EP3059886B1 - Virtual production of a musical composition by applying chain of effects to instrumental tracks. - Google Patents

Virtual production of a musical composition by applying chain of effects to instrumental tracks. Download PDF

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Publication number
EP3059886B1
EP3059886B1 EP16163153.6A EP16163153A EP3059886B1 EP 3059886 B1 EP3059886 B1 EP 3059886B1 EP 16163153 A EP16163153 A EP 16163153A EP 3059886 B1 EP3059886 B1 EP 3059886B1
Authority
EP
European Patent Office
Prior art keywords
track
audio
note
instrument
user
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.)
Not-in-force
Application number
EP16163153.6A
Other languages
German (de)
English (en)
French (fr)
Other versions
EP3059886A1 (en
Inventor
Matt Serletic
Reza Rassool
Patrick Woodward
Frank Capodieci
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.)
Music Mastermind Inc
Original Assignee
Music Mastermind Inc
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
Priority claimed from US13/194,816 external-priority patent/US8785760B2/en
Priority claimed from US13/194,819 external-priority patent/US8779268B2/en
Application filed by Music Mastermind Inc filed Critical Music Mastermind Inc
Publication of EP3059886A1 publication Critical patent/EP3059886A1/en
Application granted granted Critical
Publication of EP3059886B1 publication Critical patent/EP3059886B1/en
Not-in-force legal-status Critical Current
Anticipated expiration legal-status Critical

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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
    • G10H1/0008—Associated control or indicating means
    • G10H1/0025—Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece
    • 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
    • G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
    • 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
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord
    • 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
    • G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
    • G10H2210/081—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal for automatic key or tonality recognition, e.g. using musical rules or a knowledge base
    • 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
    • G10H2210/325—Musical pitch modification
    • G10H2210/331—Note pitch correction, i.e. modifying a note pitch or replacing it by the closest one in a given scale
    • G10H2210/335—Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony
    • 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
    • G10H2210/571—Chords; Chord sequences
    • G10H2210/576—Chord progression
    • 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
    • G10H2210/571—Chords; Chord sequences
    • G10H2210/586—Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
    • G10H2220/106—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
    • G10H2220/126—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters for graphical editing of individual notes, parts or phrases represented as variable length segments on a 2D or 3D representation, e.g. graphical edition of musical collage, remix files or pianoroll representations of MIDI-like files
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/135—Musical aspects of games or videogames; Musical instrument-shaped game input interfaces

Definitions

  • device 50 includes a processor 2902, which may be a CPU, in communication with a mass memory 2904 via a bus 2906.
  • processor 2902 could also comprise one or more general processors, digital signal processors, other specialized processors and/or ASICs, alone or in combination with one another.
  • Device 50 also includes a power supply 2908, one or more network interfaces 2910, an audio interface 2912, a display driver 2914, a user input handler 2916, an illuminator 2918, an input/output interface 2920, an optional haptic interface 2922, and an optional global positioning systems (GPS) receiver 2924.
  • GPS global positioning systems
  • Device 50 may store and selectively execute a number of different applications, including applications for use in accordance with system 100.
  • application for use in accordance with system 100 may include Audio Converter Module 140, Recording Session Live Looping (RSLL) Module 142, Multiple Take Auto-Compositor (MTAC) Module 144, Harmonizer Module 146, Track Sharer Module 148, Sound Searcher Module 150, Genre Matcher Module 152, and Chord Matcher Module 154.
  • RSLL Recording Session Live Looping
  • MTAC Multiple Take Auto-Compositor
  • Harmonizer Module 146 Harmonizer Module
  • Track Sharer Module 148 Sound Searcher Module 150
  • Genre Matcher Module 152 Genre Matcher Module
  • Chord Matcher Module 154 Chord Matcher Module
  • the live looped multi-track recording played back in decision block 910 may comprise one or more audio tracks that have been previously recorded.
  • the multi-track recording may include an overall length as well as a length which is played back as a live loop.
  • the length of a live loop may be selected to be less than the overall length of a multi-track recording, permitting a user to separately layer different bars of the multi-track recording.
  • the length of a live loop, relative to the overall length of a multi-track recording may be manually selected by a user or, alternately, automatically determined based on received audible input.
  • the overall length of the multi-track recording and the live loop may be the same.
  • the length of the live loop and the multi-track recording may be a single bar of music.
  • the associated length of this shorter audible input may be determined in terms of a number of bars with a same number of beats as the multi-track recording. In one embodiment, this number of bars is selected as a factor of the length of the current live loop. In each case, an audible input, once converted to a track at block 924, may be manually or automatically selected for repetition for a number of times sufficient to match a length of the multi-track recording currently being played back.
  • the generated audio track from block 924 may be added in real-time to a multi-track recording. This may be a multi-track already initiated or, alternately, a new multi-track with the audio track included as the first track thereof.
  • process 900 may begin again at decision block 910, wherein the multi-track may be played back with the most recently generated audio track included. While the operations of 922, 924, and 926 are shown as being performed in series in FIG. 9 , these steps may also be performed in parallel for each received audible input, in order to further enable the real-time recording and playback of an audible input signal. During each audible input, such parallel processing may be performed, for example, for each separate sound identified from the audible input, though alternate embodiments may include other, differently sized portions of the audible input signal.
  • Grid 1050 on user interface 1000 represents the playback and timing of separate sounds within one or more tracks of a multi-track recording, wherein each row represents an individual track and each column represents a time increment.
  • Each row may, for example, include a box for each time increment in a single bar. Alternately, each row may include enough boxes to represent time increments for an overall duration of a live loop. Boxes with a first shading or color in the grid 1050, such as box 1052, may represent a relative timing of where a sound is played back during a live loop, while other boxes, such as boxes 1054, each indicate a time increment within a track where a separate sound is not played back.
  • a track added via manual control 1021 initially includes boxes such as box 1054.
  • the duration of note 1304 has been lengthened.
  • the result of lengthening note 1304 is the automatic shortening of note 1306 by quantizer 206 to maintain the beat and avoid overlapping notes being played by a single instrument.
  • the same or similar methodology can be used to shorten the duration of a selected note resulting in the automatic lengthening of another adjacent note and further that the duration of a note can be changed from the beginning of the morphologic depiction in the same manner illustrated with respect to modifying the tail of that depiction. It should also be similarly understood by those of ordinary skill in the art that the same methodology may be used to delete notes from a track or copy notes for insertion at other parts of the track.
  • Partition scorer 1702 may be configured to score partitions based on any one or more criteria, which may utilize one or more processes running on the processor 2902. For example, a partition may be scored based on the key of the partition relative to a key selected for the overall composition. Often, a performer may sing an off-key note without knowing it. Thus, notes within a partition may also be scored based on the difference between the key of the note and the proper key for the partition.
  • the relative duration of each note to the duration of the overall passage (or partition) is multiplied by the "weight" of the note's pitch class in the key currently being analyzed for the loop to determine the score for each note in the passage.
  • the score is zeroed out, then the scores for each note as compared against the current key are added one to another until there are no more notes in the passage and process loops back around to begin analyzing the passage with respect to the next key.
  • the result of the main loop of the process is a single key score for each key reflecting the aggregate of all the scores for each of the notes in the passage.
  • the key with the highest score would be selected as the BestKey (i.e. most appropriate for the passage).
  • the BestKey i.e. most appropriate for the passage.
  • the determination whether each of the probable keys has one or more major or minor modes may be done by performing interval profiling on the notes fed to the partition scorer 1702 (or to the harmonizer 146 by the lead music source 2404 in some embodiments). As shown in FIG. 16A , this interval profiling is performed using a 12x12 matrix so as to reflect every potential pitch class. Initially, the values in this matrix are set to zero. Then, for every note-to-note transition in the collection of notes, the average the duration of the two notes is added to any preexisting matrix value saved at the location defined by pitchClass first note: pitchClass second note.
  • any given key signature may be either major or minor.
  • the major mode that is compatible with the key signature of C Major is the C Major mode.
  • the minor mode that is compatible with the key signature of C Major is the A (natural) minor mode.
  • chord-score Notes which fall into none of the foregoing categories are assigned a zero multiplier, and thus have no effect on the chord-score.
  • the multiplier is scaled by the fraction duration of the passage which the current note occupies. Bonuses are added to the chord-score if the note is at the beginning of the passage, or if the note is the root of the current chord selected for analysis. The chord-score with respect to the passage is the accumulation of this computation for each note.
  • the system 50 may analyze other selected chords (one at a time) using the process 1700 anew.
  • a partition may also be scored based on the quality of transitions between the various pitches within the partition. For example, as discussed above, changes in pitch may be identified using pitch impulse detection. In one embodiment, the same pitch impulse detection may also be used to identify the quality of the pitch transitions in a partition.
  • any number of the foregoing independent methodologies for scoring partitions may be combined to provide an analysis of a wider set of the considerations.
  • Each score may be given identical or different weight. If the scores are given different weights it may be based on the particular genre of the composition as determined by genre matcher module 152. For instance, in some musical genre a higher value may be placed on one aspect of a performance over another.
  • the selection of which scoring methodologies are applied may also be determined automatically or manually selected by a user.
  • step 23 wherein the end user by use a pointing device (such as a mouse) to click on each track taken for each partition to prompt the playback of that track and then subsequently the user selects one of these candidate partitions as the best performance of that partition by, for instance, double-clicking the desired track and/or clicking-and-dragging the desired track into the bottom, final compiled track 2310.
  • the user repeats this process for second, third and subsequent partitions, until he reaches the end of the track.
  • the system constructs a "best" track by splicing together the selected partitions into a single, new track in step 2124.
  • the user may then also decide whether to record further takes in order to improve his performance in step 2126. If the user chose to compile the "best" track automatically, a new track is spliced together in step 2122 based on the scores for each partition in each take (preferably using the highest scored take for each partition).
  • FIG. 25 illustrates a data flow diagram generally showing more detail of the processes that may be performed by transform note module 2402 of FIG. 24 in selecting notes to "harmonize" with the lead music source 2404.
  • the lead musical input is received at process 2502, where a note of the lead melody is determined.
  • a note of the lead melody may be determined using one of the techniques described, such as converting the lead musical input into a morphology that identifies its onset, duration, and pitch, or any subset or combination thereof.
  • other methods of determining a note from the lead melody may be used.
  • a chord of the lead melody may be determined from the notes found in lead music buffer 2516.
  • the chord of the lead melody may be determined by analyzing notes in the same manner forth in association with FIG. 17 above or by using another methodology understood by those of ordinary skill in the art (such as a chord progression analysis using a Hidden Markov Model as performed by Chord Matcher 154 described below) .
  • the Hidden Markov Model may determine the most probable sequence of chords based on the chord harmonizing algorithm discussed herein in association with a transition matrix of chord probabilities which is based on diatonic harmony theory. In this approach, the probability of a given chord correctly harmonizing a measure of the melody is multiplied by the probability of the transition from the previous chord to the current chord, and then the best path is found.
  • Control consonance 2514 represents a collection of decisions that the process makes based on one or more inputs from one or more sources that control the selection of notes made by transform note process 2510.
  • Control consonance 2514 receives a number of input control signals from controller 2410 (see FIG. 24 ), which may come directly from user input (perhaps from a graphical user input or preset configuration), from harmonizer module 146, genre matcher module 152 or another external process.
  • controller 2410 see FIG. 24
  • the potential user inputs that may be considered by control consonance 2514 are user inputs that require the output note to be (a) constrained to the chord selected via chord/key selector 2408 (see FIG. 24 ); (b) constrained to the key selected via chord/key selector 2408 (see FIG.
  • Wireless network 2810 may further employ a plurality of access technologies including 2nd (2G), 3rd (3G), 4th (4G) generation radio access for cellular systems, WLAN, Wireless Router (WR) mesh, and the like.
  • Access technologies such as 2G, 3G, 4G and future access networks may enable wide area coverage for mobile devices, such as client devices 2803-2805 with various degrees of mobility.
  • wireless network 2810 may enable a radio connection through a radio network access such as Global System for Mobil communication (GSM), General Packet Radio Services (GPRS), Enhanced Data GSM Environment (EDGE), Wideband Code Division Multiple Access (WCDMA), and the like.
  • GSM Global System for Mobil communication
  • GPRS General Packet Radio Services
  • EDGE Enhanced Data GSM Environment
  • WCDMA Wideband Code Division Multiple Access
  • wireless network 2810 may include virtually any wireless communication mechanism by which information may travel between client devices 2803-2805 and another computing device, network, and the like.
  • a set of buttons may also be provided to enable a user to set a reference tone to aid in providing a vocal track.
  • tone button 3232 may enable and disable a reference tone
  • tone up button 3234 may increase the frequency of the reference tone
  • tone down button 3236 may decrease the pitch of the reference tone.
  • the player has selected the bass class 3404 in FIG. 34A .
  • the player is then provided with an option to select among one or more musician avatars to play the accompanying instrument.
  • the player may be provided with the option to select between a country musician 3410, a rock musician 3412, and a hip-hop musician 3414, which the player may then select by clicking directly on the desired avatar.
  • the player may be permitted to select between more or less choices.
  • Arrows 3416 may also be provided to enable the player to scroll through the avatar choices, especially where more avatars choices are provided.
  • chord progression is "G" major, "A” minor, “C” major, “A” minor, with each chord being played for the entirety of a partition in accord with the technique individually associated with each accompanying avatar in accompaniment room 3106.
  • chord progression may change chords multiple times within a single partition or may remain the same chord over a plurality of partitions.
  • client-side operations may also be performed via a stand-alone application that operates on the client device and is configured to communicate with the server.
  • the user may be capable of accessing the system and initiating communications with the server via an http browser (such as Internet Explorer, Netscape, Chrome, Firefox, Safari, Opera, etc.). In some instances, this may require a browser plug-in to be installed.
  • each audio entry in the render cache may be expressed as a hash value that is generated based on the associated attribute values.
  • Memcached One exemplary system that may be employed to facilitate a caching system using this approach is Memcached. By expressing the audio in this way, the number of associated attributes can be increased or decreased without requiring significant changes to the associated code for cache entry look-up and identification.
  • a mobile client (such as a cellular phone or a smartphone) generally has less memory than either a thick client or a thin client.
  • the render cache for a mobile client may be maintained entirely on the server cache 4106.
  • the calculation of the time to service may also include the addition of the projected latency time required for transmission of the audio data back to the client.
  • the latency time may be determined by identifying the time stamp of when the audio request was sent, and calculating an elapsed time identified between the time stamp and the time the audio request was received by the server or cache.

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  • Engineering & Computer Science (AREA)
  • Physics & Mathematics (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Theoretical Computer Science (AREA)
  • Electrophonic Musical Instruments (AREA)
  • Auxiliary Devices For Music (AREA)
EP16163153.6A 2011-07-29 2012-07-30 Virtual production of a musical composition by applying chain of effects to instrumental tracks. Not-in-force EP3059886B1 (en)

Applications Claiming Priority (3)

Application Number Priority Date Filing Date Title
US13/194,816 US8785760B2 (en) 2009-06-01 2011-07-29 System and method for applying a chain of effects to a musical composition
US13/194,819 US8779268B2 (en) 2009-06-01 2011-07-29 System and method for producing a more harmonious musical accompaniment
EP12826395.1A EP2737475B1 (en) 2011-07-29 2012-07-30 System and method for producing a more harmonious musical accompaniment

Related Parent Applications (2)

Application Number Title Priority Date Filing Date
EP12826395.1A Division-Into EP2737475B1 (en) 2011-07-29 2012-07-30 System and method for producing a more harmonious musical accompaniment
EP12826395.1A Division EP2737475B1 (en) 2011-07-29 2012-07-30 System and method for producing a more harmonious musical accompaniment

Publications (2)

Publication Number Publication Date
EP3059886A1 EP3059886A1 (en) 2016-08-24
EP3059886B1 true EP3059886B1 (en) 2018-06-20

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EP16163153.6A Not-in-force EP3059886B1 (en) 2011-07-29 2012-07-30 Virtual production of a musical composition by applying chain of effects to instrumental tracks.
EP12826395.1A Not-in-force EP2737475B1 (en) 2011-07-29 2012-07-30 System and method for producing a more harmonious musical accompaniment

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EP12826395.1A Not-in-force EP2737475B1 (en) 2011-07-29 2012-07-30 System and method for producing a more harmonious musical accompaniment

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CN (2) CN106023969B (cg-RX-API-DMAC7.html)
BR (1) BR112014002269A2 (cg-RX-API-DMAC7.html)
CA (1) CA2843437A1 (cg-RX-API-DMAC7.html)
HK (1) HK1201975A1 (cg-RX-API-DMAC7.html)
IN (1) IN2014CN00741A (cg-RX-API-DMAC7.html)
MX (1) MX345589B (cg-RX-API-DMAC7.html)
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