DE102006041818A1 - Audio signal synchronizing method, involves conducting synchronization of audio signal in accordance to synchronization signals input by user and modifying time period of playback audio signal correspondingly by synchronization signals - Google Patents

Abstract

The method involves conducting a synchronization of an audio signal in accordance to synchronization signals input by a user and/or conducting a rhythmic trouble check. The time period of the playback audio signal is modified correspondingly by the synchronization signals. The assignment of the synchronization signals to relevant reference signals is effected by the time period, where the reference signals are utilized for the determination of correction time intervals and for the time measurement for the synchronization signals depending on the classification of the reference signals. Independent claims are also included for the following: (1) a device for generating synchronization signals for implementing a method for synchronization of an audio signal (2) a sensor for a device for generating synchronization signals (3) a signal generator for generating a breaker signal for generating synchronization signals (4) an arrangement for inputting synchronization signals.

Description

The present invention relates to an apparatus and method improvement of a method comparable to the patent DE 41 43 257 C2 in which, for a general rhythmic operation, for example for reproducing an audio signal, input timing pulses are not timed relative to only a transport clock (MIDI clock, etc.) but are measured in time relation to reference signals which are too characteristic Tonstellen or pauses of the audio signal are encoded and are used for the synchronization in a special way, for example, to ensure when changing the playback speed of the audio signal, therefrom the synchronization of the audio signal with respect to the rhythm. In contrast to a simple synchronization of an independent of the rhythm of the reproduced audio signal transport clock, which only changes the playback speed without taking into account the musical content of a piece of music and not taking into account the phase to the rhythm or music beat.

When for the Synchronization used reference signals are different from a simple tempo synchronization of a transport cycle, the For example, MIDI note signals, or slices (fragments) of an audio signal transports any kind of temporal to the (musical) content to understand related signals to be reproduced Sound signal (here an audio signal synchronized in its playback speed) have a temporal relationship corresponding to the rhythmic content, to get out of a pace change the sound signal (or audio signal) resulting rhythm changes, make it measurable according to the musical content.

As a rhythmic content are here, for example, preferred locations of Tonfolgen- or pauses, or music acts, which correspond to the rhythmic flow of the piece of music to understand, as already in the DE 41 43 257 C2 included in the scope of protection.

The application of DE 41 43 257 C2 in conjunction with the current state of the art means to synchronize an audio signal in its playback speed without changing the pitch, allows for the first time the automated synchronization with constantly changing timing, in which the tempo change not only without reference time frame signals, but the musical Content of the audio signal is carried out accordingly by the synchronization in relation, or assignment to time-marked reference points contained in the audio signal, or reference signals is made.

Thereby it was made possible that e.g. on the Step sensor of a jogger, (in relation to the run, alternately a right (R) and a left (L) leg touches down), the reproduced piece of music even with a three quarter clock after the run of the joggers exactly in Clock can be synchronized, in the special case in which the reference signals (after which is synchronized) accordingly the periodicity set of the piece of music are (for example, a Viennese waltz).

A made according to this principle synchronization, which is a method according to the patent DE 41 43 257 C2 and further used a state of the art method for tempo control of an audio signal storage was, for example, presented as a corresponding device on Monday / Tuesday, 11/12 October 2004 in NDR ("Jogging in 3/4 time"). It is important that the synchronization not only after a simple transport clock of the audio signal, but according to reference signals, which are in a temporal relation to the rhythmic content of the piece of music, here a three-quarter time. A disadvantage for most applications, however, is the type of readjustment when the jogger changes his tempo, resulting in a mostly intolerable for musical ears deviations from the original rhythm of the reproduced piece of music. In addition, there is still a very unpleasant effect, namely, that with a larger change in the jogger tempo (or the input frequency of the sync signals), the tempo of the reproduced audio signal changes linearly. Although this is technically easier to realize, musically sensitive people, but not necessarily in demand. For example, if the user suddenly (at any time starting) enters the double beat (within one measure) of the sync signals, then the tempo of the audio signal should not change at all. Also should be within the clock, for example, a change from simple to double (or half) beat, dito conversely possible when entering the sync signals. As long as this is done correctly in the rhythm, or in time in the musical sense, the tempo of the audio signal should not change. The automatic tempo adjustment, in the musical sense, however, should continue to be correct.

These new synchronization features enable present invention enhancements that facilitate the use of this synchronization as an inventive refinement of the patent DE 41 43 257 C2 still we considerably more universal and practice fairer.

Preview:

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  In vorliegender Anwendung wird nicht nur das Synchronverfahren verbessert, es ist auch möglich durch Wechsel unterschiedlicher Rhythmen (über entsprechende Synchronsignale) unterschiedliche Audio Slices abzurufen, so daß gesteuert durch die sportliche Betätigung, z.B. die verschiedensten Percussions Rhythmen sich ergeben, z.B. bei sanfteren Bewegungen eines Expanders, oder einer Feder zum Krafttraining, bei sanfteren Bewegungen, einfühlsame Rhythmen, bei schnellen, starken Bewegungen, wildes Buschtrommeln. Dabei ist hier ein Schwerpunkt Thema, daß durch den Tempowechsel zwar die unterschiedlichen Audio Slices adressiert werden, jedoch das Tempo dabei nicht unzulässig schneller, bzw. langsamer wird, sondern nur in einem musikalisch ansprechenden Maß variiert, wie es dem Original entsprechend sein soll, und trotzdem die automatische Tempoanpassung, jedoch in musikalischem Sinne, erfolgt.

The new method relating to the patent application is a fuzzy method and, unlike a simple synchronization method, has a musical intelligence (hereinafter also referred to as a Musi Fuzy method). So that we are no longer dependent on a banal assignment between two-step (the jogger) and music clock, but the rhythm of the input sync signals while maintaining musical authenticity constantly change, and yet musically synchronized properly. It can still be decoded rhythmic pattern of the input sync signals while maintaining synchronization (and encoded by a learning process, or recorded by a musician), with the purpose of these different input patterns MP3 slices (audio fragments) retrieve, eg a beginner of an electronic percussion instrument becomes a world class stunner. There is also a mute to enter a first rhythm, which is then played after releasing the mute and can be constantly dubbed, or the drums on pedal pressure to the respective synchronized times can be on and off.

• 
  In the present application, not only the synchronous method is improved, it is also possible by changing different rhythms (via corresponding sync signals) to retrieve different audio slices, so that controlled by the sporting activity, for example, the most varied percussion rhythms arise, for example, during gentler movements of an expander , or a spring for strength training, with gentler movements, sensitive rhythms, with fast, strong movements, wild bush drumming. Here is a focus topic, that although the different audio slices are addressed by the tempo change, but the tempo is not inadmissible faster or slower, but only in a musically appealing measure varies, as it should be the original, and nevertheless the automatic tempo adjustment takes place, but in a musical sense.

• • um zu einer von Konserve wieder gegebenen Begleitmusik zu musizieren;
• • um musikalisches Empfinden zu trainieren (Musikinstrumente, Tanz);
• • um Bewegungen möglichst stetig ablaufen zu lassen (Sport, Krafttraining, etc.);
• • oder um an rhythmischen Bewegungen einfach mehr Spaß zu haben.

First, the task field is to be defined in order to formulate the technical task later after determining the technical requirements. Purpose and requirements can be seen to different specifications:

• • to make music for a conserved music;
• • to train musical perception (musical instruments, dance);
• • to make movements as steady as possible (sports, weight training, etc.);
• • or just to have more fun with rhythmic movements.

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  Ein Hauptanwendungsgebiet vorliegender Erfindung ist die rein musikalische Anwendung, bei der die in ihrem Tempo bei der Wiedergabe synchronisierten Audiodateien, die z.B. im MP3 Format gespeichert sind, sich einerseits dem Tempo des Benutzers, der ein Instrument dazu spielt, automatisch anpassen sollen, andererseits dabei im Tempo so stabil bleiben sollen, daß der das Instrument spielende Benutzer angehalten wird, das Tempo zu halten, wie es dem Rhythmus des Musikstückes entspricht, und, – das rhythmische Muster der Synchronimpulseingabe dabei noch jederzeit, auch innerhalb des musikalischen Taktes, beliebig variiert werden darf, solange dies im Sinne des musikalischen Taktes erfolgt. Dabei umfaßt diese frei platzierbare rhythmische Variationsmöglichkeit nicht nur einfache ganzzahlige Vielfache von Taktschlägen innerhalb eines Musiktaktes, sondern kann sämtliche in der Musik gebräuchlichen Notationen umfassen, wie z.B. Triolen, usw. Diese Eigenschaft der Erfindung kann auch als erweiterte technische Aufgabenstellung aufgefaßt werden.
• 
  Neben dieser rein musikalischen Anwendung, kann als zweites Hauptanwendungsgebiet das Verfahren zum Thema Sport und Musik die Anwendungsvielfalt erhöhen. In diesem Zusammenhang wird in vorliegender Erfindung auf einen sehr universellen Sensor (Verlustmeßsensor) zur Erzeugung der Synchronsignale Bezug genommen, der dem Patent DE 42 40 739 C2 des gleichen Anmelders und zahlreichen weiteren Patentanmeldungen (Verbesserungserfindungen dieses Sensors) entspricht, welche zum Teil bereits geprüft und für Patent fähig angesehen wurden und unmittelbar vor der Erteilung stehen ( DE 100 82 058.1 und DE 10 2004 020 282.6 ; A1230/99, A 9122/2000, A716/ 2004).

• 
  Unterschiedliche Anforderungen:

Thus, the applications can be divided into two main application areas with different requirements for synchronization:

• 
  A main field of application of the present invention is the purely musical application, in which the audio files synchronized in their tempo during playback, eg stored in MP3 format, automatically adapt to the tempo of the user playing an instrument, on the other hand in the Tempo should remain so stable that the user playing the instrument is stopped to keep the tempo, as it corresponds to the rhythm of the piece of music, and - the rhythmic pattern of the sync pulse input may still be varied at any time, even within the musical clock as long as this takes place in the sense of the musical measure. In this case, this freely placeable rhythmic variation possibility not only includes simple integer multiples of beats within a music clock, but can include all common in music notations, such as triplets, etc. This feature of the invention can also be understood as an extended technical task.
• 
  In addition to this purely musical application, the second major field of application of the method on the subject of sports and music can increase the variety of applications. In this connection, in the present invention, reference is made to a very universal sensor (loss measuring sensor) for generating the synchronizing signals, which is the patent DE 42 40 739 C2 of the same applicant and numerous other patent applications (improvement inventions of this sensor), some of which have already been examined and are considered 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:

Für das Thema Sport und Musik soll sich das von der Audiosignal Konserve wiedergegebene Tempo des Audiosignals den sportlichen Bewegungen des Benutzers anpassen, was z.B. so erfolgen soll, daß die Temporegelung, jeweils möglichst Zeit linear zu den in einem Takt, oder auch über mehrere Takte vorgenommen wird, so daß sich zwar die Taktdauer, jedoch nicht die Rhythmik innerhalb der Taktdauer ändert.

For the topic of sports and music, the tempo of the audio signal played back by the audio signal should be adapted to the user's sporting movements, which should be done, for example, so that the Temporegelung, in each case as far as possible linear to the one in a clock, or over several clocks is made, so that although the clock duration, but not the rhythm changes within the clock period.

Für eine musikalische Anwendung zur Synchronisation einer Begleitmusik, die durch die Audiosignal Konserve wieder gegeben wird, soll sich einerseits das Tempo der Begleitmusik, dem Tempo des Benutzers anpassen, jedoch so daß sich der grundlegende musikalische beat nicht ändert. D.h. daß sich die diesem beat entsprechende Taktdauer nur zu definierten der Spietweise des Benutzers entsprechenden Zeiten ändern darf, jedoch keinesfalls von Takt zu Takt. Weiters entspricht es hier der technischen Aufgabe, daß innerhalb des Taktes, bei Schwankungen der Interpretation von rhythmischen punktierten Noten (oder auch umgekehrt von nicht punktierten Noten, dito mit eingebauten Triolen, usw.) diese Schwankungen in der Begleitmusik innerhalb eines Taktes so ausgeglichen wird, daß entweder keine unerwünschten Synkopen zwischen dem synchronisierten Audiosignal der Begleitmusik und dem Echtzeitspiel eines Instrumentes (oder auch Gesanges, etc.) entstehen, oder erwünschte Synkopen, exakt Zeit proportional innerhalb eines Taktes durch die synchronisierte Konserve wiedergegeben sind. Das betrifft sowohl instrumentale Begleitung, als auch Gesang, z.B. sollen bei einem Gesang die Konsonanten des gesungenen Textes exakt zu den zugehörigen Notzenwerten platziert sein, dito die Vokale. Die Zeitänderungen der Dauer können bei konstanter Dauer des Musiktaktes innerhalb der Taktzeit ausgeglichen werden, usw.

For a musical application for the synchronization of an accompanying music, which is given by the audio signal Preserve, on the one hand to adapt the tempo of the accompanying music, the tempo of the user, but so that the basic musical beat does not change. This means that the beat time corresponding to this beat may only change at defined times in accordance with the user's way of playing, but in no case from bar to bar. Furthermore, it corresponds here to the technical task that within the bar, with fluctuations in the interpretation of rhythmic dotted notes (or vice versa of non-dotted notes, ditto with built-in triplets, etc.) these fluctuations in the accompanying music within a bar so balanced, that either no unwanted syncope between the synchronized audio signal of the accompanying music and the real-time performance of an instrument (or vocals, etc.) arise, or desired syncope, exactly time proportional to within a clock by the synchronized preservation are reproduced. This applies to both instrumental accompaniment, as well as singing, for example, in a vocal the consonants of the sung text should be placed exactly to the corresponding notzenwerte, ditto the vowels. The time changes of the duration can be compensated for a constant duration of the music cycle within the cycle time, etc.

The present invention is attached to the DE 41 43 257 C2 and can fully meet these requirements. In this case, a special sensor is still preferred for both areas of application, with which all sync signal requirements for the theme of sports and music can be realized, as well as a sensor can realize carpet with which the sensor signals for musical applications can be easily tapped. In a special refinement, markings printed in a score image correspond as a new symbolism to the knocking in of these sensor signals at the sensitive points (where syncopes are provided, or none may arise).

• • Rein musikalische Anwendungen in Verbindung mit dem Spielen eines Instrumentes, in weiterer Verbindung mit einer neuen sensorischen Multi Funktions Klopfunterlage (Sensor Teppich) zur Eingabe des Rhythmus unter Verwendung des genannten Sensors); Unter Verwendung dieses neuen Sensors DE 42 40 739 C2 (mit DE 100 82 058.1 und DE 10 2004 020 282.6 ; A1230/99, A 912212000, A716/2004) können entsprechend nachfolgender Beschreibung folgende Anwendungen realisiert werden:
• • Nordic Walking Synchronisation des MP3 Players, oder einer Wave Datei, etc.,
• • Skate Rollschuh Synchronisation des MP3 Players, oder einer Wave Datei, etc.,
• • Schlittschuh Synchronisation des MP3 Players, oder einer Wave Datei, etc.,
• • Ski Synchronisation des MP3 Players, oder einer Wave Datei, etc.,
• • Fahrrad (Pedal) Synchronisation des MP3 Players, oder einer Wave Datei, etc.,
• • Expander (zum Krafttraining) Syncr. des MP3 Players, oder einer Wave Datei, etc.,
• • Biegefeder, zum Krafttraining, Syncr. des MP3 Players, oder einer Wave Datei, etc.,
• • Syncr. des MP3 Players, oder einer Wave Datei nach den Körperbewegungen, bei der Ausübung von Sport und Tanz, bzw. choreographisch gestalteter Kunst.

The following applications (as exemplary embodiments) are described below:

• • purely musical applications in connection with the playing of an instrument, in conjunction with a new sensory multi-functional tapping pad (sensor carpet) for entering the rhythm using said sensor); Using this new sensor DE 42 40 739 C2 (With DE 100 82 058.1 and DE 10 2004 020 282.6 ; A1230 / 99, A 912212000, A716 / 2004), the following applications can be realized 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.,
• • skate 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. the MP3 player, or a wave file, etc.,
• • spiral spring, for strength training, Syncr. the MP3 player, or a wave file, etc.,
• • Syncr. of the MP3 player, or a wave file after the body movements, in the exercise of sports and dance, or choreographically designed art.

And, - the gauge according to the above-stated It's patents finally possible:

• • sex Synchronization of the MP3 player, or a Wave file, etc., in particular for after running the act Movements controlled retrieval of itself in synchronized rhythm composing MP3 slices, with the slices depending on Tempo of the scanned movements, not only synchronized to the rhythm but through change of the rhythm also be selected according to their musical content can. In principle, similar demands are placed on the synchronization, like playing an electronic percussion instrument. In order to Through this invention of mankind completely new ways of designing interpersonal relationships, e.g. through the movements at the act of conducting an entire orchestra. The application area Sex is the end of the Description under the chapter "So musically is Germany "described.

It is possible in all applications, comparable to a dance, to enter the sync signals at different tempos, or constantly vary, for example, twice as many, or even half as many as it would correspond to the current beat. As long as the user basically stays in the musical heartbeat, the tempo of the audio signal does not change. If the user deviates from the musical measure, then the tempo of the reproduction of the audio signal becomes corresponding tightened. Whereby, depending on the application, the tightening can also be masked, eg to get the beat of the musical measure, so that also the areas are marked, over which a correction should be made.

Furthermore is it possible over one Key input with which the user can also make larger tempo changes (faster, slower) while the exercise of sport, the tempi to the individual wishes of the Customize user.

By the variety of applications, the process is particularly suitable to integrate a corresponding MP3 player into a mobile phone, from which then the MP3 files can be downloaded down, before also the slices that are over the extra possibility the rhythm variation can be retrieved on input to make the playback.

With the bicycle (crank) synchronization can e.g. be professionally learned the "round kick". Ditto, the ski synchronization is also good for the rhythm to train at slalom, etc.

• 
  Eine weitere Besonderheit ist, daß ein (gegebenenfalls auch abschaltbarer) Modus vorgesehen ist, in welchem die Synchronsiationsimpulse in ihrer Frequenz undloder Phase beliebig variiert werden können, und solange diese Variation im Sinne des Rhythmus des wiedergegebenen Musikstückes erfolgt, dadurch keinerlei Beeinträchtigung der Wiedergabegeschwindigkeit vorgenommen ist. Sondern nur dann, wenn sich das auf den musikalischen Rhythmus bezogene Tempo der Synchronsignale ändert, sich auch das Tempo der Wiedergabe des Audiosignals entsprechend mit ändert. Wir erhalten somit eine Art musikalische Intelligenz der Synchronisation, die hier mit Musi-Fuzzy bezeichnet werden soll, weil sie einem unscharfen Allgorithmus (einem Fuzzy) entspricht, bei dem die Eingabefrequenz der Synchronisationsimpulse nicht nur nach einem primitiven Muster das Tempo der Audiosignalwiedergabe regelt, sondern bei dieser Regelung vor allem die musikalischen Aspekte berücksichtigt sind.

Technical Aufaabenstellung present invention is that in the patent DE 41 43 257 C2 (The same applicant) specified method to improve so that the time course of the synchronization of an audio signal according to different applications according to ideally can be adjusted accordingly. This problem was solved by the information in claim 1, and still with numerous training options according to the specified subclaims.

• 
  Another special feature is that a (possibly also switchable) mode is provided in which the Synchronsiationsimpulse in their frequency andlor phase can be varied as desired, and as long as this variation in terms of the rhythm of the reproduced piece of music, thereby no impairment of the playback speed is made , But only if the tempo of the synchronizing signals, which is related to the musical rhythm, changes, the tempo of the reproduction of the audio signal also changes accordingly. We thus get a kind of musical intelligence of synchronization, which is here to be called Musi-Fuzzy, because it corresponds to a fuzzy algorithm (a fuzzy), in which the input frequency of the synchronization pulses not only after a primitive pattern, the tempo of the audio signal playback regulated, but In this regulation above all the musical aspects are considered.

For example, for applications on the subject of sports and music, such as jogging, Nordic walking, skiing, skate driving, or cycling, etc., the music is supposed to be in sync with the movement of the athlete, but only within one The tempo varies within which it is musically acceptable is. This is also comparable to a dance in which the exact same music (without tempo variation) in different tempos with different ones Figures (also rhythmically dotted note duration, etc.) are danced can. Will the pace be marginal? changed, then the dance can be a little bit too be changed in tempo. If the tempo is changed seriously, then the dance can be done twice or half as fast or a 12/8 bar also as 3/4 or 2/4 bar, (same also vice versa) be danced. The same applies to the tempo synchronization an accompanying music, suitable for the body movements of a sporty Activity.

Different behave It turns on purely musical applications when the user would like to make music for a conserved music. there It should be noted that the beat (the basic measure) should generally be kept sharp, however, within this basic tact, the user at the real time Play of an instrument (or song, etc.), accompanied by accompanying music andlor vocals are played as a synchronized audio signal should, an improvisation margin be left (itself if necessary also over can extend several musical bars).

In this case, the synchronization of the reproduced as an audio signal accompanying music should be such that syncope contained in it in relation to the real-time game of the user time are reproduced proportionally correct, even if the user with the timing should be something wrong. The same applies to the exact synchronization of a song with the other aspects, to meet the requirements of a proper vowel synchronization. In this case, the beat (the basic clock), however, should not be affected by the synchronization, unless that the user expressly wishes to pull the clock, even that is possible without the user therefore cumbersome keys to switch the synchronization to press would have (see multifunction sensor carpet to 26 and 27 All these requirements are fulfilled by the solution of the technical problem.

Moreover, the invention, as an extension option for synchronization, still allows the generation of recognition patterns by the input sync signals, thereby still adding audio Address slices (fragments) and render them in a combined mode both triggered and synchronized.

Furthermore, are still suggestions made to match the reproduced piece of music by learning methods Ryhthmus pattern to record, after which the reference signals automatically be set correctly in the course of time of the audio signal, this being Reference signals for it authoritative are to make a distinction whether the reproduction of the audio signal by the respective current time pattern of the sync signals in their Speed changed should or should not be.

First an example (on the subject of sports and music), where the times t * in the brackets correspond to the synchronization-corrected tempo at time intervals:

The upper line shows the three-quarter time clock; in the lower the run of the jogger, where L ... corresponds to the sync signal generated with the left leg (respectively via the shoe's kick sensor), ditto R ... the sync signal generated with the right leg (respectively via the shoe's kick sensor) equivalent. Although the temporal deviation is constantly measured by the synchronizing signals, the correction takes place in each case only in the time intervals expressly determined by correspondingly coded reference signals. Here, between the 1 (start) and the 3 (end) of the three-quarter clock. Whereby the previously determined time deviation between 1 and 3 is corrected in a time-proportional manner (ie corresponding to the periodicity), ie the time deviation is measured and compensated in relation to the reference signals, as shown in FIG DE 41 43 257 C2 already indicated. Where t1, t2, t3, t4, t5 respectively correspond to the proportionality factors with which the note values (corresponding to their time duration, respectively in the periods between 1 and 3) are changed to obtain the desired adaptation of the timing to the user.

Measured is here for example the time span over the duration L, R, L to subsequently over the 1 ... 3 the proportional Time correction. It is also still to R L R (while the reproduction of the corrected periodicity) the deviation from the synchronizing signals measured to below about to correct the sequence 1 ... 3 again, etc.

If the runner his pace changes only insignificantly, then the proportionality factors become (t1, t2, t3, t4, ...) according to the measured change just the tempo change (according to the synchronizing signals) adjusted.

For example, if the runner changes his pace significantly, for example, running twice as fast, then the described synchronization of the emotional sensation for a waltz would be too fast, which of course can be done if so desired. In a further development of the present invention, however, a corresponding fuzzy mode is provided in which the input sync pulses, for example, twice as fast, and yet the pace of the waltz does not change, the jogger can then still run in the rhythm of the waltz:

That measured here is e.g. the time span over the duration L, R, L, R, L, R to below about sequence 1 ... 3, the proportional time correction. there is also still L, R, L, R, L, R (during the playback of the corrected Periodicity)) measured the deviation from the synchronizing signals to be subsequently transmitted over the Episode 1 ... 3 .. correct, etc. By the automatic, on the Time grid of the reference signals quantization, is the twice the frequency of the sync signals in the correct time units therefore, if necessary, correct correction of the duration a clock is made respectively.

Another possibility, which is related to the fact that a 3/4 clock can be understood as 12/8 clock, would be a slower sync signal input, as it could, for example, quite well, if instead of the Jogging application, the Viennese waltz suitable for pedaling a bicycle crank is to be reproduced, or to sequences of turns of a skier, as will be described later on the proposed devices. In the case of the bicycle crank then, for example, a 180 ° scan is sufficient, with respect to a specific (also adjustable zero point) in each case after 180 ° a Synchronim pulse (R = 0 °, or L = 180 °) is generated.

The additional fourth line illustrates the further possibility of a half as slow Synchronization signal generation.

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

at the half as slow input will occur over each successive bars measured L ... R, however, is corrected between the reference signals 1 ... 3.

One another example would be e.g. a 12/8 bar, which can be used as 6/4 or (for the timing only) a 3/4 measure (2 * 3 = 6) or a 6/4 or (for the timing only) can correspond to a 2/2 (3 * 2 = 5) measure.

Consequently in this special training mode, the tempo of playback by the number of synchronizing pulses arriving within a musical cycle (Frequency) is essentially not affected by their deviation from the reference signals (i.e. the phase) but already. That with constant change (faster, slower) the synchronizing pulses retracts the control, in the event of an abrupt change, where the number of sync pulses within a music clock changes suitably (e.g., doubled or halved, etc.), but not, or only slightly the deviation of the phase. This is e.g. important when skiing because if the skier suddenly twice as many turns or only half as much, the tempo of the audio signal being played back do not change drastically should, but only the musical feeling (which by the Use of the reference signals corresponding to the rhythm of the audio signal guaranteed will) adapt to the body movement of the athlete. The same is true when cycling, when the cyclist suddenly twice as fast third or half as fast, or a two quarter-cycle third, suitable for a 12/8 measure of a piece of music, whereby he also a 3/4 Clock could suit this etc.

That the present synchronization has a mode with the property that about one steady frequency change of the sync signals (e.g., change the tempo of a jogger), the tempo of the audio signal playback over long Automatically adapts areas. For spontaneous changes, e.g. double or half frequency of the sync signals, however, not if this spontaneous change due to the musical rhythm, which is done by the reference signal coding is recognized.

When Training is still provided an initialization, in which, if as the initial condition for the Synchronization still no defined playback tempo of the audio signal is recognized, the time period (s) of incoming sync signals to a certain beat specification (e.g., 1/4) is measured to the time values between the sync signals, respectively measure and thus the tempo of the audio signal at the start of playback the playback, e.g. after a certain number such beats each starts (is triggered).

there is then within a range in which a change the playback speed of the audio signal is allowed, the Playback speed adjusted so that e.g. integer multiples or plate ratios Accordingly, the sync signals in the time frame of the reference signals fit into it. This then sets the pace at which the Audio signal playback begins, or to which the audio signal reproduction adjusts if over a timeout no sync signals were entered. The quantization the intervals the sync signals in relation to the note values of the audio signal, is then also by the current duration of by Reference signals marked periods, e.g. about the respective duration of the music cycle, or if applicable, between further, reference signals provided within the music clock.

Should be set as an option, nor a significant spontaneous tempo change by controls on the playback device (audio recorder), then in training is still the preferred measure seen to make this tempo change with a special remote control function (eg, via blue tooth), which has two buttons: Faster / Slower, and which are arranged in addition to the presence on the device, the remote control input (remote control) supplied keys in that the athlete can operate them during the production of the synchronizing pulses, for example on a mount fixed to the handlebars of a bicycle (fastened, for example, the gear lever of a gearshift) on which the buttons are provided, or as buttons provided at the top of the handle of the ski sticks ( one for each ski pole, which can be pressed with the thumb), for a ski pole press the button to accelerate the tempo by one step and on the other floor to reduce the button press by one step. These two buttons could also be provided, for example, in the gearshift housing of the gearshift of a bicycle, wherein the connections are then led to a small, further attached to the bike housing, which also the sensor signals of the sensors ( 200 . 201 in 15 ) are supplied, and in which the blue tooth interface to the player, for example, to an MP3 phone, is provided. In a further development, in the case when the mobile phone rings, the ringtone can be faded in with the audio signal, and an acoustic announcement can be made, which says who the caller is. If the participant tells the athlete (skier, cyclist, or skater, etc.), then he presses both keys simultaneously, and the caller receives an announcement that he should be patient (eg, until the skier can swing off, or the cyclist can stand still, etc.). Announcing who the caller is, the phone owner speaks when creating in his phone directory as a compressed audio signal. Similarly, the recorded by an external microphone ambient noise can be installed in the playback of the MP3 player, but only at a certain level threshold, these sounds are turned on and added up.

For the application of a jogger or skate skate driver, it is useful to integrate the electronics of the tempo change button on the outside of a glove while placing the button function on the inside of the hand. To 18a An example of such a glove will be described later. It then suffices to make a fist to press the status key. In this case, the loss measuring sensor described below (compare also references above) can be used with which even high-impedance losses can be measured inductively in order to generate the status signal of the key function (fist or not fist). The glove can also leave the fingers free, ie protect only the palm and the palm of the hand (cf 18a ).

The special about the preferred input function, is the input the tempo. As previously discussed, should the pace (apart from the necessary phase control with the associated automatic adjustment the tempo) largely independent from the number of sync pulses each attributable to a music beat be if these are entered to match the music act, where with changing Number of sync signals, by measuring the time periods of successive ones Synchronous signals and their summation (in relation to the time units the reference signals) the speed control is made. The time units The reference signals correspond to the current tempo.

At the To press a key ("faster" or "slower") becomes the time scale of the Reference signals for the assignment of the accumulated time values of the synchronous signals, the desired tempo change the audio signal switched accordingly, in such a way that the audio signal in the synchronization range (between reference signals and sync signals) remains, or with a corresponding change in the switching likewise the tempo of the audio signal reproduction is readjusted. Switching the Time values are then each in relative numbers, as they are the musical Correspond to reproduction, e.g. twice as fast, or half as fast. Furthermore, the switchover then takes place at times that are due to special Reference signals are marked accordingly.

Note: The term music clock, or clock, depends on the set Reference signals, which respectively mark that period of time, within which the temporal balance respectively in the before or also current measured deviation proportional time steps takes place (see. above t1 ... t4). This may optionally be e.g. also in the middle of the be musical beat when playing longer note values whose period of time is then proportionally shortened or extended should be. This means, specially marked reference signals respectively) set the time span firmly, over the time compensation of the synchronization takes place. These reference signals have to not be highlighted, it is enough if you the user through his musical sense in the reproduced Can perceive audio signal.

• 
  Eine wesentliche Verbesserung des oben angegebenen Verfahrens wird erreicht, daß als besonders bevorzugte Maßnahme dieser Verbesserungserfindung, in Anpassung an dem Rhythmus des betreffenden Musikstückes, bzw. Audiosignals, unterschiedlich bewertete Bezugssignale vorgesehen sind, nämlich a) solche die nur für die Messung der Zeitabweichung, jedoch nicht für die Nachstellung der Zeitabweichung verwendet sind, und b) und solche, welche die Zeitspanne (Korrekturzeitspanne) der jeweils zu den Synchronsignalen erfolgenden Zeit proportionalen Korrektur (bzw. die Nachstellung) der Phase bzw. Frequenz des rhythmisch ablaufenden Vorganges festlegen, c) und gegebenenfalls (als Option) noch solche, die vorgesehen sind, um zur Zeit proportionalen Korrektur (Nachstellung), welche den Synchronsignalen entsprechen, noch eine gesondert synchronisierte Tempovorgabe über manuelle Bedienung in entsprechend größeren Zeitverhältnissen zu ermöglichen.

Furthermore, various modes may be provided, for example one in which the tempo synchronization is also carried out according to the frequency of the synchronizing signals corresponding to the reference signals, in which case twice the frequency of the synchronizing signals, the double playback speed of the audio signal results, and dropouts of the synchronizing pulses can also be detected (without change the playback speed of the audio signal).

• 
  A significant improvement of the above-mentioned method is achieved that are provided as a particularly preferred measure of this improvement invention, in adaptation to the rhythm of the piece of music or audio signal, differently valued reference signals, namely a) those only for the measurement of the time deviation, however are not used for the adjustment of the time deviation, and b) and those which determine the period of time (correction period) of each occurring to the synchronous signals time proportional correction (or adjustment) of the phase or frequency of the rhythmic process running, c) and optionally (as an option) still those which are provided in order to allow at the time proportional correction (adjustment), which correspond to the synchronizing signals, nor a separately synchronized Tempo specification via manual operation in correspondingly larger time ratios.

• 
  Kodierung der Bezugssignale im Audiosignal: Um das Timing zu vereinfachen, können die zeitlichen Meßpunkte der im Audiosignal enthaltenen Bezugssignale, neben der Kodierungsmöglichkeit über die Zeitbasis (zur Adressierung des Audiosignals über die Zeitachse), auch durch im Audiosignal zwar enthaltene, jedoch außerhalb des Hörbereiches liegende (oder ausgefilterte) Frequenzen kodiert sein (auch Kodierung serieller Zeichen, usw.), in etwa vergleichbar mit dem Stereo Übertragungsverfahren für den Rundfunk).

The time intervals (correction periods) defined by reference signals (b), which respectively define the correction proportional to the synchronizing signals, may also be subdivided further, in the same way as the ones mentioned under (a) may not be present. How the hierarchical gradation of the reference signals is made depends on the exact application. It may for example be made so that sync signals which are detected to reference signals that affect the individual beats (eg, 1, 2, 3, 1, 2, 3, ...) within a clock, from beat to beat only can cause a maximum change that can be set by a parameter (a parameter associated with the relevant reference signals), eg to 5%, etc., whereby the determined remaining time deviation then only compensates over the period of a full music cycle (time linear over this period of time) becomes.

• 
  Coding of the reference signals in the audio signal: In order to simplify the timing, the time measuring points of the reference signals contained in the audio signal, in addition to the possibility of coding over the time base (for addressing the audio signal on the time axis), but also in the audio signal contained, but lying outside the audible range (or filtered out) frequencies (also coding of serial characters, etc.), roughly comparable to the stereo transmission method for broadcasting).

there can also both coding methods (about the time base) and immediately above the audio signal are coupled together, then all Places to which an audio signal jumped during playback (according to the addressing of slices, etc.), about that Timing of the time base (each with a sufficiently wide address space to each address) and from these addresses (as an offset), which in the audio signal directly as inaudible frequency markers set time stamps, only as counts for the Incrementing (in relation to this offset) are used to create a highest possible resolution to obtain. The addresses to be incremented then supply the addresses to a table (reference table), in which the associated data the reference signals (according to the respective definition of their Meaning of the synchronization) are read out. The reference signals themselves are transmitted to the user only by the rhythm of the audio signal, the described measure relates only to the temporal coding as a measuring point for the preferred measurement of for the Temporal control in each case to be compensated time deviation.

With reference to 23a . 23b , and 24 the fundamental synchronization to different deviations and over several bars should be discussed. The music acts to be synchronized here correspond here to the reference signals B12, B13, B14 ... B17, etc., these outlined symbols corresponding to the non-synchronized state, ie reproduced with fixed tempo, and those with the suffix N (B * N) correspond to the time-shifted according to the synchronization.

The reference signals present within the music acts, which due to space limitations only between B12 and B13 are denoted by the symbols a, b, c, d, affect the synchronization time frame after which the incoming Sync signals are assigned and are shown on the timeline 1.

• 
  Dadurch, daß für die Messung der Zeitabweichung sowie für die Nachstellung der Zeitabweichung, durch Bezugssignale (B*, a, b, c, d,) Zeitbereiche festgelegt werden, die in Bezug auf die Linearität des Zeitmaßstabes entweder keine nicht lineare Nachstellung (z.B. innerhalb eines Musiktaktes) zulassen, oder nur eine begrenzte Abweichung von der Linearität des Zeitmaßstabes zulassen, dito für die Nachstellung der Zeitabweichung weitere Bezugssignale (B12, B13, B14... B17) vorhanden sind und Bereiche markieren, in denen auch eine größere Abweichung (z.B. innerhalb eines Musiktaktes) linear ausgeglichen werden kann, kann die Nachstellung des Tempos zur Korrektur der gemessenen Abweichung insgesamt so erfolgen, daß sie musikalisch verträglich klingt.
• 
  Dabei hängt es von der Anwendung ab, wie die Bezugssignale B12, B13, B14...B17 zur Festlegung der Korrekturzeitspannen in Bezug zum Musiktakt zeitlich platziert werden, dito ob und wie weiteren Bezugssignale innerhalb des Musiktaktes (B*, a, b, c, d,) vorgesehen und verwendet sind. Dabei können diese weiteren Bezugssignale (je nach Anwendung) gegebenenfalls auch entfallen, und z.B. durch die Bezugssignale B12, B13, B14... B17 die Korrekturzeitintervalle auch zu Taktschlägen innerhalb des Musiktaktes festlegen, wobei sie zu benachbarten Musiktakten jeweils übergreifend definiert sind.

Thus, by the coding information of the reference signals B12, B13, B14 ... B17, (which here in each case correspond to the beginning of the musical clock, and in the simplest case also after a time scale corresponding to the musical clock, the period of time to each Determining the phase or frequency of the rhythmically proceeding process proportional to the synchronizing signals proportional time (time) - whereby the reference signals a, b, c, d, ... which are time coded within a clock, in the simplest case also a time grid Depending on the application (eg in connection with a sports equipment), either only for the measurement of the time deviation, but not used for the adjustment of the time deviation, or the relative time change in Reference is made to the previously measured time period of corresponding reference signal pairs (a, b, c, d), only up to a certain limit value is allowed (eg when playing the accompaniment of a musical instrument).

• 
  Characterized in that for the measurement of the time deviation as well as for the adjustment of the time deviation, by reference signals (B *, a, b, c, d), time ranges are defined, which in terms of the linearity of the time scale either no non-linear adjustment (eg within a music clock), or permit only a limited deviation from the linearity of the time scale, dito for the adjustment of the time deviation further reference signals (B12, B13, B14 ... B17) are present and mark areas in which a larger deviation (eg within a musical clock) can be compensated linearly, the adjustment of the tempo for correcting the measured deviation can be done altogether so that it sounds musically sound.
• 
  It depends on the application how the reference signals B12, B13, B14... B17 are timed to determine the correction periods with respect to the music clock, ditto whether and how other reference signals within the music clock (B *, a, b, c , d,) are provided and used. These additional reference signals (depending on the application) may also be omitted, and for example by the reference signals B12, B13, B14 ... B17 set the correction time intervals to beats within the music clock, where they are defined to neighboring music files overarching.

different Examples for the explained Jogger application, for example, is a reference signal to each music clock provided for determining the correction periods. In the bicycle application, where the cyclist should also learn the round kick, depending on the type of music, e.g. only every second or third bar, etc., have a reference signal for determining the correction period. On the other hand is for the application of the synchronization of an accompanying music (as reproduced Audio signal) to a live musical instrument, or also to a live sung song, a much more complex pattern correction periods (those with different parameters as well temporally nested within one another).

Farther can for Special applications to a reference signal, nor a multi-pitch coding be provided to a successive change in the time period Synchronizing pulses, e.g. only every third bar (music beat) the Allow for the introduction of a correction period, with slightly larger calibrations, only at every second bar, and in case of big deviations, to every one Clock. The same can be done to correct the times too Music reference provided reference signals (see B *, a, b, c, d,).

• 
  Um dieses Beispiel allgemein anzuwenden, ist bei dieser Variante die Steuerung der Verwendung der Bezugssignale durch unterschiedliche Prioritäten unterschiedlicher Synchronsingalquellen vorgenommen. Was z.B. auch bei einem elektronischen Schlagzeug zur Anwendung gelangen kann, indem mit der einen Hand die eingeklopften Synchronsingale ausschließlich jenen Bezugssignalen zugeordnet werden, die das Zeitintervall eines Musiktaktes betreffen, während die mit der anderen Hand eingeklopften Synchronsingale, den innerhalb eines Musiktaktes verwendeten Bezugssignalen entsprechen; – mit den unterschiedlichen Gestaltungsmöglichkeiten für eine Zeitprüfung oder Statusprüfung (zu dem die Synchronsingale jeweils eingegeben worden sind).

In other words, deviating from the currently measured time deviation, the number of music acts is fixed over which the tempo must not change. It is useful for the example of the bicycle crank, the beginning, from when the tempo may change to what tact, still synchronous to this clock division corresponding angle division, or set angular position of the crank (the pedal crank) of the bicycle. Thus, on the one hand the music playback to the round kick (in each case over one or more revolutions of the crank) enticed, on the other hand adapts the tempo of the audio signal to the changing pace of the crank turn. By this method, especially the round kick can be learned while accelerating, which, above all, costs less reserves, and ensures the cyclist a longer endurance, even when sprinting.

• 
  To generally apply this example, in this variant, the control of the use of the reference signals is made by different priorities of different sync sound sources. What can also be used for example in an electronic drums by one hand with the tapped Synchronsingale exclusively those reference signals are related to the time interval of a musical act, while the tapped with the other hand Synchronsingale, the reference signals used within a music clock correspond; - with the different design options for a time check or status check (for which the sync sounds have been entered in each case).

• Zeitlinie 1... betreffen die Bezugssignale;
• Zeitlinie 2... betreffen die Synchronsiggale;
• Zeitlinie 3... betreffen die Zeiten, wie sie jeweils beginnend zu den jeweils erhaltenen Synchronisationszeitpunkten B*N ablaufen, und den Zeitspannen zu dem jeweils vorherigen Synchronisationsimpuls entsprechen (vgl. nachfolgende Erläuterung).

In addition to these options, the musical aspect of synchronization is taken into account in further development in that the beginning of the synchronization (correction) is only allowed if the tempo deviation of the musical measure is not too great. This measure will become attached below 24 explained in more detail. First of all 23a , and 23b be explained in more detail.

• Timeline 1 ... relate to the reference signals;
• Timeline 2 ... affect the synchronization siggale;
• Timeline 3... Relate to the times in which they respectively begin beginning at the synchronization times B * N obtained in each case and correspond to the time intervals for the respectively preceding synchronization pulse (see following explanation).

• Case1 (Fall1): Entsprechend einem vereinfachten Modus sind nur die Synchronsignale (S12... S17... usw.) eingegeben, die unmittelbar den Taktschlägen des Taktbeginns, somit den Bezugssignalen B12, B13, B14... B17... usw., entsprechen, welche die Korrekturzeitspannen festlegen,
• Case2 (Fall2): Es sind weiterhin zwischen den Synchronsignalen (S12... S17... usw.) liegende Synchronsignale eingegeben, die den weiterhin vorgesehenen Bezugssignalen a, b, c, d,... entsprechen, zu denen jeweils die Zeitabweichung gemessen wird, jedoch entweder keine Nachstellung der Zeitabweichung erfolgt oder nur eine begrenzte Nachstellung. a, b, c, d,... entsprechen z.B. Bezugssignalen, die Taktschlägen innerhalb eines Taktes zugeordnet sind, wobei diese Taktschläge nicht regelmäßig eingegeben werden müssen, sondern auch zu beliebigen Stellen ausgelassen werden können, bzw. punktierten Noten entsprechen können, bzw. durch weitere rhythmisch passende Taktschläge ergänzt werden können zu denen dann überhaupt keine Bezugssignale vorgesehen sind.

B12, B13, B14 ... B17 correspond here in each case to one clock start of the music clock; a, b, c, d, ... correspond here (not directly audible!) beats, or their times within a clock.

• Case1: According to a simplified mode, only the sync signals (S12... S17..., Etc.) are input immediately following the beats of the beginning of the clock, thus the reference signals B12, B13, B14... B17 ., which define the correction periods,
• Case2 (Case 2): There are further input between the sync signals (S12 ... S17 ... etc.) synchronous signals that correspond to the further provided reference signals a, b, c, d, ..., to each of which the time deviation is measured, but either no adjustment of the time deviation takes place or only a limited adjustment. For example, a, b, c, d, ... correspond to reference signals that are assigned to beats within a measure, these beats do not have to be entered regularly, but can also be omitted at random points, or may correspond to dotted notes, or can be supplemented by further rhythmically appropriate beats to which then no reference signals are provided.

That is, in this case, the sync signals (S12 ... S17 ... etc.) immediately corresponding to one clock start each, thus corresponding to the reference signals B12, B13, B14 ... B17 ..., etc., must be extracted from the pattern the sync signals, cf. also (burst in 13a . 13b ) are separated to the in 23a 23b , and 24 To obtain synchronization patterns shown. How this separation takes place depends primarily on the application, and for example by temporal proximity measurement of the input synchronizing signals in relation to the reference signals made, or by a separate input of the music clock synchronous signals (S12 ... S17 ... etc each belonging to the reference signals B12, B13, B14 ... B17 ... etc.), for example, the separation can be done by right and left hand when the application is an electronic drums, or on the intensity of the input, where then this intensity is not absolute, but relative to the other (temporally adjacent input sync signals) takes place. A separate input is also present when the sync signals on the crank position of the pedals of a bicycle and by further scanning the toothed wheel ( 301 ), as follows 15 will be described. The separation of the sync signals (S12... S17..., Etc., respectively, associated with the music beat, respectively belonging to the reference signals B12, B13, B14... B17... Etc.) can also be effected by reference to the status by the synchronization is currently in progress and controlled externally via a note progression program of a program, or a MIDI instrument played live to synchronized background music (beginning detection of a new set of a piece of music, etc.).

Example:

Around in Case2, the sync signals, immediately at the beginning of each measure correspond (S12 ... S17 ... etc) to filter out the sync signals as over the bar length bundled Pulse bursts are understood, e.g. five beats (take five) within a clock (1, 2, 3, 4, 5) are entered (corresponds here B *, a, b, c, d). It is assumed that those beats, or Synchronizing pulses, each occurring at the beginning of the clock, for the initiation a synchronization (i.e., a tempo change of the audio signal) when these beats, or sync pulses in sufficient time proximity to a reference signal, which the beginning of a correction period marked, can be entered here are these the possible ones Reference signals (B12, B13, B14 ... B17 ... etc.). Actually However, in this example, the synchronous signal S12, which within a certain tolerance to the reference signal B12 arrives, or arrive must, with it it is recognized as a synchronization initiating signal (here labeled START). See also the alternatives given later a start triggered by a synchronous signal, with the option while the mute of an instrument, sync pulses over the Game of the instrument to enter.

Practically is called this, that to Initiation of a synchronization, the user the rhythm, so how he feels him (comparable to a dancer) listens, or if necessary after playing a score, and matching the beginning of that beat (B *) correctly, which corresponds to the reference signal, which is a the sync signal associated Initiate correction period. The user can also do this begin with a beat within one bar, e.g. with b, from the sequence B *, a, b, c, d, but only the proximity to B * for the Initialization of the synchronization (START) is evaluated, and uses if the sync pulse is close enough to the respective reference signal B * is.

• 
  Dabei ist für die Temporegelung des Audiosignals ein relativer Zeitbereich Tvar[%] festgelegt, innerhalb dem die Zeitspannen zwischen entsprechend definierten Bezugssignalen, z.B. jene die den Takt betreffen, geregelt werden können, – hier B12, B13, B14... B17... usw.,. D.h. um welchen Faktor sich die Wiedergabe der Geschwindigkeit durch die Synchronisation ändern können soll. Dieser Faktor kann z.B. durch die bereits erläuterte Tasteneingabe verändert werden, um größere Tempovariationen zu ermöglichen. Dies hat jedoch nichts mit der nachfolgend noch erläuterten Erweiterungsoption zu tun, bei der eine Zeitveränderung der Bezugssignale (B*, a, b, c, d,) der Taktschläge innerhalb eines Musiktaktes (vgl. zwischen S12 und S13) nur jeweils nur begrenzt zugelassen wird, um den innerhalb eines Taktes ablaufenden Rhythmus nicht zu verändern.

If this is the case, as shown here for the sake of clarity, the synchronization signal S12 arrives at the exact time B12 (of a start of the clock) (within a time window specified at B12, S12 incoming synchronization signal is evaluated), then the synchronization is initiated (START), which has the consequence that the period from S12 to the next synchronization pulse, here S13, is measured.

• 
  In this case, a relative time range Tvar [%] is defined for the temporal control of the audio signal, within which the time periods between correspondingly defined reference signals, eg those relating to the clock, can be regulated - here B12, B13, B14 ... B17 ... etc.,. That is, by what factor the playback of the speed by the synchronization should be able to change. This factor can be changed, for example, by the previously described key input to allow for greater tempo variations. However, this has nothing to do with the extension option explained below, in which a time change of the reference signals (B *, a, b, c, d) of the beats within a music clock (compare between S12 and S13) is only permitted in each case only to a limited extent is not to change the rhythm running within a bar.

Meets a synchronization pulse within a time window of (for Detection of a correction time interval) coded reference signals on (see S12), then the time period becomes the subsequent synchronization pulse, checked here S13 within the specified time range Tvar (here for the time intervals between B12-B13, B13-B14, B14-B15 ... etc.) arrives. If this is the case then it will the time interval used here t12 (for synchronization) is this is not the case, then the synchronization pulse as corresponding beats evaluated, as he the current time grid accordingly (that would be here e.g. the respective time periods B13 to B14N, B14N to B15N, etc.) is closest to a reference signal (B *, a, b, c, d, ... etc.) and for the measurement of the deviation used, which will be discussed later.

In 23a and 23b arrives at S13 in the allowable range (Tvar <t12 <Tvar for the validity of S13) as a valid recognized synchronization pulse with time t12 to be used for the measurement of the synchronization period with which the tempo reproduction is to be synchronized. This takes place in such a way that the time value t12 previously measured between S12 and S13, ie the time interval t12 measured at a current (recognized as valid) synchronization pulse S13 with the synchronization pulse S13 at the time of arrival of the current (ie validly recognized) synchronization pulse S13 Start, is set as a correction value, wherein for a time value corresponding to the lapse of t12, it is checked whether at this time (B14N), which has elapsed from the reference signal B13, which is the current (recognized as valid) synchronization pulse S13 Time span t13N, a time value corresponding to the specified time tolerance Tvar immediately, or via another mathematical relationship (factor, etc.) still correspond. If the value corresponds to t13N, then it is set as a new reference point associated with the next reference signal B14, which shifts to the time B14N. If the reference signals, each marking a correction period, for example, as a music clock set, then the current cycle length of duration t13N, with B13 ais beginning of the clock and B14N at the end of the bar (or the beginning of the clock of the next bar). The same process then repeats for the next synchronization pulse S14, t13, respectively, the time period of t13 then beginning at the current time of the subsequent reference signal B14N (originally corresponds to B14, but whose time is shifted due to the increase in the playback speed) and ends at B15N , which, however, only temporally offset (synchronized) when the above test, here from t13 as the resulting time period t13 between the current synchronization signal S14 and the previous synchronization pulse S13, so fails that by the time t13, or at Sequence of t13, for the time shift of B15 (after B15N), relative to the previous shifted reference signal B14N results in a time value t14N, which corresponds to a time value, as it directly as one of the specified time range Tvar, or via another mathematical relationship (factor , etc.). In the process, this process is continued continuously as long as the process is in synchronization status. 23a refers to a synchronization pattern in which the time intervals of the sync pulses is shortened, thus increasing the tempo of the audio signal playback accordingly. 23b refers to a synchronization pattern in which the time intervals of Synchronimpuise extend, thus the tempo of the audio signal playback is reduced accordingly.

• 
  Um aus den Zeitdifferenzen t12, t13, t14, t15, t16,..tn (23a, 23b, 24) um die jeweils aufeinanderfolgender Synchronsignale auseinander liegen, die sich daraus ergebenden Korrekturzeitspannen t13N, t14N, t15N, t16N,... tnN zu berechnen, die sich jeweils an den Zeitpunkt des zuvor verschoben Bezugssignals anschließen um den Zeitpunkt des aktuell zu verschiebenden Bezugssignals zu erhalten, wird folgendermaßen vorgegangen:

Vgl. dazu in 23a, 23b: aus B14 wird B14N, aus B15 wird B15N,... usw.Between the reference signals respectively newly obtained by the synchronization or via their correction periods t13N = (B13-B14N), t14N = (B14N-B15N), t15N = (B15N-B16N), t16N = (B16N-B17N), ... , then proportional to the rhythm, or proportional to the note values (ie the note duration), the playback speed is corrected.

• 
  To determine from the time differences t12, t13, t14, t15, t16, .. tn ( 23a . 23b . 24 ) apart from the respective successive synchronous signals, the resulting correction time intervals t13N, t14N, t15N, t16N,... tnN are calculated, which in each case follow the time of the previously shifted reference signal in order to obtain the instant of the reference signal currently to be shifted , the procedure is as follows:

See also in 23a . 23b : B14 becomes B14N, B15 becomes B15N, ... etc.

Depending on whether the measured deviation is due to an increase in the playback speed ( 23a ), or by reducing the playback speed ( 23b ), the difference between the incoming synchronization signal (S *) and the current synchronization corresponding reference signal B * N measured (when S * arrives at 8 * N lagging), or optionally the difference between the current synchronization corresponding reference signal B * N and the incoming synchronization signal (S *) measured (if S * arrives ahead of B * N). The two directions of deviation are tested virtually simultaneously, has already been in the DE 41 43 257 C2 specified. In this measurement, the error time tf is measured and also the direction of deviation (whether a respective synchronizing signal with respect to the associated reference signal arrives leading or lagging).

tf ... refers to the absence of time by which a synchronizing signal to the to relatives Reference signal (as contained in the audio signal, respectively) is reproduced by the audio signal) arrives late or late. Where the sync signals each one specified by the user periodicity correspond (here in the musical sense), to that of the audio conservatory reproduced audio signal in its playback speed adapted the preferred correction , whereby the reference signals contained in the audio signal equally Correction of the playback speed correspondingly shifted in time are.

Note: The correction period t13N begins with B13, because the initialization (START) of the synchronizing process only took place at B12 through S12, therefore the reference signals only appear shifted in advance from B14N ( 23a ). That also applies to 23b where the reference signals occur lagged accordingly. Which is why, for B13, tf is also measured against B13, which has not yet been shifted in time by the synchronization.

Die zu dem, einem aktuellen Synchronisationsimpuls (z.B. S14) voreilenden Synchronimpuls (hier S13) erhaltene Fehlzeit -tf* (23a, hier S13 um -tf* voreilend zu B13), bzw. tf* (23b, hier S13 um tf* nacheilend zu B13), wird dann zur in Bezug zum voreilenden Synchronimpuls (hier S13) gemessenen Zeitspanne (hier t13 zwischen S14 und S13) vorzeichengerecht addiert, um den Zeitwert zu erhalten, der mit dem zuletzt berücksichtigten (hier B13) und/oder durch die Synchronisation versetzten Bezugssignal beginnt, um nach seinem Ablauf (hier t13) den Zeitpunkt für die zeitliche Korrektur des periodisch ablaufenden Vorganges (hier das im Tempo geregelte Audiosignal) zu erhalten, was hier der Verschiebung von B14 voreilend zum Punkt B14N entspricht; wodurch sich der ohne Synchronisation gegebene Zeitwert tB13 (zwischen B14 und B13) auf t13N verkürzt, was durch eine Erhöhung der Frequenz des Transporttaktes des Audiosignals im Verhältnis von tB13/t13N erreicht wird.

The absence time tf * obtained at the synchronization pulse leading to a current synchronization pulse (eg S14) (here S13) ( 23a , here S13 at -tf * leading to B13), or tf * ( 23b , here S13 by tf * trailing to B13) is then added to the time interval measured in relation to the leading synchronizing pulse (here S13) (here t13 between S14 and S13) in order to obtain the time value which coincides with the last considered (here B13 ) and / or reference signal offset by the synchronization, in order to obtain after its expiration (here t13) the time for the temporal correction of the periodically proceeding process (in this case the tempo controlled audio signal), which here is the shift from B14 leading to point B14N corresponds; whereby the timing 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 of tB13 / t13N.

Note: Since the synchronization of the music clock does not start until S12 (START) and a usable value only results in the correction time period initiated with B13 (see also later for the check after 24 ), the beginning of the correction period refers to the last considered reference signal B13, which, however, does not yet occur with a time lag.

The situation is different with the next reference signal, here with S15 as the actual synchronization pulse (in 23a , respectively. 23b ), and the associated leading sync pulse of the sync signal S14, with the associated absence time -tf ** ( 23a , here S14 to -tf ** leading to B14N), or tf ** ( 23b , here S14 at tt ** lagging to B14N). The time value starting here with the B14N reference signal already offset by the previous synchronization, in order to obtain the timing for the temporal correction of the periodically proceeding process (in this case the tempo-controlled audio signal) after its expiration (here B15N), corresponds here to t14N , What in the case of a sign-equitable addition of tf ** yields the time correction corresponding shift from B15 to B15N.

• (1) tf = tB(n-1)-tS(n-1), bzw. tS(n-1)-tB(n-1), um tf vorzeichengerecht zu erhalten;
• (2) Dadurch ändert sich das neue Bezugszeitintervall (über die betreffende Korrekturzeitspanne), mit: t(n-1)N... als neu erhaltenes Bezugszeitintervall nach Verschiebung von B(n); t(n)B... als vor der Verschiebung von B(n) bestehendes Bezugszeitintervall; tf... vorzeichengerechte Fehlzeit zwischen B(n-1) und S(n-1); t(n-1)... als zwischen S(n) und S(n-1) gemessene Zeitspanne der Synchronsignale; t(n-1)N = t(n-1) + tf

In general, therefore, a current synchronizing signal S (n) which has been recognized as belonging to a reference signal B (n) to be shifted is valid:

• (1) tf = tB (n-1) -tS (n-1), or tS (n-1) -tB (n-1), respectively, to obtain tf signed;
• (2) This changes the new reference time interval (over the correction period in question), with: t (n-1) N ... as the 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 ... sign-matching absence time between B (n-1) and S (n-1); t (n-1) ... as a time period of the synchronous signals measured between S (n) and S (n-1); t (n-1) N = t (n-1) + tf

Wherein, from the ratio of these caused by the current synchronization correction periods t (n-1) N, or here t13N, t14N, ... t16N, etc, with respect to the original time periods t (n) B, and here tB13 , tB14, tB15, etc., respectively, which have occurred before the synchronization of the respective reference signals at a reference signal time, the audio signal reproduction tempo to be corrected is calculated such that it corresponds to the newly obtained correction period (t (n-1) N, or t13N, t14N, ... t16N, etc.). Thus arise in 23a Shortening factors t (n-1) N / t (n) B, eg tB14N / t14B, etc .; or in 23b Extension factors. With these shortening factors ( 23a ) or extension factors ( 23b ) then the cycle times of the transport clock, with which the audio signal is output in each case multiplied to obtain the synchronization of the corresponding tempo by corresponding variation of the clock frequency of the output clock.

Note: In 23a . 23b If the terminology tB14, tB15 ... etc. is used, it must be set equal here for the given formula, t14B, t15B, etc., or tn (B).

that is, are the reference signals representing the time span of each of the Synchronous signals time proportional correction (or the adjustment) of the phase or frequency of the rhythmic process set, e.g. set so that they are each the beginning of a correspond to new music tact, then the change takes place the tempo of the audio signal not continuously but clock by bar, etc. For measuring the time deviation of the synchronization, Optionally, even more beats as sync pulses, also a reference signal time frame B *, a, b, c, d, ..., in Measured in terms of their timing and in the correction with can be included which in the calculation of the current output clock of the audio signal Naturally constantly considered must become.

• 
  In besonderer Weiterbildung ist dabei das Notenbild, z.B. eines Gesanges, in Sclices (Abschnitte) des Audiosignals zerlegt, wobei deren Beginnzeiten innerhalb des Notenbildes durch Bezugssignalkodierungen gesteuert sind und die Sclices die Bezugssignalkodierungen enthalten. Darüber hinaus kann auch noch ein Grundgerüst definiert sein, welches entsprechend dem Aufruf der Slices (durch das jeweils aktuell wiedergegebene) den Aufruf aller Slices übergeordnet steuert, und in das die einzelnen Sclices, während des Zeitablaufes, die Parameter zum Aufruf weiterer Slices übergeben.

A change in the duration of the music clock each time correction affects primarily sports and music applications, or in purely musical applications whenever the tempo is to be changed consciously, otherwise the beat (the clock period) so precisely maintained. For purely musical applications, the correction is made within the clock at the points marked by the reference signals, and then at the allowed points, the correction is made in a time ratio as indicated with the reference signals, whereby proportional time divisions may also be provided.

• 
  In a further development, the note image, eg of a song, is divided into sections (sections) of the audio signal, their start times within the note image being controlled by reference signal codings and the slices containing the reference signal codings. In addition, a skeleton can also be defined, which controls the call of all slices according to the call of the slices (by the respectively currently played), and in which the individual slices, during the passage of time, pass the parameters for calling further slices.

For this variant, the same considerations then apply to the synchronization, wherein real-time note data generated by the user (see Real-Time MIDI Signal in) is generated by the method described below for the inclusion of played upper voices 28 ) a high-resolution synchronization is obtained exactly at the places where it is needed, that is the changes in the tones of a melody. If the method is applied to slices, preferably in addition to a synchronization or a trigger mode is used, and automatically switched between the two modes depending on the current synchronization. In this case, as a higher-level condition, a mode is provided in which an exact beat, ie a precise and stable cycle duration, is assumed.

During the duration of a music clock is first only synchronized, the audio slices are sequentially set in accordance with the sequence program, and the synchronization is carried out as described for the Takttsynchronisaiton, only that instead of taking absolute time values, the changes in % to the next time interval of the next slice, the duration of which is usually different from the previous one. Which is why at each beginning of a slice, which is addressed by the reference signals in each case, their playing time, normalized to a regular playback speed is stored. Furthermore, the reference signals respectively set within a music clock (or in the case of notes connected over a plurality of clocks) can also be scanned in advance during the (temporal) reaching of a reference signal in order to make the corrections so that the beat is maintained at the end of the clock. In this preliminary calculation, in which the notes reproduced by the audio signal are scanned in advance (ie before they are still played!) By being loaded into a corresponding scanner memory area, it is determined that the synchronization with the Clock does not go out exactly, then the trigger mode is included. However, switching to the trigger mode takes place for a short-term period only if a measured value for synchronization in the current range is currently obtained via the user-generated real-time audio signal, otherwise the synchronization remains in accordance with the previous measured values. If a measured value for synchronization in the current range is obtained via a real-time audio signal, then the timing of a correspondingly coded reference signal decides when the trigger gate is opened, whereby the reference signal, like all others, is controlled by the synchronization.

that is, includes the reference signal encoding Also, the control of a trigger gate, which triggering a to the reference signal encoded audio Sclice within a time window prepared. As long as the parent Trigger condition (e.g., an encoded note sequence of the user's played real-time MIDI signal) within the time window is not arrives, the current, otherwise possibly already ended Audio signal slice extended until the arrival of the trigger signal, resp. if the trigger signal does not arrive, at the end of the time window the next Slice addressed. Is the audio signal within the time window while of "waiting" for the trigger signal extended, then this is done e.g. by addressing a further additional slice, which is encoded to this audio signal.

Meets however, the trigger signal within the time window while the Audio signal slice is played, then usually when singing a part of the previous slice will be taken over in the next, and the next one will be correspondingly shorter be sung.

• a) durch unterschiedliche Geschwindigkeitsregelung abhängig vom erhaltenen Meßergebnis erfolgt,
• b) und weiterhin durch Adressierung unterschiedlicher Slices, deren engere Auswahl zu jedem Bezugssignal kodiert ist und durch das quantisierte Meßergebnis der Zeitabweichung adressiert wird, eine musikalisch angepaßter Ausgleich vorgenommen ist. Dabei übernehmen die Synchronsignale die Zeitfenstersteuerung der zugehörigen Bezugssignale vor, wobei innerhalb der Zeitfenster, dann aus dem Ablauf eines Audioslices das nächste zum richtigen Zeitpunkt aufgerufen wird. Der richtige Zeitpunkt ist wiederum durch ein Bezugssignale festgelegt, die sich in jedem der verfügbaren Audio Slices befindet.

That is to say that the audio signals interpreted as trigger signals by the coding of the reference signals address different slices which are very similar in the audio signal being reproduced but differ only in timing. These audio slices are processed by a compiler, whereby, for example, a melody is interpreted at the same normalized (beat) beat with different carry-overs, which, in addition to editing with an editing program, can also be recorded in real time using the following 28 method described, and depending on the time values, the correction once:

• a) takes place by different speed control depending on the obtained measurement result,
• b) and further by addressing different slices whose narrower selection is coded to each reference signal and is addressed by the quantized measurement result of the time deviation, a musical adjustment is made. The synchronization signals take over the time window control of the associated reference signals, wherein within the time window, then from the expiration of an audio slices the next is called at the right time. Again, the right time is determined by a reference signal that resides in each of the available audio slices.

A good method to calculate such complex processes is the simulation in program loops with stepwise change of the parameters. In this context, should still on the in the DE 41 43 257 C2 proposal to improve the synchronization with a (by a factor MPY) high set frequency. In this case, the procedure is then such that a subdivision of the time grid which is still carried out by this factor is provided for the reference signal time intervals, which is also shared for the synchronization. In extension to DE 41 43 257 C2 should by reference to 28 a proposal will be discussed in which in the synchronization nor the real-time inputted notes, or a corresponding MIDI signal, etc. is included, which is derived via a frequency / MIDI converter of a song or a natural instrument, or directly from played in real-time MIDI instrument.

The Special is that synchronous to the reproduced audio signal (elastic audio) a = f (t), via whose Transport cycle TKT1 the playback speed is controlled still the (for example to the upper part) matching MIDI notes Data (MIDI stream). Both memories (audio and MIDI) follow the principle of a transport clock (TKT1 for audio, TKT2 for MIDI) controlled signal output. About the time base is the Coupling of the MIDI clock TKT2 to the audio clock TKT1, if necessary using a dedicated address space of the working memory for this Assignment (by storing corresponding time stamps); or if necessary, only one serial further signal track of the Audio signal for the frequency moderate coding of the MIDI signal in which the data corresponding to the notes, then decoded again by frequency filtering (or FFT) can.

However, for the output of the MIDI signal, there is provided a time portion dT realized by a combined pass / scan memory SCSP immediately before the output, which has the sweep time DELAY = dT for the MIDI signal, but the MIDI occurring at the output A of SCSP Signal synchronous with the associated, reproduced audio signal according to the tempo synchronization of the audio signal is regulated with.

Note: The signal here referred to simply as MIDI signal concerns a data stream which, in addition to the data of note values of a melody, can also only affect note values that are only times, regardless of one Melody concern, what later still referred to.

The Run Time DELAY = dT of the serial MIDI data downstream combined pass / scan memory area SCSP is preferably made still adjustable, and corresponds to that Note value duration, over the synchronized in the manner described audio signal in one special mode played in real time on an instrument or dubbed sung (and quantized into a MIDI signal) notes is to be, for. to a 1/8 note, or 1/4 note, or even over the length of a Music clocks, etc. Or if necessary instead of a dubbing of the audio signal, even a recognition of rhythmically played Errors for addressing audio signal slices are made should, e.g. to drown out by loud (im Audio signal) to pull the user to the right rhythm, e.g. by connecting another audio track, etc. In error detection also a more complex score with choirs can be considered, etc.

Of the Memory area SCSP is not a separate memory, but only a memory area as part of the larger memory area, off the note data (here MIDI stream) synchronizes for playback of the audio signal are read out.

• 
  Wobei ein Muster jeweils erhalten wird, indem zu jedem neuen Einschreibvorgang (E), zu dem ein erneutes Data in den Durchlaufspeicher/Scannspeichers SCSP (am Eingang E) jeweils eingeschrieben wird, der zeitlichen Reihenfolge des Einschreibens entsprechend, jeweils sämtliche Noten Daten aus dem Speicherbereich SCSP ausgelesen werden.

Scanning is done almost in parallel for all DELAY = dT contained note values, which can be done by a fast processor or by a RAM-configurable state machine. Where, for the individual comparison process, each note of the real-time signal (real-time MIDI) played in sequence as it is played in real time (eg, as a supreme voice of a MIDI instrument or a song converted into note values, etc.) is examined, whether it corresponds to the comparison pattern of a string. This corresponds to a usual scanning process, but with the difference that not only is compared to a comparison pattern, but after so many patterns, as are included in the pass memory / scan memory SCSP respectively.

• 
  Wherein, a pattern is obtained by respectively writing to each new writing operation (E) to which a new data is written to the pass memory / scan memory SCSP (at input E) in accordance with the time order of writing, respectively, all the notes data from the memory area SCSP are read out.

there This extraction of memory results in a large number of data strings derived as a comparative pattern in each case by, in terms of time, the strings are ordered offset by one step of the SCSP FIFO. And in such a way that opposite the reproduction of the assigned audio signal around the measuring range leading notes written in time string in one shifting this leading time decreasing direction.

Whereby this offset can also be made in the SCSP FIFO itself between the write-in processes, in which case, however, the SCSP FIFO must be reset to its original position (the last write-in) before writing. If a synchronization point is reliably detected in this way, then the write clock of the FIFO is readjusted so that the data content of the SCSP FIFO with respect to coincidence with the real-time MIDI signal, moves back to the center position so that it can be measured sufficiently before and after , The time deviation is then measured by the number of clocks of the SCSP FIFO corresponding to the respective time shift at which the pattern string obtained from this shift has been detected. In order to be able to measure both leading and lagging, the note data is preloaded in the SCSP FIFO accordingly. In 28 this is represented symbolically by a dotted line where the output A of the FIFO SCSP is tapped.

Otherwise, the in 28 Memory referred to as MIDI FIFO (first in first out register) are interpreted with the output A, which is read in synchronism with the tempo synchronization of the audio signal. Whereby, for each newly written value (which is then pushed out at the output), the memory is very quickly read from its respective address corresponding to the shifted out value toward the values following that value to obtain the complete comparison pattern associated with a write operation ,

• a) einer Achtelnote
• b) einer Viertelnote
• c) einer halben Note
• d) einer ganzen Note

der Speicher von seinem jeweils aktuell beschriebenen Wert, in der Adresse schrittweise decrementiert ausgelesen wird, um die einzelnen Mustervorlagen zu erhalten. Dadurch kann erreicht werden, daß je nach Noteninhalt z.B. wenn ein Takt nur vier Viertelnoten (als Oberstimme) enthält, dann über einen halben Takt zwei Synchronisationsimpulse erhalten werden, jedoch wenn ein halber Takt z.B. 8 Sechzehntel enthält, dann bereits nach einer Viertelnote vier Synchronimpulse erhalten werden.In a further development, a hierarchical scanning is provided, in which the scan memory SCSP comprises a cycle length, but from this cycle length, the template is (quasi) further subdivided into hierarchically graduated time values in order to also obtain shortened pattern comparisons relating to:

• a) an eighth note
• b) a quarter note
• c) one-half note
• d) a whole note

the memory is read from its current value, in which the address is incrementally decremented to obtain the individual templates. This can be achieved that, depending on the note content, for example, if a clock contains only four quarter notes (as the upper part), then two sync pulses are obtained over half a clock, but if a half clock contains eg 8 sixteenths, then receive four sync pulses after a quarter note become.

there can also statistical evaluations are made, such that instead of notes, which certain notes only the duration of the sound is evaluated, i. the data pattern then only affects time values. Again, this process can used to get the real-time MIDI signal Note values, if they are entered punctuated in improvisations, according to the respective current synchronization and on a music tact related time grid, as certain note values to recognize according to the duration (fourths, eighths, triplets, etc.) and sum up a match obtained with the pattern recognition to obtain. This method makes it possible, even with improvisations within one measure, a backing music (e.g., a vocal, or a percussion, etc.) or addressed slices, etc. in real time synchronize exactly after a real-time play within a music clock while keeping the beat (that's the key beat).

The too 28 The variant described does not necessarily have to affect the score of a melody (eg upper voice), but may also affect only beats entered with the foot whose pauses are also interpreted as note values. The data may also concern note symbols (with, for example, alternately alternating notes), which in the notation played by the user may not be considered as notes but as drawn-in beat notes (cf. 6c ) are shown. By tapping these markers, the user can not only synchronize the accompanying music during his playing, but also monitor it. Most importantly, on MIDI keyboards, certain keys can be assigned to receive audio slices, which are then played back synchronized to the real-time performance by the accompaniment music.

• 
  Eine weitere Anwendung betrifft das Einklopfen des Taktes zu einem MIDI Notensignal. Dabei werden die Noten in Echtzeit auf einen Datenträger eingespielt, oder auch nur eine entsprechende Datei über ein MIDI Instrument gehört. Der Benutzer klopft dann den beat dazu und das Synchronisierverfahren synchronisiert dann innerhalb des Taktes jeweils das Taktraster geringfügig so, daß sich brauchbare Notierungen ergeben. D.h. der synchronisierte periodische Vorgang betrifft dann nicht das wiedergegebene Audiosignal, bzw. die in ein MIDI Instrument übergebenen MIDI Noten, sondern nur das Taktraster relativ zum wiedergegebenen Vorgang, soweit dies innerhalb eines Musiktaktes oder mehrere gebundener Musiktakte erfolgt. Dabei kann die Musiktaktdauer wieder durch gesondert eingeklopfte Synchronsignale synchronisiert werden. Das innerhalb der Musiktakte entsprechend der vorgegebenen Quantisierung der Notenwerte geringfügig veränderte Zeitraster, kann dann noch durch Bezugssignale gesteuert werden, die dann z.B. vorab in einem Editor zu den Noten gesetzt werden, z.B. als Takte. Wobei sich der Benutzer dann die aufreibende Arbeit, die Notenwerte im Takt genau zu setzen ersparen kann, indem er diese beim Hören einfach dazu einklopft.

Besides, or in addition to the synchronization of a supporting music, the method is very well suited for error analysis. In this case, for example, not the time deviation of the currently live (in real time) played notes (as a decoded sync signal) to the synchronized after the reproduced audio audio note file (as a reference signal) is measured, but for example, the time between an input by knocking sync signal, which for example the beat (ie a beat carrying the rhythm) and the current live (in real time) played notes (as a decoded sync signal). The measured time difference is then evaluated mainly in relation to the cycle time, and if it is not respected, then (by calling an announcement in the audio signal) on the audio signal "knocked" and an explanation of the error indicated. Of course, then, for example, after the tapped beat (corresponding to the beat) can be synchronized. By symbolically displaying the beats in the score material, it is possible to achieve excellent learning effects for the understanding of a syncopated score. Furthermore, in spite of minor, or even intended rhythmic deviations, eg a vocal contained in the accompaniment music can be duly synchronized within a constant cycle time. It is also possible to synchronize different tracks of the audio signal reproduction according to different criteria, for example, so that the syncopation between vocals, percussion and another accompanying instrument are correct. All of this information, which times are to be measured relative to each other, about which notes should then take the time balance, etc., is recorded by appropriate additional data which is assigned to the reference signals. It is also possible, for example, to make a grade for the measurement according to the example 28 is to be used, a reference signal to be set, with a reference instruction against which, a beat related sync signal (which is encoded by another reference signal) is to be measured for monitoring and / or correction time used.

• 
  Another application involves tapping the clock to a MIDI note signal. The notes are recorded in real time on a data carrier, or only a corresponding file on a MIDI instrument heard. The user then taps the beat thereto and the synchronization process then synchronizes the clock raster slightly within the clock to provide useful quotations result. In other words, the synchronized periodic process does not affect the reproduced audio signal or the MIDI notes transferred to a MIDI instrument, but only the clock pattern relative to the reproduced process, insofar as this occurs within one music clock or several bound music files. The music clock duration can be synchronized again by separately tapped sync signals. The time frame slightly changed within the music acts according to the predetermined quantization of the note values, can then be controlled by reference signals, which are then set in advance in an editor to the notes, eg as bars. Whereby the user can save himself the exhausting work to set the note values exactly in time by simply knocking them in while listening.

• a) eine Angabe, ob es sich bei dem Bezugssignal um die Zuordnung zu einem eingegebenen Synchronsignal, oder wenn gegebenenfalls nicht eingegeben, um die Zuordnung zu einem durch Aufsummierung des Taktrasters (aus einem vorhergehenden Synchronsignal) erhaltenen Synchronsignal handelt,
• b) eine Angabe, ob es sich bei dem Bezugssignal um die Zuordnung zu durch den Benutzer erzeugte Notenpassagen handelt (als dekodiertes Synchronsignal),
• c) eine Angabe, welche die Zuordnung von Zeitmessungen bestimmt, die zwischen Synchronsignalen in Zuordnung zu Bezugssignalen auftritt, undloder zwischen in Echtzeit vom Benutzer erzeugten Notenpassagen und Synchronsignalen auftritt (in Zuordnung zu Bezugssignalen),
• d) eine Angabe, ob eine zu einem Bezugssignal erhaltenes Synchronisationssignal für eine Synchronisation verwendet wird und/oder zur Korrekturansage (Aufruf eines betreffenden Slice),
• e) eine Angabe, ob die Synchronsignale das Zeitraster entsprechend (innerhalb einer vorgegebenen Quantisierung) verändern sollen, oder nicht.

That is, the coding of the reference signals optionally further includes:

• a) an indication of whether the reference signal is the assignment to an input sync signal, or if not entered, the assignment to a sync signal obtained by summing the clock pattern (from a previous sync signal),
• b) an indication of whether the reference signal is the assignment to user-generated note passages (as a decoded sync signal),
• c) an indication determining the assignment of time measurements occurring between synchronizing signals in association with reference signals and / or occurring between real-time user-generated note passages and synchronizing signals (in association with reference signals),
• d) an indication as to whether a synchronization signal obtained for a reference signal is used for a synchronization and / or for the correction announcement (call of a relevant slice),
• e) an indication of whether the sync signals should change the time frame accordingly (within a given quantization) or not.

These Information then also contains the connection addresses (identifier), by pairs, or networks of the reference signals for the measurement and / or correction, Ditto addressing of audio slices, etc. to be able to define.

24 FIG. 9 illustrates the case when before the time shift of a reference signal B * N (which is effected by a corresponding change in the playback speed of the audio signal over the respective correction time interval), the test of the time interval t * N (here t13N and t14N) does not correspond directly to the specified time range Tvar, or via a further mathematical relationship (factor, etc.).

at trd = t13N would the synchronization method initiated by the synchronous signal S13 too short a time t13N between B13 and drd result (based on the current time interval between B12 and B13). The time drd correspond the resulting displacement of B14, which does not take place, because the value t13N = trd discarded (drd = discard) and not synchronized becomes.

at trd = - (t14N) would the synchronization method initiated by the synchronous signal S14 even a negative time (relative to B14), which is why not is synchronized.

there takes place before the utilization of a measured period of time to the new Setting a synchronization point (concerning each resulting temporal shift of the reference signals B * N) respectively the query, whether by a changing time shift of B * N, too short or, if necessary also over a long period of time (based on the parameter specification DIS), or even a negative value. If so, then the synchronization not done.

In 24 are the times when not synchronized, each time x on the timeline 3 marked.

Totally independent of This synchronization method, for each within a Music clocks (e.g., between B12 and B13) encode reference signals (a, b, c, d,), of course, here also for the other music acts are provided, yet another synchronization be made within a clock, for example the same procedure can be used as for the reference signals B12 ... B17, ..., etc. already explained. Only that the caused by the synchronization time shift this Reference signals (a, b, c, d,) with respect to the previous synchronizing period (measured in each case between reference signals), as a percentage Seen is limited. Here are not the directly measured Values of the time periods between successive reference signals for this Limits evaluated, but according to the current Takaster (after which also the reference signals are set) corresponding values.

To control the summation for dotted note values, the above can be used 28 described method are also used advantageously. The pattern recognition then contains patterns stored according to notation guidelines (1/8, 1/4, triplets)

Example: It is entered as a note of the beat tS, where tS a in the Prinizip means any note value, here only for synchronization is used and e.g. here also tT, ts, ts, ts, ts, as note data can be encoded in order with tT e.g. continue a special beat, the, the clock limit the musical clock is assigned to encode, and with ts, tS, ts, tS each to encode successive beats in which it only on the input clock edge, i. only on the transition from ts to ts, respectively, from ts to ts arrives, being then in the election the symbol value, ts or ts or tx, etc., the time at which the beat has to be made is implicitly included.

Note: With the too 26 and 27 Explained sensor carpet that scans the knocking of the clock beat with the foot, for example, can be distinguished whether the beat is entered with the paragraph, or with the toe, to encode further temporal assignments, etc.

Becomes Therefore, such a coding is made to the audio signal, such as this for Notation data, then it can be fast rhythms The user can easily recognize his feeling (the beat the piece of music, or following the music clock). This can be done during the Making music to an instrument, or even during the hearing the audio preserve. With the purpose of the pattern entered special To retrieve audio slices, which are then adapted exactly in the timing within a measure (synchronized in duration), without the beat (i.e. to change, what kind of the purely musical applications is usually desired. Besides, besides the reference signal pairs that do not change the time span (e.g. of the music beat) placed within the bar Reference signal pairs still provided with relationship numbers, as a Correction should affect, and in which places it at all should not be made.

Further to 24 For example, between the successive five time periods (of a 5/4 time), eg. B * -a; from; or bc; or cd; or d-B13) only a relative change of 3% per quarter (= 3 * 5 = 15% over the clock) allowed, this corresponds to about a note value of 1/32, which as carryover per 1/4 within each If the tempo change has to be compensated for over the entire 5/4 measure (ie 1/8 time variation over the entire measure). This would then correspond to an application, eg to synchronize the tempo of an MP3 player via the "round kick" of a cyclist.

Around at larger tempo changes likewise allowing a quick one-phasing becomes every beginning of the musical clock (if here the reference signal accordingly encoded), the total clock time proportional to the measured Deviation in addition balanced. Thus, both effects are given, once the readjustment within one bar, and still the readjustment bar by bar, if larger deviations arise, or should be quickly phased. For example, for a song to synchronize an accompanying music to the live play of a musician and because of a significant change in tempo during the game, the tempo must be rephased, otherwise, however, then again exactly according to the beat is held.

In this case, an automatic detection for the switching is provided in training for the musical application, whether now the cycle length may be changed or not. This is done in a special mode so that the beat corresponding to the key beat is tapped with the foot in a particular mode. It is provided on the following 26 and 27 described sensor carpet to provide a variant that can distinguish whether the tact with the paragraph, or with the toe, or with both (by lifting the foot) is tapped. If, in this mode, the clock is tapped by lifting the foot, then the clock will be readjusted in accordance with the input sync signals, otherwise the beat will be held. If the music beat is carried along (eg by tapping with the foot raised), then (depending on the mode) you can also use it within the measure, if necessary without lifting the foot (ie only with the heel or toe) Tapped times are synchronized with.

Related to 23a to 24 this means that the reference signals shown in boxes (see B12 ... B17, ... etc.) already by the regulation according to the reference signals present in the clock (see B *, a, b, c, d) accordingly temporally shifting the associated cruise control, and still the off 23a to 24 shown immediate displacement occurs. At the same time, there is a temporal shift in the reference signals (see B *, a, b, c, d) which are present in time with respect to their respective ones previous temporal shift in the change by a maximum value (eg 3% per quarter note, etc.) are limited.

The interaction of the time shift of the reference signals (B *, a, b, c, d) placed within a music clock and the music signals concerning the music acts (see B12N ... B17N ...) shall be explained with reference to FIG 25a and 25b be illustrated in more detail. The provided within a clock reference signals (B *, a, b, c, d) are also shifted in time by the constant synchronization. 25b shows the detail 25a from the time domain (f_d-c) between B16N and B17N, between the reference signals d and c.

• 
  Dieses Verfahren kann weiterhin noch begünstigt werden, wenn die relative Änderung der Taktschlagdauer jeweils gemessen wird (hier in 25b durch den Faktor Kb, Kc, und Kd symbolisiert), und über diesen Ändenmgsparameter der für die Synchronisation des nächsten Zeitabschnittes der Taktschläge B*, a, b, c, d, verwendete Zeitwert, gleichfalls um den Faktor korrigiert wird. Dabei kann zur Ermittlung des aktuellen Faktors aus den einzelnen Faktoren KB*, Ka, Kb, Kc, Kd, auch der Mittelwert gebildet werden. Ist z.B. in 25b der Faktor Kd = 0,98 entsprechend dem Verhältnis von Kc/Kb, dann wird der Zeitwert td für die Erzeugung des Snychronisationszeitpunktes B18N (in 25b nicht mehr dargestellt) mit Kd = 0,98 multipliziert, bevor er als Setzwert zum Zeitpunkt B17N verwendet wird, entsprechend der Zeit td*0,98 den neuen Synchronisationszeitpunkt B18N zu erzeugen, was durch die entsprechende Tempoänderung über dieses Zeitintervall erreicht wird.
• 
  Bei dem Beispiel nach 25b wird von einer regelmäßigen Einteilung der innerhalb eines Taktes jeweils erfolgenden Taktschläge (B*, a, b, c, d) ausgegangen. D.h. im Idealfall, bei unverändertem Tempo, sind die innerhalb eines Taktes für die Eingabe von Synchronsignalen benutzten Zeitabschnitte (tB* = ta = tb = tc = td) jeweils gleich groß, bzw. werden sich bei einer Tempoänderung entsprechend der zugelassenen maximalen Schrittweite, die jeweils innerhalb des vorgegebenen Toleranzbereiches TKT (in %) liegen muß, diese Zeitabschnitte der Abweichungsrichtung entsprechend ändern (tB* < ta < tb < tc < td, bzw. tb > ta > tb > tc > td).
• 
  Wobei für das weitergebildete Verfahren jedoch, die aus der vorherigen Zeitspanne, z.B. tc (siehe 25b) gemessene Zeit, entsprechend der durch das Zeitraster der Bezugssignale vorgegebenen kleinsten Zeiteinheit aufgerastert wird, um das nächste Zeitintervall td (siehe 25b) zu bilden, wenn der Synchronisationsimpuls (hier S18) zu einem Zeitpunkt eingegeben werden sollte, der außerhalb des unmittelbaren Fangbereiches von td (hier als 1/4 eines 5/4 Taktes) liegt.

The synchronization procedure is carried out as already explained: Upon arrival of the synchronization pulse Sd, which is assigned to the time window (capture range) of the reference signal d after checking by adding up the time units determined over the last clock period (eg a certain time unit of the synchronization time grid corresponds to 1/8 note) , we obtain the time period tc, which is the time interval beginning at the time of the synchronization pulse Sd until the time 1 (see bottom line) would be used. However, B17 is not shifted to B17N directly dependent on this time value, but it is checked whether the time interval tdN resulting between dN and B17N is within the predetermined tolerance range TKT (in%) to the previous time interval tcN. Since the deviation is more than 3% in this example, the obtained time value tdN is corrected so that the deviation does not become larger than 3%, which is the time 2 (see bottom line). The occurring, with respect to the sync signal measured greater absence time tf2, which can reproduce and sum within a clock of a ... d, is then on the subsequent total clock, which starts here with B17N, and B18N (see 24 ), linearly balanced, ie in time (between B17N and B18N), the absence of time, as determined by the limitation to 3% maximum change of tdN (with respect to tcN), is also compensated (this corresponds to 25b the difference tf2-tf1). So that this difference tf2-tf1 on the 5 periods between B *, a, b, c, d, proportionally distributed, or the reference signals B *, a, b, c, d shifted by a corresponding temporal control of the audio signal in time accordingly what the outlined symbols a, b, c, d ( 25b ) and this shift continues during synchronization with the reference signals B *, a, b, c, d within one cycle. By this synchronization is achieved that the automatically expiring audio preserve can be retraced time within a clock, without significantly distorting the rhythm, larger deviations can not add up, because they continue to be linearly controlled in each case over the clock.

• 
  This method can still be favored if the relative change of the beat duration is measured in each case (here in 25b symbolized by the factor Kb, Kc, and Kd), and the time value used for the synchronization of the next time period of the beats B *, a, b, c, d, is likewise corrected by the factor via this change parameter. In this case, the mean value can also be formed from the individual factors KB *, Ka, Kb, Kc, Kd to determine the current factor. Is eg in 25b the factor Kd = 0.98 corresponding to the ratio of Kc / Kb, then the time value td for the generation of the synchronization timing B18N (in 25b not shown) multiplied by Kd = 0.98 before being used as the set value at time B17N, corresponding to the time td * 0.98, to generate the new synchronization time B18N, which is achieved by the corresponding tempo change over this time interval.
• 
  In the example below 25b is assumed by a regular division of each occurring within a clock beats (B *, a, b, c, d). That is, ideally, at the same tempo, the time intervals (tB * = ta = tb = tc = td) used within a cycle for the input of synchronizing signals are equal, or will be at a tempo change according to the maximum permissible step size each within the specified tolerance range TKT (in%), these periods of the deviation direction change accordingly (tB * <ta <tb <tc <td, or tb>ta>tb>tc> td).
• 
  However, for the further developed method, which from the previous period, eg tc (see 25b ) is rasterized according to the predetermined by the time grid of the reference signals smallest time unit to the next time interval td (see 25b ) if the synchronization pulse (here S18) should be input at a time outside the immediate capture range of td (here 1/4 of a 5/4 clock).

there become three cases (CASE_A ... CASE_C) (the numbers are only for Illustration as arbitrary Example):

CASE_A: The relevant sync pulse S18 arrives within td, within the capture range (eg with a maximum deviation of 25% from tc, which corresponds to 1/16 here), then B17N, as explained calculated immediately, or the tempo of the audio signal calculated so that B17N arrives at time 2, where, as already discussed, in this example, the correction, for example, limited to 3%.

CASE_B: It deviates from CASE_A within the capture range (e.g. with maximum deviation of 25% from tc, which corresponds to 1/16 here) several sync pulses.

• • In CASE_A wird unmittelbar zu einem eintreffenden Synchronimpuls in unmittelbarer zeitlicher Nähe (innerhalb des Fangbereiches) zu einem Bezugssignal, nach dem synchronisiert wird (d.h. durch eine Kodierung auch als solches markiert ist), der zeitliche Ausgleich vorgenommen;
• • In CASE_B werden die zwischen den Synchronimpulsen gemessenen Zeiten jeweils solange unter Einbeziehung des Zeitrasters, wie es zuletzt aktuell synchronisiert worden ist aufsummiert, bis ein Zeitwert erreicht wird, bei dem eine Annäherung in den Fangbereich zu einem Bezugssignal, nach dem synchronisiert wird (d.h. durch eine Kodierung auch als solches markiert ist), festgestellt wird und der zeitliche Ausgleich, wie angegeben, vorgenommen werden kann;
• • In CASE_C wird nach Ablauf einer Zeit (unter Einbeziehung des Zeitrasters, wie es zuletzt aktuell synchronisiert worden ist), die jeweils dem Fangbereich zu dem zugehörigen Bezugssignal entspricht, zum Zwecke des zeitlich korrekten Überspringens der zugeordneten Bezugssignale verwendet, derart daß bei erneutem Eintreffen eines Synchronisgnals dieses in korrekter Zuordnung zu den Bezugssignalen gesetzt werden kann; um, wenn z.B. mit einer in 1/4 Takt Schlägen beginnenden Synchronisation plötzlich innerhalb eines Taktes wieder begonnen wird, den Synchronimpuls dem Fangbereich des korrekten Bezugssignals zuordnen zu können.

CASE_C: Deviating from CASE_A, within the capture range (eg with a maximum deviation of 25% from tc, which corresponds to 1/16 here), no synchronization pulse occurs at all.

• • In CASE_A, the temporal equalization takes place immediately after an incoming synchronizing pulse in immediate proximity (within the capture range) to a reference signal, after which synchronization takes place (ie is also marked as such by a coding);
• In CASE_B, the times measured between the synchronizing pulses are respectively summed up, taking into account the time frame as it was last synchronized, until a time value is reached at which an approach to the capture range becomes a reference signal after which synchronization takes place (ie a coding is also marked as such), and the time compensation, as indicated, can be made;
• In CASE_C, after expiration of a time (including the time frame, as has been recently synchronized), which respectively corresponds to the capture range to the associated reference signal, is used for the purpose of timely skipping the associated reference signals, so that upon re-arrival of a Synchronisgnals this can be set in correct association with the reference signals; to, if, for example, with a beginning in 1/4 beat beats synchronization is suddenly started again within a clock to be able to assign the sync pulse the capture range of the correct reference signal can.

• 
  ein Status, in dem das Audiosignal noch nicht synchronisiert ist, und in dem auf einen Synchronimpuls gewartet wird, der im Fangbereich einer Taktmarkierung (eines betreffenden Bezugssignals B*) eintreffen muß, damit er als gültig erkannt wird (vgl. S12). In diesem Status wird für die Erkennung eines gültigen Synchronimpulses das Zeitfenster eines entsprechenden Bezugssignals (hier B12) sehr eng definiert, damit die Synchronisation möglichst sauber beginnt. Wobei, wenn ständig im Taktzeitintervall (z.B. entsprechend t12) des wiedergegebenen Audiosignals Synchronimpulse eintreffen, und die Nähe zum engen Zeitfenster von B12 nicht erreicht wird, das Zeitfenster schrittweise etwas breiter gemacht werden kann, um den Fangbereich zu erweitern (als Interpretation, daß der Benutzer nicht in der Lage ist so genau zu synchronisieren). Auch können aktuell gemessene Zeiten, jeweils als Richtwert für den Fangbereich (und somit der zeitlichen Auflösung für die Synchronisation) verwendet werden. Somit die Bezugssignale weiterhin auch noch eine Kodierung betreffend des zeitlichen Fangbereiches der ihnen zugeordneten Synchronsignale enthalten.
• 
  ein Status, in dem die Takt Synchronisation unter Verwendung der hiefür vorgesehenen Bezugssignale (B*, vgl. B12, B13, B14N... B17N, usw.) läuft;
• 
  und ein weiterer Status, der vom Status b) eingeschaltet wird, um die weitere Synchronisation innerhalb eines Taktes vorzunehmen, wobei die hiefür vorgesehenen Bezugssignale (B*, a, b, c, d) weiter verwendet sind und wenn diese Synchronisation wegen zulangen Ausbleibens oder gegebenenfalls auch mangelnder Interpretierbarkeit von burst Impulsen nicht mehr zuverlässig möglich ist, dann wieder in den Status b, oder einem Pre Status zu b (als Vorbereitung) geschaltet wird.

In this case, if it is no longer possible to continue to synchronize after a long period of CASE C (because no sync pulses have been received), switched to a state in which a sync pulse is only recognized as valid when it coincides with a reference signal , which is coded as a clock identifier to re-initiate synchronization within a clock. Thus, with reference to the explanation of 23a 24a the following status combinations occur:

• 
  a status in which the audio signal is not yet synchronized, and in which it waits for a sync pulse which must arrive in the capture range of a clock mark (a respective reference signal B *) to be recognized as valid (see S12). In this status, the time window of a corresponding reference signal (here B12) is defined very narrowly for the detection of a valid synchronizing pulse so that the synchronization starts as cleanly as possible. Whereby, if sync pulses continuously occur in the cycle time interval (eg, corresponding to t12) of the reproduced audio signal, and the proximity to the narrow time window of B12 is not reached, the time window can be made gradually wider to extend the capture range (as an interpretation that the user unable to sync exactly). Also, currently measured times, each as a guideline for the capture range (and thus the temporal resolution for the synchronization) can be used. Thus, the reference signals also still contain a coding regarding the temporal capture range of their associated sync signals.
• 
  a status in which the clock synchronization is executed using the reference signals provided therefor (B *, see B12, B13, B14N ... B17N, etc.);
• 
  and another status, which is turned on by the status b) to perform the further synchronization within a clock, wherein the provided therefor reference signals (B *, a, b, c, d) are still used and if this synchronization because of a long absence or If necessary, lack of interpretability of burst pulses is no longer reliably possible, then switched back to the status b, or a pre status to b (as preparation).

• 
  Zusammenfassung: Bei Beginn des Synchronisationsstatus, der hier (23a, 23b) mit dem Symbol START gekennzeichnet ist und eingeleitet wird, wenn das Synchronsignal (hier S12) innerhalb des Fangbereiches eines Bezugssignals (hier B12), welches eine Korrekturzeitspanne betrifft, auftritt, werden folgende Schritte der Reihe nach durchgeführt:
• 
  a) es wird die Zeitspanne zwischen dem aktuellen Synchronsignal (S12) und dem nachfolgenden Synchronsignal (hier S13), bzw. gegebenenfalls nachfolgenden Synchronsignalen, in Vielfachen der als kürzest möglichstes Taktschlagintervall zu berücksichtigenden Zeiteinheit gemessen, bzw. in solchen Intervallen, der Anzahl, wie sie zwischen den betreffenden Bezugssignalen (zur Kennzeichnung einer Korrekturzeitspanne) entsprechen aufsummiert, wobei bei mehreren Synchronsignalen, die Fehler entsprechend gerundet werden.

For the synchronization within a clock, reference signals are then optionally still provided, which mark those time intervals, which include the temporal change, which no longer correspond to the correction to be made (for example, if the clock should not be changed),

• 
  Summary: At the beginning of the synchronization status, here ( 23a . 23b ) is indicated with the symbol START and is initiated when the synchronizing signal (here S12) occurs within the capture range of a reference signal (here B12), which relates to a correction period, the following steps are carried out in sequence:
• 
  a) it is the time between the current sync signal (S12) and the subsequent sync signal (here S13), or optionally subsequent sync signals measured in multiples of the shortest possible beating beat time unit to be considered, or in such intervals, the number, such they sum up correspondingly between the respective reference signals (for the identification of a correction period), the errors occurring in the case of several synchronizing signals be.

The exact procedure, in each case between the incoming Synchronous signals measured time span, at the intervals between those reference signals, which in each case to the sync signals Proportional correction (or re-enactment) determine the phase or frequency of the rhythmic process (see here the time intervals between B12- B13, B13-B14, B14-B15 ... etc.) in relation to bring hangs from the exact application and can be modified according to the application become.

• • Die Bezugssignale, welche die Zeitintervalle betreffen, in denen jeweils eine Zeitspanne für die Zeit proportionale Korrektur vorgesehen ist, sind zu jedem Taktbeginn (mit dem ersten Taktschlag) des Musiktaktes kodiert (vgl. B12, B13, B14... B17... usw., in 23a, 23b).
• • Weiters sind noch Bezugssignale kodiert, deren Zeitpunkte, jeweils einen Taktschlag innerhalb des Musiktaktes betreffen, z.B. 1, 2, 3, 4, 5; 1, 2, 3, 4, 5; d.h. z.B. jeweils 1/4 bei einem 5/4 Takt. Diese Zeitpunkte werden nur für die Bestimmung der Zeitabweichung der Synchronsignale verwendet, und initialisieren keine Zeitspanne für eine Korrektur der Zeitwerte.
• • Und drittens, optional, sind noch Bezugssignale kodiert, deren Zeitpunkte, jeweils eine höhere Rasterauflösung haben, als die Taktschläge (1, 2, 3, 4, 5) innerhalb eines Musiktaktes (z.B. die Auflösung von 1/8, oder 1116etc.).

Here is an example of an MP3 player from which an accompaniment music is to be played to a piece of music, for this example, the following coding rule for the reference signals is made:

• • The reference signals, which relate to the time intervals in which a period of time proportional correction is provided for each time, are coded at the beginning of each bar (with the first beat) of the music clock (see B12, B13, B14 ... B17 ... etc., in 23a . 23b ).
• • Furthermore, reference signals are still encoded whose times, each one beat in the music clock affect, for example, 1, 2, 3, 4, 5; 1, 2, 3, 4, 5; ie in each case 1/4 at a 5/4 time. These times are used only to determine the timing deviation of the sync signals, and do not initialize a time period for correcting the time values.
• • And third, optional, are still coded reference signals whose time points, each having a higher grid resolution, than the beats (1, 2, 3, 4, 5) within a music clock (eg, the resolution of 1/8, or 1116etc.) ,

In order to the synchronization works well, the bundle of incoming sync signals, be assigned to the correct reference signals respectively.

To For this purpose, at the very beginning, the rhythm only gradually subsides with the foot knocked on the beat, and in each case only 1 sync signal at the beginning of each bar, until the synchronization takes effect, resulting in the user, e.g. also optically can be displayed, or if the user plays through it the insertion of a percussion, etc., where the tempo of the playback of the audio signal is initially set by this so-called TAP input becomes. It can be used to further distinguish the decoding of Synchronization signals in a sensor carpet (or sensor pad) be made, from the way, how is knocked.

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

After this the synchronization is engaged (engaged), the device switches to a Status, including the other reference signals during synchronization considered which, in terms of time, relate to reference signals in the audio signal, their times each a beat within the music clock corresponds, e.g. 1, 2, 3, 4, 5; 1, 2, 3, 4, 5; i.e. e.g. each 1/4 at a 5/4 time.

In this case, short synchronizing pulses arrive in a 5/4 cycle (their duration is insignificant, only the time of arrival is taken into account) and, for example, in the time intervals 1/4; 3/4; 5/4 are tapped. For missing sync signals, as here 2/4 and 4/4, the time is internally reproduced by recognizing that two (rounded) raster units of 1/4 are missing respectively. Therefore, a total of 5/4 is summed up as the measured time span, eg around the time value t15 in 23a to obtain.

The Unit of the beat (i.e., the time interval here) 1/4, or an even higher resolution, if appropriate with higher resolution is summed up), is derived from the period of time, as they last played music clock (or generally accordingly the door marked reference signals) (e.g., here 5/4: 5 = 1/4).

As the beginning of the summation, in each case that synchronizing signal is used which occurs within the capture range of a reference signal (here B12), which relates to a correction period. If necessary, missing synchronization signals due to internal running times (provided they are included in the rounding scheme) fit) replaced. That is, after the synchronization is engaged, for example, the beat of the first quarter may be missing, it is then generated internally, the times over a cycle length respectively correspond to the last actual synchronization.

• 
  D.h., die Zuordnung der eintreffenden Synchronsignale zu den mit unterschiedlichen Prioritäten versehenen Bezugssignale (betreffend ihres Einflusses auf die Synchronisation) erfolgt so, daß die Synchronisation, beginnend mit Synchronsignalen, welche ausschließlich der höchsten Priorität für die Kennzeichnung der Nachstellzeitdauer, bzw. des Musiktaktes zugeordnet sind. beginnt und nach dem Einrasten, erst weiteren Synchronsignale bei der Synchronisation berücksichtigt werden, um die Zeitabweichungen auch innerhalb eines Taktes zu messen.

Sync signals which relate to the above optionally further specified reference signals are evaluated as belonging to the beats only if they also within the respective tolerance time window of the beats relevant reference signals (B *, a, b, c, d) arrive, ditto these Sync signals are only assigned to the respective beginning of a music clock when they also within the respective tolerance time window of the beginning of a music clock respectively marking reference signals B12, B13, B14 ... B17 ... arrive.

• 
  That is, the assignment of the incoming sync signals to the reference signals provided with different priorities (in terms of their influence on the synchronization) is such that the synchronization, starting with sync signals, which are assigned only the highest priority for the identification of Nachstellzeitdauer, or the music clock , begins and after snapping, only further sync signals are taken into account in the synchronization, to measure the time deviations within a clock.

• 
  b) die unter (a) bei Eintreffen des dem zugehörigen Bezugssignal (hier B13) betreffenden Synchronimpulses (hier S13) zum vorherigen Synchronimpuls (hier S12) erhaltene Zeitdifferenz t12 (vgLFig.23a, 23b), wird auf den durch die Synchronisation aktuell verschobenen Bezugssignalzeitpunkt (betreffend eines Bezugssignals, welches eine Korrekturzeitspanne betrifft) bezogen. Ist jedoch kein aktuell verschobenen Bezugssignalzeitpunkt vorhanden, z.B. weil gerade erst in den Synchronisationsstatus geschaltet wurde und mit der Synchronisierung erst begonnen worden ist (hier zum Zeitpunkt S13), oder gegebenenfalls auch wenn die Synchronisation wegen unbrauchbarer Werte nicht durchgeführt wird (vgl. 24), dann wird der zuvor über die Messung der Zeitspanne aufeinanderfolgender Synchronisationsimpulse erhaltene Zeitwert t12 auf das aktuelle Synchronsignal (hier S13) bezogen. Worauf im Zeitpunkt des Ablaufs von t12 (hier um die Fehlzeit tf nach S14) hier der erste aktuell verschobenen Bezugssignalzeitpunkt B14N (zugehörig zur gemessenen Zeitspanne t12 zwischen S13 und S12) erhalten wird. Das Verfahren wird dann in dieser Weise fortgesetzt, solange entsprechende Synchronsignale eintreffen.
• • c) die betreffenden Abfragen, wie sie vor dem Setzen eines Synchronisationspunktes (betreffend der sich jeweils ergebenden zeitlichen Verschiebung der Bezugssignale B*N) jeweils erfolgen, sind zu 24 bereits erläutert worden.

In this case, an optional mode can be provided that, when detecting deviations within one cycle, the tempo is changed slightly in time with a steady transition (eg within t14 in FIG 23a ) and not just bar by bar. Thus, two modes are provided here, each within a music cycle each made continuous compensation in which the tempo changes correspondingly within a bar, and made within a musical act linearly proportional compensation in which the tempo is changed bar by bar. If the method can no longer be synchronized to the beats within a bar, then, for example, a corresponding percussion display is displayed, which indicates to the user that he only has to bang the bar again with one beat at each bar start until the synchronization takes effect again.

• 
  b) the time difference t12 (vgLFig.23a) obtained under (a) when the synchronizing pulse (here S13) relating to the associated reference signal (here B13) arrives at the previous synchronizing pulse (here S12), 23b ) is related to the reference signal timing currently shifted by the synchronization (regarding a reference signal concerning a correction period). If, however, there is no currently shifted reference signal time, for example because the synchronization status has just been switched and the synchronization has only begun (here at time S13), or if the synchronization is not carried out due to unusable values (cf. 24 ), then the time value t12 obtained previously via the measurement of the period of successive synchronization pulses is related to the current synchronizing signal (here S13). Whereupon, at the time of elapse of t12 (here, by the missing time tf to S14), the first currently shifted reference signal timing B14N (corresponding to the measured time interval t12 between S13 and S12) is obtained. The process then continues in this manner as long as appropriate sync signals arrive.
• C) the relevant queries, as they occur before the setting of a synchronization point (with respect to the resulting respective time shift of the reference signals B * N), are too 24 already explained.

definition the synchronization status: The synchronization status is given as long as the reference signals, each having a correction period (see above), the procedure explained here without special Interruption carried out becomes. Will the procedure because of missing synchronization pulse input interrupted, namely sync pulses with respect to missing to existing reference signals, which is a correction period affect (above), then the synchronization status is no longer given, the tempo of the audio signal is no longer changed and the synchronization does not begin until a sync signal to a Time occurs when it than the capture range of a reference signal (here B12), as belonging is recognized.

By the process extension described becomes the big advantage achieved that one Mode allows is where the sync signals with different frequency can be entered optionally omitting one or more sync signals can be (For example, if the cyclone is not kicked, or the skier straight no swans power, etc.). If necessary, omit individual sync signals as well to be able to or spontaneously sync signals with shorter note values (as a breaker the pauses), but according to Rhyhtmus, or music tact, enter to be able to is further provided, measured between the sync pulses Times as multiples of these shortest note values to evaluate and sum up accordingly. In each case, the Synchronized by the current synchronization in each case on their time duration Note values used as a reference.

Training measures on the example of a MP3 players, or similar, for the Synchronization of an accompanying music:

Under Using the existing synchronization, is a decoder provided, which one over Recorder recorded melody by analysis of the fundamental tone frequencies converted into a score, the time values or values of note duration over this Synchronization be normalized to a time grid, which a melody or a corresponding pattern for addressing of the audio signal. Here are the notes and the values (in terms of duration) each after a tolerance window of Time values are quantized and decoded as a string. This is the rehearsed Melody decoded based on a normalized key.

Consequently the musician needs (in addressing mode, to play a song at the touch of a button select) only one piece to play in order to address the MP3 file to which he is playing would like to.

• 
  Another option is that time synchronously to the expiration of the audio signal in the audio recorder nor the MIDI signal can be encoded in the audio signal, which in addition to the addressing on the time base via an additional device by frequencies outside the audible range coded (as a MIDI signal) can be made ( see also 28 ). Then, the notes played by the user (via a frequency / MIDI conversion or via MIDI) are compared with those reproduced synchronously by the audio signal, whereby spikes (as non-matching digits) are allowed within a tolerance raster given to the music clock (with respect to duration). Or missing notes (if another one has been played, or the duration of a note has been extended, can be allowed, depending on the selected mode). If an error occurs, eg a special percussion pattern is retrieved as an MP3 slice and superimposed on the reproduced audio signal in order to show the user exactly the rhythmically incorrectly played position.

there it is appropriate that from the audio recorder to play with reproduced MIDI signal into a computer, ditto the e.g. from a keyboard given MIDI signal, and over the Computer program to perform the appropriate analysis.

A Another preferred application is the constant analysis of the user played notes to reproduced by the audio signal to To synchronize improvisation. And after that the harmonic Analysis corresponding result, audio slices retrieved and synchronized be given again.

Im Besonderen ist noch vorgesehen, z.B. im gedruckten (oder auf einem Display angezeigten) Notenbild noch die einzuklopfenden Taktschläge als Markierungslinie mit darzustellen, z.B. durch eine dünne strichlierte oder auch farbig dargestellte senkrechte Taktlinie, die dann zwischen den Linien kein Takt ist, sondern nur einem Taktschlag entspricht. Dabei ist vorgesehen, daß für Notenwerte, die über diesen Taktschlag andauern, diese Taktlinie durch die Note durchgezogen ist und graphisch dabei so dargestellt wird, daß die zeitliche Aufteilung des Notenwertes, der zum Teil vor und zum Teil nach dieser Markierungslinie liegt, gut ersichtlich ist, oder es kann diese Markierungslinie auch zwischen Note und zugehöriger Punktierung gezogen werden, usw. Bei komplexeren Notenbildern, in denen zu einer Markierungslinie sowohl sauber neben der Linie als auch die Linie überschneidende Markierungslinien vorkommen, können die Linien dann bei den sich zeitlich überschneidenden Notenwerten auch unterbrochen sein. Weiters können z.B. bei Vorschlägen auch nur die Taktschläge (ohne Noten) eingezeichnet sein, wobei diese dann eingeklopft werden, wobei dann durch dieses Einklopfen die Taktzeit eingegeben wird, mit dem das später (zum Zeitpunkt der Vorschlagnoten) wiedergegebene Audiosignal startet. Folgt z.B. einer Einleitung, ein mit einem Vorschlag versehener unvollständiger Takt, dann kann durch ein Schaltsignal dieser Vorschlag vom Benutzer markiert werden, um z.B. beim Einklopfen eines Taktschlages, sofort das Audiosignal auszulösen, welches dann mit dem Tempo der Einleitung als Gesang wieder gegeben wird.

In particular, it is still intended, for example, in the printed (or displayed on a display) notation to mark the beats to be knocked as a marker line with, for example, by a thin dashed or colored vertical bar line, which is then no bar between the lines, but only one Beat matches. It is provided that for note values that persist on this beat, this bar line is traversed by the note and is graphically displayed so that the temporal distribution of the note value, which lies partly before and partly after this marker line, is clearly visible , or it may also be drawn between note and associated punctuation, etc. For more complex note images, in which mark lines both clean next to the line and the line overlapping marker lines occur, the lines can also at the temporally overlapping note values be interrupted. Furthermore, for example, only the beats (without notes) can be drawn in suggestions, which are then tapped, in which case by this knocking the cycle time is entered, with which later (at the time of the proposal notes) reproduced audio signal starts. If, for example, an introduction, an incomplete measure provided with a suggestion follows, then this suggestion can be marked by the user by a switching signal, for example to trigger the audio signal when knocking in a beat, which is then reproduced as vocals at the tempo of the introduction.

Dabei eignet sich die bevorzugte nach unterschiedlichen Taktzeitrastern der Bezugssignale vorgenommene Synchronisierung z.B. einen aufgezeichneten Gesang nach einem Live Spiel zu synchronisieren, weil innerhalb eines Taktes der Benutzer auch einen mehrfachen Taktschlag einklopfen kann, damit einerseits mit möglichst hoher Auflösung synchronisiert wird, andererseits eine gegebenenfalls verbleibende Abweichung sich nicht über mehrere Takte zu einer größeren Abweichung summiert, sondern möglichst über den ganzen Takt linear verteilt jeweils ausgeglichen ist. Oder auch umgekehrt, kann, wenn der Benutzer sich beim Spiel nach Noten exakt an die Markierungstaktschläge beim Einklopfen des Rhythmus hält, unabhängig von den tatsächlich gespielten Noten eine Überwachung des Timings zu Lernzwecken erfolgen, wenn die zeitliche Schwankung zwischen den einzelnen Taktschlägen gemessen wird, und bei einer zu großen Abweichung dies dem Benutzer durch eine Perkussioneinlage (eines abgerufenen Audio Slices angezeigt wird).

• 
  Aufsummieren der zwischen den Synchronsignalen gemessenen Zeitwerte:

In this case, the preferred synchronization made after different Taktzeitrastern the reference signals, for example, to synchronize a recorded song after a live game, because within a clock, the user can knock a multiple beat, so that on the one hand with the highest possible resolution is synchronized, on the other hand, any remaining deviation is not summed over several clocks to a larger deviation, but as far as possible over the entire cycle linearly distributed in each case is balanced. Or vice versa, if the user holds the notes exactly at the mark strokes when knocking the rhythm of the rhythm of the game, regardless of the notes actually played a monitoring of the timing for learning purposes, if the temporal Fluctuation is measured between beats, and if the deviation is too large, this is indicated to the user by a percussion insert (a retrieved audio slice).

• 
  Adding up the time values measured between the synchronizing signals:

• • Dabei kommt (je nach verwendeten Modus) auch folgende Verfahrensweise zur Anwendung:
• 
  Es werden nur jene Synchronsignale als aufeinanderfolgende Synchronsignale jeweils verwendet, welche jeweils in einer zeitlichen Näherungsmessung den Bezugssignalen entsprechen, wobei bei einem fehlendem Synchronimpuls dieses Fehlen durch einen Missing Detektor erkannt wird (wenn der Synchronimpuls innerhalb des Toleranzzeitrasters der Bezugssignale nicht eintrifft) und dann der Zeitwert für die Zuordnung eines Synchronsignals zu einem Bezugssignal (nicht für die Feststellung der Abweichung) entsprechend dem Zeitwert des Zeitrasters des betreffenden Bezugssignals summiert wird.

The summation of the time values respectively measured between successive synchronizing signals takes place in such a way that these time values are related to the time values between successive reference signals (dependent on the instantaneous playback speed of the audio signal), these reference signals being assigned to the synchronizing signals by proximity measurement. In this approximate measurement, in each case the relative deviation of the times between the synchronizing signals to the times between the associated reference signals is evaluated.

• • Depending on the mode used, the following procedure is also used:
• 
  Only those synchronous signals are used as successive synchronizing signals, each corresponding to the reference signals in a temporal proximity measurement, which absence is detected by a missing detector (if the synchronizing pulse does not arrive within the tolerance time frame of the reference signals) and then the time value for the assignment of a synchronizing signal to a reference signal (not for the determination of the deviation) is summed according to the time value of the time frame of the respective reference signal.

• 
  Kodierte Bewertung der Synchronsignale:

If a synchronizing pulse within the tolerance time frame of the reference signals can not be assigned, then it is evaluated as a missing synchronizing pulse. In the summation of the periods between the sync signals each time periods is set so that the measured between the sync pulses time is set to the current duration of the music clock ratio, and from the note duration is calculated, in turn to the time intervals (corresponding to the note duration) of the reference signals (if necessary, the remainder of the round is then used as a carry for the next time value so that rounding errors can not add up). From this, the number of unentered, or too much input sync signals can then be determined, which are then used depending on the coding of the reference signals for synchronization. Respectively. Is ensured that too much input synchronous signals for lack of correct timing reference signals do not interfere with the synchronization, dito even with too little input sync signals, the subsequently entered sync signals can be correctly interpreted again in time relative to the reference signals.

• 
  Coded evaluation of the sync signals:

The according to the different priorities of their recognized as belonging Reference signals used sync signals (with respect to their use), can also be used (depending on the mode) that the sync signals, the occur within the tolerance time frame of the reference signals, which the period of time each time to the sync signals Set or mark proportional correction (adjustment) (see above), opposite (the) other sync signals, preferably evaluated. For example, such that when to such a reference signal, the sync signal is missing, the temporal Correction of periodic process according to previously determined deviation measurements is not made.

Averaging calculation the temporal deviation measurements: If necessary, too measured mean values for appropriate corrections are used.

Notation: 6c shows a score for piano as an example (the piece Misty by Erroll Garner), where the user play this tune and by the preferred method by tapping the rhythm (eg over the zu 26 described sensor carpet) can synchronize the audio of an audio (eg MP3) reproduced audio signal. Only a relative tempo variation is allowed within the measure, or (depending on coded reference signals none at all), whereby the cycle time remains constant as a beat, unless it is interrupted by entering specially coded sync signals (see pounding with the foot on the Sensor carpet), starting with the times marked with (1).

The beats (4), (4) (1), (3), (1), (2a), (2b), (3), (1) marked in the (eg printed) score picture correspond to the audio signal contained in the reproduced audio signal (and the note image corresponding) reference signals, or their times. So here follows immediately at the end of the clock of here only with the last 1/4 beat shown introduction (which is without singing), the input of the sync signal to beat 4 (by tapping his foot on the sensor carpet), because of the subsequent proposal clock turn a beat 4 follows, corresponding to a beat to this beat by attack (on the piano) played Proposal note of the incomplete proposal clock cycle I., in which case the beats 1 to 3 are not present in the proposal act. For this example, the two modes consist of the last beat of the introduction being the last beat (here the immediate fourth beat of the last quarter) or the first beat (to calculate the last quarter of the last bar) is entered, and this may also be recognized automatically due to the large time difference (depending on how the operation of the device, or the different modes is provided).

With the beat 4 of the incomplete proposal clock (I), the tempo controlled playback of the audio (for example, MP3 player) is started, previously by timing between the last clock (the dargesteilten not here at the end of the bar E) and the beat 4 of the proposal act input synchronous pulses (corresponding to the time t1 / 4 in 6c ) the playback tempo is first synchronized, ie the reference signals between the single beat (4) of the incomplete suggestion clock and (1) the first full clock (clock II) mark a correction period whose duration corresponds to the note value of the reference signals, this is 1/4 for the tempo synchronization of the audio signal. On the other hand, the reference signals of the last beat (4) mark the last note of the introduction E and the single beat (4) of the incomplete suggestion beat over the duration t1 / 4 (in 6c ) only Meßbezugszeitpunkte and no Nachstellzeitpunkte (or possibly only with very little possibility of change), since in an optionally present in the introduction synchronization, for example, for a reproduced by the Audioconcert accompanying instrument, the correction period then the entire last cycle of the introduction (also by corresponding reference signals encoded), over which proportionally without changing the rhythm within a bar, the tempo is adjusted. In this case, there may easily be passages in a piece of music in which the proportionality of the note values is to be obtained not only over one but over a plurality of measures, in which case, for example, for each reference signal time point provided in the audio signal, the reference signal time is read out to the one starting time Correction period is completed again. The same applies to the maximum deviations that may occur during readjustment via reference signals defined by such codes, or over the time span, which is respectively coded by an associated pair of reference signals, ditto, where appropriate, the resolution of the smallest note value which is given in the Measurement is to take into account, ditto the time signals associated with the reference signals for the capture areas, within which an incoming synchronization signal is the reference signal (eg for a TaktKennzeichnig) recognized as belonging, etc.

The in the sheet music entered times, to which the user Sync signal as beats (4), (4) (1), (3), (1), (2a), (2b), (3), (1), respectively the reference signals, which directly becomes instantaneous. Will between these points beats, or synchronizing signals entered, then these are due to the current measurement of the time periods of the received synchronizing signals proportionately in relation to a corresponding note value (according to the respective cycle time) calculated, and mirror, no. 39122.9.03 for reference time measurement used the reference signals. It is proceeded so that by Gradual summing this not immediately a reference signal as belonging detected sync pulses, each time reaching the temporal Near the Catch range of a reference signal internally a virtual sync pulse is formed in the absence of the reference signal immediately associated sync pulse, then replacing it, i. around as Missing detector the missing sync pulse with respect to the timing to which he would have should arrive, to recognize more precisely. The non-incoming sync pulses are then timed by the internal reference signal detected, so that reference signals, to which no synchronizing pulses were input, in order the synchronizing signals to be evaluated can be skipped and an error interpretation in the assignment by the temporal Nährungsmessung to avoid, i. to detect whether a sync signal in the Catch range of each correct reference signal is located. Is a safe detection no longer possible, then the synchronization is stopped and only by a new one Initialization, at the beginning of the correct (from the user via the Audio signal belonged) Music clock, a synchronization signal after a short interruption time for the Inputting the synchronizing signals) to the reference signal associated with the music clock is recognized, restarted. It can also MIDI decodes be provided, which recognize a played melody and so the Improve assignment confidence to the correct reference signal.

This in 6c The selected example concerns a composer and performer who himself knew no notes and had a highly interesting timing with respect to rhyhtmic carry-over of the note values until each of the next measure, to achieve an interesting effect, which is well expressed in measure III. This is the reason why the quarter-clock rate entered from two successive 1/8 beats in succession is indicated for better synchronization. Because the note played as the first eighth of the measure (III) is played 1/32 longer (which would not be represented by a dot in the musical notation), this short extension distributed over the following three eighths is shortened again, then in the Time value four correctly played eighths follow to end the measure. It is evident that in such a complicated timing not only the vocals can be perfectly synchronized, but also vice versa, the timing of the input sync pulses measured and by calling various audio slices (Percussion, etc.) can be given a rhythm help. Wherein the input timing can also be compared with the original recording played back as an audio signal, etc., to allow the user to learn the timing perfectly.

Weiterbildungsoption: Nach dem Stand der Technik sind bei derartigen Temporegelungen eines Audiosignals nur das beschriebene Synchronverfahren nach dem Patent DE 41 43 257 C2 oder auch nur eine einfache Taktregelung, etc. üblich.

Further training option: According to the prior art, in such temporal arrangements of an audio signal, only the described synchronous method according to the patent DE 41 43 257 C2 or just a simple clock control, etc. usual.

• 
  In Weiterbildung sind für diese kombinierte Synchronisation und Triggerung zwei Varianten vorgesehen:

• 1) die vom Benutzer in Echtzeit erzeugten Notendaten, werden dazu verwendet, um ausschließlich ein wiedergegebenes Audiosignal, bzw. bestimmte Audioslices zu synchronisieren, bzw. gegebenenfalls zu adressieren (zu triggern);
• 2) zusätzlich zu 1) wird das wiedergegebene Audiosignal noch transponiert, bzw. es werden gegebenenfalls Audio Slices unterschiedlicher Tonhöhen abgerufen. Dabei entsprechen dann die Tonhöhen jeweils den dekodierten Tönen des Benutzers (Echtzeit MIDI), der z.B. neben einem natürlichen Instrument, auch unmittelbar ein MIDI Instrument spielen kann. Für die Echtzeit Transponierung wird auf die beiden Anmeldungen DE 10 2005 029 026.4 und DE 10 2005 032 995.0 , bzw. deren Prioritäten, des gleichen Anmelders verwiesen.

Likewise, however, it is still known as state of the art to reproduce triggering audio slices with predetermined fixed tempo. With the in 6c In the example shown, a training option is to be specified which uses both methods, synchronization and triggering simultaneously. In addition to triggering (triggering) of the tone generator, the respective duration of a tone or sound triggered by a trigger signal is determined or codetermined in addition to the current synchronization. Since the times are largely linearly changed, the characteristic of a played sound remains largely preserved, for example, the sound of stringed instruments, or even wind instruments, as played by the artist. It is so that each time ahead during the real-time (live) game, the sound is determined, as he trailing in time then continues. For example, many violinists feel that their playing needs to sound the same as a concert by Geiger, but they have difficulties with the tempo of a piece. It is expedient from the additional synchronization by the currently played by the user notes (see real-time MIDI), how to 28 explained, to make use, in which case further provided with natural instruments, or for vocals, a pickup / microphone with a downstream frequency decoding of the tones to obtain the real-time MIDI signal. As below to the score 6c 1, the mixed method in which the consecutively reproduced audio slices are both synchronized in their timing and triggered has particular advantages when the audio signal reproduced as background music relates to a vocal. In this case, the synchronization of the vocal track of a reproduced as accompanying music track, such as a drums, also be decoupled, then for the vocal track and drum track each separate reference signal codes are provided so that the beat of the drums, the user should follow his game ( and while within a clock, for example, exact syncopation between the game of the user and reproduced as accompanying music drums in the synchronization should be observed), is not adversely affected by the vocal synchronization. For in vocal synchronization, the text of the text should also be taken into account, as follows 6c will be explained.

• 
  In further development, two variants are provided for this combined synchronization and triggering:

• 1) the note data generated by the user in real time, are used to synchronize or optionally to trigger (trigger) only a reproduced audio signal, or certain audio slices;
• 2) in addition to 1), the reproduced audio signal is still transposed, or possibly audio slices of different pitches are retrieved. In this case, the pitches correspond to the decoded tones of the user (real-time MIDI), which, in addition to a natural instrument, can also directly play a MIDI instrument. For the real-time transposition will be on the two registrations DE 10 2005 029 026.4 and DE 10 2005 032 995.0 , or their priorities, referred to by the same applicant.

Note: In conjunction with the transposition method according to the applications DE 10 2005 029 026.4 and DE 10 2005 032 995.0 For example, the synchronization method can still be used to reproduce spoken texts as vocals, in which case the synchronized tune is fed as a modulation track into this real-time transposition to the function of the required frequency change (df) of the spectrum of the audio signal over the respectively predetermined time difference (dt) for to get the singing. In this case, then the synchronized melody can also be entered by an instrument not rasterized in pitch, such as by a violin, etc., in order to obtain the intermediate tones also when singing. However, the method can also be used to reinforce an already good singing. In both cases, the vocal instrument inputted by the instrument, eg a violin, is then compared in its basic tone to the fundamental tone of the vocal and the frequency deviation as a manipulated variable to retrace the pitch via the function dt = function (dt) of the real time transponder device DE 10 2005 029 026.4 and DE 10 2005 032 995.0 controlled.

• 2.1) daß durch die vom Benutzer gespielte Tonfolge (z.B. als erzeugte MIDI Daten), über deren Tönhöhen adressierte Audio Slices wiedergegeben werden, wobei, dann jener gespielte Ton für die Triggerung, als auch Adressierung eines Slice entscheidend ist, der im Fangbereich des aktuellen Bezugssignales (das ja durch die aktuelle Synchronisation entsprechend zeitlich verschoben wird) liegt;
• 2.2.) daß die gespielte Tonfolge nur die Audio Slices synchronisisert, wobei dann anstelle von Tönen (Noten) in 28 nur die Tondauer jeweils verglichen ist, bzw. beim Mustervergleich statistisch auch einige falsch gespielte Töne (= Improvisation) zugelassen werden.

Variant 1) then corresponds to the prior art if the audio slices are merely addressed by the note data. The situation is different with the combination of synchronization and trigge In particular, when it is determined by a correspondingly coded reference signal when a note Data is used as a trigger signal, and when not. It is still not common in the prior art and also not known to simultaneously use such a synchronized file as a musical instrument, on the one hand reproduced by the audio (or the slice) sound duration, or sound duration by the synchronization in duration preconfigured, on the other hand, the precise triggering time is determined by a trigger signal generated by the user's real-time play. The two different modes can be provided:

• 2.1) that are reproduced by the user played sound sequence (eg as generated MIDI data), on the sound levels addressed audio slices, where, then that played sound for the triggering, as well as addressing a slice is crucial, in the capture range of the current reference signal (which is shifted in time by the current synchronization) is;
• 2.2.) That the played sound sequence synchronizes only the audio slices, whereby instead of tones (notes) in 28 only the sound duration is compared in each case, or statistically also some wrongly played notes (= improvisation) are allowed in the pattern comparison.

How to 6c explained, the synchronization signals to be knocked are recorded in a score, ditto, if necessary, also notes, after which a synchronization signal is decoded, are colorfully drawn, his, etc. In 6c For example, these are only the temporally shorter note values of the upper part.

To This method, therefore, can be a music student too professional Musicians played sounds not just to play, but has the impression that he is the Game, which causes a positive influence, since it causes e.g. at the Play a violin in sync with the sound it produces, the the preserve follows. However, without the clock (music tact) too vary. The same applies even more when singing, i. with the System we also get an ideal training system for singing lessons.

For reasons of space, the scheme for the following explanation is not drawn over the entire staff, but only for the capture areas of the reference signals B1, B2 ... B5. This concerns the sung text section "a kitten up a", which is to be seen in bar III from the entire text "I'm as helpless as a kitten up a tree" ( 6c ). In this case, in the preferred in this method synchronization, both by the user (eg on the zu 6c sensor tapestry) entered included beats (1), (2a / 2b), (3), (1), whose timing is accurately drawn in the score are included, as well as the trigger pulses generated on the notes played. If the user omits or over-inputs some beats, then the synchronization will not be significantly disturbed since the time spans measured between the sync signals will be summed up corresponding to the note values and so the input sync signals can be correctly assigned to the reference signal time-grid. An exception is the only for changing the duration of the music clock input synchronizing pulses, in which then the user-desired cycle time is measured directly from the time between two sync pulses.

In the case of the reference signal B1, whose time window together with the string recognition of the notes played (cf. 28 ) recognizes the note associated with the word "a", it proceeds as follows:
The string recognition of the played notes also allows an improvisation in which, for example, instead of or in addition to the notes, only the rhythmic is rated, where instead of an eighth note two sixteenth notes can be played, etc. Ditto also statistical evaluations can recognize a note pattern, if Although the notes are no longer correct due to improvisation, the improvised notes fit into the timeline. Since such a scheme is very complex, it is still provided here that if a note detection is not recognized as a trigger signal, then automatically synchronizes the time. This will be explained with this example.

• 
  Neu hingegen ist, diese Technik zusammen mit der bevorzugten Synchronisation zu verwenden und dabei zum Bezugssignaλ diverse Steuerinformationen zu kodieren, die bestimmen, wie hier in Abhängigkeit des Audiosignals, z.B. eines gesungenen Textes, die Korrektur zu erfolgen hat, indem durch die Kodierung des Bezugssignals von vornherein auch solche Zeitabschnitte kodiert werden können, in denen die Zuordnung eines Triggersignal zu einem Bezugssignal nicht ermöglichen ist, d.h. daß durch die Kodierung des Bezugssignals absolut die Art der Synchronisation bestimmt wird: Freilaufend nach einem synchronisierten Zeitraster oder getriggert.

If the sung tone of the word "a" (on B1) with the tone is too short, then it will be extended until either the note repeated in the trigger window (belonging to the reference signal B1) will be played by the user, whereby the trigger signal t1 (according to the condition coded to B2) is generated or by the time-out coded to the reference signal B1 expires when the repeated note is not played. This time-out is then derived in accordance with the synchronization and, in the prior art, corresponds to the prior art of a note sequence program that a time controlled handoff occurs if the tone triggering signal does not arrive; ditto that this forwarding is made by the trigger signal of the sound, if it arrives before.

• 
  On the other hand, it is new to use this technique together with the preferred synchronization and to encode various control information for the reference signal, which determine how the correction is to be effected here in dependence on the audio signal, eg a sung text, by the coding the reference signal from the outset, such periods of time can be encoded in which the assignment of a trigger signal to a reference signal is not possible, that is determined by the encoding of the reference signal absolutely the type of synchronization: freewheeling for a synchronized time grid or triggered.

In the example below 6c the sung text passages or audio slices a, ki, t, are terminated by the respective subsequent notes which generate the trigger signals t1, t2, t3, the subsequent slices being triggered by this trigger signal. The audio slices are subdivided with respect to the vocals so that the extension or shortening always concerns only vowels, and no consonants, and furthermore no vowels, where the sung word would sound weird.

So can in the word sequence "a kitten up a tree "im Clock III all Vowels are stretched or shortened, except for the "u" of the word "up", because otherwise it's weird sounds. It must these places brought in line with the rhythm of the tune which is why the reference signals that this extension or shortening control, timed are set accordingly. Especially clear is this in the phrase "... kitten up ... "at which is good to see that the Slices ([Slicesj) not necessarily by words, but by syllable sequences are divided, each for every vowel, for an extension or shortening is provided, the vowel each placed at the end of the slice is. e.g. [ki] [tte] [n up]. Except for the word up, where no renewal or shortening the vocal "u" is allowed, what through the associated Reference signal B4 is marked. The scheme for the reference signals then becomes automatically created in a music or notes editor program, by the sung to a score with associated soundtrack Vocal track is made temporally movable, and in the score with specified words or vowels that are not changed allowed to at constant Listening to the Vocals (in a corresponding loop) are marked, so that the belonging automatically set reference signals are then encoded accordingly.

A Another option concerns the statistical evaluation, such as that of the synchronization timing signals differ greatly in the evaluation of synchronization will be included. That depends again strongly from the score and can by appropriate extension of the instruction set the possible to a reference signal Encodings continue to be designed.

Furthermore, can Also alternative audio slices may be encoded, which are called when it gets tight in time, or becomes too long in time and then realized another emphasis of a word depending on the timing to be, or a variation of the melody, etc.

On this way, a song can be perfectly synchronized to a tune be reproduced even if the user is still unable should be to keep the timing accurate with the required precision. there However, the beat can still continue to be a percussion (drums) be reproduced exactly so that the user is on the right Rhythm is attracted, or can learn this quickly.

More to 6c Concerning the beats indicated in the score: Thus, in this example, it is emphasized that the notes reproduced by the audio signal, an accompanying music or a song, are reproduced exactly synchronously with the beats 2a and 2b (see clock III) input as synchronizing pulses. according to the text ... "as a" ..., on the other hand, it is so that if the sync pulses 2a, 2b, (or even just a pulse) fail, then the synchronization anyway (if not synonymous so precise) instead must find. The problem is solved again via the reference signals assigned to the synchronization signals in the audio signal, which are provided with a corresponding coding. In 6c this means that with respect to the reference signals 2a and 2b with respect to the current synchronization, the tempo is slightly slowed down for the reproduction of the audio signal by slightly increasing the time value obtained at the currently set tempo, so that the internal triggering of the to Corresponding to slightly delayed delayed beats 2a and 2b, wherein when these beats are detected as sync pulses, then immediately for one of the beating associated note duration (corresponding here corresponding to the reference signals to 2a and 2b a corresponding correction time interval), the corresponding by the reference signal If the sync pulses are missing, then the audio signal location ("as a") marked by the reference signal will be reproduced slightly later in relation to the ideal synchronization, but at least e will not be reproduced Ines relevant sync pulse, the associated time window for a possibly generated by the user trigger pulse, which then terminates the current slice and triggers the next.

The same is true, of course, if the audio signal playback instead of a song another Instrument concerns. Decisive for this measure, the current synchronization time to increase slightly, and depending on the query whether the sync pulse to the associated reference signal to shorten the synchronization time again so that when the arrival of the sync pulse exactly reproduced to the reference signal position of the audio signal is played, is whether a respective coding, which initiates this method of interpretation of a sync pulse as a trigger signal, is provided for this reference signal. The possibility is provided, as a trigger signal continue to interpret the currently played notes (as a query, whether it is the right notes), as described above. If different modes are to be available, then different MP3 files with different reference signals are provided.

Another option, which may also be coded with reference signals, relates to the coding of time intervals in the score which may only be changed proportionally to each other within a measure, for example, over time intervals in the score which are in 6c eg the respective played tied eighth notes. Care must be taken, however, that no syncope to the other voices arise if none are predetermined, etc. Why the coding of the correction method to the reference signals has a special meaning.

These Coding will be over again an editor made the exact score of the reproduced Audio signal, optionally with singing voices, too several minor differently synchronized audio signal tracks are present, e.g. to the triggered tempo synchronization of a track with the Synchronization of over the beats the triggering of bound or stopped notes of another To connect track. It then notes areas that are unchanged in proportionality be played back, marked, the software then accordingly the clock arrangement and possibly further specifications (allowable tolerance in case of deviation of the time proportionality, etc.) to those in the score set reference signals, the classification data automatically assigns.

• 
  Für MIDI Pianos ist dabei ein raffinierter Modus unter Verwendung einer Stummschaltung vorgesehen, bei welcher zu gespielten Noten ein Stumm Pedal gedrückt wird, das die Wiedergabe unterbindet. Zu diesem Zweck ist das Output des MIDI Signals durch einen Adapter geschleift, der bei Drücken des Pedals die Weitergabe an den Tonerzeuger (Syntheziser, E-Piano, etc.) unterbindet, jedoch das beim Pedal Drücken erhaltene MIDI Signal zur Dekodierung der gespielten Noten in entsprechende Synchronsignale umsetzt, wobei z.B. vier Sechzehntel Noten (über die Dauer einer Viertel), die dann als Pause zu "hören" sind, ausreichend sind, um eine Tempo Vorgabe zu ermöglichen. Dabei sind die gespielten Noten egal, es kommt nur auf die Werte an.

Other features (features, or other possibilities of realization): With this invention, it is thus possible for an average pianist to play Mozart's operas not only on the piano, but with vocals and orchestra. There may be different tolerance modes, those where he can sloppily play the note values and the vocals are retraced accordingly, and those where he must precisely play the note values at the tempo he chooses.

• 
  For MIDI pianos, a sophisticated mode is provided using a mute function, in which a mute pedal is pressed to play notes, which prevents the playback. For this purpose, the output of the MIDI signal is looped through an adapter, which prevents the transmission to the tone generator (synthesizer, e-piano, etc.) when the pedal is pressed, but the MIDI signal obtained by pressing the pedal is used to decode the notes played synonymous converts corresponding synchronizing signals, for example, four sixteenth notes (over the duration of a quarter), which are then as a break to "hear" are sufficient to allow a tempo default. The played notes do not matter, it depends only on the values.

• 
  Eine weitere Besonderheit ist die Eingabe kodierter Synchronsignale z.B. um den Musiktakt (beat) durch Klopfen mit dem Fuß zeitlich zu verziehen (zu verändern), was z.B. durch Stampfen erfolgt, anstelle durch Einklopfen (siehe dazu die Erläuterung zur Klopfauflage, bzw. zum Sensorteppich nach 26). Dabei wird jedoch noch folgendes berücksichtigt: Können Synchronsignale eindeutig bestimmten Bezugssignalen zugeordnet interpretiert werden, über eine externe Kodierung (z.B. eingegeben durch Stampfen, etc.) und nicht über das Timing, dann ist eine automatische Umschaltung vorgesehen, welche die zeitliche Quantisierung, bei der innerhalb des aktuellen Notenrasters die Zeitintervalle der Synchronsignale je nach Notenwert variieren können (und durch Summieren passend zum Zeitraster der Bezugssignale synchronisiert wird), abschaltet. D.h. die Eingabe der Synchronsignalzeitspannen entspricht dann der Dauer der durch die betreffenden Bezugssignale (denen diese kodierten Synchronsignale zugeordnet sind) markierten Zeitspannen, z.B. dem der Beat (Musiktakt, oder auch einem halben Musiktakt, etc.) synchronisiert wird. Diese Zeitpunkte können dann wiederum musikalisch gut heraus gehört werden, oder sie sind in einem Notenbild entsprechend verzeichnet.

The following, by knocking or as the first MIDI signal start detected delimited beginning of the game, is then evaluated as a trigger signal to start for the inhibited by pressing the new pedal output of the new set of the piece of music associated audio signal. This additional pedal function, for example, by a decoded wiper (with the shoe) forward (pedal pressed), dito a wiper to the rear (pedal Iosgelassen) of 26 and 27 explained sensor carpet, be realized. If the instrument has no MIDI tone generation, then it is intended, for example, to play virtually toneless strings of a stringed instrument (eg slightly stretched string without resonance with vibration pickup, see also electric guitar, etc.) for entering the tempo. Or, it is intended to knock on the current beat during the depression of a pedal, etc., in which case this status of the higher-order tone recognition will be released depending on the modes, or with the last tapped synchronization pulse in this status (according to the number of notes played by agreement) can be switched off again. Depending on the reference waveform encoding contained in the audio signal (which switches the free-running or frozen modes here, and which may also be displayed in the printed note image), this status can be either freewheeling or triggered or triggered with audio signal playback to be started. Free-running means that the audio signal starts itself and the user directs its use to the audio signal. Triggered means that the playback of the audio signal starts with the first played sound, whereby the audio signal of the recording can also commence with a pause (after the trigger), if necessary also a sync signal can be used for the trigger release, etc. Qe after mode ).

• 
  Another special feature is the input of coded sync signals, for example, to delay (change) the music beat by knocking it with the foot, which is done by pounding instead by knocking (see the explanation of the knock pad, or the sensor carpet after 26 ). However, the following is taken into account: If synchronization signals can be unambiguously assigned to certain reference signals, via an external coding (eg entered by pounding, etc.) and not via the timing, then an automatic switching is provided, which determines the temporal quantization, within which of the current note grid, the time intervals of the sync signals can vary according to the note value (and is synchronized by summing to match the time grid of the reference signals), shuts off. That is, the input of the sync signal periods then corresponds to the duration of the respective reference signals (to which these coded sync signals are assigned) marked periods of time, for example, the beat (music clock, or even a half music clock, etc.) is synchronized. These times can then be heard musically well out, or they are recorded in a note image accordingly.

Furthermore, is for the playback device nor a copy protection provided such that the encoded as timestamps Reference signals for every device be detected differently (by a query code, the on the Reference signals can also be serially encoded). Thus, only by an exemplary device, the e.g. to this device, or to the corresponding device number, the above the internet downloaded files synchronized and in tempo can be played variably. The device number can be replaced by a corresponding one Interface to the Internet terminal (or computer) read become.

Further information on the procedure:

In present improvement are the reference signals (which the character the reproduced piece of music correspond, thereby giving the user acoustic reference signals according to the rhythmic ongoing process transmitted will be prioritized for the each correct evaluation of incoming sync signals (the rhythm of the piece of music correspondingly) coded (marked), wherein the temporal proximity of the synchronizing signals to the reference signals, respectively, the assignment between the reference signal and sync signal determined. These are reference signals for synchronization the tempo of the audio signal playback so used above all the rhythm of the played piece of music with changing Speed of the sync pulses is maintained. With the two fundamental applications for the Topics sports and music, or purely musical applications.

So is a time window evaluation made in each case for the reference signals provided in the linked by Measuring or Assessment criteria is decided, whether an incoming sync pulse for synchronization is used (directly or possibly also delayed over several Sync pulses averaged, etc.) or not, and to which Reference signal is an incoming sync pulse associated.

A optional extension applies to the time window rating Evaluation, to which reference signal from a time sequence of Reference signals, in each case a synchronization signal arrives (S = Signal detection), or not (S! = Missing detection) arrives, wherein also strings encoded / decoded as a recognition pattern to a reference signal can be.

When As a result of such string recognition, the e.g. from an MP3 Decoded rhyme pattern:

Example: String 1 = S (t1) * S (t2) *! S (t3);
String 2 = S (t1) * S (t2) * S (t3); etc. (... * AND function,! ... negation = missing sync signal).
String = String 1 + String 2; ... (+ ... OR Function).

(T *) ... here means the time-related (i.e., not absolute) time position;

Wherein any numbers and links of such strings can be defined, which are taken together as an OR function. Also, the omission (! ... missing) of complete strings within further existing strings can be defined as a new recognition string: String = String 1 * String 2 *! String 3;

• – Um einen solchen Ablauf kostengünstig realisieren zu können, wird bevorzugt ein State Machine Sequenzer einer programmierbaren Logik (z.B. gespeichert auf RAM Basis) verwendet, und die Übertragungsgleichungen (der Status Machine) jeweils automatisch unter Benutzung einer Musik Bearbeitungssoftware erstellt. Die betreffenden Dateien werden dann zur Wiedergabe des Audiosignals, von dessen Datenträger in den State Machine Sequenzer geladen. Der Sequenzer kann auch sehr gut zur Dekodierung von Mustern in dem zu 28 erläuterten Verfahren verwendet werden.

The term "omit" means that the string is not satisfied with respect to sync signals.

• In order to be able to realize such a procedure cost-effectively, a state machine sequencer of a programmable logic (eg stored on a RAM basis) is preferably used, and the transmission equations (the status machine) are respectively created automatically using music editing software. The relevant files are then loaded to play the audio signal from its disk into the state machine sequencer. The sequencer can also be very good at decoding patterns in the too 28 explained method can be used.

• – Dabei können diejenigen Stellen, welche dem Erkennungsmuster (der eingegebenen Synchronsignale) jeweils entsprechen, auch die Umschaltung der Audioquellen (Slices) veranlassen, (z.B.) um bei einem synthetischen, aus einer MP3 Datei wieder gegebenen Schlagzeug, unterschiedlich komplexe Rhythmen in Abhängigkeit von den eingegebenen Synchronsignalen abzurufen.

In particular, it is discussed here that the creation of the recognition pattern can be programmed in addition to the ability to input through a score especially through learning by a good drummer or drummer plays to a reproduced audio signal to do so.

• In this case, those points which respectively correspond to the recognition pattern (of the input synchronizing signals) can also cause the switching of the audio sources (slices) (for example in the case of a synthetic drums reproduced from an MP3 file), depending on the different rhythms retrieve input sync signals.

The input synchronizing signals are thereby e.g. from a MIDI drums delivered by an average musician becomes. The retrieved patterns, however, come from a world class Percussionist. Through this method, the average Musician with the further help of a corresponding music program, by learning the recognition patterns (which is new here, because known The prior art is only learning the reproduced reproduction patterns and not the one to be entered) a variety of complex rhythms put together his personal Support game constantly, and while still incorporating rhythm fairly.

The possibilities of this new technique even go so far that not only for percussion or percussion rhythms, the interpreter can be cloned, but also for other instruments, if there are still methods used, as for example by the same applicant in the DE 10 2005 029 026.4 and the DE 10 2005 032 995.0 have already been proposed for cloning instruments or human voices. Then, upon detection of the recognition patterns, not only the harmonic characteristic of a tone changed in pitch or pitch is manipulated, but the interpretation decoder used in these applications still manipulates the addressing for the phases harmonic manipulation. This manipulation is quite similar to the briefly explained manipulation in retrieving different rhythm patterns of drums, except that for the string formation to produce the recognition pattern, then over the output of the interpretation decoder used in the cited applications, and its actual output then by learning it Identification patterns associated with, or stored in a pattern memory playback pattern, are used, which then in turn the harmonic correction (or their memory) to address.

So much to the efficiency of the presented here new system in contrast to the prior art. Below are further execution measures of the invention discussed.

• - The first measuring or evaluation criterion is, in which phase to the by the reference signal respectively controlled time window (within or outside the window) a synchronization pulse arrives or not;
• - the second measuring or evaluation criterion, which is an AND function (coincidence condition) for the validity a synchronization pulse is decisive, is the test of Assignment to which coding one from the chronological order of the Reference signals corresponding reference signal, the synchronization pulse occurs or not;
• - Another criterion is to encode the sync signals externally (via the input device) and to use reference signals (with respect to the measurement of the temporal deviation) only if they correspond to this coding in time (see Multifunktions sensor carpet like 26 and 27 illustrated).

The advantage of such an evaluation to possibly not evaluate or even evaluate incoming synchronization signals (from a sequence of coded reference signals) is that the user musically corrects the one-beat clock from which the synchronization pulses are derived can, without a disturbing Nehenwirkung a wrong synchronization (tempo change) to receive, or in the case of an externally encoded input of sync signals (see sensor carpet after 26 ), the pace can also be drawn directly.

So can e.g. twice as fast, or half as fast (by skipping every second knocking impulse) the rhythm will be tapped without that therefore the pace changes or a 12/8 bar as 3/4 bar or as 6/8 bar knocked be, etc. And in constant Change of rhythm (so it does not boring the user becomes). Here is the tempo of the reproduced piece of music itself but not in half delay or be twice as fast, but stay the same, or only the really minor Fluctuation of the basic clock follow. That the system constantly detects if the synchronization clock with single clock or double clock, etc. is knocked, in adaptation to the nature of the piece of music, what through the priority coding the reference signals in the disk he follows.

Also, a switching of the reproduced piece of music, depending on defined locations of the reference signals timely correctly recognized sync signals is possible, for example, to realize a percussion, etc. The strength of the system is that it does not have to start from a simple time frame clock, but to arbitrary temporal locations, as it corresponds to the rhythm of the reproduced piece of music, the synchronous signals are taken into account with different priorities. In this case, for example, a different synchronization within the musical clock may also be provided for different tracks of the audio signal (vocal, melody instrument, percussion), and a common synchronization over the duration of a musical clock (cf. 6c explained example).

example for the Coding of a reference signal, these reference signals as in a grading program to characteristic sound and pause sequences encoded, and changing ones Time axis, i. Sequence of the audio signal the temporal The position of the reference signals changes accordingly with, since these according to the rhythmic to be transmitted to the user.

• – Bezugssignal Nr # (entsprechend dem Zeitpunkt des Ablaufs);
• – Zeitfensterdauer des einem Bezugssignal jeweils zugehörigen Zeitfensters, wobei diese Zeitdauer relativ zur Wiedergabegeschwindigkeit des Audio Signals definiert wird und daher proportional zur Wiedergabegeschwindigkeit sich mit ändert;
• – Verwendungskode, wenn ein dem aktuellen Bezugssignal zeitlich innerhalb des Zeitfensters zugehöriges Synchronsignal eintriftt;
• – Verwendungskode, wenn das Synchronsignal nicht im Zeitfenster des aktuellen Bezugssignals eintrifft;
• – gegebenenfalls noch einen Stringdekoder, der den Rhythmus der Synchronsignale normiert auf das Zeitraster des wiedergegebenen Vorganges dekodiert;
• – und die weiteren, in dieser Beschreibung genannten Funktionen, die je nach Anwendung verwendet werden. Dabei können auch Sequenzen der zu den Bezugssignalen jeweils eintreffenden Synchronsignale entsprechend der Kodierung der Bezugssignale (die dann auch mehrere aufeinanderfolgende Bezugssignale betreffen können) mit einbezogen werden.

Note: The current reference signal is understood to mean in each case that which is currently just in time for the reproduction of the associated audio signal; The coding or usage code of the reference signals relates (depending on the application):

• Reference signal # # (according to the time of expiration);
• Time window duration of the time window associated with a reference signal, this time duration being defined relative to the playback speed of the audio signal and therefore changing in proportion to the playback speed;
• Use code, when a synchronous signal associated with the current reference signal within the time window drifts;
• Use code when the sync signal does not arrive in the time window of the current reference signal;
• If appropriate, a string decoder which normalizes the rhythm of the synchronizing signals to the time frame of the reproduced process;
• And the other functions mentioned in this description, which are used depending on the application. In this case, sequences of the synchronization signals respectively arriving at the reference signals can also be included in accordance with the coding of the reference signals (which may then also relate to a plurality of successive reference signals).

Of the Use code of the reference signals need not only the synchronization he can also control e.g. the playback source (e.g., the memory) to switch an mp3 file so that the user can create various complex Rhythms through simple rhythms from the synthetic drums can drum out, too MIDI interface controlled, etc.

there must the Creation of a reference signal associated with each more complex Record not necessarily be made only manually, but can also over Synthesizers and MIDI are loaded into a compiler software or only changed (using the procedure further) and according to Parameters are compiled to create the data automatically, etc.

there can also be done so that initially a simple pattern of Hand programmed is created, and by professional importing progressively more complex.

3 illustrates the principle in an illustrative very simple example. To the running after the time axis t piece of music or audio signal, the rhythm can be synchronized as a synchronizing signal after the beats 1, 2, 3, 4, 5, ... n, each of which occur in a music clock, or synchronized even with twice the number, if between these beats still more (see a) occur, the double beats can alternate with the simple random, and yet these beats can be entered to match the rhythm of the piece of music. It should be avoided that this freely after the rhythm, but otherwise any possibility of variation of input beats disadvantageous effect on the synchronization, ie if the random alternating input so that it corresponds to an unchanged tempo of the reproduced audio signal, then should also Tempo of the audio signal can not be changed. For example, a 12/8 bar can be tapped as 3/4 bar or as 6/8, at constant tempo, or this priniciple is applicable to any kind of complex rhythms.

Based on the middle of the respective time periods between 1 and 1a, or 1a and 2, or generally n and na, or na and n, this middle is drawn with 50%. For the reference signal of the time value 2 (in 3 ) This is referred to with +/- 50% with respect to 2 as Synchronisationssspieiraum. Furthermore, for this reference signal 2 (which corresponds to an audible rhythm element or acoustic feature in the audio signal), it is defined that when a synchronizing signal (S1, S2) occurs within the +/- 50% span (from n to na resp n next to n it is 100%), the synchronizing signal then corresponds to a corresponding time offset of the reference signal by changing the tempo of the audio signal, however, it exceeds this period (within ta, ie without exceeding the double beat a, then it will not as a synchronous signal, but only as a double beat, for example, if instead of a 6/8 clock (6 beats in the clock) a 3/4 clock (only 3 beats in time) are knocked.This can be determined by a rule to which Reference signal times (as hearable rhythm elements) may occur such a change of the clock beat that he possibly even interpret as a synchronization pulse immediately or only with others. Likewise, by measuring the time interval between the synchronizing signals in relation to the time span between the reference signals and also the phase position in each case between the synchronizing signal and a reference signal, it can be determined with which multiple clock the synchronizing signals are actually tapped. Whereby, if the synchronizing signal in this example refers to one of the reference signal time values 1, 2, 3, 4,..., Then the synchronizing signal is evaluated as a synchronization value, whereas if it is twice the frequency, that is to say also with the a specified values is not evaluated as a synchronization value. Here, the entered 50% query here is temporal approximation, whether the sync signal closer to a 1, 2, 3, 4 .. value or corresponds to the center in each case time values a.

These +/- 50% specification was given only as an example, it is such that the resolution of the Time raster within which this evaluation is made, reference signal controlled is dynamic, and the note image of the reproduced audio signal in which syncopation can still be considered, etc.

To easily encode an ideal evaluation time frame for the reference signals to be set in complex rhythms for the creation of the audio signal file 3 only simplified as a regular time grid is shown), it is simply drummed, for example, two drums (with separate signal output) are used, here one to the high-resolution time grid 1, 1a, 2, 2a, 3, 3a ... n, na drumming, etc., and another by half the time grid 1, 2, 3, ... n) to drum, not necessarily half a time grid must be drummed, but with a drum to beat the beat to be absolutely synchronized , and with the other drum arbitrarily shifted intervening times. In the subsequent synchronization is then distinguished by the coding of the reference signals, between (temporally and / or by external coding) associated sync signals corresponding to the absolute beat (beat), and those sync signals in which (taking into account each resulting higher temporal Resolution) for determining the exact synchronization time then takes place in accordance with a summation (each measured between the excess synchronizing pulses and each of the missing synchronizing pulses detected periods).

Note: The term excess sync pulses or missing sync pulses refers to the difference which one receives, if the reference signal time frame with the input sync signal time grid so coincidentally brings the sync pulses under consideration the coding of the reference signals assignment rules in time to cover.

In accordance with the automatically resulting resolution, a tolerance of +/- is then given window, eg 50% of the shortest time to the next reference signal considered, which is drummed example. It is evident that the reference signals can also be coupled with a score, as in the DE 41 43 257 C2 in one embodiment.

• – um die Erkennungsmuster durch ein Lernverfahren einzugeben, welche beim späteren Gebrauch durch dem Erkennungsmuster entsprechenden Schläge (z.B. einer Trommel) oder durch Anschläge einer MIDI Tastatur, etc. dem Muster entsprechende Adressen dekodieren, die wiederum das Wiedergabemuster eines Synthesizers adressieren, welcher mit den Synchronimpulsen des Erkennungsmusters, als auch durch gegebenenfalls weitere eingegebene Synchronsignale (welche nicht dem Erkennungsmuster zugeordnet werden, weil die zeitlich zugehörigen Bezugssignale anders interpretiert werden) in der Phase als auch in der Wiedergabegeschwindigkeit synchronisiert sind. So, daß in die Pausen des Erkennungsmusters, oder auch noch zeitgleich zu den Schlägen des Erkennungsmusters, akustische Perkussions Elemente passend eingefügt sind. Wobei das Erkennungsmuster während des Hörens des Wiedergabemusters eingegeben wird, (d.h. dazu vereinfacht geklopft oder gespielt wird) wodurch die Zuordnung erfolgt und zu unterschiedlichen Wiedergabemustern auch unterschiedliche Erkennungsmuster eingespielt werden können, dito auch zu gleichen Wiedergabemustern unterschiedliche Erkennungsmuster eingespielt werden können.
• – um beim Lernen des Wiedergabemusters gegebenenfalls weitere Synchronisationsaufgaben zu erfüllen, und um beim Gebrauch durch das Erkennungsmuster, die durch das Erkennungsmuster adressierten Wiedergabemuster zu synchronisieren.

Synchronization signals that are not directly synchronized but have been input in a higher resolution than the instantaneous sensation can also be decoded in a further development option via the already mentioned pattern recognition (which can likewise be programmed by drumming) to obtain an address from this decoding which starts a synthesizer, which in turn reproduces more complex rhythms (drums, percussion, also melody, etc.), which were also entered (in another learning process) by learning, the timing being done by the preferred synchronizing method, the same here can be used in three ways:

• To input the recognition patterns by a learning process which, in subsequent use by the recognition pattern corresponding beats (eg a drum) or decays of a MIDI keyboard, etc. decodes addresses corresponding to the pattern, which in turn address the playback pattern of a synthesizer which synchronizes with the sync pulses of the recognition pattern, as well as possibly further input synchronous signals (which are not assigned to the detection pattern, because the time-related reference signals are interpreted differently) are synchronized in the phase as well as in the playback speed. So that in the pauses of the recognition pattern, or even at the same time as the beats of the recognition pattern, acoustic percussion elements are fittingly inserted. Wherein the recognition pattern is inputted while listening to the reproduction pattern (ie, it is tapped or played in a simplified manner), whereby allocation is made and different recognition patterns can be recorded to different reproduction patterns, so that different recognition patterns can be reproduced even with the same reproduction patterns.
• In order to possibly fulfill further synchronization tasks when learning the playback pattern, and in order to synchronize the playback patterns addressed by the recognition pattern in use by the recognition pattern.

Significant difference to the state of Technology:

When essential difference to the prior art can continue here be considered that in the reference signals corresponding to the rhythm of the audio signal, to which sync signals are expected, for synchronization for the first time also missing or excess synchronous signals control the synchronization with, where established for the interpretation missing synchronization signals, the reference measurement previously received Synchronous signals used in temporal relation to the reference signals becomes.

According to the prior art (see the in the DE 41 43 257 C2 Although it is known, when omitting, ie, not playing, a note of a piece of music played to a note sequence program, the unplayed note (in this case refers to a missed synchronous clock relating to the forwarding of a note progression program) is to advance the note progression program by an internal clock For this purpose, no special reference signals are provided, the temporal position of which would be evaluated in relation to the synchronizing signals, which, however, takes place in the present invention in order to correctly evaluate, in accordance with the time profile of the audio signal, the respective reference signals respectively arriving or non-arriving synchronizing signals.

4 shows an example in which to a piece of music in 3/4 time (123, 123, over the time axis t) in a two-step (left, right) is run (... 1), where also twice as fast can be run ( ... 2) without that interferes with the synchronization, for example, on the Schuhsole dedektierten sync signals are then not twice as fast to run the music, but only musically synchronize, with the sync but then the tempo of the piece also slowly over a wide range, only with an abrupt change [from cell (1) to (2), ditto vice versa] the tempo of the piece of music is not changed.

Reached This is once, by the IVlassnahme that synonymous missing sync signals control the synchronization with, and further by the automated Proximity sensing (here 50% of the highest Synchronization clock), which decides at which reference time a synchronization signal is associated. It exists if necessary the option (with appropriate coding of the reference signals) instead this assignment checked by a time window, externally coded input synchronous signals absolute special reference signals, if they comply with this coding. For example, To follow the musical tact in a purely musical application (encoded via the sensor carpet Synchronous signal input).

In 4 Therefore, the synchronous signal Sa belongs to the reference signal (time) 1a, but the synchronous signal S2 already to the reference signal (time) 2. If the synchronous signal Sa associated with the reference signal 1 a associated, then accounts for six (L or R output) synchronizing signals to a clock is however, synchronous signal S2 associated with the reference signal 2 associated, then accounts for three (by L or R output) synchronous signals to a clock.

In order to measure the synchronizing signals in time relation to the reference signals and to be able to perform the synchronization correctly, the time difference between the reference signal and the synchronizing signal does not necessarily have to be measured directly. It is also possible to measure the time difference of the sync signals and the reference signals and to relate these time differences in relation. In the example below 4 this means that it can be distinguished whether a synchronizing signal (Sa, or S) is associated with a reference signal 1, 2, 3, 1, 2, 3, or a double density synchronizing signal of reference signals 1, 1a, 2, 2a, 3 , 3a, ... is associated. The synchronous times are then obtained by incrementally summing the times between the synchronizing signals, which times then correspond again to the times between the associated reference signals, ie the time span of a plurality of successively input synchronizing signals is measured in time relation to the reference signals, as already described in US Pat DE 41 43 257 C2 has been proposed, but with the additional improvement that the number of defined between reference signals (eg within the in 4 arbitrarily drawn period X) occurring sync signals may be variable and still be used for synchronization.

The synchronization is done best, as in the DE 41 43 257 C2 already stated by summing up the time values lying between the synchronization pulses, or also by summing their deviation, always in relation to the time values, as they result from the summation of the time values corresponding to the reference signals.

If the reference signals in the example after 4 can be automatically set by learning by simply being recorded to the audio signal (and stored in the playback device), reference signals can then be omitted already during the import, which can then be internally generated according to the same method, if such a mode is provided ( Option).

According to the DE 41 43 257 C2 , Are to the reference signals, the associated time frame within which the sync signals are to arrive, or in the present invention optionally also (if the possibility of encoding a recognition pattern should be used), the sync signals do not arrive or too much to arrive, the playback speed of the audio signal accordingly generated. In the second case, this can also be done by learning, for example, by playing an excellent percussionist (drummer) the playback pattern in a first process (knocking), which is played in a repeated process, with a less experienced percussionist (drummer) then the pattern of recognition plays and the reference signals of the playback pattern the omitted Steffen then in the device, the coding "missing sync signal" is stored so that the missing detector can detect this case, respectively, as in 5 is illustrated, for the purpose of an automated determination of the capture range of the reference signals.

Related to 4 However, in a simplified representation, the times of the reference signals are represented according to a simple time grid (which, however, does not have to be, since the reference signals once recorded by learning any arbitrary complicated Rhyhtmus corresponding time differences to each other may have), then in line (... 2) shown synchronizing signals (L, R ...) the pattern as they are recorded in the learning process for creating the playback pattern as reference signals to an audio signal, and in line (... 1) shown sync signals (L, R ...) the pattern as they are recorded in the learning process to create the recognition pattern. That is, when learning the sync signals are each recorded as reference signals to the reproduced audio signal (as another track). In this case, it is also possible to provide a mode changeover in which, during the learning process, the synchronization signals of the recognition pattern, if they are set at a position in which no reference signals have been set in the reproduction pattern, are also stored as further reference signals during learning of the identification pattern. The storage (during learning) and the later real-time decoding of recognition patterns makes sense if the development variant of the invention is used to control by the recognition pattern a synthesizer, the corresponding rhythms, eg from an MP3 file (from one, RAM or ROM ) constantly retrieves.

The real-time decoding of the detection patterns relates to the reference signals with their time values, ditto the information as to whether a reference signal a sync signal must enter or not, and in particular, how the sync signals are used for synchronization (priority, eg, whether the measured time value is used directly in relation to the reference signal when the sync signal coincides with a clock time, see Timing, respectively 1 in 4 , or whether the measured time value is used only for the summation in order to obtain a continuous correction value, cf. 1, 2, 3 ditto 1a, 2a, 3a, etc ... in 4 ).

The difference with the cited Joggin Player (cf the NDR broadcast mentioned in the introduction) is then that in the synchronization associated timing variations of the input sync signals, correction values do not cause an abrupt change in the playback speed of the audio signal, as long as this somehow matches the music clock. At the times of the beginning of the measure ( 1 ) detected large shifts already ditto if externally encoded synchronous signals arrive, then always refer to certain reference signals (according to their coding). For example, next to the example of a multifunctional sensor carpet after 26 , An encoding of the preferred angular position of a bicycle crank after 15 , Since about the decoding of the crank position, each arbitrary coarse angular pitch of the associated (also scanned) toothed pulley ( 301 ) can be preselected by the software of the MP3 player, the beginning of the cycle (marked by appropriate coding of a reference signal) in the bicycle application in principle to any angular position (for which then the relevant measured by sampling the toothed wheel pulse is encoded as a special external sync pulse) the bicycle crank in absolute terms.

Furthermore, the user can use a variety of rhythmic recognition patterns to change the playback speed, and optionally also (as an option) the rendered percussion patterns. For example, irregularities in the round kick of a bicycle crank ( 15 .) are displayed musically, the scheme sounds musically as a musician would vary the tempo, ditto when skiing, they can be displayed regularity of the turns, etc. However, it can also be synchronized within the musical rhythm rhythmic changes accordingly , For example, so that the basic clock (beat) for a track (percussion, drums), is retained, and the melody (even vocals) is drawn to the sync signals, so the round kick can be learned while cycling, etc. This is still provided that at the relevant crank positions, where the user differs in the Reget of a round kick special, over the pulse scan of the toothed pulley measured deviations exaggerated to synchronize tempo variation within a music clock (see also 15 ).

5 illustrates the operation of the missing detector. The illustrated pulse corresponds to the time window associated with 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 synchronizing pulse S occurs, the pulse is reset prematurely. If it does not occur, then the impulse persists until it is reset after the test. Depending on whether the test results in log.0 or log.1, the sync pulse was there or not. The same is obtained when the timing of the sync pulse is measured when the time counter exceeds the overflow value (maximum value) determined by the time window width of the reference signal (then the sync pulse was not present). How to 6a . 6b will be explained below, here corresponds to the synchronization pulse in each case a note duration, which is evaluated so that the respective highest highest resolution resolution clocks count out the note duration. It is evident that during pauses, the note duration of the pause is lengthened accordingly at this score (until the next note). Of course, the note duration may also be due to the echoing of the individual notes after the attack phase of the instrument used for the recording. Furthermore, the currently synchronized (corrected) time grid is always used for counting the note duration.

Of the Output of this time window check (log.0 / log.1) is used as the input of the transmission condition of the state Machine Sequenzars uses its logical equations through an appropriate software generates, compiles and as JEDEC file is loaded into the RAM of the sequencer. The outputs of the Sequencers then provide each control signals for controlling the Use of the measured in temporal relation to the reference signals Time values of the sync signals, ditto, if necessary, the real-time decoding the strings (as stated above) to pass through (via the Generation of JEDEC files) fixed addresses different MP3 files that have the corresponding playback patterns contain. This variant is very cheap because the player is small can be set up after being in a computer when shooting the coding pattern also equals the compilation of the JEDEC file for the state Machine sequencer chip (a corresponding programmable logic) he follows. By using this technique, complex detection and detection can be achieved Sync pattern to an audio signal stored on disk be encoded very fast.

For most applications, it makes sense to simply measure the timing of the synchronization values by counting time units that are related to the shortest note values (included in the string used for detection or synchronization) 6 ) correspond. In 6a if this is 1/16 note, based on the +/- 50% tolerance, a resolution of 1/32 is used (or possibly 1/64) to obtain the number of consecutive time frames of the reference signals. The 3/16 note thus accounts for 3 consecutive time windows (3B), comparable to the representation in 5 , or on the 1/15 note only one. At a higher resolution, eg 1/64, we got twice, and then each 1/64 can be rounded as a digit t = ehler when distinguishing the note values.

6a then corresponds to a pattern of how the reference signals of the playback pattern are recorded or tapped by learning to an audio signal.

6b then corresponds to a pattern as it is played or knocked as a recognition pattern by learning to an audio signal, then in the first note (= 1/8) an internally generated count clock is missing (-B), corresponding to the missing synchronization clock 5 is interpreted and on the second note (= 1/8) an internally generated count clock has come to it (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 corresponding to the note values) and, in optional further development, used as a recognition pattern to retrieve a playback pattern which can be far more complex and of even higher resolution , as the reference signal pattern existing to the reproduction pattern 6a ,

One very favorable use of this procedure is by puncturing (or the respective note duration) of the recorded reference signal pattern to be able to determine How big the synchronization margin is, i. from when on a time change of the sync signals (e.g., frequency doubling) the playback speed it also doubles, or remains the same, and so does here different patterns used for optional use can be.

7 schematically illustrates the processes to a recorded reference signal pattern (see. 6a ), in which, for example, the pattern was recorded with the sync signal SYNC1, and a recognition pattern entered in the normal synchronization (cf. 6b ), in which, for example, the sync signal SYNC2 was recorded, the actual synchronous data (compare to the Sync 7 ) derive, where appropriate, to generate the addresses from (see option Synth. address in 7 ) to sync a synthesizer to selectively recall MP3 fragments (short slices).

The reference signals stored for the audio signal (corresponding to 6a ) contain in each case a minimum number of time units B which adjoin the shortest time to be taken into account (corresponding to the times defined by the duration of the sound of SNYC1, cf. 6a ) of a reference signal, and measured in normal use (synchronization by SYNC2) in relation to the sync signals SYNC2. This takes place here in such a way that the time duration between the respectively short knock signals of SYNC2 is measured as current time values ( 111 ) and is used as the gate signal (GATE) which switches on or off the clocks of a clock generator (clock GEN) corresponding to the time duration of the time values so that the number of clock pulses corresponding to this period of time can be measured with a counter and evaluator Z , Due to the respective reference signal duration (from memory 100 ) determines how many smallest time units B (corresponding to the shortest reference signal duration) over the duration of the time intervals of the sync signals (SYN2 at the output of 111 ), where as to 6a and 6b explains (see also 5 ) the difference is measured, ie how many such time units B with respect to a reference signal occur too much or too little to close from this information, normalized to the shortest period of a reference signal (to determine the required resolution) and with further consideration of Tolerances (eg +/- 25% of this shortest period of time) to obtain the necessary information for an optionally required readjustment of the playback speed (or an addressing of MP3 slices, etc.). The evaluator Z also includes a summer which is a function of the respective duration of the current periods between the sync signals SNC2 and the additional information contained in a reference signal (ie, whether it is at the beginning of a clock, ie an absolute base or in time further containing reference signals forming further synchronization bases) that sums periods of SYNC2. It is checked in relation to the reference signals whether a phase shift is to be interpreted as tempo deviation (if the summation does not fit in the time frame of the reference signals) or if a phase shift is to be interpreted as a musical element (as a missed or over-entered synchronizing pulse). Omitted synchronizing pulses result from the fact that synchronization signals are missing for a reference signal time pattern. 6 illustrates this: the first note results in a difference of 2B-3B = -1B, in the second note an excess of 2B-B = B, as a recognition pattern.

In 7 is still illustrated that the time values of the reference times are scanned to determine the required resolution with which the clock generator clock GEN must be set. If necessary, this process can also be permanently set if only canned food is to be played back as an audio file (without the design options given here as an option).

• – ob entsprechend der zwischen den Synchronsignalen jeweils gemessenen Zeitdauer, die in Vielfachen der für die Zeiten der Bezugssignale (als Synchronisationsstützpunkte) verwendeten kleinsten Zeiteinheit gemessen, bzw. bewertet wird (gegebenenfalls auch mit höherer Auflösung gemessen und dann gerundet wird), zeitliche Toleranzschwankungen gegenüber den Bezugssignalen vorgesehen bzw. toleriert sind, die einer Tempoänderung entsprechen,
• – ob die entsprechend einem eingegangenen Synchronsignal und einem Bezugssignal festgestellte zeitliche Verschiebung ein Bezugssignal betrifft, welches einem Taktanfang des Musiktaktes zugehörig ist, oder ein Bezugssignal betrifft, welches innerhalb eines Musiktaktes auftritt, wobei zu den Bezugssignalen Kodierungen vorgesehen sind, die derartige Unterscheidungen ermöglichen,
• – und daß die Synchronisation abhängig von den genannten Kodierungen der Bezugssignale vorgenommen wird, oder gegebenenfalls auch nicht vorgenommen wird,
• – wobei gegebenenfalls die jeweils zwischen den Synchronsignalen jeweils gemessene Zeitdauer summiert wird, um Zeitwerte zu erhalten, wie sie den nach unterschiedlichen Prioritäten (gemäß dem musikalischen Inhalt) des Audiosignals zeitlich gesetzten Bezugssignalen entsprechen.

In 3 and 4 the priniciple can also be simplified, in which case essentially every received sync signal is checked:

• - Whether according to the measured between the sync signals each time measured in multiples of the times used for the reference signals (synchronization bases) smallest unit of time, or evaluated (possibly also measured with higher resolution and then rounded), temporal tolerance variations over the Reference signals are provided or tolerated, which correspond to a tempo change,
• Whether the time shift detected in accordance with a received sync signal and a reference signal relates to a reference signal associated with a clock start of the music clock, or a reference signal occurring within a music clock, encodings being provided to the reference signals allowing such distinctions;
• - And that the synchronization is carried out depending on the said codes of the reference signals, or optionally not made,
• Optionally summing the time period respectively measured between the synchronizing signals in order to obtain time values corresponding to the reference signals timed according to different priorities (according to the musical content) of the audio signal.

devices:

A Device for generating suitable sync pulses is the measure for the derivative synchronization to use the movement of sticks, too became known as Nordic Walking. That's opposite one sensor equipment of footwear has the advantage that the Applicability to people becomes more versatile.

In addition to the possibility of making a noise scan of the pole insert (from points on hard ground), the in 1 represented preferred sensor variant, which is suitable for both rubber ends 1b ( 1a ) of the poles as well as for ski poles ( 1b ) is well suited.

1 shows an embodiment of the accommodation of the sensor in the sticks, which is also also suitable for skiers. In the variant for skiers is still preferred to measure the time between right and left pole use, and then derive the synchronization of the halved time, so that the rhythm synchronization of the body movement is done accordingly (as to 8th will be explained in more detail).

Furthermore, if it is advisable to use the player in sports, use a To provide microphone connection, around the ambient noise for the Case, that one Danger threatens (when skiing, cycling, etc.) this in the headphones with fade in, optionally with an intensity of the amplitude the microphone signal corresponding activation and deactivation of this overlay, the e.g. is done by a monostable multivibrator time, the off triggered a certain level threshold of the microphone signal respectively becomes.

Next The possibility also motion sensors (according to the inertia principle, acceleration sensor, etc.) to determine the movement of the sticks or (when skiing too of the body) to use, a pressure sensor is preferred here, always if the stick hits the ground or gets stuck in the snow, emits a signal.

• 
  10 zeigt ein Beispiel für die Prioritäten eines Synchronisationsablaufs. Zu jedem eingehenden Synchronsignal wird auf Grund des eintreffenden Zeitpunktes und/oder einer gesonderten Signalquelle oder zeitlichen Vordekodierung betreffend der zeitlichen Lage zu den anderen Synchronsignalen (vgl. das Beispiel der Abtastung der Umdrehung, bzw. des Winkels einer Fahrradkurbel 300 in 15), geprüft, welchem Bezugssignal das eingehende Synchronsignal zugehörig ist. Betrifft es den Beginn, oder auch eine andere charakteristische Stelle eines Musiktaktes, dann wird die Synchronisation zu diesem Bezugssignal vorgenommen. Betrifft das eingehende Synchronsignal solch ein bevorzugtes Bezugssignal nicht, sondern ein anderes Bezuggsignal, dann wird die zeitliche Lage des Synchronsignals zu den zeitlich am nächsten liegenden Bezugssignal bestimmt, und durch eine relative Zeitmessung, welche die zeitliche Folge der Bezugssignale (des Audiosignals) in Relation zu der zeitliche Folge der Synchronsignale berücksichtigt, die zeitliche Abweichung des Synchronsignals in Relation zum zugehörigen Bezugssignal, d.h. in Relation zum Audiosignal festgestellt, und entsprechend der festgelegten Rangordnung der Bezugssignale ausgeglichen, d.h. für das Beispiel einer Fahrradkurbel: Im Falle einer stetigen Beschleunigung der Fahrradkurbel so, daß sich zwar die Wiedergabegeschwindigkeit des Audiosignals, jedoch nicht der Rhythmus ändert (vgl. "Bezugssignal durch n*B zuordnen, Toleranz bestimmen, SYNCHRONISATION, in 10") oder gegebenenfalls bei einer ruckartigen Änderung, welcher einem abweichenden runden Tritt entspricht, der Rhythmus innerhalb eines Musiktaktes sich dieser Abweichung entsprechend ändert.

In the 1a illustrated variant is suitable for both a contact version, as well as for a non-contact signal generation and consists of a at the lower end of the stick ( 8th ) inserted socket 8b in which a displaceable bolt 1c is inserted, on which the rubber pad 1b (as stick tip) is attached. By spring preload of a compression spring ( 6 on a plate inserted into the floor 7 supported) becomes the bolt 1c with his stick tip (rubber pad 1b ) constantly pressed down and by a stop (disc 5 ), on the guide bush 8b frontally abuts, held. When placing the stick, or for the variant of a ski pole when putting the top (or in training, such as will be explained, even when touching the plate edge with the slope), the bolt is moved against the prestressed spring force and scanned this movement as a synchronizing signal. In this case, the contact by ohmic contact (pressing together of discs), or as particularly preferred and explained in more detail below, be made by inductive sensing.

• 
  10 shows an example of the priorities of a synchronization process. For each incoming sync signal is due to the incoming time and / or a separate signal source or temporal predecoding with respect to the timing to the other sync signals (see the example of the sampling of the rotation, or the angle of a bicycle crank 300 in 15 ), to which reference signal the incoming sync signal is associated. If it concerns the beginning, or also another characteristic point of a music clock, then the synchronization to this reference signal is made. If the incoming synchronizing signal does not concern such a preferred reference signal, but another reference signal, then the timing of the synchronizing signal to the reference signal closest in time is determined, and by a relative timing, the time sequence of the reference signals (the audio signal) in relation to takes into account the chronological sequence of the synchronizing signals, compensates for the time deviation of the synchronizing signal in relation to the associated reference signal, ie in relation to the audio signal, and compensates according to the established ranking of the reference signals, ie for the example of a bicycle crank: in the case of a steady acceleration of the bicycle crank, that although the playback speed of the audio signal, but not the rhythm changes (see "Assign reference signal by n * B, determine tolerance, SYNCHRONIZATION, in 10 ") or optionally in a jerky change, which corresponds to a different round kick, the rhythm within a musical act changes according to this deviation.

there can be used in applications related to sports and music, depending on the exact application, each a test / analysis of the input synchronizing signals corresponding timings to the function, and possibly also the slices (sections) of the audio signal after which the synchronization (correction of the deviation) each should take place. This may also include algorithms for a round. In the example for the analysis of a round step under Inclusion of the measurement of the speed change of the toothed disc in dependence the angular position of a bicycle crank.

11 illustrates the process of synchronization with a current Synchronsiationsimpuls depending on the detection of whether the synchronization is locked to the respective previous Synchronsiationsimpuls. As a locked synchronization, the incipient phase-in of the audio signal is understood to be a correspondingly coded (corresponding to the musical clock) reference signal. In the process, these specially coded reference signals control the precise time span, in relation to which these reference signals (and thus the audio signal) relate, in which the synchronization compensation has to take place. 13 and 14a illustrate this process. The interesting thing is that the sync signals can also be omitted without the synchronization could therefore be misinterpreted by subsequent sync signals. This is made possible by the fact that the reference signals are coded in different hierarchies according to which the synchronization is performed.

13 and 14a relate timing diagrams in which the reference signals 1, 2, 3, 4, 1, 2, 3, 4, ... are plotted on the time axis, wherein for 13 the sync pulse (S2) corresponding to the music beat arrives at a lag, whereby the playback speed slows down (by 10% in 13a , or by 20% time extension in 13b ), and for 14a the sync pulse (S2) corresponding to the musical clock arrives prematurely, whereby the playback speed increases (by 20% time reduction).

In both cases this time correction takes place without the rhythm within a bar to change each at the beginning of a bar over the appropriate clock. However, this change does not have to be on the music clock be related, it hangs from the coding of the reference signals, and could e.g. also suitable Starting point in the middle of a bar, etc. Or it is too several fragments (slices) exist as MP3 files, which are different be played quickly in the original, even with different matching musical Variations, and then retrieved according to the decoded pattern be, etc.

Meets in 13a additionally within a clock or a sync pulse, then it is first checked, in both directions, leading and lagging (here in each case against the reference signals 3 and 4), how close the sync pulse to these reference signals. This is done by both for the reference signals, as well as for the sync signals respectively present (synchronously running) time counter whose range extends over some music acts (and then renewed taking into account the transfer each).

The time values (t1 and t2) of the syn. Measured here against the nearest reference signals 3 and 4 Chronsignals Sx are checked to see whether it falls within a desired time window, this is the case, then it is assumed that is encoded for the value of a reference signal, this is not the case, then the sync signal is not evaluated for lack of reference signal. If the sync signal is evaluated, then it is used as the associated reference signal that is closest to the sync signal, here is the reference signal 3, where Sx is lagging by Toption. This gives extrapolated to the reference signal 1 of the next clock (Tmeß) twice the time of Toption as a difference. Over a synchronization period, which can be arbitrarily coded by the reference signals in the prinizip, these time values are added up, including the difference between the synchronization signal S2 (to the reference signal 1) and only over the synchronization period.

In case of a detected lagging deviation ( 13 ), the percentage error by which the time frame of the reference signals must be increased here (10% in 13a and 20%, respectively over the period Tsyncr in 13b ), and according to the coded reference signal, which relates to the marking of the period for the correction, already begun period (the time portion to the sync signal), here between reference signal 1 to the sync signal S2, is corrected accordingly, and the other, the time periods respective times between the reference signals. The time span for the correction does not have to begin with the music clock, but merely marks a suitable place where this is desired. These points can be entered via an editor, or by switching patterns or fragments (slices) of different tempos between which by the synchronization to the coded reference signal times, depending on the measured time deviation, respectively switched and of course also synchronized.

In order to is achieved that a faster running piece of music for example, it can be given differently than a slow one played, the switching then depends on the measured time deviation ertoigt. Very good effects can be by this method in the Achieving percussion playback.

In case of a detected leading deviation ( 14a ), the procedure is similar, except that the periods between the reference signals, starting exactly from the coded reference signal concerning the marking of the correction period, are shortened in proportion to the measured deviation (here to 80% over the Tsyncr period).

In 13a is also a number of burst pulses (burst) shown as an input option of the sync pulses to which no single time-related reference reference signals are encoded. In this case, the first (l) pulse as well as the last pulse (e) of the burst chain is evaluated in proximity to the time window boundary of that reference signal into which they fall in time. And at these time values of the time window boundary, the burst pulse train (burst) is assigned as a single sync pulse to the time window boundary of the single reference signal. In this way, redundant sync signals can be used for synchronization. However, in addition to the reference signal, which is correspondingly coded for the synchronization of the time profile of the audio signal, several consecutive reference time values can be coded for the recognition of a recognition pattern in order to synchronize corresponding slices (fragments) of the audio signal via the string recognition. Although the temporal decoding of the pattern of the burst pulse train (burst) input takes place within the time window of the reference signal identified as belonging (compare l and e), it is roughly comparable to a trigger time window of a logic recorder, but then within this time window (the reference signal concerned) are used as string decoded time values (cf the above example of a state machine sequencer used for the decoding) for the recognition of the address for the addressing of corresponding slices (fragments) of the audio signal corresponding to the address. Where this address can still consist of another address (evaluated in coincidence address), namely an address which results from the temporal position in the audio signal of the burst pulse (burst) associated reference signal, or its time window, and the address, such as it results from the decoding of the time sequence of the input burst pulse train (burst). In this case, the time interval is measured for the decoding of the temporal sequence between the first (n and last) pulse of the burst pulse train, and the incoming pulses over this period of time in their time intervals adapted proportionally to the measured time period to decode the recognition pattern The times of a burst pulse train (burst) adapted to the measured time span within the time duration of a reference signal are then evaluated within the tolerances (to the further patterns) and the code values obtained therefrom are linked to strings.

14b illustrates how within a certain time interval gate, which corresponds to the time interval of a respective reference signal, the time by the current synchronization of the Deten situation (Gafe) corresponds to, from the four impulses (1, 2, ... 4) existing burst pulse train (burst) a recognition pattern is decoded:
The first pulse (I) of the burst pulse train (burst = 1, 2,... 4) is used as a trigger signal for a time measurement in which the times lying between the pulses (burst = 1, 2, Time periods, here a, b, c, are accumulated as long as the pulses are still within the time interval associated with the reference signal gate. Thus, here as measuring time = Tmeßp between the first (l) and last (e) pulse of the burst pulse train (burst) is obtained. At this measuring time Tmeßp, the relative ratio values of the time periods, here a, b, c, are formed (a / Tmeßp, b / Tmeßp, c / Tmeßp) and after these ratio values, which are still rounded within a tolerance to predetermined values, by the detection values for establishing transmission conditions, after which the state machine is advanced to recognize the respective detection pattern (as the output of a respective status). In this case, as always, arbitrary branches may be encoded such that common subsets of the recognition patterns are combined to form a state machine, which switches to a special status when not recognizing a transmission condition of this state machine, which in turn serves as a transmission condition of further parallel state machines (this status detect), and as many branches (outputs) can be formed to form addresses corresponding to the recognition patterns (by the state machines). The system remains freely programmable if a standard compiler is used for the formation of the state machines, whose input (input) is written out by a corresponding program, the formation of the D flip-flops and the logical connection of the transmission conditions by corresponding memory locations of a RAM are configurable. Ie. a plurality of recognition patterns can be simultaneously decoded in parallel to obtain from a set of recognition patterns as appropriate.

With the recognized recognition pattern is then the corresponding Music fragment (slice) in the audio signal source (RAM, ROM) addressed, however, it is only reproduced at the time of commencement, if specifically marked or coded reference signals indicate this time. The playback then takes place at the current playback speed.

• a) Zeittoleranzen zu den Bezugssignalen mit ihrer zeitlichen Position;
• b) Die Verwendung eines Bezugssignals nur zur Messung der zeitlichen Abweichung: (in Bezug auf ein eingehendes Synchronsignal); wobei dann durch die Messung der Zeitspanne zwischen den Synchronsignalen jeweils festgestellt wird, zu welchem Bezugssignalzeitwert (Position) ein Synchronsignal als zugehörig anzusehen ist;
• c) Bezugssignale, welche die Zeitspanne anzeigen, innerhalb der dem eine zuvor (auch über mehrere Synchronsignale) festgestellte Zeitabweichung so zu korrigieren ist, daß bei sich änderndem Tempo der Rhythmus (die Zeitproportionalität) erhalten bleibt;
• d) und Bezugssignale, welche die Zeitspanne anzeigen, innerhalb der zu einem zuvor erkannten Erkennungsmuster, aus dem die Zugriffsadresse zu einem Audio Slice (Fragment) abgeleitet (dekodiert) worden ist, das adressierte Audio Slice, synchron der aktuellen Wiedergabe entsprechend gestartet wird.

Thus, for this example, the coding (as a classification) following the temporal reference signals, respectively with stored addresses for indicating 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 sync signal); wherein it is then determined by the measurement of the time interval between the synchronizing signals to which reference signal time value (position) a synchronizing signal is to be regarded as belonging;
• c) reference signals which indicate the time span within which a time deviation previously detected (even over several synchronizing signals) must be corrected in such a way that the rhythm (the time proportionality) is maintained as the tempo changes;
• d) and reference signals indicative of the period of time within which the addressed audio pattern has been derived (decoded) to a previously recognized recognition pattern from which the access address has been derived (decoded) to an audio slice, in accordance with the current playback.

Consequently can e.g. a percussion instrument can be realized in which by reproducing drums of a relatively simple rhythm Audio signal (percussion) constantly affected can be, i. also a beginner, can produce complicated percussion sounds that play automatically are, even with multiple instruments at the same time, if correspondingly different areas are provided for knocking the rhythm.

It is evident that a response time can be corrected for the input of the sync signals, as shown in the DE 41 43 257 C2 has already been described in prinizip as a further embodiment of a learning tool continues.

To 2 and 9a , b:

2 (as mixed analog / digital circuit) and 9a . 9b (as preferred analog circuit) relate to a proposal for an inductive loss measurement of a coupled into a measuring coil through the measuring part loss. This sensor is a basic method, of which the applicant is also the inventor, has already been used and is also published as an existing patent protection right of a German patent, with even further applications as improvements of this sensor by the same applicant (according to the reference numerals given) , And as a fundamental measuring method (not just as a circuit). The circuit is optimized for the purpose used here and will be briefly described again. The sensor presented here, despite the unique performance (as a robust displacement sensor, or extremely overloadable pressure sensor with high sensitivity and self-adjusting continuous range switching, etc.), depending on the application by about $ 1 (with appropriate number) can be produced.

One by a resonant circuit (L, C) intrinsically excited oscillator whose Oscillation frequency due to the resonant frequency of the resonant circuit (L, C) determined (oscillator fed back to UC via Ck) feeds the current ig at the feed point E into the resonant circuit. Of the In the coil inductively coupled loss can than over the Coil transformed parallel conductance Gp, parallel between feed point E and foot point GND understood become. Gp contains however, the environmental losses Gu, e.g. through the aluminum tube of the stick in which the measuring coil is installed as an air coil.

Around for the e.g. provided in the center of the coil aluminum pin (as measured Loss part), whose movement is due to its coupled loss share dGk on the sensor coil L should generate a pulse, one possible size Sensitivity to receive (as a change in the value Gu + dGk) the environmental loss Gu is reduced by a negative conductance -G (Gtot = Gu - G + dGk + Ge), thus dGk a larger relative change of the total loss. Ge ... corresponds to the parallel connection as a parallel line value the inductance the measuring coil L transformed ohmic series resistance of the measuring coil (in L contain) and the further influence of the resonant circuit series-connected measuring resistor R, like the serial feed resistor of the oscillator as another Parallel loss of the resonant circuit is to be understood and thus also is compensated by the negative parallel conductance -G.

This negative conductance -G is realized by an inverse-phase feedback of a part of the active current ig + ir flowing into the oscillating circuit, which is supplied via a voltage-controlled current source ( 200 ), whose control voltage uST is the resonant circuit voltage us, is fed back into the feed point E of the resonant circuit as feedback ohmic current ir = k * uST and thus corresponds to a negative conductance -G as it occurs as a parallel conductance value at the resonant circuit. Whereby because of the phase delay of the power source 200 , the recirculated current will detune ir the resonant circuit, but this is immaterial for the loss measurement here. The active current flowing into the resonant circuit is thus ig + ir - ir = ig.

was standing the technique: The described arrangement essentially corresponds the principle of an already published application, or a patent of the applicant.

By the measures given below for a dynamic sampling, a continuous automatic recalibration of the voltage-controlled current source takes place here 200 whose gain k is controllable via the input Control. This gain k is controlled in such a way that an average voltage amplitude (u = Uref) is established at the resonant circuit via the current difference of the supply current and the feedback current (ig-ir) in accordance with the corresponding parallel conductance value Gtot. If the coupled loss of the loss part dGk to be measured changes, this is done by a corresponding change in gain at the input control via the voltage-controlled current source 200 balanced, or adjusted. The manipulated variable then corresponds to the measured value to be sampled = OUTPUT ( 2 respectively. 9a ).

The voltage amplitude u = Uref here corresponds to a DC voltage, the control according to the predetermined voltage Uref on the permitted variation 2d between the voltage values Uref + d and Uref -d by comparators ( 204 and 203 ) is measured and the outputs of the comparators the counting direction (for counter 201 in 2 ), or for the direction of change (for ramp generator 201 in 9a ) (for up / down counter or up / down counter 201 or for controlling the current direction of the ramp generator 201 ). For the digital variant, the counter ( 201 in 2 ) clocked with clock TKT. Since with the clock TKT on the gain control of the voltage-controlled current source 200 an active current ir is changed, it is useful to keep the clock TKT coincident to the zero crossings, which here via a comparator 202 (which generates a square wave signal corresponding to the zero crossings of the resonant circuit voltage) whose output clocks an (optional) synchronous divider (TE) in order to derive any desired clock frequency which determines the rise with which the negative conductance -G is a disturbance variable of the measured value To compensate for the loss share dGk. Thus, after the demodulator (rectifier) tapped resonant circuit voltage is constantly controlled to u = Uref. The sensitivity with which the respective (dynamically measured) change in the loss part dGk can be measured as the control variable change Control (= OUTPUT) resulting in the control depends on how large the negative conductance -G has to be made in relation to the total conductance Gtot , so that the quiescent voltage u = Uref is established at the resonant circuit. This in turn depends on how large the difference of the current flowing through the resonant circuit supply current i = ig - ir at a given voltage u = Uref. Since u = Uref adjusts itself by the reference voltage Uref, i = ig-ir is determined by the internal resistance of the current source Qi of the oscillator, or by their current ig, for which it is sufficient, compared to 1 / Gtot sufficiently high internal resistance of the oscillator select, thus for the oscillator a regulated current source can also be omitted.

The gain control of the voltage controlled current source 200 is done for example by a digitally adjustable resistor, the controlled gain of the negative conductance -G is proportional.

The digital output signal (OUTPUT from Control) then delivers the sync pulse, not as an absolute value (because of the drift of the current source and the respectively compensated ambient losses), but as a differential change, referring to the example of a ski pole in relation to 1b the following statements can be made:
Is the ski pole with the tip ( 1d . 1b ) pressed down, then the pen 1d (according to the force Fu) pushed up and the core approach 5 of the steel pin 1c ( 1a ), which shows the loss change dGk in the measuring coil 2 generated in the measuring coil ( 2 ), which is designed as an air coil, pushed into it, ie it is a positive loss change dGk corrected by a corresponding increase in the negative conductance -G. If, however, the ski pole only with the plate 1e . 1b (on the edge 300 ) on the track, which is usually the case, then according to the force F (o) the pin 1d pulled out and the core approach 5 of the steel pin 1c ( 1a ), which generates the loss change dGk in the coil, from the measuring coil 2 , which is designed as an air coil, pushed out, ie it is a positive loss change dGk compensated. Neutral, that means without load, the pin is by spring force 6 held in the center position, ie in this application, the spring 6 optionally be claimed as a tension spring or as a compression spring, or is optionally a second spring as a counter spring (via the pin 1 pushed and held by disc) still provided. The pencil 1 is then prevented from falling out by a sheet (via disc 3 ). Furthermore, the stop parts, which especially the limitation of the pen stroke when pressing the tip ( 1d ), dampened with rubber sheets, since the athlete can also rely on the sticks with the entire weight. Conversely, however, even with a frictional resistance of a few tens of milliponds, the snow plates of the stick pull out the pin against the spring force. Why this very cost-effective non-contact sensor measurement, ideal for this application is suitable.

Will the divider 1e of the stick tightened for a long time on the snow, then it can of course lead to bruises that are integrated in the processor that evaluates the sync signal. However, only the differences of the values, ie the pulses, are always evaluated since the absolute value of the control variable Control of the voltage-controlled current source ( 200 ) can drift extremely strong. If the stick is tightened in the snow, then the skier can, in accordance with his body movements, alternately grind the sticks and thus synchronize the rhythm of the music according to his body movements in tempo. The time corresponding to the synchronizing signal is always given when the snow plate of one stick touches the snow, while the other stick before (as a condition for transmitting the status) no longer touches the snow, ie before the edge detection, which synchronizes a signal to synchronize the playback speed of the audio signal, the other floor must be set back to its rest position. In case of a change (from one floor to the other) only the first touch-signal (when the snow-plate touches the runway) is detected, subsequent touches (of the same floor) are not counted until the floor is changed again. This means that only one signal is detected at each stock change. In this case, a synchronizing signal is generated when looping the snow plate, as well as the pole insert, if it corresponds to a detected change of the stick.

Example of the definition of a state machine for generating the synchronization signals:
inputs:
L ... left floor touches snow,
L! ... left floor does not touch snow,
R ... right stick touches snow,
R! ... right stick does not touch snow;

The Inputs are smooth with a monostable multivibrator time that if necessary from too fast first pulses an impulse generated.

Definition of States:
S0 ... reset machine;
S_r_aktiv: ... generation of a synchronization signal left ski stick;
S_l_aktiv: ... generation of a synchronizing signal right ski stick;
S0:
if_L! * R then S_r_aktiv ... the right stick brushes the track, the left does not.
if R! * L then S_l_aktiv ... the left floor is grazing the track, the right is not.

S_r_active: OUTPUT: synchronizing pulse edge * R * (generated by further machine);
if R then S_haltR ... holding status, several subsequent Rs are no longer evaluated;
if TIMEOUT then S0 (self-reset if time TIMEOUT too long):
S_haltR:
if L then S0 ... if the left stick touches the runway;

S_l_active: OUTPUT: sync pulse edge * L * (generated by another machine);
if L then S haltL ... hold status, several consecutive Ls are no longer evaluated;
if TIMEOUT then SO (self-reset if time TIMEOUT too long):
S_haltL:
if R then S0 ... if the left stick touches the runway;

The Air coil L can be about 2 cm in diameter well in the lower third of the stick, here something can be widened, be installed, and at about 1 mH a resonance frequency between 50 kHz and 200 kHz be reached, in which for Aluminum build a very sensitive sensor with a 1 chip solution leaves. Becomes a little higher Coil current allowed, then the coil can also be placed closer to the pipe and more compact become. In this case, a keyed version is also recommended, for example. at a resonance frequency of 500 kHz of the resonant circuit, the supply voltage with 500 Hz at a key ratio put on by 1:10 to reduce power consumption. It is provided, the sampling frequency of 500 Hz down variable to control, e.g. up to 50 Hz (with a duty factor up to 1: 100) and with the to synchronize detected synchronizing pulses in phase, So that the Duration between the synchronizing pulses with the pauses of the sampling frequency coincides. However, it is found that a Sync pulse within a post-paced readjusted after this break Timeout is not sufficiently detected, then begins this keying again at 500 Hz. In this way, power can be saved.

Mounted on the coil or vertically placed in the middle of the pipe, the circuit board of the sensor can be accommodated, which has a serial data output, the serial data, for example, to a circuit board 11b of the handle 11 are guided and from there via a micro-transmitter (eg blue tooth, etc.) are guided to attached to the body of the skier audio playback device.

1d shows an example of how a cable can also be coiled outside on the floor. On the other hand is in 1c the stick is screwed in two halves and a circular ring K isolated from the stick forms the second contact, via which power supply and data (which are sent by GND from the supply voltage buttons) are connected as a two-wire connection to the handle of the stick. The blanked times of the supply voltage are then bridged at the sensor via a diode and a capacitor.

The synchronous signals R, L alternately generated from the right and from the left floor are then decoded as a synchronizing signal sequence, as already explained (cf. 4 ).

in the Prinizip could Also a piezo sensor can be used, but it would be problematic such a sensitive sensor while robustness to build. Above all, the proposed system has the advantage that if it should freeze, the bolt with force back and forth can be turned to get the sensor to start it up.

9a . 9b relate to an analog version of 2 in which the gain control of the voltage-controlled current source is performed by an analog manipulated variable (Control) generated by a ramp generator instead of an upldown counters (via constant-current switched over at capacitor CL of the "counting direction up / down" with FET1 or FET2) 201 , see. VDD and VSS). The polarity reversal is then again dependent on the comparator signals (see also the table in 9a , dito 2 ). The circuit part 201 In the usual way, the ramp that can be controlled in the rise corresponds to ramp generators. The manipulated variable used as output signal (control) can be directly output via an AC coupling as synchronous signals corresponding to the injected loss change. However, the digital output has after 2 the advantage that the signal processing by a processor can be made more effective, for example, the distinction of the rise of the low control oscillation from the steep rise of a pulse (see. 9b ), or that only the change is output as a value, in which case the Nachkalibrie each time at the maximum or minimum points of the measured value.

For both circuits, after 2 . 9a , it should be ensured that the sum conductance Gtot never becomes negative, so that the Seibsteilegung of the oscillator is not by the negative conductance -G, but only by the externally connected oscillator whose input (Ck) from its output to the Meßschwingkreis (LC) picked up voltage. Would be made by the negative conductance -G not only a damping (reduction of the sum loss), but also the feed, then the quality of the resonant circuit (LC) would be so high that the sensor no longer provides useful signal edges for lack of bandwidth. The control range of the gain of the negative conductance -G (via control) must be so large that the return current ir of the negative conductance within the control can be reduced to u = Uref (+/- d) so that the circuit at its lowest loss does not swing. In this case, this minimal loss of the circuit can be realized either by wiring a parallel resistor, or by the coupled (minimum) stationary environmental loss of the sensor coil. Another option is to determine if the circuit is already overshooting, eg if the control (via Control from 200 ) would be too slow in relation to the input-side change of the inductance dGk inductively coupled into the measuring coil. This option is in 9a shown with (and also to 2 usable). For both half-waves (positive and negative) of the resonant circuit voltage uS is determined by a comparator each case, whether the amplitude exceeds the value of Uref + d or - (Uref + d) = Overflow, this is the case then that of the resonant circuit L. , C a parallel resistor Rp briefly turned on (with st) until the resonant circuit voltage uS is back in the control range, to detect this status Uref-x or - (Uref-d) is also provided a further comparator circuit. This circuit is in block 333 summarized, the method can of course also be realized by a processor, dito Rp can also be made additionally controllable, cf. to the publications of the patents (by the same applicant) to this sensor. Sets the comparator circuit (in 333 contain) an overflow, then a pulse st is switched on for the connection of Rp (via the electronic switch). If the resonant circuit voltage uS is again within the control range, then the pulse st is immediately reset (switched off). As stated in the cited applications, the loss can still be additionally influenced by a positive cascade resistor to set an operating point so that the conductance -G (or the current source 200 ) regulates a higher proportion of electricity.

Another application which can be realized very well with the illustrated sensor is to allow a bicycle rider to hear an audio signal synchronized in the playback speed, in synchronism with its movements while pedaling, as illustrated in FIG 15 , With a sensor 200 , which determines the number of crank turns (the crank 300 ) and a sensor 201 , which the toothed disc 301 (as fine resolution) scans. Both sensors are through a cuff 202 on the frame tube ( 302 ), which carries the crank bearing held. In this case, depending on the piece of music of the audio signal, a musical clock of a full crank rotation correspond, or a crank revolution of a variety of musical measures, or even several crank turns a musical clock, this being determined by limiting the time range of variation of the musical clock, or by the coding of the reference signals with respect to the synchronization, in accordance with the software moderate placement of the reference signals.

The scanning of the crank (sensor 200 ) is used to hold the phase relationship to the reference signal of the piece of music corresponding to that sample. In this case, as long as after the method already described a round kick is detected, the resulting increase in acceleration of the frequency of the input sync signals only from music to music clock within the clock each time proportional (linear) compensated. Wherein the time delay from the determination of the deviation to the compensation in the subsequent clock can also be corrected somewhat exaggerated in order to have enough reserves for further time reduction of the clocks. If a tolerance is found deviating from the definition of the round kick, then the rhythm is distorted accordingly within the music beat until the deviation is corrected, which here corresponds to the determination of a round kick. If in this variant the frequency of a regular input of the sync signals drops below a minimum, then no more pulses are evaluated at all and the tempo of the audio signal reproduction is not changed.

Option (variant): In a further development, a delay is provided with respect to the decoding of the crank position, which controls the synchronization such that the synchronization point defined for one revolution of the crank (or even half a revolution of the crank, etc.) does not necessarily correspond to the angular position of the crankshaft Crank ( 300 ) takes place, in which the maximum damping (loss coupling) at the relevant sensor 200 ie the sync signal of this sensor ( 200 ) occurs. This sync signal is only the fixed point, to detect a whole, or even one (integer) division or even a multiple, of crank revolutions, the angular position of which by the second sensor ( 301 ) results in scanned teeth of the toothed disk, or the synchronizing signals of this second sensor ( 301 ) after appropriate division by a divider yield the actual sync signals. The assignment to the reference signal characterizing the musical measure (see in each case 1 in 13 and 14 ) is obtained in which after a short rest position, in which the crank is not kicked or stepped back, the position where the beginning of the forward step in the drive direction begins, is recognized as a synchronizing signal which the temporal successive clock coding reference signal or within the still considered tolerance range, the immediately before occurring reference signal, which marks the musical measure, is associated. In this way, the cyclist can set exactly the time shift of the reproduced piece of music in relation to the force on pedaling and keep this mode, if, for example, on the handlebar corresponding pushbuttons this mode can be turned off and off. These buttons can also switch the synchronization section of the tune (slow, normal, fast). It is also achieved by the method that a steady change in the speed of the crank, for example, constantly readjusted, however, an abrupt change (eg, slowing down) also. For switching the slower control range can be done (eg, twice as many sync signals over the clock period, etc.), depending on the selected mode (see also to 4 ). Through this musical adapted synchronization of pedaling a particularly round kick is achieved while cycling.

Es ist eine Fahrradkurbel Stand der Technik, bei der zwischen Pedalkurbel und aufgesetzter Zahnscheibe eine Federkraft wirkt, wobei die Kurbel durch einen Freilauf gegen Zurückdrehen blockiert ist. Diese Vorrichtung hat zwar Vorteile in Bezug auf eine der Hebelwirkung der Pedale entsprechenden Zwischenspeicherung des Drehmomentes, jedoch auch den Nachteil, daß sie zur Abweichung vom runden Tritt verleitet, weshalb eine solche Vorrichtung sich besonders in Verbindung mit der Tempo Synchronisation eines MP3 Players eignet, um der gewünschten Performance (Erfüllung) für den Benutzer zu entsprechen. Denn nur wenn der Benutzer dem runden Tritt folgt, dann kann er vom dem Gewinn dieser Vorrichtung profitieren. Unter Bezugnahme zu 15 ist hier diese dem Stand der Technik bekannte Option eingezeichnet, wobei dann die Federkraft zwischen dem eigentlichen, an der Pedalkurbel aufgesetzten Scheibe (Option 301b) und dem eigentlichen Kettenrad 301 wirkt, wobei die Pedalwelle mit der Scheibe 301b durch einen verspannten Freilauf gegen rückwärts Drehung gesichert ist. Auf die federnde Hebelverbindung zwischen der eigentlichen Antriebsscheibe 301b (die auf der Kurbel 301c sitzt) und über den (hier nicht mehr dargestellten) Federzug (als Speicherfeder) den Zahnkranz des Kettenrades 301 antreibt, wird hier nicht näher eingegangen, da dies Stand der Technik ist.

It is a bicycle crank prior art, in which acts between the pedal crank and attached toothed pulley, a spring force, the crank is blocked by a freewheel against turning back. Although this device has advantages in relation to the leverage effect of the pedals corresponding intermediate storage of the torque, but also the disadvantage that it entails the deviation from the round kick, which is why such a device is particularly suitable in connection with the tempo synchronization of an MP3 player the desired performance (fulfillment) for the user. Because only if the user follows the round kick, then he can profit from the profit of this device. With reference to 15 Here, this is known from the prior art option, in which case the spring force between the actual, attached to the pedal crank disc (option 301b ) and the actual sprocket 301 acts, with the pedal shaft with the disc 301b is secured by a braced freewheel against reverse rotation. On the resilient lever connection between the actual drive pulley 301b (on the crank 301c sits) and on the (not shown here) spring tension (as a memory spring) the sprocket of the sprocket 301 drives, will not be discussed here, since this is state of the art.

It makes sense in this variant with another sensor 201b the rotation of the drive pulley 301b against the by spring force on this disc each mounted (front) sprocket of the sprocket 301 to measure, which in each case from the difference to the two sensors 201 (concerns sprocket of the sprocket) and 201b (concerns drive pulley) obtained pulses. As a result, the increment of force of the pedal crank respectively fed into the spring force increase is directly measurable, which should also be continuous and not spontaneous, to ensure the so-called round kick. If this difference is increased spontaneously, then this is indicated by the too fast tempo of the audio signal (compared to the lagging percussion), whereby it makes sense to change. the duration of the musical act, to synchronize bar by bar after the possible continuous change in an accelerated pedaling and to reproduce according to the percussion (according to the beat), and the accompaniment voice (exaggerated at the point where the pen is raised) compared to the Percussion according to leading to give again, or possibly lagging to give again when the pedal position approaches the area of the dead center (the vertical plumb line) and here no force should be fed, etc.

It's not just the spontaneous increase in the speed of the drive pulley 301b against the driven (front) sprocket 301 the sprocket wheel is also measured, also the spontaneous reduction, because then the spring is always raised too much, and the rear wheel rotates through (eg on steep hills and gravel roads). This is also indicated by the preferred timing in the audio signal. Where then to avoid the effect of an on the rotary arm (spoke) of the drive pulley 301b guided bolt ( 301d ), which is held by a rotatable locking against a compression spring, released from this lock and inserted into the outermost gear of the ring gear via a corresponding bore as a driver to prevent the function of the memory spring.

The sensor 201b that the rotation of the drive pulley 301b scans, this can either do likewise via a toothing of the disc, or via a provided on the circumference of the disc hole grid (or even grooves on the edge, etc.).

Eine mit dem runden Tritt vergleichbare Anwendung ist, die Synchronisierung auch an allgemeinen Körperbewegungen anzuwenden. Derart, daß über den Verlauf der Körperbewegungen die Synchronsignale abgeleitet sind. Das Trifft z.B. bei der in dieser Beschreibung für den Ski Sport erläuterten Variante zu, indem die Sensorsignalerzeugung aus unterschiedlichen Signalquellen erfolgt: über die Skistöcke (1), über die Gewichtsbelastung an der Bindung (19, 20), und auch über Körperhaltung durch an der Ski Bekleidung entsprechend vorgesehene Sensoren (vgl. zu 18b), was sich z.B. auch zur eingangs beschriebene Jogger Applikation anwenden läßt, um einen harmonischen Ablauf der Bewegungen abtasten zu können. Dabei werden dann durch die unterschiedlichen Sensorquellen die Abläufe nicht nur synchronisiert, sondern auch noch durch die Sensorsignale getriggerte Audio Slices mit wiedergegeben, z.B. als Percussion, passend zur synchronisierten Melodie, um den sportlich Aktiven genau über seine Körperbewegungen durch die Rhythmik der Musik im Bild zu halten. Das kann z.B. auch für die Bewegungen (auf nieder) beim Stemmen von Hanteln erfolgen, oder auch bei Liegestütze (auf einer Sensormatte mit eingelassenen Spulen), usw.

A similar application to rounding is to apply sync to general body movements as well. Such that over the course of body movements, the sync signals are derived. This applies, for example, to the variant explained in this description for the ski sport in that the sensor signal generation takes place from different signal sources: via the ski poles (FIG. 1 ), about the weight load on the binding ( 19 . 20 ), and also on posture by appropriately provided on the ski clothing sensors (see 18b ), which, for example, can also be applied to the Jogger application described at the outset in order to be able to scan a harmonious course of the movements. In this case, the processes are not only synchronized by the different sensor sources, but also reproduced by the sensor signals triggered audio slices, for example as percussion, matching the synchronized melody to the athletic active exactly on his body movements through the rhythm of the music in the picture hold. This can also be done, for example, for the movements (on low) when lifting dumbbells, or also for push-ups (on a sensor mat with recessed coils), etc.

Another variant for the preferred sensor in this context shows 12 , as by a shoe insert or possibly also as a base, etc., a tread sensor can be formed in which is provided on a printed on a film coil L with an attached an elastic intermediate layer (foam, rubber, etc.), on which a covered with protective fabric aluminum foil is that can also be perforated for ventilation, which makes the pressure-dependent loss coupling into the coil (via the proximity measurement). It is evident that the same Prinizip can also be embedded in a shoe sole, etc. The necessary cable connection is then out laterally (at the shoe sole outside back) out.

16 also shows a pressure sensor, as it can be used for example for a skate (Skate Roller), or as a support plate for mounting runners with ice skates, or as a support plate of a ski binding to the relative weight changes, when Sikfahren directly under the bond or under the shoe sole (variant) occur to rate as sync signals. These weight changes can also be used, for example, to provide ski instruction via an MP3 player, which analyzes the ski load during the course of the turns by recognizing the ski loads, possibly with further consideration of the synchronizing signals detected by the use of the sticks retrieves the appropriate MP3 file to report the error to the skier. In addition, this system can also use bending sensors (piezo, etc.), which are embedded in rubber embedded at the front and rear of the ski, etc.

As a "music sensor" offers the under the binding provided pressure sensor still the possibility, in the rhythm of the swings of the driver to retrieve percussion slices, or even for the off the skier coming to the plains interesting yodels.

there is the speaker technology in performance and compactness already so far advanced that there is no Reason, not even a helmet (for example, like a bicycle helmet) to wear, in the middle of a speaker is mounted. Become several skiers networked with blue tooth, then you can these runners not only skiing in the same rhythm, but also in the same rhythm also make music. Thereby the blue tooth connection can be done via mobile phone (which also works as MP3 Player are used), or instead of the blue tooth interface for longer ranges also the mobile net for the transfer the sync signals are used (which is low bandwidth, so inexpensive possible would), thus to the sms of the Handy Generation still the bush drums to it come. This combination of sports and music is not just on the road Piste fun, but also in the city and makes sure that scooter scooters that are on the up drive, from the pedestrians, if already overlooked, then not be ignored can. Even mountain bikers would enjoy on this system when in the nature reserve, where the hunters at home are, could biking in concert. Such a network would be then a sugarjerk for a mobile phone manufacturer pushing this system.

16 shows the principle of the proposed pressure sensor as an intermediate plate for attachment of rollers of a skate roller. Since the too 2 and 9a . 9b explained sensor, with high impedance coupling of the local oscillator to the measuring resonant circuit (L, C) can detect sensitivities up to the micron range, the following simple structure can be realized:
There are two metal plates 500a and 500b in sandwich construction provided (or possibly also non-metallic plates, one of which has a small aluminum sheet at a suitable location to the sensor coil, etc.) between which rubber discs (gm) are clamped, wherein the rubber discs are glued to the metal plates and through the plates pressed together (bias). At the four corners of the panels are bent-over compressed edge corners 501 . 501b . 501c , and 501d provided, which the Plates metal plates 500a and 500b hold against the intermediate rubber discs (gm). These U-shaped edge fixings are not only provided at the corners, but can optionally also fix the plates for larger plates along the circumference of the plate pair. On a plate, for example the lower one 500b are the edge corners 501 . 501b . 501c , and 501d , or edge fixings, firmly fixed with firm connection (eg screwed on, etc., see fix in 16 ), on the other plate, for example, the upper 500a is underlaid at the edge fixings rubber (gg), which then presses against the surface of the metal plates, with the purpose that when the metal plates are compressed by loading, this rubber (gg) balancing allows and still the plates still by the bent, compressed edge corners 501 . 501b . 501c , and 501d (See also plan view corner 501 * ) are held biased. Optionally, a plate ( 500a ) Drilling ( 505 ) into which pens ( 506 ) protrude with sufficiently smaller diameter of the other plate to prevent slippage in a relaxation of this compound, this is a simple additional security measure.

• • Soll der Drucksensor extrem flach ausgeführt werden, z.B. für eine Variante, bei der er wie zu 19 bis 21 noch beschrieben wird, in Zusammenwirkung mit der Haltefläche (500) eines Ski Stoppers (1002) eingebaut ist, dann kann die Spule 2 (L) auch als gedruckte Folienspule (2 = 500x) ausgeführt sein, die z.B. direkt auf der Skioberfläche aufgeklebt werden kann, wobei, wie später zu 19 und 20 noch erläutert wird (vgl. Option Kabel), der gemessene Verlust ein Alublech oder Metallgitter ist, welches in der Haltefläche (500) des Ski Stoppers eingebaut ist, die unterseitig über eine (an der Unterseite von 500 befestigte) Gummiauflage (P2, 19) durch den Skischuh von oben an die Folienspule der Skioberfläche angedrückt wird. Jedesmal, wenn der Fahrer den Ski belastet, wird im μm Bereich die in der Haltefläche (500) des Ski Stoppers eingelassene Aluplatte näher an die Folienspule gedrückt, bzw. umgekehrt bei Entlastung wird sich der Abstand wieder vergrößern. Wodurch die Sensorsignale erzeugt sind.

Directly in the solder above the fulcrum ( 508 ) on the lower plate 550b over a corresponding angle 520 stored ( 508 ) Roller 503 , is in the bottom plate 500b a plastic bushing 502 with a sufficiently large diameter compared to a small cylindrical coil 2 (Air coil) provided as a measuring coil in this plastic bushing 502 is pressed, and the space to the upper metal plate 500a used as an end-face measuring air gap. Since the negative conductance -G is constantly calibrated so calibrated that the static loss (at resting plates), which is here in addition to the lower loss of the lower plate (because of the insulating plastic bushing 502 ) substantially the immediate vicinity of the upper plate 500b , is compensated and only the slight change results in the large excursion of the measurand, which is why this sensor is extremely sensitive to pressure changes. The sensitivity can be determined by the internal resistance of the coupled to the measuring oscillator oscillator ( 2 . 9a . 9b ) or a parallel resistor (to the measuring resonant circuit) and the amplitude corresponding to the parallel conductance Gtot, ie how large the current component ir of the negative conductance -G is with respect to the current component ig of the local oscillator.

• • If the pressure sensor is designed to be extremely flat, eg for a variant where it works as if 19 to 21 will be described, in cooperation with the holding surface ( 500 ) of a ski stopper ( 1002 ) is installed, then the coil can 2 (L) also as a printed film spool ( 2 = 500x ), which can eg be glued directly to the ski surface, whereby, as later 19 and 20 is explained (see option cable), the measured loss is an aluminum sheet or metal mesh, which in the holding surface ( 500 ) of the ski stop is installed, the underside of a (at the bottom of 500 attached) rubber pad (P2, 19 ) is pressed by the ski boot from above to the film spool of the ski surface. Every time the driver loads the ski, the area in the μm area in the 500 ) of the ski stopper inserted aluminum plate pressed closer to the film spool, or vice versa when relief, the distance will increase again. What causes the sensor signals.

It is simply the holding surface ( 500 ) of the ski stopper, in order for different body weights, or triggering settings of the automatic heel, ditto to the ski boot, the matching rubber pad P2 (according to the pressure), which at the bottom of the support surface ( 500 ) of the ski stopper is to be selected. As with the variety of ski bindings the ski stopper is still the most standardized part and is easy to assemble and disassemble for laymen, the tap of the sync signals for skiing is optimal (in addition to the ability to do this on the sticks).

Another variant shows 19a ). In this variant, the rubber under the holding surface ( 500 ) of the ski stopper with locking knobs, so that only different rubbers (corresponding to different thickness of the rubber discs) to compensate for the height differences of different shoe soles, ditto to adjust the weight of the skier, can be used. The measuring coil 2 (or L of the loss sensor) is then directly under the holding surface ( 500 ) of the ski stopper is glued on the ski (as a film spool) and covered with a plastic layer ( 1005 ), except for the connecting wires (cables), which are pulled eg through the automatic heel and through the housing of the electronics ( 500 ), which is attached to the ski immediately behind the heel mechanism ( 21 ) connected. In this case ( 500 ) is then the blue tooth interface to MP3 cell phone or a corresponding cable connector connector.

To cable guide: Will the measuring coil 2 (L) on the surface of the ski (under the support surface 500 of the stopper) (as under protective surface 500x in 20 ), then the cable routing of the coil terminals, for example, as glued on the ski ribbon cable, which is carried out under a corresponding recess of the mounting plate P of Drehhebelbefestigung dp1 of the ski stopper, or the mounting plate P are also to the support surface 500 The same applies to the continuation of the cable for automatic heel, the plate P can also cover the cable yet. Through the heels automatically, the cable is then pulled through in the middle (if possible), or on both sides next to the attachment of the binding via a corresponding pipe guide with semicircular cross-section (which can be glued to the ski) up to immediately behind the heel automatic binding attached electronics box) HF out.

For the variant of the skater roller shoe has the top plate 500a still a recess in which the circuit board LP is inserted with the sensor electronics directly above the coil, wherein the coil lead wires are passed through a bore of the plate.

In principle, it would be sufficient if only one side of the measuring coil is provided, which is dependent on the pressure force on the coil and is approximate metal surface, but the use of two steel plates ( 500a . 500b ) more stable.

For the Rollschuhausführung can the lower plate optionally also part of the holder of the Bearing the roll (s). For the ski binding execution if necessary, the upper plate may also be part of the shoe sole support the binding (e.g., at the back of the heel).

17 illustrates yet another interesting option for the sensor, which serves the purpose of the adverse influence, in which a reduction in the loss of the Meßschwingkreises L, C increasing its quality and thus increasing the settling time (or a reduction in the measuring rate of measuring loss) with counteracts. Also for this training there is a pending protection right.

Around the goodness of a resonant circuit L, C for a given conductance Gtot to reduce have to we the relationship from UC as possible make big, i.e. great L small C, where for However, the sensitivity of the loss coupling in principle small L would be better. Why for the rating, the inductance L is not increased in relation to the loss coupling dGK; with respect to the resonant circuit capacitor C in relation However, to the feeding point E already, therefore the factor, um the inductance at Feed point E increases, can be dimensioned smaller in order to obtain the largest possible ratio UC. To the increase the inductance L, it is sufficient, at the same voltage (the the law u = -dφ / dt is induced, i. at the same electromagnetic flux dφ), the over the connection point Parallelschwingkreises L, G flowing inductive reactive current iOL, so that L increases accordingly (L = φ / di0L).

In order 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 conductance -G), or possibly also via an inductive coupling of another winding of L (via amplifiers 299 ) and a corresponding fraction p (%) thereof are fed back as feedback current iLext = p * iL to the feed point E of the resonant circuit, where p is determined by appropriate sizing of the gain k (the voltage controlled uStL current source used for this current feedback 222 ) is set in relation to the design of the measuring resistor Rlext, which is used to extract the control voltage uStL. Thus, the resonant circuit capacitor C no longer has to apply the inductive source current iC0 = -i0L, but only the difference - (iC-iext) to keep the resonant circuit in resonance, so he can turn out smaller by the corresponding proportion, at a comparable resonant frequency ( in comparison without current feedback). Where iC0 is that current, because the capacitor at a given resonant frequency would have to apply if iext = 0. Thus, in the real inductance, the current iL = iC + iaxt ( 17 ), that is, with respect to the turn-on point of the resonant circuit, the current i0L flowing into the resonant circuit is reduced by iext with respect to the supply source, thus L increases correspondingly with respect to the ratio UC, which in turn causes the desired bandwidth broadening.

Through a gain control of the gain k (via the control input Control L) of the voltage-controlled (uStL) current source ( 222 ) can then be controlled accordingly iext, and thus the value of the inductance, which determines the resonant frequency of the resonant circuit. The readjustment of the resonance frequency of the measuring resonant circuit to a constant value, corresponds to a constant L at constant C (relative to the enlarged L). For this purpose, the resonant circuit voltage uS of a PLL, a phase looked loop comparison is supplied, which compares the resonance frequency of the Meßschwingkreises with a predetermined reference frequency fref and from the deviation via a conventional low-pass circuit TP, the control voltage for gain control of the voltage-controlled current source ( 222 ), which are connected to the control input Contro! is supplied.

If you want to reduce the power consumption of the currents (ig + jiLg), -ir, iLg, iLext, the scarf It is important that the current sum iL = iC + iext proportionally follows the correct value of the resonant circuit voltage already during the oscillation. In the case of sampled operation (in which, for example, the supply voltage is constantly switched on / off), therefore, the measured current sum iL = iC + iext is first controlled to a value corresponding to the peak value measurement of the resonant circuit voltage us, which is dimensioned via the selected amplification factors of the control circuit. that it corresponds to that inductance value L, as it corresponds to the regulated resonance frequency. Whereby, after switching on, after the expiration of a corresponding startup time (in which no measurement is evaluated), this control (of the output AS = control L2) switches over to the retraced frequency (control L) (compare switchover 400 in 17 ). The control voltage results from the comparison of the peak value 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 resonance inductance L (at fres = fref), so that the correct value of L is already set has, if subsequently switched to the PLL control after settling the settling time (during the keying of the supply voltage). Depending on the application, instead of switching 400 ( 17 ) for the gain control of the voltage controlled (uStL) power source 222 for the generation of iLext, the gain control also only via the control of the current sum iL = iC + Lext after the peak value of the resonant circuit voltage us, or even only via the tightening of the resonance inductance (via Lext) to a predetermined reference frequency (PLL, fref).

Since, due to Rp = (ω * L) ² / Rs, the inductance should not be changed when settling, the current iC + iLext is controlled for the sampled variant by controlling iLext according to the resonant circuit voltage us in order to achieve the fastest possible settling.

It is evident that itself achieve extremely low power consumption in such a keyed sensor leaves (in each case buffered with capacitor), that the Chip also designed as a transponder can be.

Both for the voltage-controlled current source ( 200 ) for generating the negative conductance -G, as well as for the voltage-controlled current source ( 222 ) To increase the decisive for the resonant circuit L, C inductance value, the analog gain control via the control of a variable ohmic resistance of a FET characteristic (as usual) can be done.

For the output of the measuring resistor RLext to measure the current flowing in the inductance iL current at the measuring resistor RLext voltage used, a direct tap against the Fußpunktpotential GND can be made because the drop across the resistor RLext ohmic voltage through the over the other power source 200 realized negative conductance -G is also largely compensated.

The explained Reactive current recovery (iLext) can be also for capacities use, due to the wrong proportionality of electricity and tension is the capacity then not enlarged, but reduced. Likewise could the explained Reactive current recovery be made as a branch (from the feed point E), where an inductance then reduced accordingly, a capacity, however, increased. The Prinizip is also outside a resonant circuit can be used (only for L or only for C).

Further Features of the sensor, especially for this dynamic application:

In order to obtain the highest possible overshoot of the output signal for the dynamic change (OUTPUT) and not to impair the permanent long-term drift compensation, it makes sense (as OPTION) to use the control variable Control to regulate the negative conductance -G via a low-pass filter so that the Is slightly delayed, which then due to the increased control deviation at the input of the window comparator circuit ( 204 . 203 ) results in an increase of the control variable control amplified by the increase of the change, or an increased value change at the output OUTPUT of the sensor. In the variant after 2 this low-pass function results from the counter used 201 , in accordance with its counting clock, which may optionally be controlled in frequency still by the deviation magnitude of the comparator signal in order to obtain a desired adaptation (eg suppression of the control oscillation, etc.). In 9b corresponds to this low-pass function (TP), the output of a capacitor CL umladenden constant current source ( 201 ) of the ramp generator.

It is evident that the described sensor, in addition to the specified applications also elsewhere is versatile.

For the derivation of synchronizing signals according to the rotation of a bicycle crank ( 300 . 15 ) Two sensors are provided. The sensor ( 201 ) for the scanning of the toothed disc ( 301 ) is either on the fork ( 380 ) mounted under the front derailleur, or on the tubular frame 302 via a correspondingly curved headband (on the chain lug inside past) mounted. The further sensor 200 continues to scan the turn of the crank ( 300 ). By the same principle, for example, the spokes of a wheel could be scanned, for example, to realize an ABS for motorcycles or bicycles.

at the evaluation of the by the sensor for the scanning of the teeth of the Kurbelrades emitted sync signals, is in development by comparing the time periods between the teeth also the homogeneity the rotational speed (increase / decrease / constant) to determine if necessary a non-round kick. Is this the Case, then can by appropriate change of the music, also of the Timings in a the deviation (in the generation of the sync signals, i.e. of pedaling) balancing direction of the cyclists to the round Kick be animated. The reference signals of the audio signal reproduction are e.g. coded so that each after 180 ° the Timing of audio signal playback (in relation to tempo) corrected Furthermore, the emphasis can change, etc.

There even the smallest deviations can be detected so the cyclist be stopped, as homogeneous as possible, that is round, to step.

The the same applies e.g. also for Slalom training while skiing, where you can even go so far that this Timing of the music heard by the skier while driving from two sources is determined: as the first source for generating the synchronization signals through the pressure transducer to determine the load of the skis, The second source is a real-time analysis of the between the gates each over the duration of the music covered Way. In addition to a complex image analysis by cameras would be the proposed sensor is well suited to the goalposts (each at the plug-in device) attached to determine when the skier with the bindings passes the gates, while still remaining determined and over The ski load can be measured when the skier is in front of the Gate with the momentum begins. These measurements then go into synchronization the timing of the audio signal playback so that the skier does not learn to go through the gates, but to dance through, which he reached an optimal speed.

something similar Professional training can be for all Sports, also for Ice cream (freestyle) be applied. Another interesting option would be the trapeze ropes of To hang artists on pivot bearings and over the angle encoders (comparable to the crank rotation of a bicycle) to generate the sync pulses so that the reproduced music in timing exactly adapted to the swing of the trapezoid etc.

The individual figures show:

1a ... 1d , an application for a pole sensor:

1a concerns the installation of the sensor, here with rubber stick end 1b a Nordic Walking pole (as a pressure sensor);

1b relates to the design for a ski pole with snow plate 1e (Train sensor, as well as pressure sensor);

1c relates to a concentric contact coupling for a screw connection of floor parts;

1d relates to the accommodation of battery and Blue tooth interface for transmitting the synchronization signals to the device;

2 shows the preferred sensor circuit for generating the sync signals, wherein the generated control value (Control) and thus the OUTPUT is directly digital.

3 . 4 . 5 . 6 show time sequences for explaining the synchronization process,

7 relates to an explanatory diagram for the synchronization of an audio signal,

8th relates to a timing diagram for deriving a sync signal when two sensors detect the left and right respectively active body motion,

9a shows the preferred sensor circuit for generating the sync signals, wherein the generated control value (Control) and thus the OUTPUT is analog.

9b shows one of the circuit 2 , as well as 9b associated decoding table (concerning the score LOG), wherein in 9b the counting direction indicated in the table relates to the respective changeover of the ramp (increasing, decreasing) in order to control the control value for a gain control.

10 to 14b illustrates synchronization procedures and timelines.

15 concerns the generation of sync pulses by a bicycle.

16 concerns the production with a skate roller. Where the same principle can also be applied to a ski binding. rg ... then concerns a rubber insert provided on the edge to prevent snow from entering the space between the plates.

17 relates to an extension of the circuit after 2 and 9a to increase the ratio of L / C at a real much smaller L, to keep the C as small as possible compared to the L at a comparable resonant frequency.

18a relates to a glove in which the preferred sensor is used to perform a key function. For this glove is sought for independent protection, as it in addition to the sports application, for example, as an emergency call trigger, if the user, for example, three to five times in a row (within a time query) makes a fist, then an emergency call with position information (GPS) sent, which can be well used eg for old single people living to call the ambulance, if they can not get out of bed, and also can not press a button, or in everyday life to trigger alarm unnoticed, etc. Even with a cardiac infarction, the triggering of such an emergency call would have to succeed. The glove has a self-sufficient battery supply and communicates via blue tooth with the mobile phone.

there the glove can then be partly open and perforated, (with holding loop around the wrist, etc.) to be easily worn constantly, or can be daily be changed from the left hand to the right hand.

The Sensor coil L is on the back provided with a shroud. Because of the good soft padding are then given by the sensor then no pressure points. By the negative conductance of the circuit, the sensor is then optimally compensated and can measure extreme high-impedance coupled loss.

The for example, the same prinizip can still be used around plastered limbs the skin resistance without contact to measure, etc.

19a . 19b . 20 concern 3 variants in which the Skistopper is used as a pressure sensor. This variant has the advantage that the pressure sensor can be retrofitted to each ski to each binding quickly. In all three variants, the surface of the ski is used as the second "plate".

variant 1 is in 19a illustrated.

• 2... die auf die Oberfläche des Skis aufgeklebte gedruckte Spule L mit einer Kunststoffschutzabdeckung 1005 und Durchführung der Anschlüsse durch die Fersenautomatik zum Gehäuse HF (21) der Elektronik;
• Alu..., Platte, bzw. das übliche Halteteil 500 des Skistoppers, hier jedoch aus Aluminium (dessen Verlust gemessen wird), welches gegen die Federkraft des am Drehgelenk dp befestigten Drehhebels (der um dp1 dreht, 20) durch die Schuhsole des Ski Schuhs gehalten wird, wobei auf der Unterseite des Halteteils 500, P1 (19) die Gummizwischenlage befestigt ist (auswechselbar durch Haltenoppen np), welche durch den Druck des Skischuhs (gehalten über die Fersenautomatik) zusammengedrückt wird und bei jeder Belastung/Entlastung (entsprechend der Schwünge des Skifahrers) dieser Druck variiert, wobei wegen der enormen (sich ständig selbst nachkalibrierenden) Empfindlichkeit des Verlustmeßsensors gegebenenfalls auch noch Bruchteile von μm in Impulse umgesetzt werden können, d.h. der Gummi auch sehr hart ausgeführt sein kann, dito auch ein extrem geringes Federspiel der Fersenautomatik ausreichend ist, um diese Druckänderungen zu messen.

It means:

• 2 ... the printed coil L affixed to the surface of the ski with a plastic protective cover 1005 and passage of the terminals through the heel automatic to the housing HF ( 21 ) of the electronics;
• Alu ..., plate, or the usual holding part 500 of the ski stopper, here however made of aluminum (whose loss is measured), which is against the spring force of the rotary lever attached to the pivot dp (which rotates about dp1, 20 ) is held by the shoe sole of the ski boot, being on the underside of the holding part 500 , P1 ( 19 ) the rubber blanket is fixed (interchangeable by holding np np), which is compressed by the pressure of the ski boot (held over the automatic heel) and at each load / unload (according to the turns of the skier) this pressure varies, being due to the enormous (constantly even recalibrating) sensitivity of the loss-measuring sensor, where appropriate, even fractions of microns can be converted into pulses, ie the rubber is also very hard This may be due to the fact that even extremely low heel pressure spring play is sufficient to measure these pressure changes.

Variant 2 illustrated 19b , wherein the measuring coil 2 (L) but not on the ski, but in the plate, or the usual holding part 500 of the ski stopper (which is made of plastic as usual), it being possible to use a cylindrical coil cast in hard casting resin instead of the film coil, and to use it on the surface of the ski ( 1001 ) a thin aluminum or steel sheet as a loss part under the holding part 500 is attached. The rubber is then again between holding part 500 and the support surface, here the aluminum sheet, provided. For both variants, the rubber in principle on the underside of the holding part 500 or at the top of the ski (in 19a on the film spool 2 , L; in 19b on the aluminum sheet), or on the underside of the holder 500 be attached to the ski stopper. Variant after 19b is better suited if it is a metal ski, or a ski with inserted metal plate, variant after 19a lends itself better to non-metallic skis, and is easier to build coil contact. When executed after 19a The coil terminals can be guided stationary behind the heel automatic by a simple cable. When executed after 19b However, the contacting takes place via the lateral rotary lever (one for each coil connection), or their storage dp in the holding part 500 , ditto about their storage in the mounting plate P (the actual pivot dp1 of the rotary lever for the resilient disengagement of the ski stopper when the held by the ski boot force is missing), on the stationary screwed to the ski mounting plate P of the ski stopper then fed again Coil connections are guided stationary behind the heel mechanism by a simple cable.

Variant 3 then affects the version after 16 However, this is provided between ski and binding and a plate can also be the ski surface. The open margins are then also closed with soft rubber rg (gum at points arranged gm) or it is a continuous rubber used.

To 22a and 22b :

As further examples are as in 22a and 22b shown, an expander (for strength training, 22b ), or a bending spring (for strength training, 22a ) intended. Both embodiments use the spring as a measuring inductance, in addition to the usual method to measure the change in inductance on the change in the resonant frequency of a resonant circuit, here also the loss of the resonant circuit with a Serienmeßwiderstand the inductance can be measured by loss measurement of the resonant circuit. Since the measurement measures the parallel resistance, the inductance enters the measurement result quadratically. Parallel to this, a parallel supply value can also be realized by means of a voltage-controlled current source, via whose amplification the conductance can be controlled, for example by a forward-backward counter.

The electronics with the blue tooth interface for the transmission of the sync pulses is then installed on one side in the handle, wherein at the individual bending spring ( 22a ) is pulled through the spring through a cable to connect the second connection point a of the spring (as a second coil terminal to the connection point d) to the electronics (point c). With the expander ( 22b ), the outer springs (spring 1 and spring 3) are connected in series by a connecting piece VB on one side (a, b) and the series - connected coils on the other side (c, d) as measuring coil L (with the in the used in the handle electronics and the parallel capacitor).

To 22c to 22e :

The universality of the proposed for the realization of the sync pulse generation Sensors that are universal for a print scan or length scan (Shoe, ski binding, ski pieces, Scate roller skates, ice skates, Nordic walking poles, bicycle crank or toothed disc, sensor glove, etc.) is used to sport and sync music and so does the performance to increase an athlete, here is an exclusive example be demonstrated and under the motto: "So musically is Germany" the procedure too to be used during sex.

A related embodiment is in 22c to 22e and concerns a simple cock ring, which is pushed up to the root of the penis. At the outer periphery of this ring consists of a plastic body KP, in which a bobbin is inserted, on which the measuring coil L is wound. inside this ring is made of a soft latex insert LTX ( 22d ), wherein furthermore also a short cylindrical approach of latex rubber can be provided, which can be made also interchangeable, in that the ring has a sleeve which can be pushed over from behind and which holds the short latex extension RO pushed over the inner ring. Respectively. The tight latex part RO, which is firmly attached to the penis, holds the loosely fitting ring. It is evident that instead of the short cylindrical latex part any commercially available condom can be inserted into the ring.

Completed at the rear, on the front and also on the narrow cylinder side, the ring is provided with an electrically conductive cover (circular ring LMS, 22c . 22d ) provided, which may conveniently be (in addition to metal, covered with latex) and Leitplastik, or may be made of a material having high permeability. If the circuit (E) has a particularly low power consumption, then the annulus LMS can also be made of a sintered material (HF iron). The cover (ring LMS) fulfills the purpose that the body own loss coupling of the ring carrier has less influence on the coupled into the measuring coil loss, and only the other, measured from the open end of the coil L loss, in turn, from the current proximity the skin resistance of the partner depends on the measurement is essential. By using the negative conductance in the measuring circuit of the coil, it is possible to measure such high-resistance skin resistance over such distances without contact.

Thus, the linear penile movements measured by the sensor and corresponding to the inflection points at each detected maximum-minimum values of the measured loss change dGk, the sync signals for tempo synchronization and slice addressing (addressing the fragments on the decoded recognition pattern of sync signals) of the reproduced by the MP3 player audio signal are generated. The measurement of the loss change dGk is for example also with the 18a described glove variant, which also measures the approximation of a body resistance to compare.

In the variant after 22c , for direct scanning of the penile movements, which in 23d is further shown, for example, upwards, the ring may be extended to accommodate the electronics E of the sensor, including blue tooth interface and a small battery B with voltage converter. To reduce the power consumption, the circuit is pulsed with respect to the generated currents in the manner already described to the sensor. Thus, without using a cable, the sync signals to an MP3 player, such as a mobile phone with plug connection for a good speaker playback, can be transmitted. The latest hits and rhythms, which are particularly suitable for this matter, and the coded reference signals for detecting the recognition pattern of the sync signals, or the corresponding suitable slice files of an audio signal, can then be downloaded directly to the MP3 memory and billed via the phone , Further to 22d : In 23d Above all, a variant is shown in which the fixation of the condom is done on the ring, which should sit here as loose as possible on the penis.

Around the ring on the condom, or one (if necessary, also untied front Condom piece RO), that must Condom end KE over the other ring diameter of the inner ring KP are pulled and thereafter a further provided outer ring RA from the rear to being pushed forward, being over the outer ring RA a latex ring cover RLA on top is, so that no hard pressure points arise. The inner ring KP is at its outside diameter tapered towards the back, with the coating of the condom, the edge bead KE does not survive and thus the rear (outer) ring RA for clamping over the condom end can be pushed. So that possible easy, is the outer ring outward slightly conical, so that the Inner diameter of the outer ring exactly to the exact outer diameter of the inner ring can be made. Further, the condom or condom section RO through the bead KE in the rear taper of the outer diameter kept the inner ring. Thus, the coil ring of the sensor as possible is loosely attached to the end of the condom. Because the ring to the rear through the frontal electrical cover a reasonably constant Loss is only the change noted from the front of loss dGk measured. The latex cover RLA still has a battery cover (made of latex) on, by a corresponding Snap catch is fixed.

It is evident that as an alternative to the one in 22d and 22e presented proposal, which is to keep the ring with the measuring coil L as loose as possible, it is also possible to incorporate the measuring coil with the electronics and the miniature battery in the usual latex rings. For all the examples listed here, which relate to the synchronous connection between sports and music, the additional option of a pedometer can also be incorporated in the audio signal playback devices, wherein the athlete (s), the number of sensory detected movements, eg on a mobile phone read off and reset the count.

In addition to the explained use of an eddy current scan for condom or penile movements, an RF coil can also detect the range variations on the preferred penis ring or an optical reflection measurement to detect the range variations (to the partner).

In Further training is still a break evaluation of the detected motion signals provided, whereby after longer Pauses the new start of a motion signal is counted respectively to obtain usage statistics when the procedure for Ex: for a fee commercial, or favor is used commercially. The capture of this Statistics are done so that the from the penile movements derived sync signals according to the principle a retriggerable monostable multivibrator and only the longer breaks as a count be used. With this count The sum of the users is determined according to which, for example in case of (commercial) use the rent for the system calculated.

As preceding an example of a combination of sports and music while skiing and cycling already explained, can by using the method the users (activists) also making music together, for example, the percussion of Techno Synchronize music through their movements and so the music together shape. Parktische Anwendung: With such a training method could e.g. the works council of the Volkswagenwerk, which according to newspaper reports His team also promotes spirit through shared sex experiences Use of the method according to the invention in his team ability even further strengthened become. As with the method not only the tempo of audio elements (Slices) can be synchronized, but especially the Slices themselves can be addressed with a variety from activists e.g. a whole orchestra will be founded by the audience certainly has strong inflow.

• 
  26 veranschaulicht die neue Klopfunterlage zum anwendungsgerechten Einklopfen des Rhyhtmus während des Spielens eines Instrumentes. Sie ist wesentlich universeller, als wie wenn die Sensorik z.B. direkt an Schuhsole (Absatz und vorderer Teil des Schuhes) jeweils direkt angeordnet wäre. Dabei wird wieder der genannte Sensor entsprechend der DE 42 40 739 C2 (mit DE 100 82 058.1 und DE 10 2004 020 282.6 ; A1230/99, A 9122/2000, A716/2004) vom gleichen Anmelder benutzt, der in der hier bevorzugten Variante, immer nur kurze Impulse erzeugt und sich ständig im Offset automatisch abgleicht.

Another variant for the sensor system for detecting penile movements is 29a . 29b illustrated. However, this variant requires more expensive condoms, which are provided with high-resistance tracks along the condom, and depending on the depth of penetration of the condom, a corresponding part of the tracks) each (from the top s on) is short-circuited. In this example, the conductor tracks are each connected to a ring line kR1 kR2 with one end each, this ring line being divided into two halves ( 29b ), and the Meßleitbahnenden are respectively arranged opposite, so that no through-connection is required. Connected to this formed from two semicircles ring line to the electronics E, which is housed in a latex ring LTX ring, which is pushed over the condom and thus on the interconnects, the contact between the halves halves kR1 and kR2 simply by the pressure p is given, wherein the ring line is inserted as Leitplastikring in the latex ring LTX ring and connecting paths to the electronics contacting (a, b 29b having). From the presentation 29a and 29b It can be clearly seen that the tracks b2 (respectively) are the front one, and b1 the rear one, ditto kR1 the front ring half and kR2 the one behind it.

• 
  26 illustrates the new knock pad for proper tapping of the rhythm while playing an instrument. It is much more universal than if the sensors were arranged directly on the shoe sole (heel and front part of the shoe), for example, directly. In this case, the said sensor is again in accordance with DE 42 40 739 C2 (With DE 100 82 058.1 and DE 10 2004 020 282.6 ; A1230 / 99, A 9122/2000, A716 / 2004) used by the same applicant, which in the preferred variant here, always produces only short pulses and constantly balances in the offset automatically.

In Connection with the improved synchronization method can be to a great extent accompanied by a musical "robot", with the first usable with a Musikkonserve in live just as well together can be played, as with a üve partner (for example, a singer, a Singer), in constant change musical communication (via the new fuzzy synchronization) between musician and audio conserve.

Around even within a bar to enter a variety of regular beats precise can, becomes a kind of all-round pressure-sensitive carpet (or a Tableau), as flat as possible and on which the shoe can be put on in any Change with the heel or the front part of the shoe sole Beating firmly or knocking gently. Whereby the weight of the User can be hungry, or even very sensitive knocked can be. In particular, with the paragraph and the front Part of the shoe sole are knocked simultaneously, being inside a tolerance time window this simultaneity determined becomes. This style of tapping is interpreted as pounding and as specially coded synchronizing signal output, for example is associated with only those reference signals of the audio signal that the Synchronization of the beat (e.g., the cycle time).

The structure of the sensor carpet corresponds to the already discussed principle, in which between flat coil (air coil) and an electrically conductive surface (eg film), an elastic layer and over a loss measurement an approximation measurement is performed. In this case, also the other side may be shielded with an electrically conductive foil.

26 shows an illustrated side view (section) and plan view (to illustrate the arrangement of the measuring coils). On a thin sturdy rubber or foam part ( 5000 ) is a foil ( 5002 ) hung up. Alternatives are: a thin spring-hard, eg perforated metal sheet ( 5002 ), or because the high sensitivity of the loss-measuring sensor by the use of a negative conductance allows it (see. 9a and 17 ) also elastically compressible electrically conductive foam ( 5002 ). The electrically conductive surface 5002 is from a protective pad 5003 covered. Since this compressible sandwich surface is laid on the floor, it is sufficient to sew this sandwich surface in a carpet (1 carpet as a support surface 5001 with another stitched carpet 5003 as surface), with cable connection kb of the electronics.

The 9 measuring coils used in this example are simple wire coils (e.g., air coils L1 ... L9) are sewn into the carpet as parallel longitudinal coils and respectively fed with three different frequencies, so that each adjacent Coil a different measuring frequency has (fA, fB, fC). The longitudinal coils are perpendicular to the length of the on the surface fitted shoe, the pressure variations of Heel and / or shoe lace then through each just below lying coils are measured.

• • a) wenn mit dem Absatz des Schuhs auf den Teppich geklopft wird;
• • b) wenn mit dem Vorderteil der Schuhsole auf den Teppich geklopft wird;
• • c) wenn mit dem Vorderteil der Schuhsole und mit dem Absatz des Schuhs auf den Teppich gleichzeitig geklopft wird (Stampfen), wobei dies als extern kodiertes Synchronsignal erkannt und ausgegeben wird;
• • d) wenn mit dem Schuh nach vorne gerutscht wird, dito nach hinten gerutscht wird, zur Erzeugung einer Schaftfunktion;
• • e) und gegebenenfalls werden relative Intensitätsänderungen gleichfalls als extern kodiertes Synchronsignal erkannt und ausgegeben.

Due to this arrangement, the patch on the carpet shoe can be moved laterally as desired or put on the offset lengthwise. It is detected by the sensors:

• • a) when tapping the carpet with the heel of the shoe;
• B) when tapping the carpet with the front part of the shoe sole;
• • c) when knocking on the carpet with the front part of the shoe sole and the heel of the shoe at the same time (pounding), this being recognized as an externally coded synchronizing signal and output;
• D) when the shoe is slipped forward, slipping backwards to produce a shaft function;
• E) and, where appropriate, relative intensity changes are also detected and output as externally encoded synchronous signal.

The first two actions (a, b) according to a synchronous signal generation, the further actions (c) correspond to a switching signal generation, comparable to a key press. Where e.g. the playback of an audio signal is switched on can be, or suggestion files can be marked, etc.

Further Distinctions, e.g. between the heel and the front part of the shoe sole Can be safely taken if on the heel of a metal sheet is glued, because then the measuring coils a bigger loss change measure (over the sheet, not over the approach a e.g. relatively high-resistance metal foil resting on a rubber coating, etc., is over).

27 illustrates circuit details: In addition to the easy way to provide for each coil the described loss sensor with the parallel capacity as resonance capacity of the measuring coils, here the measuring coils are connected by a multiplexer of (temporally) in turn to the measuring circuit, which is easily possible since the negative conductance -G also reduces the on-resistance of the FET switches. In 27 the 9 coils L1 ... L9 are each divided into three groups with different frequencies fA, fB and fC for each group, the coils of each group being connected to the respective same measuring frequencies, in each case to a multiplexer MUXA, MUXB, MUXC (cf. , L1, l4, l7, l2, l5, l! 8, and l3, l6, l9) whose outputs are respectively connected to the sensor circuits (SfA, SfB, SfC) with their different measuring frequencies fA, fB and fC (and the Parallel capacitors CA, C8, and CC to form the Meßschwingkreises) are turned on. The switching of the inputs of the multiplexer via their addressing (ADDA, ADDB, ADDC), respectively at the time of current zero crossing in the coil. Since for each measuring frequency fA, fB and fC, a simultaneously measuring own sensor is provided, thus each three arbitrarily adjacent coils can be measured simultaneously. Thus here 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. It is further provided, for example, to better capture the change in weight by the toe, the distribution of Adresserierung constantly vary so that the maximum change in the loss occurs in the middle coil. For example, if this were the case at L4, then the coils in the three cycles would: [L9, L1, L2] in the first cycle; [L3, L4, L5] in the second cycle; [L6, L7, L8] in the third cycle to detect the coils. That has the advantage part that at low displacement, when the foot slips forward or backward, immediately the respective knocking is detected immediately without delay, which also larger fields can be scanned. It is expedient to use a larger carpet area, which is divided by two different colors in two fields for the right or left foot, dito two different coil fields, so that, for example, by forward or backward sliding of the foot with the right foot more Key signals can be additionally entered. For the identification signal, which causes a new start of the audio signal at a respective point, by a melody played or imposed in the note image forced sequence (after shutdown, or a pause of the audio signal), for example, a monostable reset time can be initialized becomes active if no notes are played by the user after entering a start signal.

To 18b shows an example in which the generation of the sync pulses on a ski suit, comparable after 18a and 22d explained principle is carried out, wherein the sensor coil 2 sewn as a very flat coil (air coil) of larger diameter (also in elliptical shape, etc.) in the ski suit above the knee (back), ditto below the knee as a counterpart, the electrically conductive foil for approximate measurement (about the coupled into the coil loss ). Of course, directly electrically conductive fabric can be used instead of the film.

At the body side the coil is shielded by a foil, so that by the body resistance of the adjacent leg no loss change occurs. The same can of course on any limbs of the human body be made, e.g. around the shoulder area and in the area of the Wrist in various sports, exercise bikes, dumbbells, etc., to scan the movements and not only at the turning points Receive pulse signals as sync signals, but also the Speed over to be able to sense the path of the movement, in each case related to the values obtained at the turning points (of the way). It can the Recalibration (to compensate for the drift) of the preferred, extreme sensitive measuring loss sensor also be made so that this each at the turning points or reversal points of the (as distance measurement for coupling the body resistance or electrically conductive surfaces Measured) movements are very fast, thus as measured value respectively only the relative change the control value Control from reversal point to reversal point of the injected loss is, and depending on the relative, the speed corresponding Rise, the sync signals are derived so that between Reversal point to reversal point of movement virtual markers set which correspond to the reference signals contained in the audio signal (to control the synchronization).

Attachment: supplementary Details of the figures:

1d : 12 ... battery, 10 ... removable battery cover (plugs), in the handle 11 taken in the ski pole, 11b Electronics.

THE END

Claims (58)

Method with a device for controlling the playback speed of an audio signal for the purpose of adjusting the phase position and / or frequency of the audio signal reproduced by the device (MP3 player, computer, etc.) to the perception of a user included in the audio signal, characteristic reference points visually and / or acoustically perceives directly and / or optionally via further reference means (eg visually by reading a musical image corresponding to the reproduced audio signal), which as time reference measuring points for determining the time reference to the user input synchronous signals (in the audio signal) encoded in order to temporally adjust the phase angle and / or frequency of the piece of music reproduced by the audio signal by means of a time measurement in the temporal control, the synchronous signals input by the user while the user communicates with the apparatus in mutual interplay iert, in which the user is synchronized on the said perception by the device and the device is synchronized via input sync signals by the user, wherein the user may deviate from the output by the device tempo or rhythmic tempo variations (with unchanged music tact) run in that, with respect to this perception (of reference signals), it inputs the sync signals forwards or backwards, and according to the respective measurement a) a synchronization of the playback speed of the audio signal is made according to the sync signals input by the user, b) and / or a rhythmic fault diagnosis is made, c) and / or the time frame of the reproduced audio signal corresponding to the synchronizing signals changed (and the playback is stored belonging), wherein the assignment of the synchronizing signals to the (respectively) associated reference signals by one of the reference signals respectively associated time window or time grid takes place (hereinafter Designated catchment area), characterized in that the time points of the reference signals, which are provided in the audio signal as time reference measuring points for the measurement of the time reference of the input synchronizing signals in relation to the reproduction of the audio signal (as a sign of special temporal assignment, or as reference times), respectively ( Mark time periods, referred to below as correction time intervals, within which the time adjustment effected by the speed control is performed, in contrast to further time points likewise coded by further reference signals te, or time intervals in which this time compensation is not or only to a lesser extent, wherein optionally by different classification (coding) of the reference signals time ranges of different time corrections, or suppression of time corrections may be provided, and optionally, depending on the classification, different reference signals for the determination of correction time intervals and for the timing of the sync signals are used. Method according to claim 1, characterized in that that this Method is used to match the synchronization Tempo fluctuations predominantly over the change to balance the duration of music files, being within the music file only a linear (proportional) change of the time scale or, where appropriate, a slight deviation from that. Method according to claim 1, characterized in that that this Method is used to match the synchronization Tempo variations over within the limits of the music acts (possibly over several Bars) respectively enclosed notes, or audio signal components via the speed control synchronizing the audio signal, with duration of the music acts (beat) not changed becomes. Method according to one of claims 1 to 3, characterized that two Modes are provided in which one of the synchronization corresponding Time balance optional a) by changing the duration of the music act where appropriate (optionally) also a change the time proportionality the duration of each note occurring during the music acts can be, b) or by changing the time proportionality of within the music acts respectively occurring note duration with immutable Duration of the music act is made, and that the selection, which synchronization (a or b) is carried out in each case by Coding of the sync signals is made, wherein A) the Coding of the synchronizing signal source via the input device, via which the synchronizing signals are input, takes place; B) and / or the Coding of the synchronizing signals by the temporal proximity concerning Sync signals to respective reference signals of the audio signal he follows. Method according to one of Claims 1 to 4, characterized in that - the inputted synchronizing signals corresponding to the rhythm of the reproduced piece of music may also correspond to the rhythm (eg beat) omitted or suitably added to the rhythm (eg beat) further added synchronizing signals, - and the time interval respectively used for the assignment of the synchronizing signals to the reference signals is used by assigning the measured time, possibly after rounding to the (catching) time value of a reference signal according to the time grid used for the reference signals and synchronizing signals, to that reference signal, it corresponds to the time sequence of the audio signal (or the reference signals provided for this purpose), the time deviation corresponding to the measured reference signal of the synchronization signal being used for the synchronization and the following measures for the allocation a) arrives at a synchronizing pulse in relation to the currently synchronized reference signal time grid, to which a reference signal is coded in its (temporal) capture range, then the synchronization pulse is assigned to this reference signal (and its coded use), b) arrives in relation to the currently synchronized reference signal time lapse a sync pulse to the expected reference signal without the reference signal with its (temporal) capture range detects the sync signal, or possibly take several such reference signals, then the respective measured time interval with reference to the time grid the reference signals (eg in relation to the measured times corresponding note punctuation of a musical act) for the further incoming synchronizing signals until such time as the resulting synchronization time falls within the (temporal) capture range of a reference signal or corresponds to such to obtain the assignment of an incoming sync pulse to an associated reference signal, c) applies in relation to the currently synchronized Referenzsignalzeitraster a sync pulse to a reference signal trailing, so that the reference signal, or more subsequent reference signals with its (temporal) capture range detects the sync signal, then the measured time with reference to the time frame of the reference signals (eg in relation to the measured times corresponding note punctuation of a musical clock) as long as added together by the further incoming synchronization signals until the synchronization time thus obtained in the (temporal) capture range of a reference signal or such an n Acheilend corresponds to receive the assignment of the sync pulse to the reference signal. Method according to one of Claims 1 to 5, characterized in that the coding of the reference signals, with regard to their use in the synchronization method, comprises one or more of the following indications of use: a) the marking of time ranges (as correction time intervals) in each case corresponding to a tempo change of the audio signal Correction as far as possible in proportion to the change in the time intervals of the audio signal occurring between the reproduced reference signals, this correction also being effected by within the time ranges other time ranges (see the following paragraph b) a certain permitted deviation from this linear proportionality of the time intervals , may have; b) the marking of triggering modes in which, in addition to the existing synchronization, the reproduction of certain positions corresponding to this marking can be triggered directly by inputting a relevant synchronization signal; c) if appropriate, the indication of time tolerances permissible for different reference signals, with which the correction takes place within thecorrection time intervals respectively coded by the reference signals; d) the masking of time ranges (in the audio signal) over which the deviation mentioned under (c) should not occur; e) the marking of time ranges which are not to be influenced during the correction, or with which the correction is to be used in a certain status (eg unchangeable music clock), f) reference signals which are related to direct synchronization points in the audio signal (eg clock start), wherein the duration of the time periods associated with these reference signals (see reference signal 1 to reference signal 1 in FIG 13 and 14 ) the synchronization is carried out in each case, g) and / or reference signals which are used only for determining the measured value of the time calibration, which is then used in each case for the other reference signals which relate to direct execution of the synchronization in the audio signal, h) Reference signals which mark points in time at which a speed changeover can take place by inputting further external control signals (eg key signals, etc.), i) an indication as to whether the reference signal is the assignment to an input synchronizing signal, or if not entered, j) an indication of whether the reference signal is the assignment to user-generated note passages (as a decoded synchronizing signal), k) an indication of the assignment to a sync signal obtained by summing the clock grid (from a previous sync signal); , which determines the assignment of time measurements made between sync signals in Zu l) an indication of whether a synchronization signal obtained for a reference signal is used for synchronization and / or for the correction announcement (invocation of a relevant slice) ), m) an indication of which tracks of a multi-track reproduced audio signal are affected by the synchronization respectively, wherein reference signals are provided, which affect all tracks (eg to keep the beat), and those which special tracks ( eg to maintain or prevent syncopation between an instrument played in real time), n) an indication that marks those time intervals which include the temporal change that no longer corresponds to the correction to be made (eg if the clock is not to be changed) , o) an indication marking those time intervals, b p) a distinction by the input device of coded synchronizing signals, which according to their coding are assigned to a specific coding of reference signals, q) an indication in which the time frame is to be changed accordingly (within a given quantization) (for the purpose of storage); the respective reference signals mark time intervals at which the function is switched off according to claim 5. according to claim 6, characterized in that in the Reference signals for different status areas, in which the procedure respectively located, different correction periods, each belonging to these status areas are and different resolutions (ditto capture areas) of synchronization, encoded, being dependent on the synchronization from the decreasing deviation gradually into one higher resolution is switched, or ditto if resulting greater deviation, the synchronization is switched back to the lower resolution. Method according to one of claims 1 to 7, or according to The preamble of claim 1, characterized in that synchronously to the audio signal controlled in tempo, an associated note Data signal (processed MIDI, etc.) with one to the (close) synchronization time frame matched Time resolution, as a note sequence respectively corresponding comparison template a comparison device is reproduced by the comparison device furthermore submitted sequence of a currently generated note signal (MIDI instrument, frequency / MIDI converter, etc.) according to a pattern to decode that related to the current playback time of the audio signal that the audio signal associated Notes for a certain period of time (e.g., according to the duration of a 1/2 note, etc.) the audio signal as temporally leading note data with one of resolution of the synchronization time grid split into serial data and in turn are written in a memory and to each enrollment in turn over the entire memory area (for example, according to the duration of a 1/2 note), to form a multitude of rows, each one characterized differ that they incremental (gradually decreasing the lead time) are shifted, wherein the presented sequence of a currently generated Note signal (MIDI instrument, frequency / MIDI converter, etc.) at the same time with all those arising from this gradual shift Patterns are compared to for a recognized pattern, this temporal shift of the measured time difference between real-time input of the note signal and the reproduced audio signal, and the measured temporal deviation to use, on the one hand, the enrollment of the compare memory (e.g., according to a FIFO) so that yourself the comparison for a middle layer of the existing as a pattern in the comparison memory Score image (to measure the deviation before and after to be able to) and the tempo of playing the audio signal over that compared to the note image To adjust the time period accordingly. Method according to one of claims 1 to 8, characterized that this reproduced audio signal from a large number of slices (sections) whose beginning is marked by the reference signals, optionally within the slices, further reference signals are provided for the Synchronization of the slices are used with that to reference signals, which mark the beginning of a slice, respectively a plurality of Slices are provided, which in addition to a possible contentual distinction differ in duration, and that depending on the synchronization, these slices in addition to their tempo control by the synchronization continue to be addressed at certain trigger times to lengthen or shorten the musical design of the slices, taking through the synchronization (pulses and / or note recognition) the Time interval one enabled Triggering is determined and triggering through in a slice respectively coded reference signals, which by the current measured value of a Calling Synchronization addressed slice is done using to these reference signals to be compensated measuring times (normalized in dotted note values) which is to be addressed is coded. Method according to one of claims 1 to 9 or according to the preamble from claim 1, characterized in that by a pattern recognition the input sync pulses an addressing of slices, or Fragments, etc., takes place. Method according to one of claims 1 to 10, characterized that one speed change the audio signal reproduction according to that by the synchronization received changes of between the reference signals resulting from their coding changing Correction time intervals is made, with one each by the change occurring at the beginning of a correction time interval the playback speed over the duration of each one Correction time interval within the given (and tolerance also coded by the respective reference signals) invariable is held. Method according to one of claims 1 to 11 or according to the preamble of claim 1, for an application in music making (instrument playing, singing, etc.), characterized in that the reference signals included in the synchronization, which are present in the reproduced audio signal, in a note image used by the user, which corresponds in time to the reproduced audio signal, as corresponding markings (eg dashed timing lines, etc., possibly colored) are located, and so on the user to be entered the sync signals to be entered, wherein the user enters the sync signals (eg via a sensor mat) coincidentally coincident with the reference signals drawn in the note image, or optionally also omit (in which case the omitted sync signal is replaced by the internal time interpolation), or . If necessary following the rhythm also a sync signal may enter too much. Method according to one of claims 1 to 12, for use on a MIDI instrument (e.g., electric piano, etc.) characterized by a mute function, where the sound-emitting instrument (e-piano, etc.) supplied by the keyboard MIDI signal is looped through an adapter that has a Pedal function (or similar, or comparable with the foot too actuated Function) the sound-emitting instrument by appropriate influence of the MIDI signal during the pedal operation (or function actuation, etc.) mutes, taking from the actual MIDI data, which match the game during the pedal operation (or function actuation, etc.) the measured time duration of playing after a given note image Notes and / or pauses (as input sync signals), the tempo of a start condition (free-running or triggered) Audio signal, as encoded by the reference signal coding Music clock duration corresponds, is set. Method according to one of claims 1 to 13, for use on any instrument, characterized in that by the duration of a music beat determines the pace of a start condition (free-running or triggered) reproduced audio signal via a Foot knock sensor (See in subsequent claims called sensor mat, or carpet) is knocked (as sync signals), during or after over a pedal function (or similar, or comparable with the foot too actuated Function) a corresponding status is established, wherein at Losen pedal function the entered sync signals by the duration of a music beat does not change certain tempo anymore, but instead only the time distribution within a music cycle. Method according to one of claims 1 to 14, characterized that for the knocking the synchronizing signals uses a pressure-sensitive sensor mat which simultaneously reduces the pressure of the heel and toe of the Shoes can scan, with simultaneous relieving and straining of heel and toe of the shoe (by pounding) as a sensor signal to change the tempo over the changed Duration of a musical act is interpreted and the one-sided knocking with the heel or toe of the shoe as a synchronization within a musical cycle for the time distribution of the notes is used within the music clock, with steady Duration of the music act. Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, characterized in that the Synchronous signals are each generated by a sensor that on a walking stick (for example, Nordic Walking) provided as a pressure sensor is and at each admission of the respective stick touch on Ground give a used as a sync signal sensor signal. Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, characterized in that the Synchronous signals are each generated by a sensor under a weight of the skier receiving part of a ski binding or a corresponding accessory (between mounting bracket and ski surface) as a pressure sensor for Measurement of the pressure changes applied by the skier to the ski is provided, wherein from the driving style of the skier detected pressure changes, the sensor signal used as a synchronization signal is generated. Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, characterized in that the Synchronous signals are generated in each case by a pressure sensor, the between assembly mounting of the rollers and the shoe sole a skater roller or roller skate is arranged, the driving style the skier corresponding pressure changes, as a sync signal used sensor signal correspond. Apparatus for generating synchronizing signals for carrying out a method according to one of claims 1 to 15, or according to the preamble of claim 1 or in a comparable .Anwendung, characterized in that the synchronizing signals are respectively generated by a pressure or train sensor which in a ski pole, the tensile force and / or compressive force of a at the end of the ski pole in the ski pole movably inserted pin or bolt measures, to which also the snow plate of the ski pole be is fixed and the tip of the stick is, wherein a) when regrinding the snow plate, a synchronizing signal by detecting the changing tensile force of the (from the ski pole) displaceable bolt on which the snow plate is fixed, (as a change) is detected, b ) and / or the insertion (in the ski pole) of the displaceable bolt is detected by pressing on the end of the bolt (or via an intermediate piece, etc.) provided tip (as a change). Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, - characterized in that the Synchronous signals each dependent generated by the rotation and / or angular position of a bicycle crank are. Device according to claim 20, characterized in that that the Synchronous signals are each generated by a sensor that the Crank rotation by scanning the teeth of the sprocket (or the Crank toothed disc) -a bicycle scans, the plurality the pulses obtained in this sampling as to a certain Angular position or possibly also according to a division for each angular position each delivered pulse as a sync pulse is interpreted (evaluated). Apparatus according to claim 21, characterized the existence Another sensor scans the crank directly to a specific To decode angles on which the scan of the teeth of the sprocket related sync pulse generation refers. Device with sensor according to one of claims 16 to 22, or device for generating the synchronizing signals for carrying out a method according to one of claims 1 to 15 or according to the preamble of claim 1, characterized in that the sensor used for the generation of the synchronizing signals as a change detector is formed, which is regulated by feeding the measured variable as a control value to a specific measured value, wherein the actual measured variable of the sensor is compared with a desired value to the measured variable with an actuator ( 200 ) and the change in the control value is used as the output measured variable (OUTPUT) for detecting the synchronizing signals. Device with sensor according to claim 23, characterized in that the change in the control value (control) on the actuator ( 200 ) via a low-pass function ( 202 in 2 , TP in 9a ) in order to obtain a differentiated signal at the actual output (OUTPUT) of the sensor. Sensor for device according to claim 23 or 24, characterized in that a sensor is used which measures the ohmic loss of an inductively coupled into a measuring coil L electrically conductive part, wherein as an actuator controllable by manipulated variable negative conductance (see. Constant current source 200 with stable input control) is used, which reduces the total loss of the measuring coil, consisting of the environmental loss, to measure only the small proportion of the loss, which is generated by the coupled electrically conductive part. Sensor according to claim 25, having a measuring resonant circuit (L, C), consisting of a measuring coil L and a parallel capacitor C, characterized in that the through the negative conductance -G caused increase in quality by increasing the inductance L by means of one of the coil L at the feed point E (of the resonant circuit) returned control current iLext, which is the actual inductive supply current (from the oscillator) of the resonant circuit is reduced by the proportion of the control current is, wherein the resonant circuit capacitor (parallel capacitor C) is correspondingly smaller dimensions (at comparable resonant frequency of the resonant circuit) to a possible great relationship L / C to the desired quality reduction to obtain (according to the desired minimum settling time of the sensor). Device according to Claim 16 (relating to a walking stick, Nordic walking sticks, etc.) or according to Claim 19 (relating to a ski pole) with a sensor which detects the ohmic loss of a probe in a measuring coil (L or 2 ) inductively coupled electrically conductive part measures, characterized in that the measuring coil 2 an air-core coil inserted into the tube of the stick (optionally kept at a small distance from the tube wall) is that the moving part, which is the extension of the stick end, possibly the extension of a stick tip, or optionally the extension of a plate pin (a snow plate), etc. is concerned, a metal pin which is slidably guided by a corresponding socket and the depth of insertion, or frontal approach of the bolt in or to the measuring coil corresponds to the respective measured loss of the sensor for the purpose of generating a sensor signal, and in that this bolt against a spring preload according to the use of the poles (pressure and / or tension on snow plates, etc.) is moved, wherein the spring bias in each case brings the bolt in a rest position when the stick end is not moved. Apparatus according to claim 17 (ski binding) or according to claim 18 (skate roller), with a sensor, the ohmic loss of a in a measuring coil (L or 2 ) inductively coupled electrically conductive part measures, characterized in that the pressure sensor using the said sensor has the following structure (see. 16 ): There are two pressed together by resilient clamping force against each other and held by pressed rubber discs (in the space) at a distance surfaces or plates whose approach by the attached to a plate or embedded in the plate measuring coil ( 2 ) is measured, Device according to claim 28, characterized in that that the resilient clamping force by at the edge and / or at the corners of the plates engineered with rubber liner Clamping rails, which hold the plates together from the outer edge made is and that through Inserted into a plate and loosely inserted at the other plate centering the plates are still secured. Apparatus according to claim 28 or claim 29, characterized characterized in that both plates under a roller attachment of a skate roller Shoe are provided, the lower plate optionally at the same time part of the support of the bearing of the roller (s) is. Apparatus according to claim 28 or claim 29, characterized characterized in that both plates are provided under a ski binding, wherein the upper plate optionally also part of the Schuhsolenauflage of the ski boot (e.g., at the back of the heel). Device according to claim 17, or in own application, characterized in that the Pressure sensor for measuring the pressure force of the shoe sole of a ski boot made against the ski by measuring the pressure on the ski stop is. Apparatus according to claim 32, characterized in that the bearing surface fixed to the rotary linkage of the ski stop ( 500 ), which is held by the ski boot against the spring force of the ski stopper, presses against the surface of the ski on its underside via an elastically compressible surface (eg rubber), the pressure on the elastically compressible surface (rubber) being measured ( 20 ). Apparatus according to claim 33, characterized in that the measurement of the pressure is effected by the loss measuring sensor mentioned in the preceding claims, wherein a) the measuring coil L (resp. 2 ) is provided on the surface of the ski and the electrically conductive surface of the measured by the measuring coil loss part (eg, a metal sheet or metal mesh, etc., which in the plastic part of the support surface 500 taken in, or the bearing surface itself forms, etc.) by the part 500 the support surface of the ski stopper is formed, which by the ski boot against the spring force of the ski stopper ( 1002 b) or the electrically conductive surface of the measured by the measuring coil loss part (eg, a metal sheet or metal grid) is provided on the surface of the ski, or through a metal ski is formed directly and the measuring coil L (resp. 2 ) in the part 500 the support surface of the ski stopper is embedded, which by the ski boot against the spring force of the ski stopper ( 1002 c) with the elastic compressible surface (eg rubber) either on the ski (on the coil L or on the loss plate) or on the underside of the part 500 the support surface of the ski stopper is attached, wherein optionally the elastically compressible surface (eg rubber) by latching elements (np) for the purpose of adaptation to the sole of the ski boot is replaceable to compress the rubber with an adjustable compressive force. Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, characterized in that the Synchronous signals each dependent from the elongation of an expander made up of tension springs (spiral springs) (for strength Training) or dependent from the curvature a spiral spring (spiral spring for Force training) are generated. Apparatus according to claim 35, characterized in that a sensor for loss measurement is used for the generation of the sensor signals, the measured loss change resulting from the change in the Inductance of the coil springs results, which are used in each case as a measuring coil of the measuring circuit used for loss measurement. Device for generating synchronizing signals for execution A method according to any one of claims 1 to 15 or according to The preamble of claim 1 or in a similar application, characterized by a penile ring in which a sensor coil (air coil) is built over according to the principle of loss measurement by coupling in the loss into the coil, the approach of the human body is measured to the coil, and so the movements through the sensor be converted into sync signals, wherein on the front side of the Coil, which is the carrier the penis ring is turned, and optionally at the narrow side of the Zyinderspule, through an electrically conductive Cover by the wearer of the penis ring coupled body resistance short is closed. Signal generator for generating a switching signal or a signal for generating sync signals for performing a Method according to one of the claims 1 to 15, or according to the preamble of claim 1, or in its own Application, dependent from the course of movement of the limbs of a human body (e.g. a skier, etc.), characterized by one on the limbs (e.g. on the thigh of the ski suit) mounted sensor coil (air coil), in accordance with the prinizip of loss measurement by approximation of a by the movement of other limbs (e.g., the lower leg ski suit) loss (e.g. on the ski suit sewn in foam metal foil, or electric conductive textile, etc.) the measured loss is coupled in, being through the measuring coil to the human body at the support point (Attachment point according to the ski suit) by an electric conductive shield (short closed), no body level measurement is recorded. Arrangement according to claim 38, characterized that this specified principle is used on a glove, if necessary corresponding openings or even as a hand-wound band, etc. executed can be, characterized in that the sensor coil to the Teü of the glove (Outside) sewn (or fixed), which concerns the palm, with the palm toward, the measuring coil is short-circuited by an electrically conductive shield, so that from the palm no body level measurement is absorbed and by curvature the finger (to a fist that does not have to be closed) the loss change in the coil over the coupled body resistance being generated on the glove (e.g., on the outside of the part of the back of the hand Glove) the electronics with the RF transmitter is sewn. Device with method according to one of the preceding Claims, in conjunction with a mobile phone which synchronizes the audio signal or in your own application an audio signal file (MP3, etc.), characterized in that at least one of the following Functions are provided: a) It is an externally connectable microphone provided, the device has a mode in which the microphone recorded levels above a set threshold, well audible (if necessary under withdrawal the level of playback of the audio signal) (e.g., switched by a level-triggered monostable Zeitgber) and or b) a function is provided during a while of use as audio playback (e.g., MP3 player) at one Call, the caller over a voice chip is said, the data being a caller when creating the telephone directory in the addressing memory of the speech chip are stored. Arrangement for inputting tapped sync signals for a Method according to one of the preceding claims or according to the preamble of claim 1, characterized by a bearing surface (also Carpet, etc.) with elastic surface and between elastic surface and bearing surface (e.g., carpet laid on the floor) provided with sensor coils on one side and a metal foil (aluminum foil, etc.) or one alternatively electrically conductive surface on the other side, while the squeezing the elastic surface by approach increasing Loss, as a pressure signal over an inductive loss measurement is measured. Arrangement according to claim 41, characterized in that a plurality of sensor coils as longitudinally directed flat coils scan the attached shoe into a plurality of lines (one coil per line), whereby a separate evaluation takes place, whether a pressure change pulse predominantly results at the heel or at the toe, or at two points concerning the heel and toe simultaneously and by this assessment, respectively different input mode, the sync signals thus generated are coded distinguishable, or differently coded reference signals are assigned in the process. Arrangement according to claim 41 or 42, characterized that the Arrangement is sewn into a carpet. Method according to one of claims 1 to 15, in particular according to claim 6, paragraph q, and / or with arrangement according to claim 42, characterized in that the Input of sync signals (e.g., by pounding with the foot), excluding the Input for setting the duration of the music clock is concerned, where appropriate a corresponding switch for the evaluation of the coding of the reference signals takes place. Method according to one of claims 1 to 15, or 44, in particular according to claim 9 and / or 6 paragraph b, characterized in that in the case that the Audio slices (sections) relate to speech or vocal content, the rendered slices (which make up the audio signal, and that are played in succession) with a vowel, then its duration by the subsequent sound triggering (as a trigger signal) respectively is terminated to a subsequent slice (corresponding to the one in question Reference signal of the calling slice listed address), where the consonants are within a slice or at the beginning a slice, and that through said synchronization preconfigured the duration of a slice is to adapt to it in its playback time zeitlinear, by the trigger signal the playback duration is terminated respectively if the trigger signal does not arrive, the slice is synchronized corresponding duration is terminated, which is such that appropriate a correct timing (that by the note image and the reference signals set), a correctly timed trigger signal, can still finish the slice. Method according to claim 45, characterized in that that the Information about the correct dimensioning of the synchronization each affected Playback time of an audio slice and control of an associated trigger window as well as for the fundamental enabling a trigger, in the corresponding reference signals of the audio signal is encoded. Method according to one of claims 1 to 15 or 44 to 46, in particular according to claim 6, characterized in that several Tracks of the reproduced audio signal are provided with the are provided different Bezugssingalkodierungen and accordingly be synchronized differently (e.g., within the music clock) and that signal encoding signals provided by their coding on their corresponding Time intervals all Synchronize tracks of the audio signal in unison, e.g. the music act. A method according to claim 47, for use with a Device according to one of the claims 20 to 22, characterized in that the percussion (or the Percussion) is reproduced on a track, which is the music tact corresponds and one or more further tracks (e.g., vocals) within The music act of the rotation of the bicycle crank synchronized accordingly is / are, whereby by this method the user rounds the (even) Step can learn and if necessary the synchronization by the coding of the reference signals is set so that in case of deviation from the round kick accordingly coated tempo variations be made audible in the synchronization of the audio signal and that the clock Synchronization (of the music beat) continues in tempo depending on the speed of the bicycle crank is made. Method with device according to one of claims 20 to 22, wherein between pedal crank and attached sprocket (toothed disc) a spring force acts and the crank by a freewheel against turning back is blocked, characterized in that the change in speed the sprocket (or pulley) is measured and analyzed, and that about these Analyze the playback of the audio signal is affected (in tempo and / or rhythm) that the user the deviation from the so-called round kick, (in the case of impermissible spontaneous force impulses, different from a homogeneous change in speed when pedaling into the crank are fed) recognizes. Method according to claim 49, characterized that the Differences in the rotational path or the rotational speed between Pedal crank and attached sprocket (toothed pulley) as a measure of each wound 1 relaxed spring force is measured and depending on the angle of rotation of the pedal crank from this the sync signals for the implementation of the method are generated. Method according to Claim 38, characterized in that the recalibration (to compensate for the drift) of the preferred, extremely sensitive loss sensor is carried out in such a way that this is done in each case at the inflection points or reversal points of the (measured as distance measurement for coupling the body resistance or electrically conductive surfaces) movements, thus measured only the relative change of the manipulated variable Control from reversal point to reversal point of the coupled loss is evaluated as the measured value, and from this depending on the relative, increase corresponding to the speed, the synchronizing signals are derived such that between mark-to-point reversal of the movement virtual markers are set which correspond to the reference signals contained in the audio signal (to control the synchronization). Method with device according to one of the preceding claims or in its own application with a in the preamble of the claim 1 method or a similar method, characterized characterized in that Procedure with sex using a penis ring with one corresponding sensor used to detect penile movements is, from these movements, the sync signals to said Synchronization of the playback speed during playback an audio signal with respect to the adjustment of the phase angle and / or Frequency are derived. Method with device according to one of the preceding Claims, characterized in that the Procedure during sex using a condom with a corresponding Sensor is used to detect penile movements, taking off These movements, the sync signals for synchronization mentioned the playback speed when playing an audio signal derived in terms of the adjustment of the phase angle and / or frequency become. Method with device according to claim 52 or 53, characterized in that as Sensor an eddy current sensor is used, which is the coupled electrical loss, or whose change scans. Method with device according to claim 52 or 53, characterized in that as Sensor uses an optical reflection sensor, which is a distance change finds. Method with device according to claim 52 or 53, characterized in that as Sensor uses an RF sensor, which is a distance change finds. Method with device according to claim 52 or 53, characterized in that as Sensor measuring the resistance of applied on a condom electrical conductor tracks is used. Method according to one of Claims 52 to 57, characterized in that one of the examples given below is used and has the features stated in the explanation of the functional relationship for a further embodiment formed: Examples ( 22c to 22e and 29a and 29b ) concerns a simple penile ring, which is pushed to the root of the penis. At the outer periphery of this ring consists of a plastic body KP, in which a bobbin is inserted, on which the measuring coil L is wound. On the inside, this ring consists of a soft latex insert LTX ( 22d ), wherein furthermore a short cylindrical extension made of latex rubber can be provided, which can also be made interchangeable, by the ring having a bushing (option) which can be pushed over from behind and which holds the short latex extension RO pushed over the inner ring. Respectively. The tight latex part RO, which is firmly attached to the penis, holds the loosely fitting ring. It is evident that instead of the short cylindrical latex part any commercially available condom can be inserted into the ring. Completed at the rear, on the front and also on the narrow cylinder side, the ring is provided with an electrically conductive cover (circular ring LMS, 22c . 22d ) provided, which may conveniently be (in addition to metal, covered with latex) and Leitplastik, or may be made of a material having high permeability. If the electronic circuit (E) has a particularly low power consumption, the annular ring LMS can also be made of a sintered material (HF iron). The cover (ring LMS) fulfills the purpose that the body own loss coupling of the ring carrier has less influence on the coupled into the measuring coil loss, and only the other, measured from the open end of the coil L loss, in turn, from the current proximity the skin resistance of the partner depends on the measurement is essential. By using a negative conductance in the IVleßschaltung the coil, it is possible to measure such high resistance skin resistance over such distances without contact. Thus, the linear penile movements measured by the sensor and corresponding to the inflection points at each detected maximum-minimum values of the measured loss change dGk, the sync signals for tempo synchronization and slice addressing (addressing the fragments on the decoded recognition pattern of sync signals) of the reproduced by the MP3 player audio signal are generated. The measurement of the loss change dGk is for example also with the 18a described glove Variant, which also measures the approximation of a body resistance to compare. In the variant after 22c , for direct scanning of the penile movements, which in 23d is further shown, for example, upwards, the ring may be extended to accommodate the electronics E of the sensor, including blue tooth interface and a small battery B with voltage converter. To reduce the power consumption, the circuit is pulsed with respect to the generated currents in the manner already described to the sensor. Thus, without using a cable, the sync signals to an MP3 player, such as a mobile phone with plug connection for a good speaker playback, can be transmitted. The latest hits and rhythms, which are particularly suitable for this matter, and the coded reference signals for detecting the recognition pattern of the sync signals, or the corresponding suitable slice files of an audio signal, can then be downloaded directly to the MP3 memory and billed via the phone , Further to 22d : In 23d Above all, a variant is shown in which the fixation of the condom is done on the ring, which should sit here as loose as possible on the penis. In order to secure the ring on the condom, or a (possibly also front abgezwickten condom piece RO), the Kondomende KE must be pulled over the other ring diameter of the inner ring KP and then a further provided outer ring RA are pushed from back to front, said over the outer ring RA a latex ring cover RLA is pushed over, so that no hard pressure points arise. The inner ring KP is tapered at its outer diameter to the rear, so that when covering the condom, the edge bead KE does not survive and thus the rear (outer) ring RA can be pushed over the condom end for clamping. For this to be as easy as possible, the outer ring is somewhat conically open to the outside, so that the inner diameter of the outer ring can be made exactly in register with the outer diameter of the inner ring. Furthermore, the condom or RO section RO is held by the bead KE in the rear taper of the outer diameter of the inner ring. Thus, the coil ring of the sensor is attached as loosely as possible to the condom end. Because the ring has a reasonably constant loss towards the rear through the frontal electrical cover, only the change in the loss dGk detected from the front is measured. The latex cover RLA then has a battery cover (made of latex), which is fixed in place by a corresponding catch. It is evident that as an alternative to the one in 22d and 22e presented proposal, which is to keep the ring with the measuring coil L as loose as possible, it is also possible to incorporate the measuring coil with the electronics and the miniature battery in the usual latex rings. For all the examples listed here, which relate to the synchronous connection between sports and music, the additional option of a pedometer can also be incorporated in the audio signal playback devices, wherein the athlete (s), the number of sensory detected movements, eg on a mobile phone read off and reset the count.