EP0802520A1 - Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument - Google Patents

Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument Download PDF

Info

Publication number
EP0802520A1
EP0802520A1 EP97400837A EP97400837A EP0802520A1 EP 0802520 A1 EP0802520 A1 EP 0802520A1 EP 97400837 A EP97400837 A EP 97400837A EP 97400837 A EP97400837 A EP 97400837A EP 0802520 A1 EP0802520 A1 EP 0802520A1
Authority
EP
European Patent Office
Prior art keywords
note
notes
excited
free
sympathetic
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Granted
Application number
EP97400837A
Other languages
English (en)
French (fr)
Other versions
EP0802520B1 (de
Inventor
Gérard Assayag
Georges Bloch
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Orange SA
Original Assignee
France Telecom SA
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by France Telecom SA filed Critical France Telecom SA
Publication of EP0802520A1 publication Critical patent/EP0802520A1/de
Application granted granted Critical
Publication of EP0802520B1 publication Critical patent/EP0802520B1/de
Anticipated expiration legal-status Critical
Expired - Lifetime legal-status Critical Current

Links

Images

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0091—Means for obtaining special acoustic effects
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • G10H2210/265—Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays
    • G10H2210/271—Sympathetic resonance, i.e. adding harmonics simulating sympathetic resonance from other strings

Definitions

  • the present invention relates to a method for simulating sympathetic resonances on an electronic musical instrument.
  • the invention finds applications for any electronic musical instrument which can receive commands for triggering or releasing notes, either directly or via an interface such as an instrumental interface to MIDI standards, for example.
  • any synthetic pianoforte such as a digital piano, a sampler or a musical synthesizer.
  • Sympathetic resonance phenomena are manifested in particular on stringed instruments.
  • the strings can occupy several states. They can more precisely be excited, that is to say solicited by the musician, muffled, that is to say retained to avoid their vibration, or still free, that is to say free to resonate.
  • harmonic of a string and, by extension, of a note of any instrument, is understood to mean both the fundamental harmonic corresponding to the lower frequency vibration mode of the string than the higher order harmonics corresponding to higher frequency vibration modes.
  • This phenomenon is particularly important in instruments such as the sitar, the theorbo or the viola d'amore. These instruments include strings whose pitch can be changed while playing, and open strings resonating with sympathy with them.
  • Sympathetic resonance also takes place in a piano in which the free strings, corresponding, for example, to the pressed keys, vibrate sympathetically with the harmony of other strings.
  • Electronic instruments do not have strings capable of resonating and thus produce only the note corresponding to a key pressed or to an electronic control comprising a code for triggering said note.
  • the sound produced corresponds to the vibration of the strings according to their fundamental harmonics.
  • Each note played by the musician is independent of the other notes played simultaneously on the electronic instrument.
  • Electronic instruments also do not make it possible to obtain acoustic effects such as those resulting from excitation by the voice of an instrument such as the piano, as indicated above.
  • the object of the present invention is to propose an improved simulation method enabling the sympathetic resonances of string instruments, and in particular of the piano, to be reproduced realistically by an electronic instrument.
  • the invention also aims to provide a solution to the problems of self-resonance which are likely to arise from sympathy.
  • Another object of the invention is to allow the creation of sympathetic resonance effects on electronic musical instruments using timbres other than those of acoustic stringed instruments.
  • An object of the invention is also to propose a method for simulating sympathetic resonances allowing sound effects such as those obtained by exciting the strings of an acoustic piano by the voice or by another instrument.
  • Yet another object of the invention is to use it as a control for a synthesis process which takes account of the context of the instrument (that is to say of the notes which are resonating, being excited, to be free).
  • a note is excited when the corresponding key of the keyboard is pressed with a velocity greater than a predetermined velocity.
  • An excited note can also be compared to the pinching of a guitar string with a plectrum, or even the friction of a bow on the cello string.
  • the commands for triggering or release of free or excited notes can come, for example, from a MIDI type keyboard sensitive to the velocity of key attack or from an appropriate MIDI sequencer.
  • any excited note is also a free note. Indeed, in an acoustic piano the striking of a key causes not only an impulse of the hammer but also the withdrawal of the damping felt from the corresponding cord (s).
  • both the first and second lists are also updated during commands to release free or excited notes.
  • one possibility consists in systematically checking, for each excited note and for each free note considered and having an identical harmonic, that the two notes are very different.
  • Another possibility consists, when ordering an excited (and also free) note, to first update the second list with the note excited then, after having searched for notes with an identical harmonic in the first list and ordered the set of possible corresponding sympathetic notes, to finally update the first list with the free note. This makes it possible to save on an autoresonance test, since the excited note is not immediately considered as free, and therefore does not appear in the first list during the search for common harmonics.
  • the envelope shows an exponential decrease after reaching the maximum volume.
  • the decay and more generally the shape of the envelope can also depend on the pitch of the note played.
  • V b (t) V O * e -t
  • t is the time elapsed since the moment of excitation
  • V o the power or velocity of the note played.
  • the volume V b (t) is preferably adjusted, not not according to an envelope, but according to commands coming from the instrumental interface.
  • V S (t) V b (t) xP Hey xP hl
  • P he and P hl are respectively the potentials of the corresponding harmonic of the excited note and the free note.
  • the potentials of a harmonic are understood as the ratio of the volume of said harmonic to the fundamental harmonic.
  • the harmonic potentials of each note are predetermined values which can be stored in a memory of the instrument or of the simulation system.
  • the volume of this sympathetic note may be the sum of several contributions corresponding to the different free notes.
  • the volume is then where P hli is the potential of the harmonic corresponding to the ith free note taken among n free notes in total, to which corresponds the sympathetic note.
  • the number of free and excited notes becomes large, the number of sympathetic notes can be limited by increasing this predetermined value.
  • each sympathetic note played can correspond to several different free notes.
  • the pitch of the sympathetic note then corresponds to harmonics of a different rank from the different free notes.
  • the note play sympathetic can be performed with a volume decreased accordingly.
  • the volume can be reduced according to the potential of the harmonics of the released free notes corresponding to the pitch of the sympathetic note played. This corresponds to eliminating in the expression of V S (t) the terms P hli corresponding to the harmonics of the released free notes.
  • the sympathetic notes resonate by borrowing the same timbre as the base notes.
  • the timbre and / or possibly the envelope of the sympathetic notes can be different from those of the base notes. This is the case in acoustic reality (the sympathetic resonance sound of a piano has a different attack from the sound of an excited note). But this feature allows you to create original sound effects. It is for example possible to create a sympathetic resonance with the timbre of a clarinet for notes played with a piano timbre.
  • the second sympathetic resonance is simulated from the trigger as a free note of all the notes for which the instrument is capable of generating sounds.
  • each harmonic of each excited note For example, to simulate the second resonance, one searches for each harmonic of each excited note, identical harmonics among the harmonics of the set of notes for which the instrument is capable of generating sounds, different from the excited note. , and we control the play of a sympathetic note at the height of each of said identical harmonics.
  • the second sympathetic pedal resonance does not replace the first resonance but is, at least in part, added to it.
  • the volume of sympathetic notes of first and second resonances can be chosen proportional to the pitch of the notes, and to the harmonic potentials, of the way outlined above.
  • the respective volume of the sympathetic notes of first and second resonances can also be weighted according to a degree or intensity of triggering of the pedal control.
  • the volume of sympathetic second resonance notes can be increased to the detriment of sympathetic first resonance notes, for increasing depressing of a pedal or control of an instrumental interface comparable to the pedal (right) of a piano, and vice versa. This allows semi-pedal effects that cannot be achieved on current synthetic instruments.
  • these can include in a memory a table of correspondence between each note of the electronic musical instrument, and a set of harmonics associated with each note .
  • the table can also include the potentials of each harmonic.
  • the potential of a harmonic is understood as a factor characterizing the volume at which a sympathetic note corresponding to the pitch of the harmonic must be played. This potential can depend not only on the pitch of the note, but also on the rank of the harmonic of the note.
  • these may include software for calculating the harmonics, and possibly their potentials.
  • the means for updating the first and second lists may also include software.
  • the means for searching for identical harmonics in the lists can be pointer computer means also operating according to research software using conventional optimizations for this type of data.
  • the sympathetic resonance simulation device can include means for updating a second first list containing a set of all the possible free notes of the instrument.
  • the means for searching for common harmonics are then further able to search at each triggering of an excited note and for each harmonic of the excited note, at least one identical harmonic of a note different from the excited note in the second first. list to order corresponding sympathetic notes.
  • FIG. 1 very schematically shows a device 10 for simulating sympathetic resonances in accordance with the invention.
  • the simulation device 10 comprises an input 16 receiving commands supplied either by the digital keyboard 12, or by a pedal interface 18, or by a voice or instrumental control system 20 described below.
  • the digital keyboard 12 is connected to the device 10 via a cable 14 capable of conveying signals according to MIDI standards corresponding in particular to commands for triggering and releasing notes that an instrumentalist plays on the keyboard.
  • the signals also include, for each note played, information concerning the attack velocity of the corresponding key on the keyboard.
  • the input 16 makes it possible to sort the triggering commands coming from the keyboard 12 according to the velocity information and thus to distinguish the free notes from the excited notes.
  • a note is considered as free as long as the corresponding key of the keyboard is held down, and whatever the velocity of attack exerted on the key by the instrumentalist.
  • a note is also considered to be excited when the key is pressed with a velocity greater than a predetermined value, which may possibly be a parameter of the device 10 adjustable by the player.
  • the commands for triggering excited notes provided by the keyboard 12 are necessarily commands for triggering free notes as well.
  • the actuation of the pedal 18 makes it possible to provide the input 16 of the device 10 with a command corresponding to the triggering of all the notes of the electronic instrument considered as free notes.
  • the system 20 with voice or instrumental control comprises a microphone 22 and a converter 24 able to convert the microphone signal into MIDI type commands. These commands are recognized by entry 16 as excited note commands (and not as free notes). This arrangement makes it possible to simulate sound effects similar to those obtained by exciting the free strings of an acoustic piano by voice, as explained in the introductory part of this description.
  • the device then comprises a table or a formula making it possible to determine the harmonic potential corresponding, for each pitch, to the voice or the instrument picked up by the microphone.
  • the excitations of sympathetic resonances by the voice can be realized for timbres other than that of the piano if the electronic musical instrument allows it.
  • the combined use of the keyboard 12 and the system 20 makes it possible to define, for example, the free notes exclusively on the keyboard and the notes excited by the system 20.
  • the free notes and the excited notes are used to update a list 26 of free notes and a list 28 of excited notes.
  • the free and excited notes are added to lists 26 and 28 when they are triggered, and are removed from them when they are released on the keyboard.
  • Figure 2 gives an illustration of a set of harmonics and their potentials associated with a note which, in this case, is a DO (C).
  • the harmonics correspond to the vibration modes of a string corresponding to the free or excited note.
  • Rods associated with each harmonic have a height proportional to the potential of each harmonic. This corresponds, always by analogy with an acoustic instrument, to the amplitude of the vibration mode of a string according to each of its harmonics.
  • the hour or excited note is the DO (C) which corresponds to the fundamental harmonic with the highest potential.
  • Figure 3 shows, by way of example, a set of harmonics associated with three free notes corresponding to a DO chord (C) triggered on the keyboard 12 (Fig. 1).
  • the free notes make it possible to define a two-dimensional table comprising on the one hand the heights of the free notes, and possibly the instant of their triggering, and on the other hand the corresponding harmonic heights.
  • the method of the invention can take into account all of the harmonics of a note or only a limited number of harmonics having the highest harmonic potentials.
  • Reference 30 in FIG. 1 corresponds to a memory containing a set of harmonics and the corresponding harmonic potentials of all the notes that it is possible to play on the electronic instrument, or to a computer capable of calculating the harmonics and their potentials from the pitch of the free or excited note.
  • the first calculation carried out by the system 32 makes it possible to search, at each triggering of an excited note, and for each harmonic of this note one or more harmonics which are identical to harmonics of all the free notes of the first list, different from the excited note.
  • the system 32 makes it possible to search for one or more identical harmonics of excited notes different from the free note, in the second list.
  • the harmonics and their potentials with respect to the free and excited notes to which they correspond, are stored with the free note in a memory 34.
  • the system 32 transmits to one or more sound generators commands for playing a sympathetic note at the height of each harmonic determined as described above.
  • system 32 also transmits commands for the set of base notes corresponding to the pitches of the fundamental harmonics of the excited notes.
  • the base notes correspond to the notes that would be played in the absence of the sympathetic resonance simulation device, i.e. if the keyboard 12 was directly connected to the sound generator.
  • the system 32 also transmits to the generators 36 and 38 commands corresponding to the volume and possibly to the envelope of the notes 36 and 38.
  • the volumes for the playing of the sympathetic and basic notes are determined by the system 32 in one of the ways described previously either with a variable volume for each harmonic pitch, or with a trigger for any harmonic correspondence between a free note and an excited note. In all cases, the velocity depends on the velocity of the excited note, on the potentials of the respective harmonics of the free and excited notes, and on the time difference between the moment of excitation and the moment when the note is free (triggering corresponding free and excited notes).
  • the G and D are played with a velocity greater than a predetermined velocity and are considered to correspond to both a free note and an excited note.
  • the sound generators 36 and 38 can also have the same or different timbres. These are for example two different voices of an electronic instrument of the polyphonic type or sound generators of different electronic instruments.
  • the generators 36 and 38 are connected to a loudspeaker sound reproduction system 40 by means of amplification 42.
  • the sympathetic notes correspond to the identical harmonics of the excited notes with any of the harmonics of the free notes.
  • the system 32 then directs to the generator 36 commands of both sympathetic notes of the first and second resonances, that is to say sympathetic resonance notes originating from the notes released from the keyboard 12 and sympathetic notes from pedal resonance 18.
  • an acoustic piano game can be simulated with great realism. It is also possible to obtain sound effects hitherto impossible with synthetic instruments. In particular, we can obtain half-pedal effects, a sound with a constant low half-pedal as in 19th century flow pianos. You can also get a pedal resonance with a clarinet timbre, for example.

Landscapes

  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Electrophonic Musical Instruments (AREA)
EP97400837A 1996-04-16 1997-04-14 Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument Expired - Lifetime EP0802520B1 (de)

Applications Claiming Priority (3)

Application Number Priority Date Filing Date Title
FR9604724 1996-04-16
FR9604724A FR2747496B1 (fr) 1996-04-16 1996-04-16 Procede de simulation de resonances sympathiques sur un instrument de musique electronique
US08/827,713 US5854438A (en) 1996-04-16 1997-04-08 Process for the simulation of sympathetic resonances on an electronic musical instrument

Publications (2)

Publication Number Publication Date
EP0802520A1 true EP0802520A1 (de) 1997-10-22
EP0802520B1 EP0802520B1 (de) 2001-02-07

Family

ID=26232653

Family Applications (1)

Application Number Title Priority Date Filing Date
EP97400837A Expired - Lifetime EP0802520B1 (de) 1996-04-16 1997-04-14 Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument

Country Status (3)

Country Link
US (1) US5854438A (de)
EP (1) EP0802520B1 (de)
FR (1) FR2747496B1 (de)

Families Citing this family (6)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US6372973B1 (en) * 1999-05-18 2002-04-16 Schneidor Medical Technologies, Inc, Musical instruments that generate notes according to sounds and manually selected scales
JP4578108B2 (ja) * 2004-01-09 2010-11-10 株式会社河合楽器製作所 電子楽器の共鳴音発生装置、電子楽器の共鳴音発生方法、コンピュータプログラム及び記録媒体
US7563975B2 (en) 2005-09-14 2009-07-21 Mattel, Inc. Music production system
US8067685B2 (en) * 2010-01-07 2011-11-29 Preston Parish Stringed instrument utilizing sympathetic vibrations
JP6554850B2 (ja) * 2015-03-23 2019-08-07 カシオ計算機株式会社 電子鍵盤楽器、共鳴音発生装置、方法、プログラムおよび電子楽器
JP7476501B2 (ja) * 2019-09-05 2024-05-01 ヤマハ株式会社 共鳴音信号発生方法、共鳴音信号発生装置、共鳴音信号発生プログラムおよび電子音楽装置

Citations (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3790693A (en) * 1971-12-29 1974-02-05 Nippon Musical Instruments Mfg Tone keying and synthesizing system for electronic musical instrument
EP0167847A1 (de) * 1984-06-12 1986-01-15 Yamaha Corporation Tonsignalerzeugungsvorrichtung
EP0310133A1 (de) * 1987-10-02 1989-04-05 Yamaha Corporation Vorrichtung zur Tonsignalerzeugung
US5198604A (en) * 1990-09-12 1993-03-30 Yamaha Corporation Resonant effect apparatus for electronic musical instrument
US5455380A (en) * 1993-02-18 1995-10-03 Kabushiki Kaisha Kawai Gakki Seisakusho Electronic musical instrument altering tone sound effects responsive to number of channels or tone range

Family Cites Families (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3790963A (en) * 1972-02-04 1974-02-12 Merry Jumpsuits One piece garment
JP2828872B2 (ja) * 1993-06-29 1998-11-25 ヤマハ株式会社 共鳴音信号形成装置

Patent Citations (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3790693A (en) * 1971-12-29 1974-02-05 Nippon Musical Instruments Mfg Tone keying and synthesizing system for electronic musical instrument
EP0167847A1 (de) * 1984-06-12 1986-01-15 Yamaha Corporation Tonsignalerzeugungsvorrichtung
EP0310133A1 (de) * 1987-10-02 1989-04-05 Yamaha Corporation Vorrichtung zur Tonsignalerzeugung
US5198604A (en) * 1990-09-12 1993-03-30 Yamaha Corporation Resonant effect apparatus for electronic musical instrument
US5455380A (en) * 1993-02-18 1995-10-03 Kabushiki Kaisha Kawai Gakki Seisakusho Electronic musical instrument altering tone sound effects responsive to number of channels or tone range

Also Published As

Publication number Publication date
US5854438A (en) 1998-12-29
EP0802520B1 (de) 2001-02-07
FR2747496A1 (fr) 1997-10-17
FR2747496B1 (fr) 1998-05-15

Similar Documents

Publication Publication Date Title
US7812243B2 (en) Stringed instrument with embedded DSP modeling for modeling acoustic stringed instruments
EP1116213B1 (de) Verfahren und vorrichtung zum automatischen komponieren
US7709723B2 (en) Mapped meta-data sound-playback device and audio-sampling/sample-processing system usable therewith
EP2047455B1 (de) Vorrichtung zur herstellung von signalen, die töne eines tasten- und saiteninstruments darstellen
US5808225A (en) Compressing music into a digital format
US20070227344A1 (en) Stringed instrument for connection to a computer to implement DSP modeling
Traube et al. Indirect acquisition of instrumental gesture based on signal, physical and perceptual information
JPH03174590A (ja) 電子楽器
EP0802520B1 (de) Verfahren zum Simulieren von Resonanzeffekten bei einem elektronischen Musikinstrument
JP2008527463A (ja) 完全なオーケストレーションシステム
Rauhala et al. A parametric piano synthesizer
Rauhala et al. Toward next-generation digital keyboard instruments
Mc Hugh The beauty of sound: Timbre as grounds for aesthetic and artistic value in music
WO2023181570A1 (ja) 情報処理方法、情報処理システムおよびプログラム
Rauhala Physics-Based Parametric Synthesis of Inharmonic Piano Tones
WO1984003165A1 (fr) Procede de modelisation musicale des particules elementaires et applications
FR2958068A1 (fr) Procede et dispositif de synthese d'un signal audio selon un phrase melodique imparti sur un organe vibrant
Cook Computer music
WO2023249554A1 (en) Computing system and method for music generation
JP5034471B2 (ja) 楽音信号発生装置及びカラオケ装置
CN116670751A (zh) 音响处理方法、音响处理系统、电子乐器及程序
Sethares et al. The Science of Sound
JPH0934465A (ja) 楽音信号発生装置及び楽音信号発生方法
Fletcher et al. The Piano
FR2787673A1 (fr) Synthetiseur de sons a ultrasons

Legal Events

Date Code Title Description
PUAI Public reference made under article 153(3) epc to a published international application that has entered the european phase

Free format text: ORIGINAL CODE: 0009012

AK Designated contracting states

Kind code of ref document: A1

Designated state(s): DE GB

17P Request for examination filed

Effective date: 19980330

GRAG Despatch of communication of intention to grant

Free format text: ORIGINAL CODE: EPIDOS AGRA

17Q First examination report despatched

Effective date: 20000207

GRAG Despatch of communication of intention to grant

Free format text: ORIGINAL CODE: EPIDOS AGRA

GRAH Despatch of communication of intention to grant a patent

Free format text: ORIGINAL CODE: EPIDOS IGRA

GRAH Despatch of communication of intention to grant a patent

Free format text: ORIGINAL CODE: EPIDOS IGRA

GRAA (expected) grant

Free format text: ORIGINAL CODE: 0009210

AK Designated contracting states

Kind code of ref document: B1

Designated state(s): DE GB

REF Corresponds to:

Ref document number: 69704038

Country of ref document: DE

Date of ref document: 20010315

GBT Gb: translation of ep patent filed (gb section 77(6)(a)/1977)

Effective date: 20010411

PLBE No opposition filed within time limit

Free format text: ORIGINAL CODE: 0009261

STAA Information on the status of an ep patent application or granted ep patent

Free format text: STATUS: NO OPPOSITION FILED WITHIN TIME LIMIT

REG Reference to a national code

Ref country code: GB

Ref legal event code: IF02

26N No opposition filed
PGFP Annual fee paid to national office [announced via postgrant information from national office to epo]

Ref country code: GB

Payment date: 20100312

Year of fee payment: 14

PGFP Annual fee paid to national office [announced via postgrant information from national office to epo]

Ref country code: DE

Payment date: 20100430

Year of fee payment: 14

REG Reference to a national code

Ref country code: DE

Ref legal event code: R119

Ref document number: 69704038

Country of ref document: DE

REG Reference to a national code

Ref country code: DE

Ref legal event code: R119

Ref document number: 69704038

Country of ref document: DE

GBPC Gb: european patent ceased through non-payment of renewal fee

Effective date: 20110414

PG25 Lapsed in a contracting state [announced via postgrant information from national office to epo]

Ref country code: GB

Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES

Effective date: 20110414

PG25 Lapsed in a contracting state [announced via postgrant information from national office to epo]

Ref country code: DE

Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES

Effective date: 20111031