit other. These tools allow you to play the sound of individual instruments separately. directing them to separate channels of the mixer. The box is activated by the user in the following way: .- a pulse is transmitted via the device to the box relating to the song selection; .- the presenter has evidence of the choice and announces the song; .- the operator in the control room starts the video file: file folder in had laptop both from laptop and from hddmi to the video mixer and LR to the audio mixer; .- through the audio mixer the operator sends the start click to the musicians' in-car monitors performance and the reference base so as to allow musicians to adjust the reference to their as desired, exclude instruments, amplify sounds and so on; .- through the audio mixer the operator sends signals from instruments to the mixer for band sound mixing, as well as other signals from radio microphones to the presenter and singers and audio signals all9impianto; .- through the audio mixer the operator in the control room manages the signal to the video monitor <tappo= alternated with song lyrics by switching from video mixer (file folder in hd laptop). Table two illustrates the four phases of the method as described below: In table 2, position 1 represents phase 1, i.e. the implementation of the basics by of the musicians and / or organizer plus connection of the instruments. In table 2, position 2 represents phase 2, that is: the framing of the QrCode by of the user who enters the application, chooses the songs, assigns the username and views the lyrics of the various pieces being performed. In table 2, position 3 represents phase 3, that is: sending radio signals from the instruments towards the mixer connected to the box for mixing the band's sound, and sending the signal from radio microphone of the main voice towards the mixer. Position 3 in table 2 represents phase 3, that is, sending signals to the speakers present in public hall. In table 2, position 4 represents phase 4, that is: the reproduction of texts on the screens. and real-time mixing of incoming and outgoing signals. F) INDUSTRIAL USE The Method and the system that composes it in its application fits into all situations and events where a live artistic performance is planned or a remotely supported live performance from musical instruments. This method allows you to make any event, even amateur, a high-quality show for listeners. It also allows professional artists to participate as guest performers at the event, even remotely live, reducing travel costs and other things, all without giving up to quality and ensuring their participation. Think for example of the multitude of shows that take place on cruise ships; in In this situation the Naval Company can boast of having participated in the presence of a famous musician on all ships, who will be able to connect remotely thus ensuring his live remote performances together with the orchestra on the ship, and also on other ships in locations different.

Claims

3.- CLAIMS 1.- The “Sound Method” is characterized by comprising the following 4 phases: 1) preparation of the system; 2) transmission of the input to the system; 3) output of the signals; 4) output of the 2 signals that are transmitted: a) video to which the system is connected, b) reprocessed sounds of the system. 2.- The “Sound Method”, as per claim no. 1, comprising the first phase relating to the preparation of the system and makes use of the following steps: .- preparation of the show / performance by entering the 120-second long bases into the appropriate database within an upgradable and expandable RAM memory; .- automated setup of the musical instruments required for the performance or preparation of all the connections. 3.- The “Sound Method”, as per claim no. 1, is characterised by what includes the following steps in its second phase: - creation of the playlist through the QR code which, once framed by the user, directs the device to open the web page that leads to the database of pre-loaded songs to be selected and start of the show with a simple sending signal and display of the songs in sequence following the selection and setup of the musical instruments necessary for the performance and input and output connections. 4.- The “Sound Method” as per claim 1, is characterized in its second phase by what comprises the following steps: .- display of the songs in sequence following the selection; .- management of the execution of video files: file folder in had laptop both from laptop and from HDMI to the video mixer and LR to the audio mixer; .- management of the audio mixer connection to the incar monitors of the click musicians and the reference base so as to allow the musicians to perform the songs and adjust the reference as they like to optimize the performance; .- management of the audio mixer connection of the signals from instruments to the mixer for band sound mixing; as well as other signals from radio microphones to the presenter and singers and audio signals to the system. 5.- The “Sound Method”, as per claim no. 1, comprising the fourth phase relating to the preparation of the system and uses the following steps: .- management of the audio mixer connection of the signal to the video monitor of the “tappo” CD alternating with song lyrics by switching from the video mixer (file folder in HD laptop). .- management of interaction with other multimedia signals in support and further optimization with automatic correction of the sound and voice without the need for technical personnel. 6 .- The system that implements the claimed method is characterized by the following components: .- a power cable connector; .- a hardware module combined with software that integrates the system with wireless transmission, physical audio inputs and outputs and control from a software mixer; .- a system that allows the sending of signals from radio microphones to the presenter and singers; .- a power cable connector; .- a USB type “C” connector for connection to external devices or firmware updates; .- a video output cable connector with HDMI standard for connecting an external screen; .- a system for remote control of the signals; .- a system that allows the sending of signals to a mixer for mixing band sound; .- a system that allows the sending of click and reference backing tracks to the musicians' in-ear monitors. 7.- The System, as per claim no. 6, is characterized by a hardware module combined with software that integrates the system with wireless transmission, physical audio inputs and outputs, and software mixer control; which contains two boards: a motherboard and a RAM memory card containing an updatable and expandable database of bases. 8.- The System, as per claim no. 6, is characterized by a system for remote control of the signals which also consists of a standard Ethernet input connector for connection to the fixed network and which contains the housing for two types of antenna. The first consists of a WI-FI mini 2.4 - 5 - 5.8 GHz dual band 3dB mimo RP SMA antenna connector to send the signal to the Silent Disco headphones. The second antenna connector, for the PAD signal, consists of a WI-FI mini 2.4 - 5 - 5.8 GHz dual band silent disco, Pad, computer, or mobile phone antenna connection allowing the unit to be controlled via external wireless devices. 9.- The System, as per claim no. 6, is characterised by a system that allows the sending of signals to a mixer for band sound mixing which also consists of two 6.35mm XLR / JACK format OUT PUT connectors to reproduce the sound of the backing track emitted by the unit when the performance does not include a live band, in this case the metronome click signal will not be reproduced, as well as to reproduce the sound of the individual instruments separately and by four 6.35mm XLR / JACK outputs for direct connection to the channels of an external mixer. 10.- The System, as per claim no. 6, is characterised by a system that allows the click and reference backing track to be sent to the musicians' in-ear monitors, which also consists of a mini WiFi antenna connector to send the signal to the silent disco headphones and two connectors for the LR OUT PUT outputs in XLR - 6.35 mm JACK format which allow the sound of the backing track emitted by the unit to be reduced when the performance does not include a live band.