A method for indicating speed using sound and a sound velocity meter

Abstract

As the maximum number of speed levels in a sound velocity meter increases, the number of musical pieces and other materials required also increases. Therefore, understanding the number of speed levels, which is determined by the number of superimposed musical pieces, becomes increasingly difficult as the number of levels increases. [Solution] The number of steps in the speed range of the sound velocity meter is changed from the usual decimal system to a positional numeral system of a lower value. By reducing the number of digits used in each digit of the new numeral system, the total number of musical pieces required is reduced, and consequently the maximum number of overlapping musical pieces is reduced, making it easier to understand the number of steps in the speed range by hearing.

Description

Technical Field

[0005] ,

[0001] The present invention relates to a method for presenting the sound output of a sound speedometer and a sound speedometer using the same.

Background Art

[0002] Generally, the speedometer of a vehicle is presented as visual information. Therefore, the driver estimates the speed of the vehicle from the engine sound generated by the vehicle and the state of the passing scenery, and sometimes checks the speed by looking at the speedometer. However, the operation of looking at the speedometer interrupts the forward view, resulting in a time of inattention ahead. For this reason, the driver tends to reduce the frequency of checking the speedometer, and accordingly, it is easy to violate the speed limit. For these reasons, in recent years, a speedometer using hearing without using vision (hereinafter referred to as "sound speedometer") has been proposed.

[0003] One of them is to divide the speed of the vehicle (hereinafter referred to as "vehicle speed") stepwise in a plurality of speed ranges, and associate each piece of music played by each sound source such as a plurality of musical instruments or singing voices with each of the above speed ranges. As the vehicle speed increases, above the minimum speed of each speed range, there is an overlap with the music for the speed range below it, and there is a sound speedometer that indicates the number of steps of the speed range by the number of types of the overlapping music.

Prior Art Documents

Patent Documents

[0004]

Patent Document 1

Patent Document 2

Patent Document 3

Patent Document 4

Summary of the Invention

Problems to be Solved by the Invention

[0005] The sound speedometer of the present invention is based on a sound speedometer that divides the vehicle's speed into multiple stepped speed ranges, outputs different sound sources or musical pieces (hereinafter referred to as "timbres") corresponding to each speed range into the vehicle, and superimposes and outputs the respective musical pieces corresponding to each speed range as long as the vehicle continues to travel at a minimum speed. This sound speedometer primarily utilizes the distinction between different types of sound sources and parts that make up a piece of music. As the number of types increases, it becomes increasingly difficult to distinguish between them, which makes it difficult to increase the number of speed ranges that represent vehicle speed. [Means for solving the problem]

[0006] Even with numbers that use only two values, 0 (zero) and 1, like in binary, two-digit representation allows for four different values: 00, 01, 10, and 11. Focusing on this, this sound speed meter utilizes positional numeral systems (methods of representing values ​​by arranging several digits) below the decimal system, thereby reducing the number of musical pieces or other elements required to indicate a speed range. If we apply this to a two-digit representation of a quaternary number system (a numbering system that uses four types of numbers from 0 to 3), there are 16 possible values ​​from 00 to 33, but each digit uses only four types of numbers: 0, 1, 2, and 3. Therefore, if we assign different sound sources or parts to the first digit (1, 2, 3) that are not 0 (zero), and assign different sound sources or parts to the second digit (1, 2, 3) as well, then by representing the first digit of a quaternary number with the superposition of three different timbres, and the second digit of a quaternary number with the superposition of three different timbres, it becomes possible to represent the 16 levels of the quaternary number system with six combinations of timbres. This allows the driver to understand the number of speed range steps from the number of overlapping sound sources and parts for each digit. Note that, in this system, if a digit 0 (zero) does not require output, no special sound is assigned. In this method, the first digit is determined by the number of overlapping elements of three types of music, etc. If there is a carryover, the second digit is updated, but that value can also be determined using the number of overlapping elements of three types of music, etc. used for the second digit. [Effects of the Invention]

[0007] The present invention relates to a sound speedometer that divides the vehicle speed into multiple stepped speed ranges, outputs different tonal performances inside the vehicle corresponding to each speed range, and superimposes and outputs the performances (A) of each tonal corresponding to each speed range as long as the vehicle does not fall below the minimum speed of each speed range. The present invention relates to a sound speedometer or a speed indication method that uses sound to indicate a carryover in the second digit of the positional numeral system that indicates the step number of the speed range, at a vehicle speed where a carryover occurs, or at a vehicle speed above the speed where a carryover occurs, the output of all the performances (A) of the tonal is temporarily interrupted, and the output of a performance (B) of the tonal corresponding to the second digit of the positional numeral system, or the output of vibration as tactile information, is started to indicate a carryover in the second digit of the positional numeral system. Therefore, compared to using a decimal positional numeral system, it is possible to reduce the number of numerical values ​​used, and consequently, it is possible to reduce the number of types of sound sources and parts used compared to the total number of speed range steps of the sound velocity meter. This reduction in sound sources and parts has the effect of making it easier to determine the number of speed range steps and to increase the maximum number of steps in the sound velocity meter of this invention, which understands numerical values ​​by hearing based on the number of superimposed sound sources and parts.

[0008] Furthermore, the use of carry-over in base 4 is similar to how an abacus using 5-beads and 1-beads uses four 1-beads and one 5-bead for each digit to represent numbers from 0 to 9. Compared to simply using nine 1-beads to represent numbers from 0 to 9, the ease of understanding numbers on the abacus is significantly superior. The present invention offers another advantage: a similar method of understanding numbers is possible using a small positional numeral system of base 10 or lower. In addition to these benefits, the reduction in the number of sound sources and individual parts makes it easier for drivers and other personnel to learn about the relationship between the number of speed range stages and the sound sources and individual parts. Furthermore, since the number of sound sources and individual parts used in ensemble pieces can be reduced, it becomes possible to use ensemble pieces with fewer sound sources and individual parts, thus increasing the freedom of choice in musical selection. Separately, at speeds where a carry-over or carry-down occurs in the notation indicating the speed range stages, a complete replacement of sound sources and parts occurs abruptly, which often causes discomfort to the user. To address this, the complete replacement of sound sources and parts is resolved by using crossfades. Consequently, the speed range in which crossfades are implemented can be designated as a new speed range that signals the transition to the next speed range, thereby enabling the creation of speed ranges with new roles. [Brief explanation of the drawing]

[0009] [Figure 1] Vehicle equipment layout diagram (Example 1) (Example 10) [Figure 2] Presenting a speed range using superimposed music (Example 2) [Figure 3] Speed ​​range indication using carry (Example 3) [Figure 4] Speed ​​range indication using crossfade (Example 4) [Figure 5] Presenting a tempo range that prioritizes musicality (Example 5) [Figure 6] Speed ​​range indication using a combination of music and vibration (Example 10) [Modes for carrying out the invention]

[0010] This sound velocity meter, which indicates the number of stages in the vehicle speed range using the number of superimposed parts of musical pieces, applies a positional notation of decimal or lower to enable a reduction in the number of types of parts of musical pieces required. Furthermore, by using tactile vibrations as a substitute for musical pieces, this sound velocity meter can further reduce the number of types of parts of musical pieces. [Examples]

[0011] FIG. 1 is an arrangement diagram showing an overview of a vehicle device for implementing the present invention. A drive unit 1 composed of a motor, an engine, etc. drives a pair of wheels 3 via a transmission 2. The drive unit 1 rotates by supplying energy from an energy source 9 storing energy such as electricity or gasoline under the control of an energy control unit 8. This vehicle is driven by controlling the vehicle speed with a speed setting value input unit 7 corresponding to the control of an accelerator pedal and a brake pedal in the vehicle. The traveling speed is detected by a speed detection unit 5, and the direction control is performed by a steering wheel 17. The above description has some omissions, but it is a general form of traveling control for automobiles and the like.

[0012] In addition, a sign recognition unit 4 for recognizing speed limit signs on the road and a detection / processing unit 6 for GPS information (Global Positioning System) are installed at appropriate positions in the vehicle. Data and the like generated by these units are sent to a control unit 10 described below. The control unit 10 reads data from a storage unit 12 such as sound sources and musical scores, performs calculations and controls of necessary data, and a display unit 11 manages the man-machine interface. Further, a signal generation unit 13 that makes the data in the storage unit 12 into specific signals is controlled to generate signals such as musical instruments and voices, and to indicate the volume. Here, the music information in the storage unit 12 may be data of audio compression information MP3, lyrics, musical scores, music pieces, and music information such as MIDI. Music piece data and the like generated by a musical instrument signal generation unit 13 are converted from a digital signal to an analog signal via a D / A converter 14, and further amplified by an amplifier unit 15 and output as part of a song in the vehicle from a speaker 16.

[0013] Also, using a left vibration unit 18 for a bundle, a right vibration unit 19 for a bundle installed at two positions on the left and right sides of the steering wheel 17, and a vibration unit 21 installed on a seat 20, vibrations that are the same as or synchronized with a part of the output of the speaker 16 can be generated and transmitted to the steering wheel 17 and the driver's seat 19, and the function can be used when necessary. The output control for selectively using vibrations from either or both of the left and right vibration units 18 in FIG. 1 and further from the vibration unit 20 of the seat 19 is performed by the control unit 10.

Embodiment

[0014] First, using FIG. 2, the output examples of sound sources and music pieces, etc. that form the basis of the present invention, and their superimposed outputs will be described. FIG. 2 shows the relationship between vehicle speed and volume. The horizontal axis represents the vehicle speed, and the vertical axis represents the output volume of music pieces, etc. Also, the same section of the speed range is indicated by a two-way arrow line. In the first stage 31 of the speed range from speed 0 to S1 in this figure, for music piece 41, etc., as the vehicle speed increases, the output of the music piece, etc. into the vehicle increases, and as the vehicle speed further increases, it appropriately reaches the maximum output and saturates, and the music piece 41, etc. maintains the maximum volume at higher vehicle speeds. These can be regarded as the content where the output of the music piece, etc. simply fades in, but in the figure, it is shown by a solid line. As the vehicle speed increases, starting from vehicle speed S1, music piece 42, etc. shown by a long dashed line is output. Similarly, starting from vehicle speed S2, music piece 43, etc. shown by a one-dot chain line, and starting from vehicle speed S3, music piece 44, etc. shown by a short long dashed line are output. By these, In the speed range 31 between vehicle speed 0 and S1, only music piece 41, etc. is output into the vehicle, In the speed range 32 between vehicle speed S1 and S2, music piece 41, etc. and music piece 42, etc. are output into the vehicle, In the speed range 33 between vehicle speed S2 and S3, music piece 41, etc., music piece 42, etc., and music piece 43, etc. are output into the vehicle, In the speed range 34 at vehicle speed S4 or higher, music piece 41, etc., music piece 42, etc., music piece 43, etc., and music piece 44, etc. are output into the vehicle, As the vehicle speed increases, it becomes an output where music pieces, etc. are superimposed like an ensemble piece. Since the number of types of such superimposed music pieces, etc. is made to match the number of stages of the speed range, by understanding the number of types of music pieces, etc., a speedometer using sound (hereinafter referred to as a sound speedometer) that can distinguish the stages of the speed range becomes possible. Note that this sound speedometer can also distinguish the stages of the speed range by using different sound sources, etc. instead of music pieces, etc. and understanding the number of types of them.

[0015] This sound-based speedometer allows for easy determination of the vehicle's speed range by sound alone. Therefore, there is a proposal for a sound-based speedometer for speed violation warnings that constantly outputs sounds into the vehicle indicating the fines and penalty points for each speed range. This sound speedometer can utilize ensemble pieces consisting of four different parts, such as those numbered 41 to 44 in Figure 2. This allows for the presentation of musically pleasing music compared to simple beeping warnings, and has the advantage of constantly outputting parts of music that do not sound out of place inside the vehicle. However, in order to distinguish between these four speed ranges, it is necessary to have an ensemble piece consisting of the same number of parts as the number of speed ranges, and to quickly grasp the number of different types of parts being used. For this reason, simply increasing the number of speed ranges would make it difficult to immediately determine the number of different types of parts, and the ensemble piece itself would become overly ornate, worsening the sound environment inside the vehicle. The present invention aims to solve these problems by reducing the number of parts used, making it easier to determine the number of overlaps, facilitating recognition of the number of steps, and further facilitating a significant increase in the number of steps in the speed range. Note that while Figure 2 and subsequent Figures 3, 4, 5, 6, etc., show differences in the maximum volume of each song, this difference is included to make it easier to distinguish between the songs, and unless there are special circumstances, there is no difference in the maximum volume. [Examples]

[0016] Figure 3 shows one example of sound output from the sound speedometer of the present invention. Similar to Figure 2, the horizontal axis represents vehicle speed, and the vertical axis represents the output volume of music, etc. The horizontal axis of this graph shows vehicle speed from 0 (zero) to S9, and also includes 10 speed ranges in base 4, from 00 to 21. Furthermore, each speed range is indicated by a two-way arrow. Note that while output for songs and other content with 21 or more speed levels has been omitted, in reality, even higher speed ranges exist, as shown in Table [1.3] below.

[0017] First, let me explain the overall picture of the music and other content being produced. In Figure 3, the first digit of the quaternary speed range, represented by songs 41 through 43, songs 51 through 53, and song 61, are shown with solid lines, long dashed lines, and dotted lines, respectively. Since the same line type represents the same song, they should ideally be numbered the same way, but for explanatory purposes, the numbers are different because the lines indicating volume are not continuous. Furthermore, continuing the explanation of Figure 3, Music track 41 outputs from vehicle speed S1 to vehicle speed S4. Music track 42 outputs from vehicle speed S2 to vehicle speed S4. Music track 43 outputs from vehicle speed S3 to vehicle speed S4, and then stops all output when vehicle speed S4 is reached. next, Music track 51 outputs from vehicle speed S5 to vehicle speed S8. Music 52 is output from vehicle speed S6 to vehicle speed S8. Music track 53 outputs from vehicle speed S7 to vehicle speed S8, and then stops all output at vehicle speed S8. The following track, number 61, is output when the vehicle speed is S9 or higher. The outputs of these musical pieces overlap and have overlapping speed ranges, but the number of overlaps is set to be equal to the first digit of the number of steps in each speed range when expressed in base 4. This allows the vehicle driver to understand the first digit of the number of steps in the speed range from the number of overlaps of the musical pieces.

[0018] Separately from the above, Figure 3 shows two tracks, 71 and 72, indicated by a dashed line: track 71, which starts outputting from vehicle speed S4, representing the second digit of the quaternary speed range; and track 72, which starts outputting from vehicle speed S8. The number of overlaps between these pieces, 71 and 72, is set to be equal to the second digit of the number of speed range steps expressed in base 4. This allows the vehicle driver to understand the second digit of the speed range number from the number of overlapping elements in the music, etc. Here, from vehicle speed 0 to vehicle speed S4, there is no output from music 71 and music 72, so the number of superpositions is set to 0 (zero). From vehicle speed S4 to vehicle speed S8, only the music 71 is output, so the superposition count is set to 1. At vehicle speeds of S8 or higher, tracks 71 and 72 are superimposed, so the number of superimposed tracks should be considered as 2. However, it is assumed that the knowledge to distinguish between songs 41 through 61, which are represented by the first digit of the quaternary numbering system indicating the number of speed range steps, and songs 71 and 72, which are represented by the second digit of the quaternary numbering system, has been learned in advance. In this way, the first digit of the speed range number is determined by the number of overlapping musical pieces, etc., of three types for the first digit in a quaternary system, and the second digit is determined by the number of overlapping musical pieces, etc., of two types for the second digit, making it possible to distinguish between 12 speed ranges. Furthermore, by increasing the number of song types and using the number of overlapping elements of three different songs as the second digit, it becomes possible to distinguish between 16 different speed ranges. Note that here, level 0 (zero) is included as level 1. Furthermore, this sound velocity meter has the characteristic of being able to constantly understand the speed range through hearing, provided that there is an output such as music. Furthermore, since the second digit is the same across four speed ranges, even without consciously thinking about the specific second digit within that range, by interpreting the change in the number of overlapping elements (such as music) indicated by the first digit as a change in vehicle speed, it becomes possible to understand whether the vehicle speed is increasing or decreasing. Understanding the number of overlapping elements analogously, rather than numerically, as being greater or less than the previous number of overlapping elements, has the advantage of making it easy to understand increases or decreases in vehicle speed. Furthermore, if necessary, by being aware of the second digit, which is the same across the four speed ranges, and then determining the number of overlapping elements in the music, etc., indicated by the first digit, one can immediately understand the number of speed ranges numerically, which has the advantage of making it easier to quickly check the speed range.

[0019] Here's a brief explanation of how to distinguish between the first and second digits of these song titles, using them as a reference. For example, the first digit of a song will be a part played by the sound source that makes up the main melody (e.g., piano, violin, female chorus, male vocals, etc.). A simple way to distinguish songs with a second-digit number of tracks is to use parts that utilize musical conventions such as the output of measure-by-measure beat sounds using a metronome, or repeating rhythm sounds in measure units from a drum set, such as cymbal sounds (hi-hat sounds), bass drum, and tom-toms. For such simple classifications involving only the first and second digits, the need for prior training can be reduced. [Examples]

[0020] Figure 4 shows another example of the output of the sound speedometer of the present invention. In the explanation of Figure 3, it is stated that the music etc. 41 output from vehicle speed S1, the music etc. 42 output from vehicle speed S2, and the music etc. 43 output from vehicle speed S3 all stop outputting when the vehicle speed reaches S4. As a result, when the vehicle travels at a nearly constant speed around vehicle speed S4, the vehicle speed will exceed or fall below S4, and each time this happens, the output of music etc. 41, music etc. 42, and music etc. 43 will suddenly stop, or conversely, all outputs will restart. This can result in the sound output becoming unpleasant noise. To avoid this, in Figure 4, when the vehicle increases speed from a speed C1 slightly lower than speed S4, the volumes of music 41, 42, and 43 gradually begin to decrease, and their output stops at speed S4. Correspondingly, the volume of music 71, which represents the second digit of the speed range in base 4, gradually increases from speed C1. This prevents sudden interruptions or sudden starts of the output of music 41, 42, and 43, and allows for a smooth complete replacement of the music. This replacement of music is one of the music editing techniques called crossfading, and the speed range in which this complete replacement of music is performed using crossfading can be considered a different type of speed range from other speed ranges that only differ in the number of overlapping music elements. Furthermore, this crossfade also occurs in the speed range between vehicle speed C2 and vehicle speed S8 in Figure 4, and the speed ranges between C1 and S4, and between C2 and S8 are indicated by two-way arrows. In this case, the speed range from vehicle speed C1 to vehicle speed S4 and the speed range with crossfading from vehicle speed C2 to vehicle speed S8 in Figure 5 can be considered special speed ranges that foreshadow a carry. It is also possible to move the start and end points of the crossfading before and after the speed at which a carry occurs. Furthermore, this speed range can be generated by changing the base (radix) of the positional numeral system, thereby altering the position of the speed range where a carry occurs. This variability is not present in previous speed ranges and allows for a new role to be played in speed ranges that involve crossfading.

[0021] One example of using this crossfade-based speed range is, as mentioned earlier, its use in speedometers that indicate the level of speed violations by vehicles, as published by the Tokyo Metropolitan Police Department. Next, I will briefly explain that. The penalty points for speeding violations on public roads are divided into five levels: 1 point, 2 points, 3 points, 6 points, and 12 points, depending on the degree of speeding. Looking at these in detail, the initial point increase is 1 point at a time. However, from a certain point onward, the point increase doubles, and once the penalty points reach 6, the violation becomes punishable by "imprisonment for up to 6 months or a fine of up to 100,000 yen," meaning that speeding is treated as a crime. For this reason, extra caution is needed when the penalty points change from 3 to 6. Therefore, the sound speedometer informs the driver of the stages of these penalty points by the number of overlapping musical pieces, and separately from this function, a speed range characterized by a crossfade that completely changes the output musical pieces is set to separately warn the driver when the vehicle speed is approaching a speed range that requires special attention. This new crossfade feature allows the speed range at which the entire music changes to occur to not only let the driver know they are exceeding the speed limit, but also to serve a new purpose for the sound speedometer: to warn them that increasing speed to the next speed range is a special event. [Examples]

[0022] Figure 5 shows an example of the output of the sound velocity meter of the present invention, which emphasizes musicality. It is basically the output of Figure 3 with the addition of musical pieces, etc. 40, indicated by the dashed line. As explained in Figure 3, when the vehicle is traveling at a nearly constant speed in the speed range near S4, when the vehicle reaches speed S4 and then exceeds S4, all outputs of music 41, 42, and 43 are stopped, and the output of music 71 immediately starts. Conversely, when the vehicle falls below S4, all outputs of music 41, 42, and 43 suddenly restart, and this can be repeated many times when traveling at a nearly constant speed near S4. In songs with large output differences, the repeated stopping and restarting is jarring and ruins the otherwise rich musical experience inside the car. The above-mentioned problems often occur in sound velocity meters that consist of outputs from multiple parts that make up the main melody. Therefore, to reduce or eliminate the above-mentioned problems, tracks 41 to 43 are composed of tracks that are far removed from the main melody, such as the output of measure-by-measure beat sounds from a metronome, or simple repeating rhythm sounds from cymbals, bass drums, and tom-toms in a drum set, and tracks that are not necessarily written in musical notation, while these tracks are made to function as sound velocity meters. In such cases, for music or other audio output to be used as a sound speed meter inside the vehicle to ensure sufficient musicality, it is necessary and sufficient that the main melody is clearly defined and the output is neither excessive nor insufficient. Therefore, to address this, the music 40 shown by the dashed line starting from vehicle speed 0 (zero) in Figure 5 is set as the output of the music representing the main melody, and the output of that main melody is set to continue up to the maximum vehicle speed. This allows the music 40 to provide a musically rich in-car environment, and the superposition of music output at speeds of S1 or higher acts as a sound speedometer, thereby enabling the construction of a sound speedometer in which each piece of music fully fulfills its role. In addition, since the 00 speed step in Figure 3 is inherently silent, it is a speed range where it is impossible to determine from sound information alone whether the sound speedometer is operating. Therefore, it is possible to have the music, etc. 40 in Figure 5 serve a similar role to a pilot lamp that indicates whether the sound speedometer is operating. Furthermore, the music, etc. 40 can be replaced with radio broadcasts output inside the vehicle or music from a CD player or other device unrelated to the aforementioned music, etc. However, if the music, etc. 40 also serves a similar role to a pilot lamp, then music, etc. or parts that are musically unrelated to the main melody will often be output inside the vehicle as the output of the sound speedometer. [Examples]

[0023] Up to this point, we have explained the use of positional numeral systems using base 4, but the use of positional numeral systems that use other values ​​as radix will be explained in Table 1 and the following Table 2.

[0024] [Table 1] Table 1 above shows three types of tables for binary, ternary, and quaternary systems, labeled as Tables [1.1], [1.2], and [1.3], respectively. The first row of each table shows the base, and the second row shows the names of the columns for "Step", "Second Digit", and "First Digit". However, the column names for "Second Digit" and "First Digit" are abbreviated to "Second Digit" and "First Digit" respectively due to insufficient width. Note that each table in Table 1 explains the case where the maximum number of digits is limited to two. However, this limit on the number of digits is actually unnecessary. Furthermore, the numerical values ​​in each row of each digit also serve as song numbers for distinguishing the required parts of songs, and the songs required by the sound velocity meter of the present invention are assigned to each according to the numerical values ​​in these tables. Furthermore, starting from the third row from the bottom of each table, the number of song titles and other items required for each digit is shown in the order of the first digit, second digit, and total. Table [1.1] shows that in binary, if the 0th level is not included, it is possible to represent 3 levels. The number of types of songs etc. requires one type for the first digit and one type for the second digit, and the total number of such songs etc. is 2. Table [1.2] shows that in the ternary system, if the 0th level is not included, it is possible to represent 8 levels. The number of types of songs etc. requires 2 types for the first digit and 2 types for the second digit, and the total number of such songs etc. is 4. Table [1.3] shows that in the quaternary system, if the 0th level is not included, it is possible to represent 15 levels. The number of types of music, etc., requires 3 types for the first digit and 3 types for the second digit, and the total number of types of music, etc., is 6. To summarize these results again, Using binary notation, it is possible to represent three tempo ranges by using two types of music, etc. Using the ternary system, it is possible to represent eight tempo ranges using four types of music, etc. Using a quaternary system, it becomes possible to represent 15 different tempo ranges using six types of music or other elements. Although stage 0 is not included here, it is possible to use a sound velocity meter that assigns music or other elements to stage 0. Therefore, these results show that by superimposing musical pieces according to a positional numeral system, it is possible to efficiently increase the number of tempo range steps while reducing the number of musical pieces. However, as the number of overlapping musical pieces increases, the problem of difficulty in determining the number of overlaps resurfaces, making it necessary to select a suitable base value for a positional numeral system that matches the intended use of the sound velocity meter. [Examples]

[0025] As an example of how these number systems can be used to measure sound speed, we examined a sound speed meter that uses the speed ranges corresponding to penalty points for speeding violations, as published by the Tokyo Metropolitan Police Department. Since there are five penalty points for speeding violations—1, 2, 3, 6, and 12 points—a sound speedometer that indicates which speed level a vehicle is in while driving only needs a speed range of five levels. A suitable example for this is using the ternary numbering system from level 1 to level 5 shown in Table [1.2]. In this case, the number of musical pieces required is three, since there are two types of musical pieces for the first digit and one type for the second digit. In another case, although the second digit of the binary value in Table [1.1] is originally only 0 (zero) and 1, it can be seen that a sound velocity meter showing 5 levels can be realized by extending this so that the first digit is one type of music, etc., and the second digit is two types of music, etc., for a total of three combinations of music, etc., or by using combinations such as two types of music, etc. in the first digit and one type of music, etc., for a total of three types of music, etc. [Examples]

[0026] Since the explanation so far lacks concrete examples of musical pieces, the following will provide a concrete example of a quaternary sound velocity meter according to [Table 1.3]. In the first digit of the table [1.3] which uses base 4, Three types of music are needed: Sound Source 1 corresponding to numerical value 1, Sound Source 2 corresponding to numerical value 2, and Sound Source 3 corresponding to numerical value 3. Therefore, Sound source 1 is a metronome sound. Sound source 2 is the hi-hat sound from the drum set. Sound source 3 is the bass drum sound from the drum set. By using individual parts, the first digit of the output was set to focus on "time signatures and rhythmic sounds." The second-digit sound sources 1, 2, and 3 represent piano sounds, female chorus humming, and male vocals, respectively, and each sound source is configured to output the main melody part of the song. These measures make it easier to distinguish between the first and second digits of a musical composition, where the first digit consists of superpositions of "beats and rhythmic sounds," and the second digit consists of superpositions of "main melodies," thus facilitating the determination of the number of superpositions in each digit. For speed ranges with 0 to 3 steps, The first digit of the level indicates the following: 0 is silence, level 1 is a metronome sound, level 2 is a superposition of the metronome sound and hi-hat sound, and level 3 is an output with a superposition of the metronome sound, hi-hat sound, and bass drum sound. The number of superpositions in these songs and other music allows us to understand the first digit of the level in base 4. Furthermore, the same superimposed output of music, etc., is repeated every four steps in the subsequent single-digit ranges. Also, the relative increase or decrease in vehicle speed can be determined by focusing only on the single-digit range based on the change in the number of superimposed outputs. Note that there is no output of music, etc., for the second digit in these speed ranges. From stage 4, where the vehicle speed increases further, to stage 7, The second digit output begins with the sound of the piano part, indicating that a carry-over occurred at the start of this output. By determining that the superposition number for the second digit is 1 and combining this with the value indicated by the superposition number for the first digit output, the number of steps in base 4 can be understood. From stage 8, where the vehicle speed increases further, to stage 11, The second digit output begins with the sound of a female chorus humming, and it can be determined that this is an output where two types of music, such as a piano part and a female chorus, are superimposed. By combining this with the number of superpositions in the first digit output, the number of stages in base 4 can be understood. From stage 12 to stage 15, when the vehicle speed increases further, the second digit output begins with the voice of a male vocalist, and it can be determined that this is an output where three types of music, such as a piano part, a female chorus, and a male vocalist, are superimposed. By combining this with the number of superpositions in the first digit output, the number of stages in base 4 can be understood. Up to this point, we have only explained the increase in vehicle speed, but when decelerating, the opposite occurs, such as a decrease in the number of overlapping musical notes in each digit. These decisions may seem complicated, but in reality For example, since a female chorus is superimposed on the piano sound, the second digit is 2. The metronome sound, hi-hat sound, and bass drum sound are superimposed, so the first digit is 3. By making such judgments, it becomes easy to understand that the current vehicle speed is in 23 stages. Furthermore, since the vehicle speed changes continuously, it becomes possible to perceive partial changes in the speed range, such as noticing that the metronome, hi-hat, and bass drum sounds that were previously heard are now superimposed, or that the bass drum sound has disappeared, indicating that the speed range has dropped by one level from the previous speed range. In such cases, it is not necessary to specifically understand the numerical values ​​of the superimposed music, etc. It is possible to simplify the process and use the increase or decrease in music, etc. as a means of understanding the increase or decrease in vehicle speed. Furthermore, this system determines the number of speed range stages based on the distinction between sound sources, meaning the content of the music played by each sound source can be freely changed. This offers the advantage of allowing drivers and passengers to choose their preferred music, and it functions as a sound speedometer without compromising the inherent entertainment value of music. [Examples]

[0027] Up to this point, we have mainly explained using positional numeral systems limited to two digits, but next we will explain what happens when the number of digits is changed.

[0028] [Table 2] Table 2 above consists of two tables, one for binary and the other for ternary numbers up to 3 digits, and is shown as Table [2.1] and Table [2.2], respectively. The structure of each table is the same as Table 1, but a new column indicating the "3rd digit" has been added to the rows for each step. In the binary table [2.1], which is displayed with 3 digits, it is possible to represent 7 levels if the 0th level is not included. The number of musical pieces that can be used as sound velocity meters is 1 type for the first digit, 1 type for the second digit, and 1 type for the third digit, totaling 3 types of musical pieces. In the ternary system, a 3-digit representation table [2.2] can represent 26 levels if the 0th level is not included. However, in Table [2.2], including the number 2 in the third digit would make the table too large, so the third digit is limited to only the numbers 0 and 1. Therefore, in Table [2.2], the number of types of songs, etc., required is two types in the first digit, two types in the second digit, and one type in the third digit, and the total number of such songs, etc., is five. If we summarize these results using three digits again, In binary, it is possible to represent seven speed ranges using three types of music, etc. In ternary notation, it is possible to represent 17 speed ranges using five types of music, etc. By using a ternary system and including the number 2 in the third digit, and utilizing six different musical pieces, it becomes possible to represent a 26-step tempo range. Therefore, considering the maximum number of steps in these speed ranges, it can be seen that increasing the number of digits to three significantly increases the number of steps in the speed range, making it very effective for subdividing the speed range. Furthermore, as an example of distinguishing specific musical pieces, as mentioned earlier, the first digit is used to distinguish "time signature and rhythmic sounds," and the second digit is used to distinguish "main melody" in determining the number of overlaps. However, in the table using three digits [2.2], a possible distinction could be made by dividing the sound source of the main melody into two types: instruments and vocals, and limiting "male and female vocals" to the third digit. However, this also creates a new problem of limiting the specific musical pieces that can be used, so it is true that there are limits to further subdivision. To address this, if a further number of stages is desired, it is possible to represent almost double the number of stages by using a ternary system and including the number 3 in the third digit, representing seven different musical pieces. However, this is an unconventional treatment of positional numerals. Nevertheless, it is within the scope of this invention. [Examples]

[0029] Next, we will explain, using Figure 6 which uses a quaternary number system, a method to further reduce the number of required musical pieces and other data by adding tactile information to a sound velocity meter that uses auditory information. Figure 6 shows columns added to the top of Figure 3 indicating whether or not vibrations are output to the left handle vibration unit 18 (hereinafter referred to as the left vibration unit) and the right handle vibration unit 19 (hereinafter referred to as the right vibration unit), which are attached to the handle 17 in Figure 1. In these columns, the left vibration unit 18 and the right vibration unit 19 are simply indicated as left and right. Furthermore, the presence or absence of output from the left vibration 81 and the right vibration 82 is indicated by a series of vertical bars for the left vibration section and a series of horizontal bars for the right vibration section. Here, the left vibrating unit 18 and the right vibrating unit 19 attached to the handle 17 generate vibrations that are the same as or synchronized with the music 41, making it possible to substitute for music 71 and music 72, which are shown in Figure 3 as the second digit of the speed range step number. This substitution of vibrations makes it possible to further reduce the number of types of music required by the sound speedometer. Furthermore, the left vibration unit 18 and the right vibration unit 19 generate vibrations that are the same as or synchronized with the music 41, and are used to substitute for music 71 and music 72, which indicate the second digit of the speed range step number. As a result, the 00 step in the speed range from vehicle speed 0 to vehicle speed S1 becomes silent, and it may be difficult to determine the operation of the sound speedometer. For this reason, Figure 6 shows music 41 to music 43 from Figure 3 moved to a lower speed range by one step, and a new music 44 has been added that starts outputting from vehicle speed S3.

[0030] Next, we will explain the operation shown in Figure 6. The following explanation will largely overlap with the explanation in Figure 3, but first, we will explain the output operation for vehicle speeds S0 to S4, which correspond to speed range stages 00 to 03. From the 00th step in the speed range of Figure 6, the music etc. 41, shown by the solid line, is always output between vehicle speeds S0 and S4. Similarly, from speed range 01 onwards, the music etc. 42, indicated by a long dashed line, is always output between vehicle speeds S1 and S4. From speed range 02 onwards, the music and other elements 43, indicated by the dashed line, are always output between vehicle speeds S2 and S4. From speed range 03 onwards, the music and other content 44, indicated by the dashed line, will be continuously output between vehicle speeds S3 and S4. These outputs, Between vehicle speeds S0 and S1, which correspond to the speed range of 00, music etc. 41 is output inside the vehicle. Between vehicle speeds S1 and S2, which correspond to the 01 speed range, superimposed music 41 and music 42 are output inside the vehicle. Between vehicle speeds S2 and S3, which correspond to the speed range of 02, superimposed music 41, music 42, and music 43 are output inside the vehicle. Between vehicle speeds S3 and S4, which correspond to the 03 speed range, superimposed music 41, 42, 43, and 44 is output inside the vehicle. As vehicle speed increases, the number of overlapping musical elements increases, and the first digit of the base-4 number indicating the speed range can be determined from the number of overlapping musical elements. Of course, as vehicle speed decreases, the number of overlapping musical elements decreases, and the first digit of the base-4 number decreases. Furthermore, between vehicle speeds S0 and S4, there is no output indicating the second digit of the base-4 number, so it can be determined that the second digit of the base-4 number is 0 for speeds from 00 to 03. By interpreting these first and second digits, drivers can understand the number of speed ranges their vehicle is in.

[0031] When the vehicle speed reaches S4, the in-vehicle output of music 41, 42, 43, and 44 is completely interrupted, resulting in silence. At this speed, a carry-over occurs from the first to the second digit in base 4. In Figure 3, this carry-over is shown by the output of a new music 71, while in Figure 6, it is shown by the presence or absence of vibration 81 from the left vibration unit 18 installed on the steering wheel 17.

[0032] In the speed range from vehicle speed S4 to vehicle speed S8, between the 10th and 13th speed levels, the superposition of each musical piece, etc., corresponding to the first digit of the base-4 number indicating each speed level, occurs as before from the 00th to the 03rd speed level. The increase or decrease in the first digit of the speed level number can be determined from the increase or decrease in the number of superimposed musical pieces, etc. In addition to this, the vibration generated by the left vibration unit 18 installed on the handle 17, as already explained, makes it clear that the second digit of the speed range number is 1. This, along with the first digit of the number of steps, is used to determine the step for each speed range.

[0033] When the vehicle speed reaches S8, the in-vehicle outputs of music 51, music 52, music 53, music 54, and vibration 81 are all temporarily interrupted, resulting in silence and no vibration. At this speed, a carry-over occurs again from the first to the second digit in base 4. In Figure 3, this carry-over is shown by the output of a new music 72, while in Figure 6, it is shown by the presence or absence of vibration 82 from the right vibration unit 19 installed on the steering wheel 17.

[0034] In the speed range from vehicle speed S8 to vehicle speed S12, from 20 to 23 steps, The superposition of musical pieces, etc., corresponding to the first digit of the base-4 numbering system for each speed step occurs in the same way as for the speed range from step 00 to step 03. The increase or decrease in the first digit of the speed range number can be determined from the increase or decrease in the number of these superpositions of musical pieces, etc. In addition to these factors, the vibration 82 generated by the right vibration unit 19 installed on the handle 17, as already explained, allows us to determine that the second digit of the speed range step number is 2. The first and second digits of these step numbers allow us to understand the steps within each speed range. Note that Figure 6 omits the illustrations for the 22nd and 23rd speed ranges.

[0035] As described above, outputs of songs, etc., with the same line type (solid line, long dashed line, dotted line, short dashed line) as shown in the figure can be considered the same song, etc., even if they have different numbers. Therefore, the number of types of songs, etc., used in Figure 6 can be limited to four. As a result, the sound speedometer, which uses vibrations transmitted to the steering wheel 17 in Figure 6, can show the driver 12 speed ranges by controlling the output of four types of music, etc., and because there are fewer types of music, etc., it has the effect of making it easier for the driver to judge the number of overlapping pieces of music, etc. that make up the speed range steps. Furthermore, these vibrations can be easily perceived only by the driver holding the steering wheel 17, and not by other passengers. Therefore, measures to prevent the leakage of vehicle speed information to passengers other than the driver are easy, and the confidentiality of vehicle speed information can be maintained at a high level.

[0036] Furthermore, to add a few points, If the vibration shown in Figure 6 is also used for the seat vibration unit 21 shown in Figure 1, it becomes possible to generate vibrations from three locations. There are seven possible combinations of these vibration units: left only, right only, seat only, both left and right, left and seat, right and seat, left and right and seat, and both sides and seat. In addition, there are four separate stages from stage 00 to stage 03 in which no vibration is used. Therefore, the speed range can be expanded to a maximum of 32 levels by using four types of music, etc. Furthermore, it is preferable that the vibrations 81 and 82 used here are the same as or synchronized with the music 51 or music 61 shown as volume levels in the lower part of Figure 6, in order to facilitate the distinction between the various seismic intensities associated with vehicle operation and the vibrations used in this invention. Furthermore, while the explanation so far has focused on the use of the quaternary system for sound velocity meters, it is also possible to use a quinary system or higher by increasing the number of musical pieces used. Conversely, it is also possible to use binary or ternary systems and two types of vibrations, left and right. Furthermore, the musical works and the like in this invention include distinctions based on sound sources and other distinctions between musical works and the like. Moreover, musical works and the like are not necessarily limited to musically rich individual parts, but can also include sounds and voices from radio broadcasts, animals, nature, or machines. [Industrial applicability]

[0037] In addition to the speedometer installed in a normal vehicle, the sound speedometer of this invention, which has vibration generating parts (vibration parts) attached to the steering wheel, seat, etc., that the driver is constantly in contact with, can be installed. This makes it possible to use the output of the sound speedometer to constantly display the speed range corresponding to the vehicle speed, using music or other sounds played inside the vehicle for enjoyment. Furthermore, it can be used as a sound speedometer to constantly inform the driver of the level of speed violation when speeding is being committed. [Explanation of Symbols]

[0038] 1 is the drive unit, 2 is the transmission, 3 is the wheels, 4 is the sign recognition unit, 5 is the speed detection unit, 6 is the GPS detection / processing unit, 7 is the speed setting value input unit, 8 is the energy control unit, 9 is the energy source, 10 is the control unit, 11 is the display unit, 12 is the memory unit, 13 is the signal generation unit, 14 is the D / A converter, 15 is the amplifier unit, 16 is the speaker, 17 is the steering wheel, 18 is the left steering wheel vibration unit, 19 is the right steering wheel vibration unit, 20 is the seat, 21 is the seat vibration unit, 31 to 34, 40 to 44, 51 to 54, 61 and 62, and 71 and 72 are the music etc. output inside the vehicle, and 81 and 82 are the presence or absence of left vibration and right vibration output to the steering wheel, respectively.

Claims

1. In a sound speedometer that divides the vehicle's speed into multiple stepped speed ranges, outputs different sound sources or musical performances corresponding to each speed range into the vehicle, and superimposes and outputs each of the sound sources or musical performances (A) corresponding to each speed range as long as the vehicle does not fall below the minimum speed of each speed range, At the vehicle speed at which the first digit of the positional numeral indicating the number of steps in the aforementioned speed range causes a carry-over, or at or above the vehicle speed at which a carry-over occurs, A sound velocity meter characterized by temporarily interrupting the output of all performances (A) of the aforementioned sound source or musical piece, and then outputting a performance (B) of the aforementioned sound source or musical piece corresponding to the second digit of the positional numeral system, thereby indicating a carry-over of the second digit.

2. In a sound speedometer that divides the vehicle's speed into multiple stepped speed ranges, outputs different sound sources or musical performances corresponding to each speed range into the vehicle, and superimposes and outputs each of the sound sources or musical performances (A) corresponding to each speed range as long as the vehicle does not fall below the minimum speed of each speed range, A sound speedometer characterized in that, at a vehicle speed at which a carry-over occurs in the first digit of the positional numeral system indicating the number of steps in the aforementioned speed range, or at or above the vehicle speed at which a carry-over occurs, the output of all performances (A) of the sound source or music, etc., is temporarily interrupted, and vibrations as tactile information corresponding to the second digit of the positional numeral system are output to indicate a carry-over of the second digit.

3. In a sound speedometer that divides the vehicle's speed into multiple stepped speed ranges, outputs different sound sources or musical performances corresponding to each speed range into the vehicle, and superimposes and outputs each of the sound sources or musical performances (A) corresponding to each speed range as long as the vehicle does not fall below the minimum speed of each speed range, A speed indication method characterized in that, when the first digit of the positional numeral indicating the number of steps in the speed range causes a carry-over, or at or above the speed at which a carry-over occurs, the output of all performances (A) of the sound source or music, etc., is temporarily interrupted, and the output of a performance (B) of the sound source or music, etc., corresponding to the second digit of the positional numeral, or vibration as tactile information, is output to indicate a carry-over of the second digit.

4. In a sound speedometer that divides the vehicle's speed into multiple stepped speed ranges, outputs different sound sources or musical performances corresponding to each speed range into the vehicle, and superimposes and outputs each of the sound sources or musical performances (A) corresponding to each speed range as long as the vehicle does not fall below the minimum speed of each speed range, A sound velocity meter characterized by providing a speed range in which the output of the aforementioned sound source or music is completely replaced by a crossfade.

Images