EP3815031A1 - Système et procédé de collaboration audiovisuelle avec mécanique d'amorce/suivi - Google Patents

Système et procédé de collaboration audiovisuelle avec mécanique d'amorce/suivi

Info

Publication number
EP3815031A1
EP3815031A1 EP19826458.2A EP19826458A EP3815031A1 EP 3815031 A1 EP3815031 A1 EP 3815031A1 EP 19826458 A EP19826458 A EP 19826458A EP 3815031 A1 EP3815031 A1 EP 3815031A1
Authority
EP
European Patent Office
Prior art keywords
audio
user
performance
media
capture
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.)
Pending
Application number
EP19826458.2A
Other languages
German (de)
English (en)
Other versions
EP3815031A4 (fr
Inventor
David Steinwedel
Andrea Slobodien
Jeffrey C. Smith
Perry R. Cook
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.)
Smule Inc
Original Assignee
Smule 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 US16/418,659 external-priority patent/US10943574B2/en
Application filed by Smule Inc filed Critical Smule Inc
Publication of EP3815031A1 publication Critical patent/EP3815031A1/fr
Publication of EP3815031A4 publication Critical patent/EP3815031A4/fr
Pending legal-status Critical Current

Links

Classifications

    • G—PHYSICS
    • G11—INFORMATION STORAGE
    • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
    • G11B27/00—Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel
    • G11B27/02—Editing, e.g. varying the order of information signals recorded on, or reproduced from, record carriers
    • G11B27/031—Electronic editing of digitised analogue information signals, e.g. audio or video signals
    • G—PHYSICS
    • G11—INFORMATION STORAGE
    • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
    • G11B27/00—Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel
    • G11B27/10—Indexing; Addressing; Timing or synchronising; Measuring tape travel
    • G11B27/34—Indicating arrangements 

Definitions

  • the inventions relate generally to capture and/or processing of audiovisual performances and, in particular, to user interface techniques suitable for capturing and manipulating media segments encoding audio and/or visual performances for use in a seed and join
  • audiovisual performances including vocal music
  • audiovisual content including performances of other users
  • the vocal performances of individual users are captured (together with performance synchronized video) on mobile devices in the context of a karaoke-style presentation of lyrics in
  • performance capture can be facilitated using user interface designs whereby a user vocalist is visually presented with lyrics and pitch cues and whereby a temporally synchronized audible rendering of an audio backing track is provided.
  • a seed may be a full-length seed spanning much or all of a pre-existing audio (or audiovisual) work and mixing, to seed further the contributions of one or more joiners, a user’s captured media content for at least some portions of the audio (or audiovisual) work.
  • a short seed may be employed spanning less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example, a verse, chorus, refrain, hook or other limited“chunk” of an audio (or audiovisual) work may constitute a seed in some cases or embodiments.
  • a seeding user may ask (or call) others to join.
  • a call invites other users to join the full-length or short form seed by singing along, singing a particular vocal part or musical section, singing harmony or other duet part, rapping, talking, clapping, recording video, adding a video clip from camera roll, etc.
  • the resulting group performance whether full-length or just a chunk, may be posted, livestreamed, or otherwise disseminated in a social network.
  • a seed or seed portion may be selected by the seeding user using scrubbing techniques that allow forward and backward traversal of audiovisual content, optionally including pitch cues, waveform- or envelope-type performance timelines, lyrics, video and/or other temporally- synchronized content at record-time, during edits, and/or in playback.
  • scrubbing techniques that allow forward and backward traversal of audiovisual content, optionally including pitch cues, waveform- or envelope-type performance timelines, lyrics, video and/or other temporally- synchronized content at record-time, during edits, and/or in playback.
  • scrubbing techniques may be employed to define start and stop points that delimit a particular seed portion or chunk.
  • scrubbing techniques may be employed to define start and stop points that delimit portions of a performance timeline to which a joiner is invited to contribute.
  • the user vocalist may be guided through the performance timeline, lyrics, pitch cues and other temporally-synchronized content in correspondence with group part information such as in a guided short-form capture for a duet.
  • a scrubber allows user vocalists to conveniently move forward and backward through the temporally-synchronized content in some cases, temporally synchronized video capture and/or playback is also supported in connection with the scrubber.
  • scrubbing may be provided for synchronized traversal of multiple media lines (e.g., backing audio, vocals, lyrics, pitch cue and/or group part information), single-medium scrubbing is also envisioned.
  • portions of a performance timeline may be marked and labelled for user selection. Marking/labeiing may be based on human or automated sources. For example, particular portions may be marked or labelled by a user that originally uploads a track or corresponding lyrics or by a media content curator. In a complementary fashion or alternatively, particular portions may be marked or labelled by a machine learning robot trained to identify section and boundaries (e.g., from an audio backing or vocal track, lyrics or based on crowd-sourced data such as where user tend to sing the most or most loudly).
  • collaboration features may be provided to allow users to contribute media content and/or other temporally synchronized information to an evolving performance timeline.
  • a shared service platform may expose media content and performance timeline data as a multi-user concurrent access database.
  • collaboration may be facilitated through posting (e.g., via the shared service platform or otherwise in a peer-to-peer manner) of the performance timeline for joins by additional users who may, in turn, capture, edit and accrete to the performance timeline additional media segments, lyric information, pitch tracks, vocal part designations, and/or media segment- based or performance/style/genre-mapped audio or video effects/filters.
  • additional captures, edits and accretions to the performance timeline are accomplished using the user interface and platform features described herein to facilitate non-linear media segment capture and edit of audiovisual content and data for karaoke-style performances.
  • vocal audio can be pitch-corrected in real-time at the mobile device (or more generally, at a portable computing device such as a mobile phone, personal digital assistant, laptop computer, notebook computer, pad-type computer or netbook) or on a content or media application server in accord with pitch correction settings in some cases, pitch correction settings code a particular key or scale for the vocal performance or for portions thereof in some cases, pitch correction settings include a score-coded melody and/or harmony sequence supplied with, or for association with, the lyrics and backing tracks. Harmony notes or chords may be coded as explicit targets or relative to the score coded melody or even actual pitches sounded by a vocalist, if desired.
  • user/vocalists may overcome an otherwise natural shyness or angst associated with sharing their vocal performances. Instead, even geographically distributed vocalists are encouraged to share with friends and family or to collaborate and contribute vocal performances as part of social music networks. In some implementations, these interactions are facilitated through social network- and/or eMail-mediated sharing of performances and invitations to join in a group performance. In some implementations, !ivestreaming may be supported. Living room-style, large screen user interfaces may facilitate these interactions. Using uploaded vocals captured at clients such as the aforementioned portable computing devices, a content server (or service) can mediate such coordinated performances by manipulating and mixing the uploaded audiovisual content of multiple contributing vocalists.
  • uploads may include pitch-corrected vocal performances (with or without harmonies), dry (i.e., uncorrected) vocals, and/or control tracks of user key and/or pitch correction selections, etc.
  • Social music can be mediated in any of a variety of ways. For example, in some
  • a first user s vocal performance, captured against a backing track at a portable computing device and typically pitch-corrected in accord with score-coded melody and/or harmony cues, is supplied to other potential vocal performers as a seed.
  • Performance synchronized video is also captured and may be supplied with the pitch- corrected, captured vocals.
  • the supplied vocals are mixed with backing instrumentals/vocals and form the backing track for capture of a second user’s vocals.
  • successive vocal contributors are geographically separated and may be unknown (at least a priori) to each other, yet the intimacy of the vocals together with the collaborative experience itself tends to minimize this separation.
  • the backing track against which respective vocals are captured may evolve to include previously captured vocals of other contributors. in some cases, a complete performance, or a complete performance of a particular vocal part (e.g., Part A or B in duet), may constitute the seed for a social music collaboration.
  • captivating visual animations and/or facilities for listener comment and ranking, as well as duet, glee club or choral group formation or accretion logic are provided in association with an audible rendering of a vocal performance (e.g., that captured and pitch-corrected at another similarly configured mobile device) mixed with backing
  • Synthesized harmonies and/or additional vocals may also be Included in the mix. Audio or visual filters or effects may be applied or reapplied post-capture for dissemination or posting of content in some cases, disseminated or posted content may take the form of a collaboration request or open call for additional vocalists.
  • Geocoding of captured vocal performances (or individual contributions to a combined performance) and/or listener feedback may facilitate animations or display artifacts in ways that are suggestive of a performance or endorsement emanating from a particular geographic locale on a user-manipulable globe in these ways, imp!ementations of the described functionality can transform otherwise mundane mobile devices and living room or entertainment systems into social instruments that foster a unique sense of global connectivity, collaboration and community.
  • a system in some embodiments in accordance with the present invention(s), includes first and second media capture devices communicatively coupled via respective network communication interfaces for multi-performer collaboration relative to a baseline media encoding of an audio work.
  • the first media capture device provides a first user thereof with a user interface for selecting a seed portion of the audio work and is configured to capture at least vocal audio of the first user performed against an audible rendering on the first media capture device of at least a portion of the audio work.
  • the second media capture device is configured (i) to receive, via its network communications interface, an indication of the seed portion selected by the first user at the first media capture device and (ii) to capture media content of a second user performed against an audible rendering on the second media capture device of the seed portion mixed with the captured vocal audio of the first user.
  • the user interface of the first media capture device further allows the first user to specify one or more types of media content to be captured from the second users performance against the audible rendering on the second media capture device of the seed portion mixed with the captured vocal audio of the first user in some cases or embodiments, the specified one or more types of media content to be captured are selected from a set that includes: vocal audio, vocal harmony or a vocal duet part; rap, talk, clap or percussion; and video.
  • the user interface of the first media capture device further allows the first user to post the seed portion to other geographically-distributed users, including the second user, and media capture devices as a collaboration request for capture and addition of further vocal audio, video or performance synchronized audiovisual content.
  • the system further includes a service platform communicatively coupled to the first and second media capture devices, the service platform configured to supply, for audible or audiovisual rendering on at least a third communicatively coupled device, a media encoding of a multi-performer collaboration of at least the first and second users based on the audio work but temporally limited to the seed portion thereof selected by the first user.
  • a service platform communicatively coupled to the first and second media capture devices, the service platform configured to supply, for audible or audiovisual rendering on at least a third communicatively coupled device, a media encoding of a multi-performer collaboration of at least the first and second users based on the audio work but temporally limited to the seed portion thereof selected by the first user.
  • the system further includes, on the first media capture device, a media content scrubber by which the first user notates start and stop points in a performance ⁇ timeline to delimit and thereby select the seed portion in some cases or embodiments, the media content scrubber presents to the first user a temporally-synchronized representation of two or more of: audio envelope for backing audio and/or vocals; lyrics; one or more pitch tracks; and duet or other group part notations.
  • the system further includes, on the first media capture device, a user interface by which the first user selects the seed portion from amongst pre-marked or labeled portions of the audio work.
  • the pre-marked or labeled portions of the audio work are supplied by a service platform communicatively coupled to the first and second media capture devices, the pre-marked or labeled portions having been marked or labelled based on one or more of: musical structure coded for the audio work; a machine learning algorithm applied to backing audio, vocal audio or lyrics of or corresponding to the audio work; crowd-sourced data; and data supplied by a user up!oader of the audio work or by a third-party curator thereof.
  • the baseline media encoding of the audio work further encodes synchronized video content.
  • the first media capture device is further configured to capture performance synchronized video content in some cases or embodiments
  • the first and second media capture device are mobile phone- type portable computing devices executing application software that, in at least one operating mode thereof, provide a karaoke-style presentation of a performance timeline including lyrics on a multi-touch sensitive display thereof in temporal correspondence with audible rendering of the audio work and that captures the respective first or second user’s vocal and/or performance synchronized video via on-board audio and video interfaces the respective mobile phone-type portable computing device.
  • a method in some embodiments in accordance with the present invention(s), includes using a portable computing device for media segment capture in connection with karaoke-style presentation of a performance timeline on a multi-touch sensitive display thereof, the performance timeline including lyric and pitch tracks synchronized with an audio track.
  • the method further includes, responsive to gesture control on the multi-touch sensitive display, designating a subset of the lyrics to a joiner; and posting the performance timeline, with the lyrics subset designation, as a collaboration request for capture and addition of further vocal audio content by a joining remote user on a second, remote portable computing device that is configured for further media segment capture in connection with the performance timeline in some cases or embodiments, the portable computing device is configured with user interface components executable to provide (i) start/stop control of the media segment capture and (ii) a scrubbing interaction for temporal position control within the performance timeline.
  • the method further includes adding at least one media segment to the performance timeline beginning at a scrubbed-to first position in the performance timeline that is neither the beginning thereof nor a most recent stop or pause position within the performance timeline.
  • the method further includes capturing vocal audio at the portable computing device beginning at the scrubbed-to first position in the performance timeline and in correspondence with the karaoke-style presentation of at least the synchronized lyric and pitch tracks on the multi-touch sensitive display, wherein the added at least one media segment includes the captured vocal audio.
  • the added at least one media segment includes one or more of: video or still images; video captured at the portable computing device beginning at the scrubbed-to first position in the performance timeline and in correspondence with the karaoke-style presentation of the lyric and pitch tracks on the multi-touch sensitive display and synchronized audible rendering of the audio track; and performance synchronized audio and visual media content captured at the portable computing device.
  • the method further includes saving the performance timeline, including the added at least one media segment, to a network-coupled service platform.
  • the method further includes retrieving a previously saved version of the performance timeline from a network-coupled service platform.
  • the posting of the performance timeline for the joining remote user is via a network-coupled service platform.
  • the lyrics subset designation is responsive to a first user gesture control on the multi-touch sensitive display that selects a particular vocal part for the joiner.
  • the lyrics subset designation is responsive to a second user gesture control on the multi-touch sensitive display that delimits the subset of the lyrics that correspond to the joiner’s further media segment.
  • a method in some embodiments in accordance with the present invention(s), includes using a first portable computing device for media segment capture in connection with karaoke-style presentation of a performance timeline on a multi-touch sensitive display thereof, the performance timeline including lyric and pitch tracks synchronized with an audio track, wherein the performance timeline includes a subset of the lyrics designated by a prior user on a second remote computing device, the lyric subset designation at least partially parameterizing a collaboration request for capture and addition of further vocal audio content by a performance timeline-joining user on the first portable computing device.
  • the first portable computing device is configured with user interface components executable to provide (i) start/stop control of the media segment capture and (ii) a scrubbing interaction for temporal position control within the performance timeline.
  • the method further includes capturing at least one vocal audio media segment beginning at a scrubbed-to first position in the performance timeline that is neither the beginning thereof nor a most recent stop or pause position within the performance timeline.
  • the method further includes updating the performance timeline to include the captured at least one vocal audio media segment; and posting of the updated performance timeline via a network-coupled service platform for a joining remote user.
  • the lyrics subset designation is selective for a particular vocal part.
  • the lyrics subset designation delimits a subset of the lyrics for the performance timeline-joining user’s further vocal audio content.
  • a method includes using a portable computing device for capture of media content for a karaoke-style presentation of synchronized lyric, pitch and audio tracks; capturing at least one audio segment using the portable computing device on a multi-touch sensitive display thereof, the portable computing device configured with user interface components executable to provide (i) start/stop control of the media segment capture and (ii) a scrubbing interaction for temporal position control within a performance timeline; entering one or more segments of the lyrics and aligning the entered lyric segments to the performance timeline in response to first user gesture controls on the multi-touch sensitive display; responsive to a second user gesture control on the multi-touch sensitive display moving forward or backward through a visually synchronized presentation, on the multi-touch sensitive display, of the performance timeline; and after the moving, capturing at least one audio segment and pitch detecting the captured audio segment to produce at least a portion of the pitch track.
  • the capture of at least one audio segment is freestyle, without roll of the lyrics or pitch tracks.
  • the captured freestyle audio segment includes performance synchronized video.
  • the captured freestyle audio segment includes either or both of: instrumental backing audio; and vocal audio.
  • the method further includes, responsive to a third user gesture control on the multi-touch sensitive display, moving forward or backward through a visually synchronized presentation, on the multi-touch sensitive display, of the performance timeline; and after the moving, designating a subset of the lyrics to first vocal part.
  • the method further includes posting the performance timeline as a
  • collaboration request for capture and addition of vocal audio content by one or more vocalists at remote portable computing devices.
  • FIG. 1 depicts information flows amongst illustrative mobile phone-type portable computing devices employed for non-linear audiovisual capture and/or edit in preparation of a group audiovisual performance in accordance with some embodiments of the present invention(s).
  • FIG. 2 depicts in somewhat greater detail an exemplary user interface with visually synchronized presentation of lyrics, pitch cues and a scrubber in connection with a vocal capture session on portable computing device.
  • FIG. 3 illustrates an exemplary user interface in connection with a vocal capture scrolling behavior wherein a current point in the presentations of lyrics and the performance timeline moves forward or backward in correspondence with gestures by a user on a touchscreen of the portable computing device.
  • FIG. 4 illustrates an exemplary user interface in connection with a pause in vocal capture.
  • FIG. 5 illustrates another exemplary user interface with a scrubber to move forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device.
  • FIG. 8 illustrates a time-indexed traversal mechanism in accordance with some
  • RG. 7 illustrates some illustrative variations on the scrubbing mechanis (s) introduced with reference to some of the preceding drawings.
  • HG. 8 illustrates use of a captured vocal performance as an audio seed, to which a user adds video, and finally updates a performance timeline to add or change a flow or a vocal part selection.
  • FIG. 9 depicts an illustrative sequence that includes an additional multi user collaboration aspect.
  • FIG. 10 depicts an illustrative sequence with multi-user collaboration involving video created or captured by a user as an initial seed performance.
  • FIG. 11 depicts exemplary special invite options including user designation of a particular vocal part for which a joiner is guided to sing or provide audio.
  • FIG. 12 depicts freestyle creation of an arrangement in accordance with some embodiments of the present invention(s).
  • FIG. 13 illustrates a short seed collaboration flow in accordance with some embodiments of the present invention(s).
  • F!Gs. 14 and 15 illustrate exemplary techniques for capture, coordination and/or mixing of audiovisual content.
  • FIG. 16 illustrates features of a mobile phone type device that may serve as a platform for execution of software implementations in accordance with some embodiments of the present invenfion(s).
  • F!G. 17 illustrates a system in which devices and related service platforms may operate in accordance with some embodiments of the present invention(s).
  • performance synchronized video may be captured and coordinated with audiovisual contributions of other users to form multi-performer, duet-style or glee club-style audiovisual performances.
  • Nonlinear capture and/or edit of individual segments or portions of a performance timeline allows freeform collaboration of multiple contributors, typically with independent and geographically-distributed audio and/or video capture.
  • audio and video may be separately captured and associated after capture.
  • the performances of individual users are captured on mobile devices, television-type display and/or set-top box equipment in the context of karaoke-style presentations of lyrics in correspondence with audible renderings of a backing track or vocal performance. Captured audio, video or audiovisual content of one contributor may serve as a seed for a group performance.
  • FIG. 1 depicts information flows amongst illustrative mobile phone-type portable computing devices (101 A, 101B) and a content server 110 in accordance with some embodiments of the present invention(s).
  • lyrics 102, pitch cues 105 and a backing track 107 are supplied to one or more of the portable computing devices (101 A, 101 B) to facilitate vocal (and in some cases, audiovisual) capture.
  • User interfaces of the respective devices provide a scrubber (103A, 103B), whereby a given user-vocalist is able to move forward and backward through temporally synchronized content (e.g., audio, lyrics, pitch cues, etc.) using gesture control on a touchscreen.
  • scrubber control also allows forward and backward movement through performance-synchronized video.
  • an iPhoneTM handheld available from Apple Inc. hosts software that executes in coordination with a content server 110 to provide vocal capture, often with continuous real-time, score-coded pitch correction and/or harmonization of the captured vocals.
  • Performance synchronized (or performance- synchronizabie) video may be captured using a camera provided using an on-board camera.
  • audio, video and/or audiovisual content may be captured using, or in connection with, a camera or cameras configured with a television (or other audiovisual equipment) or connected set-top box equipment (not specifically shown in FIG. 1).
  • traditional desk/iaptop computers may be appropriately configured and host an application or web application to support some of the functions described herein.
  • Capture of a two-part performance is illustrated (e.g., as a duet in which audiovisual content 1Q8A and 106B is separately captured from individual vocalists); however, persons of skill In the art having benefit of the present disclosure will appreciate that techniques of the present invention may also be employed in solo and in larger multipart performances.
  • audiovisual content may be posted, streamed, or may initiate or be captured in response to a collaboration request.
  • content selection, group performances and dissemination of captured audiovisual performances are all coordinated via content server 110.
  • a content selection and performance accretion module 112 of content server 110 performs audio mixing and video stitching in the illustrated design, while audiovisual render / stream control module 113 supplies group audiovisual performance mix 111 to a downstream audience.
  • peer-to-peer communications may be employed for at least some of the illustrated flows.
  • a wireless local area network may support communications between a portable computing device 101 A instance, audiovisual and/or set-top box equipment, and a wide-area network gateway (not specifically shown) that, in turn, communicates with a remote device 101 B and/or content server 110.
  • FIG. 1 depicts a configuration in which content server 110 plays an intermediating role between portable computing devices 101 A and 1Q1 B, persons of skill in the art having benefit of the present disclosure will appreciate that peer-to-peer or host-to-guesf communication between portable computing devices 101 A and 1Q1B may also, or alternatively, be supported.
  • any of a variety of data communications facilities including 802.11 Wi-Fi, BluetoothTM, 4G-LTE, 5G, or other communications, wireless, wired data networks, and/or wired or wireless audiovisual interconnects may be employed, individually or in combination, to facilitate communications and/or audiovisual rendering described herein.
  • lyrics may be displayed (102A, 102B) in correspondence with local audible rendering to facilitate a karaoke-style vocal performance by a given user.
  • individual users may perform the same or different parts in a group performance and that audio or audiovisual captures need not be, and typically are not, simultaneous in some embodiments, audio or audiovisual capture of performer contributions may be independent and asynchronous, often spanning time zones and continents.
  • live streaming techniques may be employed in the illustrated configuration of FIG, 1 , lyrics, timing information, pitch and harmony cues, backing tracks (e.g., instrumenfals/vocals), performance coordinated video, etc may all be sourced from a network-connected content server 110.
  • backing audio and/or video may be rendered from a media store such as a music library that is resident or accessible from the handheld, set-top box, content server, etc.
  • User vocal or audiovisual content 108A, 106B is captured at respective devices 101 A, 101 B, optionally pitch-corrected continuously and in real-time (either at the handheld or using computational facilities of audiovisual display and/or set-fop box equipment not specifically shown) and audibly rendered to provide the user with an improved tonal quality rendition of his/her own vocal performance.
  • Pitch correction is typically based on score-coded note sets or cues (e.g., pitch and harmony cues 105), which provide continuous pitch-correction algorithms with performance synchronized sequences of target notes in a current key or scale in addition to performance synchronized melody targets, score-coded harmony note sequences (or sets) provide pitch-shifting algorithms with additional targets (typically coded as offsets relative to a lead melody note track and typically scored only for selected portions thereof) for pitch-shifting to harmony versions of the user’s own captured vocals.
  • note/pitch targets and score-coded timing information may be used to evaluate vocal performance quality.
  • Lyrics 102, melody and harmony track note sets 105 and related timing and control information may be encapsulated in an appropriate container or object (e.g., in a Musical instrument Digital Interface, MIDI, or Java Script Object Notation, json, type format) for supply together with the backing track 107.
  • portable computing devices 101 A, 101B may display lyrics (102A, 102B) and even visual cues (105A, 105B) related to target notes, harmonies and currently detected vocal pitch in correspondence with an audible performance of the backing track(s) so as to facilitate a karaoke-style vocal performance by a user.
  • lyrics 102A, 102B
  • visual cues 105A, 105B
  • j son and your_man.m4a may be downloaded from the content server (if not already available or cached based on prior download) and, in turn, used to provide background music, synchronized lyrics and, in some situations or embodiments, score-coded note tracks for continuous, real-time pitch-correction while the user sings.
  • harmony note tracks may be score coded for harmony shifts to captured vocals.
  • a captured pitch-corrected (possibly harmonized) vocal performance together with performance synchronized video is saved locally, on the handheld device or set-top box, as one or more audio or audiovisual files and is subsequently compressed and encoded for upload (108A, 108B) to content server 110 as MPEG-4 container files.
  • MPEG-4 is an exemplary standard for the coded representation and transmission of digital multimedia content for the Internet, mobile networks and advanced broadcast applications, other suitable codecs, compression techniques, coding formats and/or containers may be employed, if desired.
  • encodings of dry vocal and/or pitch-corrected vocals may be uploaded (106A, 106B) to content server 110.
  • vocals encoded, e.g., in an MPEG-4 container or otherwise
  • pitch- corrected or pitch-corrected at content server 110 can then be mixed, e.g., with backing audio and other captured (and possibly pitch shifted) vocal performances, to produce files or streams of quality or coding characteristics selected accord with capabilities or limitations a particular target or network.
  • audio processing and mixing and/or video synchronization and stitching to provide a composite, multi-performer, audiovisual work may be performed at a server or service platform such as content server 110.
  • HG. 2 depicts in somewhat greater detail an exemplary user interface presentation of lyrics 102A, pitch cues 105A and a scrubber 103A in connection with a vocal capture session on portable computing device 101 A (recall FIG. 1).
  • a current vocal capture point is notated (281A, 281B, 281 C) in multiple frames of reference (e.g , in lyrics 102A, in pitch cues 105A and in the audio envelope depiction of a performance timeline in scrubber 103A). Any of a variety of notation techniques or symbology may be employed.
  • user interface notation and symbology are matters of design choice, but may include color cues (such as for word, line or syllable position 281 B in lyrics 102A), vertical or horizontal bar markers (see notations 281 A, 281 C in pitch cue 105A and scrubber 103A portions of the FIG. 2 user interface presentation), or otherwise.
  • color cues such as for word, line or syllable position 281 B in lyrics 102A
  • vertical or horizontal bar markers see notations 281 A, 281 C in pitch cue 105A and scrubber 103A portions of the FIG. 2 user interface presentation
  • the exemplary user interface presentation of F!G. 2 provides a mechanism whereby the user may move forward or backward in a performance timeline based on on screen gesture control.
  • vocal capture point is correspondingly moved forward or backward in the performance timeline.
  • lyrics 102A and pitch cues 105A advance or rewind in a visually synchronized manner.
  • position in backing tracks and/or captured audio, video or audiovisual content is advanced or rewound. In this way, an on-screen user interface manipulation by the user of portable computing device 101 A moves forward or backward and facilitates non-linear traversal of the performance timeline.
  • non-linear access allows audio and video to be captured in separate passes.
  • a current position 281 C in scrubber 103A which is visually presented as an audio envelope of the performance timeline, is iateraily-manipulable with leftward (temporally backward) and rightward (temporally forward) swipe-type gestures on the touchscreen display of portable computing device 101 A.
  • User interface gesture conventions are matters of design choice, and other gestures may be employed to similar or complementary effect, if desired.
  • current position may also (or alternatively) be manipulated with gestures in pitch track 105A or lyrics 102A panes of the display.
  • presentations of the on screen elements are visually synchronized such that forward or backward movement of one results in corresponding forward or backward movement of the other(s).
  • each of the on-screen elements e.g., pitch track 105A, lyrics 102A, and audio envelope of the performance timeline
  • video roll or capture may optionally be initiated at the visually synchronized starting point within the performance timeline.
  • FIG. 3 illustrates another exemplary user interface mechanic in connection with a vocal capture scrolling behavior wherein a current point (281 B) in the presentations of lyrics 102A and its corresponding point (281 C) in the performance timeline moves forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device 101 A (recall FIG. 1).
  • a current point (281 B) in the presentations of lyrics 102A and its corresponding point (281 C) in the performance timeline moves forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device 101 A (recall FIG. 1).
  • FIG. 1 illustrates another exemplary user interface mechanic in connection with a vocal capture scrolling behavior wherein a current point (281 B) in the presentations of lyrics 102A and its corresponding point (281 C) in the performance timeline moves forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device 101 A (recall FIG. 1).
  • fine-grain (line-, word- or syllable-level) movement through the lyrics with visually synchronized traversal of other displayed features may be a preferred mechanism for performance timeline traversal by a user vocalist during capture or recapture.
  • the touchscreen gestures provide synchronized movement through lyrics 102A and the performance timeline. Additional or alternative gesture expressions may be employed in some embodiments.
  • FIG. 4 illustrates similar user interface features in connection with a pause in vocal capture wherein a current point (281 B) in the presentations of lyrics 102A and its corresponding point (281 C) in the performance timeline moves forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device 101 A (recall FIG. 1).
  • an expanded presentation of the performance timeline is presented in scrubber 103A.
  • a current point in the presentations of lyrics 102A and of timeline scrubber 103A moves forward or backward in correspondence with upward or downward touchscreen gestures by the user.
  • Forward and backward movement through the features presented on screen e.g., lyrics 102A and performance timeline
  • User selections of lyrics may be employed to designate a vocal portion for subsequent joins and to seed media content (e.g., audio and/or video) for a collaboration request.
  • FIG. 5 illustrates scrubbing using timeline scrubber 103A wherein a current point (281 C) and its corresponding points (281 B, 281 A) in the presentations of lyrics 102A and pitch cues 105A move forward or backward in correspondence with gestures by a user on a touchscreen of portable computing device 101A (recall FIG. 1).
  • the touchscreen gestures provide synchronized movement through lyrics 102A, pitch cues 105A and the performance timeline. Additional or alternative gesture expressions may be employed in some
  • FIG. 8 illustrates time-indexed traversal of computer-readable encodings of pitch track 605 and lyrics track 602 data in connection with forward and backward user interface gestures expressed by a user on a touch screen display of an illustrative audio signal envelope computed from backing track and/or captured vocals.
  • MIDI, json or other suitable in-memory data representation formats may be employed for pitch, lyrics, musical structure and other information related to a given performance or musical arrangement.
  • Persons of skill in the art having benefit of the present disclosure will appreciate use of any of a variety of data structure indexing techniques to facilitate visually synchronized presentation of a position in a performance timeline, e.g., using scrubber 103A, lyrics 102A and pitch cue 105A portions of a display.
  • FIG. 7 illustrates some illustrative variations on the scrubbing mechanism(s) introduced with reference to the preceding drawings.
  • scrubbing is alternatively (or additionally) supported based on side-to-side gestures in the pitch cue presentation portion (105A) of the touchscreen.
  • movement through lyrics (102A) and traversal of an audio signal envelope presentation of the performance timeline (103A) are visually synchronized with the pitch cue-based scrubbing.
  • Vocal parts e.g., lyrics 701.1 , 702.2
  • individual user vocalists may be notated in the performance timeline such as through an alternate color of other on-screen symbology.
  • Similar symbology may be employed in pitch cue 105A and timeline scrubber 103A portions of the user interface to identify duet (Part A, Part B) or group parts sung or to-be-sung by individual vocalists.
  • user interface facilities may be provided that advance/rewind to, or select, points of musical structure significance along the performance timeline.
  • Examples include musical section boundaries, successive starts of a next Part A (or Part B) section in a duet, particular musical sections that have been assigned to a user vocalist as part of a collaboration request, etc.
  • user interfaces and scrubbing mechanisms in accordance with some embodiments of the present inventions allow users to advance/rewind to, or even select, an arbitrary or demarked point, section or segment in the arrangement for vocal, video and/or audiovisual capture, re-capture or playback using performance timeline, lyrics or pitch portions of the visually synchronized presentation.
  • FIG. 8 illustrates use of a captured vocal performance as an audio seed, to which a user adds video, and finally updates a performance time to add or change a flow or a vocal part selection.
  • FIG. 8 illustrates use of a captured vocal performance as an audio seed, to which a user adds video, and finally updates a performance time to add or change a flow or a vocal part selection.
  • FIG. 9 depicts an illustrative sequence that includes an additional multi user collaboration aspect. For example, after a first user (user A) captures a vocal performance as an audio seed, a second user (user B) joins user A’ performance and adds audio and/or video media segments in the illustrative sequence, user B also adds a vocal part designation, such as by notating particular lyrics as part B of a duet. From there, multiple potential joiners are invited (e.g., as part of an open call) to add additional media content to user A’s initial audio seed with the added audio, video and in accordance with vocal part designation by user B.
  • a vocal part designation such as by notating particular lyrics as part B of a duet.
  • multiple potential joiners are invited (e.g., as part of an open call) to add additional media content to user A’s initial audio seed with the added audio, video and in accordance with vocal part designation by user B.
  • FIG. 10 depicts a similar sequence with multi-user collaboration, but in which video created or captured by a first user (user A) is provided as an initial seed performance.
  • a second user joins user A’s video and adds an audio segment, here captured vocal audio.
  • User A invites users (e.g., user B and others) to add additional audio, here main audio (melody) and two additional vocal harmony parts.
  • the result is video with multiple audio layers added as a collaboration.
  • FIG. 11 depicts certain exemplary special invite options including user designation of a particular vocal part for subsequent joins and user selection of lyrics to designate a vocal portion for subsequent joins to seed media content (e.g., audio and/or video).
  • the joiner is guided to sing, or more generally to provide audio for, the designated vocal portion.
  • Freeform and collaborative arrangement creation processes are also envisioned.
  • a user may perform and capture a freestyle mode performance, e.g., acoustic audio with performance synchronized video of a guitar performance.
  • User A s initial freeform capture provides an initial seed for further collaboration.
  • a user e.g., user A or another user B
  • Timeline editing and scrubbing facilities described herein can be particularly helpful in entering, manipulating and aligning entered lyrics to desired points in the performance timeline.
  • a user may assign (STEP 3) particular lyric portions to singers (e.g., part A vs. part B in duet). More generally, larger numbers of vocal parts may be assigned in a group arrangement.
  • Vocal audio and musical instrument audio are both envisioned in each case, compute pitch tracks are added to the performance timeline.
  • the user-generated arrangement need not be limited to lyrics and pitch lines.
  • the media segment capture and edit platform may be extended to allow a user (user A, B, C or still another user D) to designate things like: song part (“Chorus”, “Verse”, etc.), harmony part, segment-based video or audio effects/filters, etc.
  • song part (“Chorus”, “Verse”, etc.”
  • harmony part segment-based video or audio effects/filters, etc.
  • FIG. 12 is illustrative, other embodiments may vary ordering of steps, omit steps or include additional steps appropriate to a particular freeform collaboration and particular audio or audiovisual work.
  • a seed may be a full- length seed spanning much or all of a pre-existing audio (or audiovisual) work and mixing a seeding user’s captured media content for at least some portions of the audio (or audiovisual) work in some cases, a short seed may be employed that spans less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example (as illustrated in FIG.
  • a verse, chorus, refrain, hook or other limited“chunk” of an audio (or audiovisual) work may constitute the seed for subsequent joins.
  • Pre-marked portions (here musical sections) of an audio or audiovisual work 1301 may be selected by the seeding user.
  • the resulting short seed 1311 constitutes the seed for multiple collaborations (here col!abs #1 and #2). Whatever its extent or scope, the seed or seed portion delimits the collaboration request (or call) for others to join.
  • a call invites other users to join the full-length or short-form seed by singing along, singing a particular vocal part or musical section, singing harmony or other duet part, rapping, talking, clapping, recording video, adding a video clip from camera roll, etc.
  • invites 1321 and 1322 are illustrative in the short seed example of FIG. 13.
  • the resulting group performance may be posted, livestreamed, or otherwise disseminated (1341) in a social network.
  • a seed or seed portion may be selected by the seeding user using scrubbing techniques that allow forward and backward traversal of audiovisual content, optionally including pitch cues, waveform- or envelope-type performance timelines, lyrics, video and/or other temporally- synchronized content at record-time, during edits, and/or in playback. In this way, recapture of selected performance portions, coordination of group parts, and overdubbing may ail be facilitated.
  • Direct scrolling to arbitrary points in the performance timeline, lyrics, pitch cues and other temporally-synchronized content allows user to conveniently move through a capture or audiovisual edit session.
  • scrubbing techniques may be employed to define start and stop points that delimit a particular seed portion or chunk.
  • scrubbing techniques may be employed to define start and stop points that delimit portions of a performance timeline to which a joiner is invited to contribute.
  • the user vocalist may be guided through the performance timeline, lyrics, pitch cues and other temporally-synchronized content in correspondence with group part information such as in a guided short-form capture for a duet.
  • a scrubber allows user vocalists to conveniently move forward and backward through the temporally-synchronized content in some cases, temporally synchronized video capture and/or playback is also supported in connection with the scrubber. Note that while scrubbing may be provided for synchronized traversal of multiple media lines (e.g., backing audio, vocals, lyrics, pitch cue and/or group part information), single-medium scrubbing is also envisioned.
  • Portions of a performance timeline may be marked and labelled for user selection. Marking/labeiing may be based on human or automated sources. For example, particular portions may be marked or labelled by a user that originally uploads a track or corresponding lyrics or by a media content curator. In a complementary fashion or alternatively, particular portions may be marked or labelled by a machine learning robot trained to identify section and boundaries (e.g., from an audio backing or vocal track, lyrics or based on crowd-sourced data such as where user tend to sing the most or most loudly).
  • FIG. 14 is a flow diagram illustrating real-time continuous score-coded pitch-correction and harmony generation for a captured vocal performance in accordance with some embodiments of the present invention.
  • a user/vocalist sings along with a backing track, karaoke style.
  • Vocals captured (251) from a microphone input 201 are continuously pitch-corrected (252) and harmonized (255) in real-time for mix (253) with the backing track which is audibly rendered at one or more acoustic transducers 202.
  • Both pitch correction and added harmonies are chosen to correspond to a score 207, which in the illustrated configuration, is wirelessly communicated (261) to the device(s) (e.g , from content server 110 to handheld 101 , recall FIG. 1, or set-top box equipment) on which vocal capture and pitch-correction is to be performed, together with lyrics 208 and an audio encoding of the backing track 209
  • the note in a current scale or key
  • this closest note may typically be a main pitch corresponding to the score-coded vocal melody, it need not be.
  • the user/vocalist may intend to sing harmony and the sounded notes may more closely approximate a harmony track.
  • FIG. 15 illustrates basic signal processing flows (350) in accord with certain implementations suitable for a mobile phone-type handheld device 301 to capture vocal audio and performance
  • the signal processing flows 250 and illustrative score coded note targets including harmony note targets
  • persons of ordinary skill in the art will appreciate suitable allocations of signal processing techniques and data representations to functional blocks and signal processing constructs (e.g., decoder(s) 258, capture 251 , digital-to-analog (D/A) converter 256, mixers 253, 254, and encoder 257) implemented at least in part as software executable on a handheld or other portable computing device.
  • pitch-detection and pitch- correction have a rich technological history in the music and voice coding arts. Indeed, a wide variety of feature picking, time-domain and even frequency-domain techniques have been employed in the art and may be employed in some embodiments in accord with the present invention.
  • pitch- detection methods calculate an average magnitude difference function (AMDF) and execute logic to pick a peak that corresponds to an estimate of the pitch period.
  • AMDF average magnitude difference function
  • PSGLA pitch shift overlap add
  • FIG. 16 illustrates features of a mobile device that may serve as a platform for execution of software implementations in accordance with some embodiments of the present invention. More specifically, FIG. 16 is a block diagram of a mobile device 400 that is generally consistent with commercia!!y-availabie versions of an iPhoneTM mobile digital device.
  • embodiments of the present invention are certainly not limited to iPhone deployments or applications (or even to iPhone-type devices), the iPhone device platform, together with its rich complement of sensors, multimedia facilities, application programmer interfaces and wireless application delivery model, provides a highly capable platform on which to deploy certain implementations. Based on the description herein, persons of ordinary skill in the art will appreciate a wide range of additional mobile device platforms that may be suitable (now or hereafter) for a given implementation or deployment of the inventive techniques described herein.
  • mobile device 400 includes a display 402 that can be sensitive to haptic and/or tactile contact with a user.
  • Touch-sensitive display 402 can support multi-touch features, processing multiple simultaneous touch points, including processing data related to the pressure, degree and/or position of each touch point. Such processing facilitates gestures and interactions with multiple fingers and other interactions.
  • other touch-sensitive display technologies can also be used, e g., a display in which contact is made using a stylus or other pointing device.
  • mobile device 400 presents a graphical user interface on the touch-sensitive display 402, providing the user access to various system objects and for conveying information in some implementations, the graphical user interface can include one or more display objects 404, 406.
  • the display objects 404, 406, are graphic representations of system objects. Examples of system objects include device functions, applications, windows, files, alerts, events, or other identifiable system objects.
  • applications when executed, provide at least some of the digital acoustic functionality described herein.
  • the mobile device 400 supports network connectivity including, for example, both mobile radio and wireless internetworking functionality to enable the user to travel with the mobile device 400 and its associated network-enabled functions.
  • the mobile device 400 can interact with other devices in the vicinity (e.g., via Wi-Fi, Bluetooth, etc.).
  • mobile device 400 can be configured to interact with peers or a base station for one or more devices. As such, mobile device 400 may grant or deny network access to other wireless devices.
  • Mobile device 400 includes a variety of input/output (I/O) devices, sensors and transducers.
  • I/O input/output
  • a speaker 460 and a microphone 462 are typically included to facilitate audio, such as the capture of vocal performances and audible rendering of backing tracks and mixed pitch-corrected vocal performances as described elsewhere herein.
  • speaker 460 and microphone 662 may provide appropriate transducers for techniques described herein.
  • An external speaker port 464 can be included to facilitate hands-free voice functionalities, such as speaker phone functions.
  • An audio jack 466 can also be included for use of headphones and/or a microphone.
  • an external speaker and/or microphone may be used as a transducer for the techniques described herein.
  • a proximity sensor 468 can be included to facilitate the detection of user positioning of mobile device 400.
  • an ambient light sensor 470 can be utilized to facilitate adjusting brightness of the touch- sensitive display 402.
  • An accelerometer 472 can be utilized to detect movement of mobile device 400, as indicated by the directional arrow 474. Accordingly, display objects and/or media can be presented according to a detected orientation, e.g., portrait or landscape.
  • mobile device 400 may include circuitry and sensors for supporting a location determining capability, such as that provided by the global positioning system (GPS) or other positioning systems (e.g., systems using Wi-Fi access points, television signals, cellular grids, Uniform Resource Locators (URLs)) to facilitate geocodings described herein.
  • Mobile device 400 also includes a camera lens and imaging sensor 480 In some implementations,
  • instances of a camera lens and sensor 480 are located on front and back surfaces of the mobile device 400.
  • the cameras allow capture still images and/or video for association with captured pitch-corrected vocals.
  • Mobile device 400 can also include one or more wireless communication subsystems, such as an 802.11 b/g/n/ac communication device, and/or a BluetoothTM communication device 488.
  • Other communication protocols can also be supported, including other 802.x communication protocols (e.g., WiMax, Wi-Fi, 3G), fourth or fifth generation protocols and modulations (4G-LTE, 5G), code division multiple access (CDMA), global system for mobile communications (GSM), Enhanced Data GSM Environment (EDGE), etc.
  • 802.x communication protocols e.g., WiMax, Wi-Fi, 3G
  • 4G-LTE, 5G fourth or fifth generation protocols and modulations
  • CDMA code division multiple access
  • GSM global system for mobile communications
  • EDGE Enhanced Data GSM Environment
  • a port device 490 e.g., a Universal Serial Bus (USB) port, or a docking port, or some other wired port connection, can be included and used to establish a wired connection to other computing devices, such as other communication devices 400, network access devices, a personal computer, a printer, or other processing devices capable of receiving and/or transmitting data.
  • Port device 490 may also allow mobile device 400 to synchronize with a host device using one or more protocols, such as, for example, the TCP/IP, HTTP, UDP and any other known protocol.
  • FIG. 17 illustrates respective instances (501 and 520) of a portable computing device such as mobile device 400 programmed with vocal audio and video capture code, user interface code, pitch correction code, an audio rendering pipeline and playback code in accord with the functional descriptions herein.
  • Device instance 501 is depicted operating in a vocal audio and performance synchronized video capture mode, while device instance 520 operates in a presentation or playback mode for a mixed audiovisual performance.
  • a television-type display and/or set-top box equipment 520A is likewise depicted operating in a presentation or playback mode, although as described elsewhere herein, such equipment may also operate as part of a vocal audio and performance synchronized video capture facility.
  • Each of the aforementioned devices communicate via wireless data transport and/or intervening networks 504 with a server 512 or service platform that hosts storage and/or functionality explained herein with regard to content server 110, 210. Captured, pitch- corrected vocal performances with performance synchronized video capture using teehniques described herein may (optionally) be streamed and audiovisuaily rendered at laptop computer 511
  • Embodiments in accordance with the present invention may take the form of, and/or be provided as, a computer program product encoded in a machine-readable medium as instruction sequences and other functional constructs of software, which may in turn be executed in a computational system (such as a iPhone handheld, mobile or portable computing device, media application platform, set-top box, or content server platform) to perform methods described herein in general
  • a machine readable medium can include tangible articles that encode information in a form (e.g., as applications, source or object code, functionally descriptive information, etc.) readable by a machine (e.g., a computer, computational facilities of a mobile or portable computing device, media device or streamer, etc.) as well as non-transitory storage incident to transmission of the information.
  • a machine-readable medium may include, but need not be limited to, magnetic storage medium (e.g., disks and/or tape storage); optica! storage medium (e.g , CD-ROM, DVD, etc.); magneto-optical storage medium; read only memory (ROM); random access memory (RAM); erasable programmable memory (e.g., EPROM and EEPROM); flash memory; or other types of medium suitable for storing electronic instructions, operation sequences, functionally descriptive information encodings, etc.
  • magnetic storage medium e.g., disks and/or tape storage
  • optica! storage medium e.g , CD-ROM, DVD, etc.
  • magneto-optical storage medium e.g , magneto-optical storage medium
  • ROM read only memory
  • RAM random access memory
  • EPROM and EEPROM erasable programmable memory
  • flash memory or other types of medium suitable for storing electronic instructions, operation sequences, functionally descriptive information encodings, etc.

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Abstract

Des techniques d'interface utilisateur donnent à des chanteurs utilisateurs des mécanismes pour l'amorçage de performances ultérieures par d'autres utilisateurs (par exemple, des suiveurs). Une amorce peut être une amorce de pleine longueur couvrant une grande partie ou la totalité d'une œuvre et d'un mixage audio (ou audiovisuels) préexistants, pour amorcer d'autres contributions d'un ou de plusieurs suiveurs, un contenu multimédia capturé d'un utilisateur pour au moins certaines parties de l'œuvre audio (ou audiovisuelle). Une amorce courte peut ne pas couvrir la totalité (et dans certains cas, bien moins que la totalité) de l'œuvre audio (ou audiovisuelle). Par exemple, un couplet, un refrain, un morceau choisi ou un autre morceau limité d'une œuvre audio (ou audiovisuelle) peut constituer une amorce. Un appel d'un utilisateur d'amorçage invite d'autres utilisateurs à suivre l'amorce de pleine longueur ou courte en chantant avec ledit utilisateur, en chantant une partie vocale particulière ou une section musicale particulière, en chantant en harmonie ou un autre partie en duo, en rappant, en parlant, en tapant des mains, en enregistrant une vidéo, en ajoutant un clip vidéo à partir d'une caméra, etc. Les performances de groupe obtenues, qu'il s'agisse d'une pleine longueur ou d'un seul morceau, peuvent être postées, diffusées en continu en direct ou par ailleurs disséminées dans un réseau social.
EP19826458.2A 2018-06-29 2019-07-01 Système et procédé de collaboration audiovisuelle avec mécanique d'amorce/suivi Pending EP3815031A4 (fr)

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PCT/US2019/040113 WO2020006556A1 (fr) 2018-06-29 2019-07-01 Système et procédé de collaboration audiovisuelle avec mécanique d'amorce/suivi

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US10943574B2 (en) * 2018-05-21 2021-03-09 Smule, Inc. Non-linear media segment capture and edit platform
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US8160421B2 (en) * 2006-12-18 2012-04-17 Core Wireless Licensing S.A.R.L. Audio routing for audio-video recording
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KR20140044003A (ko) * 2012-10-04 2014-04-14 에스케이플래닛 주식회사 Ｕｃｃ 합주 서비스 제공 시스템 및 방법
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CN103295568B (zh) * 2013-05-30 2015-10-14 小米科技有限责任公司 一种异步合唱方法和装置
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