GB2596098A

GB2596098A - Headphone apparatus and methods of operating

Info

Publication number: GB2596098A
Application number: GB2009247.4A
Authority: GB
Inventors: Stoloff David
Original assignee: Individual
Current assignee: Individual
Priority date: 2020-06-17
Filing date: 2020-06-17
Publication date: 2021-12-22
Anticipated expiration: 2040-06-17
Also published as: GB2596098B; GB202009247D0

Abstract

The headphones 1 include a first receiver arrangement 3a configured to receive a first sound signal from the live musical instrument, and a second receiver arrangement 3b configured to separately receive a second sound signal comprising the accompanying soundtrack. A first speaker arrangement 5 is provided to output a sound associated with the playing of the live musical instrument. A second speaker arrangement 7 is provided to output a sound associated with the accompanying soundtrack. The frequency range of the second speaker arrangement is wider than the frequency range of the first speaker arrangement. The headphones may be used by musicians during practice and/or rehearsal.

Description

Headphone Apparatus and Methods of Operating

Field of Invention

The present invention relates to headphone apparatus and methods of operating the apparatus, in particular a pair of headphones for simultaneous playback of a live musical instrument and an accompanying soundtrack. Particular embodiments describe audio devices for listening to the live playing of a musical instrument, whilst lowering the amplitude of the sound produced in the local environment. The invention also relates to kits for use with acoustic instruments, and methods of use for the audio device.

Background

Musicians and hobbyists play musical instruments. This often involves practicing playing a musical instrument, and often this practice is done at home, or in another area where there is little or no soundproofing. Budding musicians such as children also practice playing a musical instrument in order to learn how to play. Musicians learning a new piece of music repeat the same piece of music many times in order to learn how to perform it. Others who can hear the practicing of the musical instrument may not enjoy the sound of the practice of the musical instrument. This can lead to situations where musicians and hobbyists are asked to reduce the amount of practice, or to change the time at which they practice. This can be detrimental to the musicians' progress and represents a problem.

The present invention seeks to address these and other associated problems.

Statement of Invention

According to a first aspect of the invention there is provided a pair of headphones for simultaneous playback of a live musical instrument and an accompanying soundtrack The headphones comprise a receiver arrangement, configured to receive a first sound signal from the live musical instrument, and further configured to separately receive a second sound signal comprising the accompanying soundtrack, a first speaker arrangement configured to output a sound associated with the playing of the live musical instrument, and a second speaker arrangement configured to output a sound associated with the accompanying soundtrack. This may advantageously allow the headphones to output sound associated with the musical instrument, whilst the instrument itself outputs a low amplitude sound into its local environment. The first speaker arrangement and the second speaker arrangement are also separate which enables the first speaker arrangement to be configured to be specialised to the particular musical instrument, and to prevent damage to the speaker arrangement, as described in more detail below.

By providing means for a musician to practice, and listen to the sound they produce, whilst reducing the amplitude of the sound produced in the local environment, the apparatus can address some of the problems highlighted above. The apparatus may also allow groups of musicians to practice together whilst reducing the amplitude of the sound produced in the local environment.

Optionally, the frequency range of the second speaker arrangement is wider than the frequency range of the first speaker arrangement. This allows the first speaker arrangement to focus on the frequencies produced by the musical instrument while providing a more general second speaker arrangement suitable for a wide range of different accompanying soundtracks.

Optionally, the first speaker arrangement is configured to output sound in a frequency range centring around the frequency range produced by the musical instrument, optionally wherein the frequency range is only in a range of frequencies around the frequency range produced by the musical instrument, and/or wherein the second speaker arrangement is configured to output sound across substantially all of the range of frequencies that humans can hear, optionally wherein the second speaker arrangement comprises a full range speaker. The range of the second speaker arrangement is full, meaning all frequencies produced during normal audio playback are audible. The range relating to the first speaker arrangement when specialised for a specific given musical instrument, will be narrower due to the instruments own frequency range Optionally, the first speaker arrangement is configured to output sound with high attack velocity. Instruments such as bass drums produce sounds that can invert the voice coil within the speaker arrangement. The first speaker arrangement can be configured to withstand such sounds, so that it is specialised for the particular instrument. The attack velocity is dependent on the amplitude of the sound signal, and the time that the sound signal is at its maximal amplitude. A high attack velocity may comprise a sound signal having a high maximum amplitude over a time period of the order of milliseconds Optionally, the headphones comprise two earpieces, and: (i) the first speaker arrangement is provided on the first earpiece, and the second speaker arrangement is provided on the second earpiece; or (ii) the first speaker arrangement is provided on the first earpiece, and wherein the second speaker arrangement comprises a speaker provided on the first earpiece and a speaker provided on the second earpiece to form a stereo pair; or (iii) wherein the first speaker arrangement and the second speaker arrangement each comprise a speaker provided on the first earpiece and a speaker provided on the second earpiece. The second option is particularly advantageous as the accompanying sound is in stereo, but the sound associated with the playing of the musical instrument is in mono. This is particularly good for listening to how the playing of the musical instrument sounds in context of the accompanying sound. The first option may reduce costs of production, whilst the third option may provide a realistic listening experience.

Optionally, the receiver arrangement comprises either: (i) a single receiver configured to receive both the first sound signal and the second sound signal, and to separately provide the first sound signal to the first speaker arrangement, and the second sound signal to the second speaker arrangement, optionally wherein the single receiver is wireless; or (i) a first receiver and a second receiver, wherein the first receiver is configured to receive the first sound signal and transmit it to the first speaker arrangement, and the second receiver configured to receive the second sound signal and transmit it to the second speaker arrangement. The first option may reduce costs of manufacture, and allow multiple devices to connect to the headphones via known standards, such as Bluetooth, ANT+ etc. The second option allows the signals to be received entirely separately, and may make modular construction of the device simpler.

Optionally, the receiver arrangement comprises the first receiver and the second receiver, and either: (i) the first receiver and the second receiver both receive the sound signals via a direct wired connection, optionally through an audio jack; or (ii) the first receiver receives the first sound signal via a direct wired connection, and the second receiver receives the second sound signal wirelessly; or (iii) the first receiver receives the first sound signal via a wireless connection, and the second receiver receives the second sound signal via a direct wired connection. The first option may allow multiple wired devices to be used, making compatibility, especially with electronic instruments, simpler. The second option may allow the instrument to be connected directly, and so aid compatibility, whilst allowing wireless connection with the second sound signal, which may be advantageous for use with computational devices that store sound files.

Optionally, the receiver arrangement is configured to receive the first sound signal from a converting element configured to convert vibrations associated with the live musical instrument into the first sound signal. This may reduce the amount of processing necessary at the headphones, and reduce any latency created.

Optionally, the accompanying sound is comprised of the playback of one or more second live musical instruments. This may allow multiple musicians to practice and hear their own playing from the first speaker arrangement, and hear other musicians playing from the second speaker arrangement.

Optionally, the one or more second live musical instruments are performed locally. This may enable bands to play together even when creating external noise is an issue.

Optionally, the playback of the one or more second live musical instruments is received from an intermediary network, optionally wherein the intermediary network is the internet, This may allow musicians who are remote from one another to play together.

According to a second aspect there is provided an audio system, the system comprising a pair of headphones for simultaneous playback of a live musical instrument and an accompanying soundtrack as set out in the first aspect or any of its preferred features, a mute configured to be attached to the musical instrument and arranged in use to reduce the amplitude of the sound output of the musical instrument into an environment in which the instrument is being played, a converting element configured to be attached to the musical instrument, and further configured to convert the vibrations associated with the musical instrument into a sound signal associated with the playing of the musical instrument, and a transmitter configured to transmit the sound signal associated with the musical instrument to the listening device. This is advantageous as it allows a kit to be provided to a musician, and enable them to use the headphones with any instrument, including with previously acoustic instruments.

Optionally, the transmitter, and the receiver arrangement of the headphones are connected by a wire, or alternatively by a wireless connection.

S

Optionally, the musical instrument is an electronic instrument, an acoustic string instrument, or a woodwind or brass instrument.

Optionally, the musical instrument is the acoustic string instrument, and the mute comprises means to reduce the vibration of the strings when the instrument is played, and the converter is configured to be attached near to the bridge of the acoustic string instrument. This allows an acoustic string instrument such as a violin, acoustic guitar etc. to be used with the headphones so as to enable quiet practicing.

Optionally, the musical instrument is the brass or woodwind instrument, and wherein the mute is configured to fit in the bell of the brass or woodwind instrument. This allows the 10 woodwind or brass instrument to be used with the headphones, enabling quiet practicing.

Optionally, the converter comprises an artificial reed positioned in a mouthpiece and is configured to measure the amplitude and frequency of sound waves generated by the user at the artificial reed, optionally wherein the converter is configured to measure pressure differences in order to determine the amplitude and frequency of the sound waves. This is enables the user input to be sued to generate a first sound signal, and so reduce the noise output by the instrument.

Optionally, the artificial reed houses a processor and a memory element, wherein the processor is configured to produce the sound signal from the amplitude and frequency of the sound waves by comparing the amplitude and frequency of the sound waves with pre-recorded sound waves stored in the memory element. This reduces the amount of processing required to produce a first sound signal from the measurements of the artificial reed Optionally, the memory element stores a pre-recorded sound signal associated with each of the pre-recorded sound waves, such that by comparing the amplitude and frequency of the sound waves with the pre-recorded sound waves the processor produces the sound signal.

This also reduces the amount of processing required to produce a first sound signal from the measurements of the artificial reed.

Optionally, the artificial reed further comprises an element configured to measure the back pressure within the woodwind or brass instrument to determine the position of valves and/or slides, and wherein the measured back pressure is also used to produce the sound signal This increases the accuracy of the sound first signal.

Optionally, measured back pressure is compared to pre-recorded back-pressure measurements associated with the pre-recorded sound waves, and is used to determine which pre-recorded sound signal is to be used as the sound signal of the musical instrument According to a further aspect there is provided a method of using the headphones of the first aspect, the method comprising receiving the signal associated with the playing of the live musical instrument, receiving the signal associated with the accompanying soundtrack, providing from the first speaker arrangement sound associated with the playing of the live musical instrument, and providing from the second speaker arrangement sound associated with the accompanying soundtrack This enables a user to practice a musical instrument whilst reducing the sound emitted.

Optionally, the method further comprises balancing the amplitude of the sound provided by the first speaker arrangement and the second speaker arrangement.

Optionally, balancing comprises adjusting the relative average amplitude of the sound output by the first speaker arrangement and the second speaker arrangement.

Optionally, the method further comprises equalising a sound level of the first speaker arrangement and the second speaker arrangement. This enables a user to decide their preferred sound output, which for some individuals may include a greater proportion of high frequencies, and for others a greater proportion of low frequencies.

Brief Description of Figures

Figure 1 shows a schematic cross section of a pair of headphones according to a first embodiment.

Figure 2 shows a schematic cross section of a pair of headphones according to a second embodiment in which the first speaker arrangement is provided on both the first and second earpieces.

Figure 3 shows a schematic cross section of a pair of headphones according to a third embodiment in which the first speaker arrangement is provided on the first earpiece, and the second speaker arrangement is provided on the second earpiece. The receiving arrangement comprises a single receiver.

Figure 4 shows a cross section of a pair of headphones according to the first embodiment, but in which the receiver arrangement comprises only one receiver.

Figure 5 shows a pair of headphones in communication with a musical instrument to provide the first sound signal Figure 6 shows a pair of headphones in communication with the first musical instrument as per Figure 5, but also in communication with a second musical instrument to provide the accompanying soundtrack.

Figure 7a shows a schematic diagram of a mute that may be used for a string instrument such as an acoustic guitar.

Figure 7b shows a schematic diagram of an alternative form of mute that may be used for an acoustic string instrument such as an acoustic guitar.

Figure 8 shows a converting element in the form of a pick-up with a transmitter.

Figure 9 shows a profile of a mute for use in the bell end of a brass or woodwind instrument.

Figure 10 is a cross section of an artificial reed for use in the mouthpiece of a brass or 15 woodwind instrument.

Figure 11 shows an electric musical instrument, an acoustic string instrument, and an acoustic brass or woodwind instrument.

Figure 12 shows a method of determining a first sound signal for a brass or woodwind instrument using an artificial reed.

Figure 13 shows a method of using the headphones.

Detailed Description of Figures

Figure I shows the cross-section of a pair of headphones I according to a first embodiment.

This shows a receiver arrangement 3, a first speaker arrangement 5 and a second speaker arrangement 7. The receiver arrangement 3 is configured to receive a first sound signal from the live musical instrument, and is further configured to separately receive a second sound signal comprising the accompanying soundtrack. The first speaker arrangement 5 is configured to output a sound associated with the playing of the musical instrument based on the first sound signal. The second speaker arrangement 7 is configured to output a sound associated with the accompanying soundtrack based on the second sound signal. The first speaker arrangement 5 is provided on the first earpiece 9a of the headphones. The second speaker arrangement 7 is provided on both the First 9a and the second 9b earpiece of the headphones 1. The receiver arrangement 3 is provided by positioning a receiver on both of the earpieces. The first receiver 3a is configured to receive the first sound signal, and the second receiver 3b is configured to receive the second sound signal These sound signals may be received directly from the musical instrument, or from an intermediary device.

This arrangement allows a musical instrument to be played by the user, and for that musical instrument to send a first sound signal to the first receiver 3a. This means that the user can hear the sound of themselves through the headphones 1 whilst playing the musical instrument in real time. This means they can practice whilst wearing the headphones 1, and that there is no need for the musical instrument to emit a sound to the local environment as the user is listening through the headphones. The amplitude of the sound produced by the musical instrument can therefore be lowered. For an electronic instrument such as an electric guitar this means that the sound produced is simply not amplified. For acoustic instruments these may be muted with a mute and a converter used to provide the sound signal to the headphones 1. Many musicians prefer to practice with an accompanying soundtrack. This may be a pre-recorded sound, such as an electronic file, or it may be a live sound from one or more other musicians, or it may simply be a metronome beat or other rhythm track. The accompanying soundtrack is received by the receiver arrangement receiving a second sound signal. In the example shown the second receiver 3b of the receiver arrangement 3 is configured to receive the second sound signal and to be output via the second speaker arrangement 7, which comprises two speakers in the embodiment of Fig. 1 with one speaker in each earpiece 9. This allows the accompanying soundtrack to be played back in stereo.

One thing to note is that in all embodiments the first speaker arrangement 5 is separate to the second speaker arrangement 7. The two speaker arrangements have separate purposes. The purpose of the first speaker arrangement 5 is to output a sound associated with the playing of the live musical instrument. The purpose of the second speaker arrangement 7 is to output a sound associated with the accompanying soundtrack. The accompanying soundtrack may comprise any sound file, or live musical instrument. Therefore the second speaker arrangement 7 may be configured to emit sound in the full range of frequencies. This is well-known in the art, and approximates to the range of frequencies that the human ear can hear. The first speaker arrangement 5 however can be more specialised. The headphones 1 shown may for instance be modular such that the first speaker arrangement 5 can be interchanged for the playing of different live musical instruments. Alternatively different versions of the headphones I may be available for musicians who play specific instruments. For example, a bass guitar produces the majority of its output between 40Hz and 1KHz. Therefore the first speaker arrangement 5 may be configured to specialise in this frequency range. Similarly, other string instruments such as violas may require a different specialised output range, but with the range of frequencies above that required for the bass guitar. There are several type of saxophones that illustrate the different frequencies that musical instruments emit sound at. For example a tenor saxophone is in the 'Tenor' which is approximately the midrange of the spectrum, so that would make it roughly between 550HZ -3KHZ. The Alto and Soprano saxophones emit sound in a some what higher frequency band (approximately 8 -10KHZ for the Alto and approximately 12-14KHZ for the Soprano although there will be some overlap). As can be seen from these differing frequencies a specialised first speaker arrangement adapted for each range is advantageous. Another issue that the first speaker arrangement 5 may have is inversion or speaker excursion. For example, a bass guitar, bass drum or other baritone instrument produces sound that may have low frequency and a high attack velocity which together can cause the voice coil in the speaker arrangement to invert, such that the output is distorted. It is known that this can be mitigated, however this mitigation may make the speaker more expensive, and may compromise the sound output across other portions of the frequency range. Examples of mitigation include the use of a compressor or limiting element which reduces the maximum amplitude of the sound signal, and may spread the signal over a larger time period (for example tens of milliseconds rather than milliseconds). The use of these elements adds costs to the first speaker arrangement, and the separation of the first and second speaker arrangements allows for easier construction, and cheaper manufacture of the headphones by virtue of a simpler second speaker arrangement. If the second speaker arrangement is configured to mainly play accompanying soundtracks in the form of pre-recorded sound files then these files typically already have such maximum amplitudes removed, and so the compressor or limiter would not be needed in the second speaker arrangement in such embodiments. Therefore by separating the first speaker arrangement and the second speaker arrangement only the first speaker arrangement needs to be specialised which can improve the quality of the sound output, the longevity of the headphones, and reduce the cost of construction.

As the first speaker arrangement 5 is specialised, the frequency range of the second speaker arrangement 7 may be broader than the frequency range of the first speaker arrangement 5. The first speaker arrangement 5 may be configured to output sound in a frequency range centring around the frequency range produced by the musical instrument, optionally wherein the frequency range is only in a range of frequencies around the frequency range produced by the musical instrument.

The receiver arrangement 3 in Figure I comprises two receivers. These may be hardware elements such as audio jacks, or may be wireless. One receiver may be wireless, and the other receiver may comprise an audio jack. The first receiver 3a and the second receiver 3b may both receive the sound signals via a direct wired connection, or the first receiver 3a may receive the first sound signal via a direct wired connection, and the second receiver 3b may receive the second sound signal wirelessly, or the first receiver 3a may receive the first sound signal via a wireless connection, and the second receiver 3b may receive the second sound signal via a direct wired connection. The wired connection may be formed by an audio jack.

A wireless connection may use any wireless protocol such as Bluetooth.

As the second speaker arrangement 7 is provided on both earpieces the output of the second speaker arrangement 7 can be provided in stereo. The output of the first speaker atTangement 5 is provided in mono The earpieces 9 of the headphones 1 are connected by a stem, but this is not necessary. 20 Likewise the headphones 1 may comprise a power unit, or may receive power from a connection to the mains, or another external power source. In one embodiment a rechargeable battery or cell may be included in the headphones 1 to enable them to be portable.

Figure 2 shows a cross-section of a pair of headphones I according to a second embodiment. As compared to Figure 1 the only difference is that the first speaker arrangement 5 is provided on both the first 9a and the second earpiece 9b. This allows the user to hear the live playing of the instrument through both earpieces, optionally in stereo, and depending on personal preference may be preferable to the user.

Figure 3 shows a cross section of a pair of headphones laccording to a third embodiment. As compared to Figure 1 the second speaker arrangement 7 is only provided on the second earpiece 9b. The receiver arrangement also only comprises one receiver 3a. This receiver 3a may be positioned on either earpiece, and in the example of Figure 3 is provided on the first earpiece 9a. This embodiment offers the simplest construction and so may represent the cheapest embodiment to manufacture whilst still providing the advantages associated with the aspects of the invention.

Figure 4 shows a cross-section of a pair of headphones I of the first embodiment, but with the receiver arrangement comprising only one receiver. This may allow manufacture of the headphones to be simpler. The receiver 3a may be configured to communicate with other devices via a wireless protocol such as Bluetooth. This may allow more freedom of movement to the user when playing the musical instrument. It also allows a secondary external device to be connected, such as a computer or a smartphone or tablet device, to send a pre-recorded file to the headphones 1 as the accompanying soundtrack. Alternatively one or more second live musical instruments may be connected (optionally via an intermediary device) to the headphones I to provide the accompanying soundtrack.

We note that other optional features may also be present on headphones I according to any of the above embodiments. For example there may be a volume control for controlling the volume of sound produced by the headphones 1. There may also be a balancing module to adjust the relative amplitude of the sound output of the first speaker arrangement 5 and the second speaker arrangement 7. The user may be able to adjust the relative output average amplitude of the first speaker arrangement 5 and the second speaker arrangement 7. The headphones I may also comprise an equalising unit. The equalising unit may allow the user to set the relative proportion of the low frequency and high frequency sounds produced by the first speaker arrangement 5 and the second speaker arrangement 7 to fit their personal preference or the particular sounds being played through the device. The headphones may also include a switch to allow the user to change between solo and mono dependent on their preference.

Figure 5 shows a pair of headphones 1 in communication with a musical instrument 11. The headphones I of any embodiment described herein may be provided. In Figure 5 the headphones of Figure 1 are illustrated as one such example. The musical instrument 11 sends a first sound signal to the first receiver 3a of the headphones. This sound signal is then output by the first speaker arrangement 5. A second input may also send a second sound signal to the receiver arrangement 3 to be output by the second speaker arrangement 7. This second sound signal may be an accompanying soundtrack such as a recoding of other instruments playing other parts of the same piece the musician is practising. In this example the musical instrument 11 is an electric guitar, but any instrument may be used.

Figure 6 shows the embodiment of Figure 5, and in addition the accompanying soundtrack is provided by one or more live musical instruments 13. In this case an electronic keyboard 13 is shown providing the second sound signal. For clarity, a second receiver 3b is shown as part of the receiver arrangement. This is not required, but is shown to make the illustration clearer. This allows multiple musicians to practice together, whilst the amplitude of the noise created by the instruments is low. In particular both the first musical instrument (guitar) 11 and the second musical instrument (keyboard) 13 may be physically connected to the headphones 1.

Alternatively one or the other of the musical instruments may be connected wirelessly. The second musical instrument 13 may comprise multiple instruments. For example, a keyboard and an electronic drum kit may together provide the second sound signal In this example the keyboard and drums may be connected to a device that mixes the sound of both together, and then sends this combined sound signal to the headphones 1, or both the keyboard and the drums may be connected to the headphones 1 directly, and the headphones mix the signals from the keyboard and the drums. This may be particularly advantageous for bands who do not have access to a sound insulated practicing area. In another embodiment the keyboard 13 may be positioned some distance away from the headphones, and connected to the headphones 1 via a network such as the internet. This may allow groups of musicians to practice together whilst being in different locations, as well as allowing any the musician with the headphones 1 described above to practice whilst emitting a low amplitude of noise locally.

Figure 7a shows a mute 21 for an acoustic string instrument. A mute 21 is any device that lowers the amplitude of the sound generated by playing a musical instrument. They may be constructed of any suitable material, but metal and silicone are particularly advantageous.

The density of metal allows for the vibrations of the strings to be supressed, whilst silicone may limit any wear on the instrument through use. The mute shown has seven teeth, and is configured to fit over the strings near the bridge of the instrument. It may be positioned in any suitable position that has the effect of reducing the amplitude of the sound created by the instrument. Mutes 21 for other instruments may have fewer or greater numbers of teeth depending on the number of strings that the acoustic string instrument has.

Figure 7b shows an alternative form of mute for use with an acoustic string instrument. Rather than limiting the vibrations of the strings, this mute covers the air gaps between the strings and the box of the instrument. As the box provides the amplification of the sound, positioning a mute within the air gaps of the musical instrument reduces the amplification of the vibrations produced by the strings. This therefore reduces the amplitude of the sound generated by the instrument. The mute 22 shown in Figure 7b is circular to fit into the circular hole between the strings and box of a standard acoustic guitar. The mute 22 may have any shape, as long as it is configured to fit within the air gaps of the box of an acoustic musical instrument. For example, the air gaps on a violin are a different shape, and so a correspondingly shaped mute would be required. The mutes shown in Figures 7a and 7b may be used separately, or in combination.

Figure 8 shows a converting element 23, in particular a pick-up configured to sense the vibrations caused by an instrument, and convert these to an electronic signal, such as the sound signal that may then be provided to the headphones 1. This is shown as a black box in Figure 8, as this element may take any suitable construction. The converting element 23 may be positioned anywhere suitable on the instrument that will sense the vibrations created by thc musical instrument, such as near the strings of an acoustic musical instrument. The converting element 23 shown also comprises a transmitter 24 that is configured to transmit the sound signal to the receiving arrangement of the headphones 1. The transmitter 24 may be separate to the converting element 23, and may transmit via an intermediate device. The pick-up of Figure 8 may be positioned within, or attached to, a mute so that one item can perform both functions. The pick-up may be formed of piezoelectric material.

Figure 9 shows an alternative mute 26. This mute 26 is configured for brass or woodwind instruments, and is configured to be placed in the bell end of such instruments to reduce the amplitude of the noise that they generate. Any mute 26 configured to be placed in a bell end may be used. As the shape of the bell end of different musical instruments is different so the shape of the mute 26 for each musical instrument may also differ.

Figure 10 shows a cross-section of a mouthpiece 28 of a brass or woodwind instrument. This is a simplified diagram as such instruments are often more complex. It is noted that the shape of brass instruments in particular may differ from that shown, but the same principles shown in Figure 10 may equally be applied to any shape of mouthpiece 28. Inside the mouthpiece 28 is an artificial reed 27, although this may be positioned outside of the mouthpiece 28 in the case of some instruments. For example, a clarinet or saxophone would have the reed 27 positioned on the flat top edge of the mouthpiece 28. Each of these constructions is envisaged within the scope of the present claims. The artificial reed 27 comprises at least one sensor to measure the pressure and or frequency of the air blown through the mouthpiece 28. A further sensor may be used to determine the back pressure within the instrument that is indicative of the position of valves, keys and other controlling elements of the musical instrument. A method for using the reed 27 to produce a sound signal is set out in Figure 12.

An audio system, or kit, may be formed from the headphones as described above, a mute 21, 26 as described, and a converting element such as a pick-up 23 or artificial reed 27 The audio system then enables a musician to adapt a musical instrument to emit a lower amplitude sound to the local environment whilst providing a sound signal to the headphones 1 so that the musician can listen to their playing live from the headphones I, In particular the audio system may comprise a pair of headphones 1 for simultaneous playback of a live musical instrument and an accompanying soundtrack as set out above, a mute 21, 26 configured to be attached to the musical instrument, and arranged in use to reduce the amplitude of the sound output of the musical instrument into an environment in which the instrument is being played, a converting clement 23, 27 configured to bc attached to the musical instrument, and further configured to convert the vibrations associated with the musical instrument into a sound signal associated with the playing of the musical instrument, and a transmitter configured to transmit 24 the sound signal associated with the musical instrument to the listening device.

Figure 11 illustrates an electronic instrument 11, an acoustic string instrument 15 and a brass or woodwind instrument 17. These instruments may be used in conjunction with the headphones 1 so that a musician may practice them whilst emitting low amplitude of sound into the environment whilst also listening to an accompanying soundtrack. Other types of instruments may also be used in combination with the headphones Figure 12 illustrates a method of generating a sound signal for a brass or woodwind instrument. The first step shown in Figure 12 is measuring the amplitude and frequency of sound waves generated by the user at the artificial reed 31. This consists of the artificial reed measuring the amplitude of the sound waves, for example through use of a pressure sensor.

The frequency may also be determined in this way. The next step 33 comprises comparing the amplitude and frequency of the sound waves with the pre-recorded sound waves stored in a memory element. The memory element may be within the converting element, or alternatively at another device (and may even be stored in the headphones, in which case the raw data is sent to the headphones). This pre-recorded data may have been produced using an artificial reed positioned in an instrument with a mute, so that the amplitude and frequency of the input sound is measured by the artificial reed, whilst an associated sound signal of the musical instrument may also be recorded (albeit the sound signal may be recorded without the mute in place, but with the same input applied by the recording musician). This means that the database comprises a series of amplitude and frequency data of pre-recorded soundwaves each with an associated sound signal. The next step 35 is optional and comprises measuring the back pressure within the woodwind or brass instrument to determine the position of keys, valves and/or slides. By changing the position of keys/sliders/valves etc. on brass/woodwind instruments the sound produced by the instrument changes. Each change to the position of the keys/valves/sliders will change the back pressure within the instrument, and so a measurement of the backpressure can give an indication as to the positon of the keys/sliders/valves. Further optionally, the next step 37 may comprise comparing the measured back pressure to pre-recorded back-pressure measurements associated with the pre-recorded sound waves. The final step 39 is then producing a sound signal based on prerecorded sound signals associated with the pre-recorded sound waves and (optionally) the pre-recorded back pressure measurements. The sound signal selected may be associated with the closest match of the pre-recorded sound wave to the measured sound wave at the artificial reed, and (optionally) the closest match to the measured back pressure. This method allows a brass or woodwind instrument to produce very little sound, whilst still producing a sound signal, so that the headphones can output a sound associated with the musician playing. This method may be performed independently of and without the use of the headphones described.

Figure 13 shows a method of using the headphones described above. The method comprises receiving the signal associated with the playing of the live musical instrument 41. The method comprises also receiving the signal associated with the accompanying soundtrack 43. These steps may occur simultaneously, or one after the other. For instance an accompanying soundtrack may be sent to the receiving arrangement and then stored in the headphones. Once the user then begins to play a musical piece associated with the backing track the signal associated with the accompanying soundtrack is then received. The method then comprises providing from the first speaker arrangement 5 sound associated with the playing of the live musical instrument 45. The method also comprises providing from the second speaker arrangement 7 sound associated with the accompanying soundtrack 47. These final two steps may be performed simultaneously so that the relevant parts of the accompanying soundtrack are played at the same time the user is playing the relevant parts on their musical instrument.

It will be appreciated from the discussion above that the embodiments shown in the Figures are merely exemplary, and include features which may be generalised, removed or replaced as described herein and as set out in the claims With reference to the drawings in general, it will be appreciated that schematic functional block diagrams are used to indicate functionality of systems and apparatus described herein. For example, the functionality provided by the converting element 23, 27 may in whole or in part be provided by the mute 21, 26. In addition, the process functionality described may also be provided by devices which are supported by the headphones 1. It will be appreciated however that the functionality need not be divided in this way and should not be taken to imply any particular structure of hardware other than that described and claimed below. The function of one or more of the elements shown in the drawings may be further subdivided, and/or distributed throughout apparatus of the disclosure. In some embodiments the function of one or more elements shown in the drawings may be integrated into a single functional unit.

The above embodiments are to be understood as illustrative examples. Further embodiments are envisaged. It is to be understood that any feature described in relation to any one embodiment may be used alone, or in combination with other features described, and may also be used in combination with one or more features of any other of the embodiments, or any combination of any other of the embodiments. Furthermore, equivalents and modifications not described above may also be employed without departing from the scope of the invention, which is defined in the accompanying claims.

In some examples, one or more memory elements can store data and/or program instructions used to implement the operations described herein. Embodiments of the disclosure provide tangible, non-transitory storage media comprising program instructions operable to program a processor to perform any one or more of the methods described and/or claimed herein and/or to provide data processing apparatus as described and/or claimed herein.

The artificial reed 27 (and any of the activities and apparatus outlined herein) and any of its constituent part may be implemented with fixed logic such as assemblies of logic gates or programmable logic such as software and/or computer program instructions executed by a processor. Other kinds of programmable logic include programmable processors, programmable digital logic (e.g., a field programmable gate array (FPGA), an erasable programmable read only memory (EPROM), an electrically erasable programmable read only memory (EEPRON4)), an application specific integrated circuit, ASIC, or any other kind of digital logic, software, code, electronic instructions, flash memory, optical disks, CD-ROMs, DVD ROMs, magnetic or optical cards, other types of machine-readable mediums suitable for storing electronic instructions, or any suitable combination thereof Such data storage media may also provide a data storage means for use in conjunction with the sensor to store the sound signals, and the associated pre-recorded sound waves amplitude and frequency.

Claims

Claims 1. A pair of headphones for simultaneous playback of a live musical instrument and an accompanying soundtrack, comprising: a receiver arrangement, configured to receive a first sound signal from the live musical instrument, and further configured to separately receive a second sound signal comprising the accompanying soundtrack; a first speaker arrangement configured to output a sound associated with the playing of the live musical instrument; a second speaker arrangement configured to output a sound associated with the accompanying soundtrack.
2. The headphones of claim 1, wherein the frequency range of the second speaker arrangement is wider than the frequency range of the first speaker arrangement.
3. The headphones of claim 1 or 2, wherein the first speaker arrangement is configured to output sound in a frequency range centring around the frequency range produced by the musical instrument, optionally wherein the frequency range is only in a range of frequencies around the frequency range produced by the musical instrument, and/or wherein the second speaker arrangement is configured to output sound across substantially all of the range of frequencies that humans can hear, optionally wherein the second speaker arrangement comprises a full range speaker.
4. The headphones of any preceding claim, wherein the first speaker arrangement is configured to output sound with high attack velocity.
5. The headphones of any preceding claim, wherein the headphones comprise two earpieces, and: wherein the first speaker arrangement is provided on the first earpiece, and the second speaker arrangement is provided on the second earpiece; or wherein the first speaker arrangement is provided on the first earpiece, and wherein the second speaker arrangement comprises a speaker provided on the first earpiece and a speaker provided on the second earpiece to form a stereo pair; or wherein the first speaker arrangement and the second speaker arrangement each comprise a speaker provided on the first earpiece and a speaker provided on the second earpiece.
6. The headphones of any preceding claim, wherein the receiver arrangement comprises either: a single receiver configured to receive both the first sound signal and the second sound signal, and to separately provide the first sound signal to the first speaker arrangement, and the second sound signal to the second speaker arrangement, optionally wherein the single receiver is wireless; or a first receiver and a second receiver, wherein the first receiver is configured to receive the first sound signal and transmit it to the first speaker arrangement, and the second receiver configured to receive the second sound signal and transmit it to the second speaker arrangement.
7. The headphones of claim 6, wherein the receiver arrangement comprises the first receiver and the second receiver, and either: the first receiver and the second receiver both receive the sound signals via a direct wired connection, optionally through an audio jack; or the first receiver receives the first sound signal via a direct wired connection, and the second receiver receives the second sound signal wirelessly or the first receiver receives the first sound signal via a wireless connection, and the second receiver receives the second sound signal via a direct wired connection.
8. The headphones of any preceding claim, wherein the receiver arrangement is configured to receive the first sound signal from a converting element configured to convert vibrations associated with the live musical instmment into the first sound signal
9. The headphones of any preceding claim, wherein the accompanying sound is comprised of the playback of one or more second live musical instruments.
10. The headphones of claim 9, wherein the one or more second live musical instruments are performed locally.
11. The headphones of claim 9, wherein the playback of the one or more second live musical instruments is received from an intermediary network, optionally wherein the intermediary network is the internet.
12. An audio system, the system comprising: a pair of headphones for simultaneous playback of a live musical instrument and an accompanying soundtrack as set out in any of claims 1-11; a mute configured to be attached to the musical instrument, and arranged in use to reduce the amplitude of the sound output of the musical instrument into an environment in which the instrument is being played; a converting element configured to be attached to the musical instrument, and further configured to convert the vibrations associated with the musical instrument into a sound signal associated with the playing of the musical instrument; a transmitter configured to transmit the sound signal associated with the musical instrument to the listening device.
13. The audio system of claim 12, wherein the transmitter, and the receiver arrangement of the headphones are connected by a wire, or alternatively by a wireless connection
14. The audio system of claims 12 or 13, wherein the musical instrument is: an electronic instrument; an acoustic string instrument; or a woodwind or brass instrument.
15. The audio system of claim 14, wherein the musical instrument is the acoustic string instrument, and wherein the mute comprises means to reduce the vibration of the strings 20 when the instrument is played, and the converter is configured to be attached near to the bridge of the acoustic string instrument.
16. The audio system of claim 14, wherein the musical instrument is the brass or woodwind instrument, and wherein the mute is configured to fit in the bell of the brass or woodwind instrument.
17. The audio system of claim 16, wherein the converter comprises an artificial reed positioned in a mouthpiece and is configured to measure the amplitude and frequency of sound waves generated by the user at the artificial reed, optionally wherein the converter is configured to measure pressure differences in order to determine the amplitude and frequency of the sound waves.
18. The audio system of claim 17, wherein the artificial reed houses a processor and a memory element, wherein the processor configured to produce the sound signal from the amplitude and frequency of the sound waves by comparing the amplitude and frequency of the sound waves with pre-recorded sound waves stored in the memory element.
19. The audio system of claim 18, wherein the memory element stores a pre-recorded sound signal associated with each of the pre-recorded sound waves, such that by comparing the amplitude and frequency of the sound waves with the pre-recorded sound waves the processor produces the sound signal.
20. The audio system of claims 18 or 19, wherein the artificial reed further comprises an element configured to measure the back pressure within the woodwind or brass instrument to determine the position of valves and/or slides, and wherein the measured back pressure is also used to produce the sound signal
21. The audio system of claim 20, wherein the measured back pressure is compared to prerecorded back-pressure measurements associated with the pre-recorded sound waves, and is used to determine which pre-recorded sound signal is to be used as the sound signal of the musical instrument.
22 A method of using the device of any of claims 1-11, the method comprising: receiving the signal associated with the playing of the live musical instrument; receiving the signal associated with the accompanying soundtrack; providing from the first speaker arrangement sound associated with the playing of the live musical instrument; and providing from the second speaker arrangement sound associated with the accompanying soundtrack.
23. The method of using the device of claim 22, further comprising: balancing the amplitude of the sound provided by the first speaker arrangement and the second speaker arrangement.
24. The method of claim 23, wherein balancing comprises adjusting the relative average amplitude of the sound output by the first speaker arrangement and the second speaker arrangement.
25. The method of claims 22-24, further comprising equalising a sound level between the first speaker arrangement and the second speaker arrangement.