Classifications

• • A—HUMAN NECESSITIES
  • A63—SPORTS; GAMES; AMUSEMENTS
  • A63J—DEVICES FOR THEATRES, CIRCUSES, OR THE LIKE; CONJURING APPLIANCES OR THE LIKE
  • A63J17/00—Apparatus for performing colour-music

Definitions

• the invention concerns a method for the conversion of soundwaves into electromagnetic wave movement, preferably light, whereby soundwaves are converted to an electrical signal and are processed by a number of filters, and in addition an apparatus for performing the method.
• US-A-5.191.319 discloses a system for filtering music in 11 variable width frequency bands, in which every interval results in a preset colour display. In this patent the colours are chosen from what visually looks best.
• US-A-4.614.942 discloses a system as the above, but where a fourband model is used, in which one similarly chooses a colour visualisation based on sound influences based on what seems most visually appropriate.
• the state of the art shows converting of sound into light, but where a signal may only imply that one colour is activated, and thereby does not give the possibility for blending of colours, where the colour mixture will assume different appearances, depending on from which frequency the sound originates.
• a sound will show itself as an image of an individual colour or combination of colours, in that a sound tone will result in a single or more filters being activated and where each filter is connected to colour displays. For example, if a filter is connected to a colour display that is blue, together with another filter colour display which is yellow and if the filters are activated in the ratio 1:1, the output on the display means will be green. It is thereby possible to achieve a infinitely variable, visual registration of a sound signal which can be used with sound shows, that are to be visualized, and in connection with deaf-handicapped who, by this process, can achieve an understanding and awareness of sound.
• All colours may be expressed either as a frequency (Hertz) or as wavelengths (nanometers). This applies similary to the audible sound areas, where wavelengths are expressed i m, cm, or mm.
• the human ear can detect sound from approx 20 Hz to approx 20 kHz (wave ⁇ lengths from 20 m to 20 mm) corresponding to 10 octaves.
• the human eye can register wavelengths from approx 792 nm to 396 nm, corresponding to one doubling of the frequency or 1 audible octave.
• the optimal display is therefore devided in 10 sections. In order to visualize the complete audible sound spectrum there is need for 10 displays representing 10 succeeding frequency doublings. Each display represents the whole colour spectrum through the three primary colours red, green, and blue.
• the colour display apparatus is constructed in such a way so that low frequencies are displayed at the bottom and high frequencies at the top. This makes it possible to see more frequencies at the same time, thus it is possible, for example, to see an overtone spectrum of individual sounds or several different sounds, voices and/or instruments at the same time.
• the invention in addition relates to an apparatus for the effectuation of this process as set out in claim 8.
• the human voice has a complex oscillisation structure, containing fundamental tones, overtones, vowels, consonants and formants, which will all be visible in several of the converters display and octave areas simultaneously.
• Fig. 1 the principal layout plan for the conversion
• Fig. 2 illustrates a filter configuration for a prototype where a narrow-band filter has been chosen
• Fig. 3 illustrates the limiter function for the conversion
• Fig. 5 illustrates the state-variable filter
• Fig. 6 illustrates the input board
• Fig. 7 illustrates the basic filter board
• Fig. 8 illustrates the in/out board
• Fig. 9 illustrates the single compressor / limiter
• Fig. 10 illustrates the conversion diagram and filter configuration for another prototype.
• Fig. 1 illustrates the conversion possibilities for a sound, in which we have a filtercard able to analyse electrically presented sound sources.
• a light control component consisting of light dimmers with relevant light sources.
• Each filtercard is connected to 3 light dimmers with their respective lightsources in the 3 primary colours.
• a display component consisting of transparent material (plastic, plexiglas, glass etc.) or alternatively a white surface upon which the three primary colours can be mixed or projected.
• the conversion analysis component contains a number of filter cards.
• Each filter card comprises 3 filters and each card has 3 outputs - one for each primary colour. Outputs are - suitable for controlling standard light dimmers with control voltage O-IOVDC.
• the filter card When the filter card is activated by an electrically presented sound signal, the filter analyses the frequency and dynamics. By way of the card's conversion factor this electrical current is distributed to the filter cards three outputs. In this way the 3 light dimmers are activated by the control voltages conditioned on frequency and dynamics.
• the light sources connected to each filter card 3 reproduce these frequencies and dynamics as visible light.
• Each filtercard is set to process 6 oscillations doublings in succession between 130,8 Hz and 8371,2 Hz.
• Each set of light displays consists of 3 primary colours red, green and blue, with wavelengths respectively of 720 nm (red), 539 nm (green) and 453 nm (blue).
• the conversion principle of the converter is founded on the recognition of the natural structure of sound and light and the subsequent connection.
• This connection means that every frequency will represent a specific colour, and that any sound, including over and under tone spectra, reverbation and acoustic circumstances will also represent a specific colour.
• the process together with the appartus is fully analogue constructed to insure the fastest reaction response to the conversion.
• Each filter is constructed using state-variable filter technology, which gives the optimal phase response to audio. Unlike tripotientmetres, which quickly lose augment, there is presently used measured, hand built resistors which display great reliability.
• the wavelength is halved to 37,5 cm resulting in that the frequency is doubled to 880 Hz.
• the wavelength is reduced to 719 nm corresponding to an oscillation of 461.373 kHz.
• the frequency is no longer audible to the human ear.
• the oscillation frequency of 264.373 kHz is visible to the human eye as red light.
• the conversion factor from sound to light is dependent on, which frequency / frequencies is used as input, dependent on where the number of frequency doublings, the sound or sounds to be converted, is positioned from the visible spectrum frequency. In this way through the calculation factor, a direct transformation function between sound and light is created.
• the starting point is a pure sinus tone of 440 Hz, which in musical termino- logy is equivalent to the note "A".
• We now halve the wavelength to 37,5 cm 880 Hz.
• the frequency is out of the human ears audible range. We are unable to hear the tone, but we can still call it A as we repeat octaves.
• Fig. 2 illustrates how band-pass filters are arranged in connection to each other.
• the filters referenced to have a slope, in which the signal is 24 dB below each filter top. This is necessary due to the insulation demands between two individual tones, which are to be registered.
• the filters are constructed after the state-variable principle which is illustrated in Fig. 5, whereby it is possible to achieve the necessary filter slope and appropriate phase relations- hips in the transition frequencies.
• Fig. 7 illustrates a print board drawing of the filter as set out in fig. 2 and fig. 5.
• the system is designed to process a complete octave, in other words 12 halfhotes for each filtercard. It is therefore nessecary, that the center frequency of each note is placed exactly at the resonance top of the related filter and immediatly after falls sharply before the next filter.
• the filters must not have a smaller Q factor than that for avoiding oscillation in the filters. This results in an compromise evaluation in relation to the slope / ringing of the filters and is different depending on which note is involved. All the filters are therefore precisely adjusted with handfiled 1% metal film resistors, both for accuracy in the filterfre- quency and the wavelength, which is referred to as Q.
• the corresponding mixing levels are (red, green, blue) are adjusted.
• Mixing of colours is achieved by aggregating the pure amplitude modulated signals from the 12 filters in 3 different virtual earth summing amps, respectively called red - green and blue sum amps. From each filter a total of 3 resistors are connected to a semi balanced summi ⁇ ng bus, respectively, and depending on how the 3 resistors relative Ohm values are set, these will enter the 3 sum amps at a precisely set level.
• This DC current is sent from the apparatus to an ordinary light system containing triac - controls for incandescent lamps.
• 3 lamps will be used, namely red, green and blue. These 3 triacs receive their current from the 3 sum amps.
• the filter card When the filter card receive a tone (note), for example an the filter A will allow the tone to pass, while the other filters will block this frequency. In accordance with the table above the tone A equals red.
• the signal from the red sum amps will be subsequently be rectified and sent as DC current to the triac, which makes the red lamp to light up.
• the note (tone) C represents the colour yellow, which is a mixture of 50% red and 50% green.
• the filter signal passes down to the red and green summing bus through 2 resistors, whose mutual related values are 50% and 50%.
• the signals end up as DC current, and now both red and green lamps are illuminated, which, when mixed on a white surface or projected through a transparent medium will produce the colour yellow.
• Fig. 6 and fig. 4 shows an input board.
• Fig. 8 illustrates the print board for the input board. This board consists of a stereo line input and a mono microphone input. These inputs are all electronically balanced in order to avoid outside interference noise and other possible signal problems, when using long cable lengths to and from the apparatus.
• the actual principal of the input board is that the line input is received in stereo and relayed to the inbuilt stereo mixer, from which the mono microphone signal originates.
• This microphone signal is sent to both left and right channels, so that it always appears in the middle of the stereo signal. From there the signal is relayed to a stereo output step, where the line and microphone signals emerge as mixed.
• This stereo output ends in 2 jack sticks at the back of the apparatus and are used to connect a stereo amplifier with its related speakers. It is not possible to change the level of the lineout signal, in so far as the input level is determined between -10 to 0 dB.
• the microphone input has however a gain-potentiometer at the front. This is set to a scale of -50 to + 10 dB. At this input an 18 volt phantom-voltage is operative, when using a microphone of the condensor type. The phantom- voltage cannot be turned off, but has no consequence for the operation of dynamic microphones and cannot damage them.
• the stereo signal is divided in 2 lines.
• a stereo signal is relayed to the previously mentioned output step, and a mono-mix of left and right is sent from the input board to the limiter board, where one has the possibility of adjusting compression drive and output level. From here these are returned to the input board, where the mono signal is distributed and subdivided to 6 seperate amplifiers, with individual related trimmer controls at the front. Each of these amplifiers exits from the board to their related filter boards, which in the mentioned system are 6 in number. Limiter function for the converter.
• Fig. 3 illustrates how the limiter board processes the incoming audio.
• Fig. 9 illustrates the print board.
• a PC version will open up the possibilities of running the convertor together with already existing analysis methods as used in connection with speech teaching.
• Future versions will also be able to use an ordinary TV for example, a wide screen projector or a monitor as a mixing / display medium.
• the conversion is a new method for training language and auditive orientation, amongst other things as an articulation tool. In connection with work amongst the physically and psychologically handicapped the conversion also acts as a concentration and motivation tool.
• the conversion is a means for more intense aware- ness of music, music understanding and a new visual sound dimension in daily life for relaxation, entertainment or enjoyment.

Landscapes

• Engineering & Computer Science (AREA)
• Multimedia (AREA)
• Auxiliary Devices For Music (AREA)
• Illuminated Signs And Luminous Advertising (AREA)
• Optical Communication System (AREA)
• Reduction Or Emphasis Of Bandwidth Of Signals (AREA)
• Electrostatic, Electromagnetic, Magneto- Strictive, And Variable-Resistance Transducers (AREA)
• Optical Modulation, Optical Deflection, Nonlinear Optics, Optical Demodulation, Optical Logic Elements (AREA)
• Measurement Of Mechanical Vibrations Or Ultrasonic Waves (AREA)

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Applications Claiming Priority (2)

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Citations (6)

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• 1996
  • 1996-06-07 AT AT96917375T patent/ATE235291T1/de not_active IP Right Cessation
  • 1996-06-07 EP EP96917375A patent/EP0889746B1/en not_active Expired - Lifetime
  • 1996-06-07 US US08/973,625 patent/US6046724A/en not_active Expired - Fee Related
  • 1996-06-07 DE DE69627036T patent/DE69627036T2/de not_active Expired - Fee Related
  • 1996-06-07 DK DK96917375T patent/DK0889746T3/da active
  • 1996-06-07 WO PCT/DK1996/000248 patent/WO1996041667A1/en active IP Right Grant
  • 1996-06-07 AU AU59979/96A patent/AU5997996A/en not_active Abandoned

Patent Citations (6)

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