WO2014068154A1 - Method for mixing in digital audio editing and effects obtained by said mixing - Google Patents

Method for mixing in digital audio editing and effects obtained by said mixing Download PDF

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Publication number
WO2014068154A1
WO2014068154A1 PCT/ES2013/000243 ES2013000243W WO2014068154A1 WO 2014068154 A1 WO2014068154 A1 WO 2014068154A1 ES 2013000243 W ES2013000243 W ES 2013000243W WO 2014068154 A1 WO2014068154 A1 WO 2014068154A1
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Prior art keywords
track
musical
recording
take
point
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PCT/ES2013/000243
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Spanish (es)
French (fr)
Inventor
Francisco Javier BLANCO RODRíGUEZ
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Blanco Rodríguez Francisco Javier
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Publication of WO2014068154A1 publication Critical patent/WO2014068154A1/en

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    • 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
    • G11B27/034—Electronic editing of digitised analogue information signals, e.g. audio or video signals on discs
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04H—BROADCAST COMMUNICATION
    • H04H60/00—Arrangements for broadcast applications with a direct linking to broadcast information or broadcast space-time; Broadcast-related systems
    • H04H60/02—Arrangements for generating broadcast information; Arrangements for generating broadcast-related information with a direct linking to broadcast information or to broadcast space-time; Arrangements for simultaneous generation of broadcast information and broadcast-related information
    • H04H60/04—Studio equipment; Interconnection of studios

Definitions

  • the present invention relates to a method of mixing in the edition of musical works of digital technology and to the musical effects obtained through said method and constitutes an alternative within the conventional technique in this type of mixtures.
  • a particular advantage of the present invention is that it allows to broaden and refine the concept of music with more body.
  • the superposition of digital audio tracks allows applying a technique that until now had never been applied and that is the object of the present invention. It is about superimposing on the track of the digital recording a second track of the same recording, having an interval of time with this second recording of at least one attosecond, being able to do this in the parts where you want to produce the musical effect object of this invention.
  • This not only allows for unprecedented flexibility, but the addition of the second track on the first allows obtaining almost perfect results compared to analog techniques.
  • the invention constitutes a new way of perceiving music by the consumer.
  • Complete a musical work with the proper criteria of this invention and with the musical arrangements that are achieved is a step forward for music, this method proposed in this invention comes to enrich musical works and the world of music.
  • document ES 2178329 T3 refers to a method of the content of audio tracks of an information carrier, said information carrier having a plurality of audio tracks that are synchronized with each other and have each recorded in the same audio information. which must be combined selectively with the audio information recorded in other such tracks, and data from text that define the audio contents of said tracks; said method comprising the steps of reproducing the content of said information support and removing said text data and said audio information from it, graphically presenting to a user a menu derived from said text data to inform said user of the information of said information.
  • audio that is available to be combined allow said user to introduce the way of combining the audio information available on the basis of the menu options displayed, and combine the selected audio information according to the introductions made by the user including the phase inversion of the audio information to carry out a cancellation of audio information in at least one of said tracks.
  • This previous patent deals with a method by which the user is given the possibility to select tracks and thus be able to hear the track containing the recording of a specific instrument at his / her choice.
  • ES 224987 A1 discloses a method for recording audio data on a data carrier, said audio data being a digitized audio signal consisting of at least one audio track in a known format and said tracks being constituted by a number determined of samples of known size, which has the purpose of allowing the reproduction and / or manipulation of the tracks. From said data support, from independently, in real time and without loss of quality with respect to the quality given by the format of said tracks comprising recording a data field consisting of a structure of digitized information formed by blocks of data, as many as number of samples and ordered following the numbering of said samples, and each of the data blocks being formed by the grouping of all the samples, which correspond to the same order number for each of the tracks.
  • This patent refers to the process of recording and grouping audio data in general, without the particularity offered by the proposed invention.
  • the method of mixing in digital audio edition object of this invention consists of the following stages
  • the first musical take of track 1 is set in motion and you start with the musical taking of track 2 from any point of track 1 to any other point of track 2, recording the same take by 2 tracks together with a time interval between the two tracks that goes from an attosecond until the final time of the song, cutting in the parts, in which you want to create this musical effect.
  • the waiting time between a point of the track 1 and the point of the track 2 to record will depend on the effect that you want to give according to the rhythm and the speed of the song, that is, according to the musical work required, and the pieces of that song that we want to take the normal effect or the effect object of this invention, influencing all the musical factors even with their most insignificant details when doing with this method the mixtures, such as instrumentation, tempo, rhythm or speed.
  • the voice can be recorded in the first musical take or track 1, and then do the remix with this method, or do the remix with this method and then record the voice, and thus finish the recording with the musical effect object of this invention, being able to create this same effect with the own voice at the same time as the music where it is wanted, and also, only the superposition of the track of the voice with its same track, resulting in a predicted but vocal effect and remixing with the musical track, as well as with instrumental and non-instrumental sounds, either from the point to any other point of the song when it is finished, applying this method and creating a new recording track, also considering itself the object of this invention.
  • the musical effects object of this invention consist of those obtained in the final recording of the musical work when applying this method.
  • the first musical take of track 1 is set in motion and you start with the musical taking of track 2 from any point of track 1 to any other point of track 2, recording the same take by 2 tracks together with a time interval between the two tracks that goes from an attosecond until the final time of the song, cutting in the parts, in which you want to create this musical effect.
  • the voice can be recorded in the first musical take or track 1, and then do the remix with this method, or do the remix with this method and then record the voice, and thus finish the recording with the musical effect object of this invention, being able to create this same effect with the own voice at the same time as the music where it is wanted, and also, only the superposition of the track of the voice with its same track, resulting in a predicted but vocal effect and remixing with the musical track, as well as with instrumental and non-instrumental sounds, either from the point to any other point of the song when it is finished, applied this method and creating a new recording track, considering itself also object of this invention.
  • the musical effects object of this invention consist of those obtained in the final recording of the musical work when applying this method.

Abstract

The invention relates to a method for mixing in digital audio editing and effects obtained by said mixing. Said method comprises the following steps: a musical take of a theme or song is created, said musical take is put on a recording track, track 1, and the same musical take is put on another recording track, track 2, and the first musical take of track 1 is started. The musical take of track 2 starts from any point on track 1 up to any other point on track 2, recording the same take for the two tracks together with a time interval between the two tracks, ranging from an attosecond to the last beat of the song, cutting in the parts wherein the musical effect is to be created, whether it be instrumental or vocal music.

Description

MÉTODO DE MEZCLA EN EDICIÓN AUDIO DIGITAL Y EFECTOS OBTENIDOS CON ESTA MEZCLA  METHOD OF MIXING IN DIGITAL AUDIO EDITION AND EFFECTS OBTAINED WITH THIS MIXTURE
OBJETO DE LA INVENCIÓN OBJECT OF THE INVENTION
La presente invención se refiere a un método de mezcla en la edición de obras musicales de tecnología digital y a los efectos musicales obtenidos a través de dicho método y constituye una alternativa dentro de la técnica convencional en este tipo de mezclas.  The present invention relates to a method of mixing in the edition of musical works of digital technology and to the musical effects obtained through said method and constitutes an alternative within the conventional technique in this type of mixtures.
La mezcla de música con herramientas digitales, aunque es heredera de muchos conceptos originados cuando sólo se trabajaba con sistemas analógicos, ha desarrollado ampliamente las posibilidades de la grabación digital al aflorar multitud de recursos disponibles. Los programas multipistas han enriquecido la etapa de postproducción o edición de la obra musical al poderse ahora combinar durante el proceso de mezcla muchas más tomas seleccionadas para que entre todas conformen finalmente una unidad, que es la pieza musical o banda sonora terminada. En este proceso se hacen ajustes en los niveles de intensidad particulares de cada instrumento o fuente; en el nivel de intensidad de cada canal, de los grupos, de los envíos de efectos y del nivel general. También se define con exactitud la ubicación de cada instrumento en el campo estereofónico o según el sistema de sonido envolvente con el que se esté trabajando. Se aplican también efectos y procesadores para mejorar la realización. Se trata de lograr que con todos los procedimientos pertinentes se consiga el equilibrio que cada pieza necesita tener, según el criterio de su autor o productor artístico. The mixture of music with digital tools, although it is the heir of many concepts originated when only analog systems were used, has developed the possibilities of digital recording widely, as many available resources emerge. Multitrack programs have enriched the stage of postproduction or edition of the musical work as it can now be combined during the mixing process many more selected shots so that between all of them finally form a unit, which is the musical piece or finished soundtrack. In this process adjustments are made in the intensity levels of each instrument or source; in the level of intensity of each channel, the groups, the effects and the general level. The location of each instrument in the stereophonic field or according to the surround sound system with which it is being worked is also precisely defined. Effects are also applied and processors to improve the realization. The aim is to ensure that all the relevant procedures achieve the balance that each piece needs to have, according to the criteria of its author or artistic producer.
Uno de los cambios prácticos de gran impacto en el trabajo con sonido que introdujeron las actuales técnicas digitales, es el de poder tener una visión global de la música y los sonidos a lo largo de una línea de tiempo a través de la pantalla de un monitor. Entre las grandes ventajas de la mezcla digital se cuenta el acceso aleatorio que permite acceder en cualquier momento a cualquier punto de una grabación y la edición no destructiva que hace posible la realización de cambios sin tener que alterar el material original. Todo ello ha significado una forma diferente de percibir, entender y aprehender la forma, los espacios, las duraciones de la música, con el consecuente impacto en la creación y la producción de música. Cuando comienza a sonar una grabación, de un sólo vistazo en el monitor se puede tener una idea cabal de todas sus proporciones formales si se hace el ajuste correcto para ver el archivo completo en el monitor del ordenador. Es muy sencillo, de ese modo, comparar las proporciones por ejemplo entre una estrofa y un estribillo, sencillamente viendo su tamaño en una pantalla. Inclusive es posible sacar conclusiones, para el ojo entrenado, acerca de aspectos como la dinámica, las intensidades, la densidad sonora de cada una de las partes, los espacios de silencio, tipos de ataques o caídas. One of the practical changes of great impact in the work with sound that introduced the present digital techniques, is the one of being able to have a global vision of the music and the sounds along a timeline through the screen of a monitor . Among the great advantages of digital mixing is the random access that allows access at any time to any point of a recording and non-destructive editing that makes it possible to make changes without having to alter the original material. All this has meant a different way of perceiving, understanding and apprehending the form, the spaces, the durations of the music, with the consequent impact on the creation and production of music. When a recording begins to sound, at a single glance on the monitor you can have a full idea of all its formal proportions if the correct setting is made to see the entire file on the computer monitor. It is very simple, in this way, to compare the proportions for example between a stanza and a refrain, simply by seeing its size on a screen. It is even possible to draw conclusions, for the trained eye, about aspects such as dynamics, intensities, sound density of each of the parties, spaces of silence, types of attacks or falls.
Cuando se trabaja en la mezcla de una grabación digital en múltiples pistas cualquiera de estos temas musicales se ve de principio a fin en el monitor, pudiéndose prever de un vistazo lo que ocurrirá a lo largo del tiempo sin necesidad de que fluya. En el monitor la música evoluciona espacialmente de izquierda a derecha sobre una línea de tiempo. De este modo las técnicas de mezcla en la grabación audio digital han hecho posible percepciones que con los medios analógicos no eran posible ni tampoco tan precisas. En aquellos medios analógicos el tamaño del carrete de una cinta magnética solamente podía sugerir algo acerca de la duración de una grabación, pero había que esperar a que el tiempo transcurriera y que la música fluyera para conocer exactamente su tamaño, forma y proporciones.  When working on the mix of a digital recording on multiple tracks any of these musical themes is seen from beginning to end on the monitor, being able to foresee at a glance what will happen over time without the need for it to flow. On the monitor the music evolves spatially from left to right on a timeline. In this way the mixing techniques in digital audio recording have made possible perceptions that with the analogical media were not possible nor are they so precise. In those analogical media, the size of the reel of a magnetic tape could only suggest something about the duration of a recording, but we had to wait for the time to pass and for the music to flow to know exactly its size, shape and proportions.
Una ventaja particular de la presente invención es la de que la misma permite ampliar y perfeccionar el concepto de música con más cuerpo. Por ejemplo, la superposición de pistas de audio digitales permite aplicar una técnica que hasta ahora no se había aplicado nunca y que es el objeto de la presente invención. Se trata de superponer sobre la pista de la grabación digital una segunda pista de la misma grabación, habiendo un intervalo de tiempo con esta segunda grabación de al menos un attosegundo, pudiéndose hacer esto en las partes donde se quiera producir el efecto musical objeto de esta invención. Esto no sólo permite disponer de una flexibilidad sin precedentes, sino que la adición de la segunda pista sobre la primera permite la obtención de resultados casi perfectos en comparación con las técnicas analógicas. Es objeto de esta invención aportar un sistema y método para que en la edición de obras informatizadas de música la grabación final presente características de compactación que prestan a la obra musical un estilo y un carácter propio hasta ahora desconocido. En cierto sentido, la invención constituye una nueva forma de percibir la música por el consumidor. Completar una obra musical con el criterio propio de esta invención y con los arreglos musicales que se consiguen es un paso adelante para la música, este método propuesto en esta invención viene a enriquecer las obras musicales y el mundo de la música. A particular advantage of the present invention is that it allows to broaden and refine the concept of music with more body. For example, the superposition of digital audio tracks allows applying a technique that until now had never been applied and that is the object of the present invention. It is about superimposing on the track of the digital recording a second track of the same recording, having an interval of time with this second recording of at least one attosecond, being able to do this in the parts where you want to produce the musical effect object of this invention. This not only allows for unprecedented flexibility, but the addition of the second track on the first allows obtaining almost perfect results compared to analog techniques. It is the object of this invention to provide a system and method so that in the edition of computerized works of music the final recording presents characteristics of compaction that lend the musical work a style and a character of its own hitherto unknown. In a certain sense, the invention constitutes a new way of perceiving music by the consumer. Complete a musical work with the proper criteria of this invention and with the musical arrangements that are achieved is a step forward for music, this method proposed in this invention comes to enrich musical works and the world of music.
ANTECEDENTES DE LA INVENCIÓN  BACKGROUND OF THE INVENTION
Exponemos a continuación los documentos encontrados que reflejan el estado de la técnica relacionado con la presente invención.  We expose below the documents found that reflect the state of the art related to the present invention.
Así el documento ES 2178329 T3 se refiere a un método del contenido de pistas de audio de un soporte de información, teniendo dicho soporte de información una pluralidad de pistas de audio que están sincronizadas entre sí y tienen cada una grabada en la misma información de audio que debe ser combinada selectivamente con la información de audio grabada en otras de dichas pistas, y datos de texto que definen los contenidos de audio de dichas pistas; comprendiendo dicho método los pasos de reproducir el contenido de dicho soporte de información y sacar del mismo dichos datos de texto y dicha información de audio, presentar gráficamente a un usuario un menú derivado de dichos datos de texto para informar a dicho usuario de la información de audio que está disponible para ser combinada, permitir a dicho usuario introducir la manera de combinar la información de audio disponible sobre la base de las opciones de menú visualizadas, y combinar la información de audio seleccionada de acuerdo con las introducciones efectuadas por el usuario incluyendo la inversión de fase de la información de audio para llevar a cabo una cancelación de información de audio en al menos una de dichas pistas. Thus, document ES 2178329 T3 refers to a method of the content of audio tracks of an information carrier, said information carrier having a plurality of audio tracks that are synchronized with each other and have each recorded in the same audio information. which must be combined selectively with the audio information recorded in other such tracks, and data from text that define the audio contents of said tracks; said method comprising the steps of reproducing the content of said information support and removing said text data and said audio information from it, graphically presenting to a user a menu derived from said text data to inform said user of the information of said information. audio that is available to be combined, allow said user to introduce the way of combining the audio information available on the basis of the menu options displayed, and combine the selected audio information according to the introductions made by the user including the phase inversion of the audio information to carry out a cancellation of audio information in at least one of said tracks.
Esta patente anterior trata de un método por el que se le da al usuario la posibilidad de seleccionar pistas y poder así oír a su elección la pista que contenga la grabación de un instrumento determinado.  This previous patent deals with a method by which the user is given the possibility to select tracks and thus be able to hear the track containing the recording of a specific instrument at his / her choice.
ES 224987 A1 describe un método para la grabación de datos de audio en un soporte de datos, siendo dichos datos de audio una señal de audio digitalizada y constituida por al menos una pista de audio en un formato conocido y estando constituidas dichas pistas por un número determinado de muestras de tamaño conocido, que tiene el objeto de permitir la reproducción y/o manipulación de las pistas. Desde dicho soporte de datos, de manera independiente, en tiempo real y sin merma de calidad con respecto a la calidad dada por el formato de dichas pistas que comprende grabar un campo de datos consistente en una estructura de información digitalizada formada por bloques de datos, tantos como número de muestras y ordenados siguiendo la numeración de dichas muestras, y estando cada uno de los bloques de datos formados por la agrupación de todas las muestras, que corresponden al mismo número de orden para cada una de las pistas. Esta patente se refiere al proceso de grabación y agrupación de datos de audio en general, sin la particularidad que ofrece la invención propuesta. ES 224987 A1 discloses a method for recording audio data on a data carrier, said audio data being a digitized audio signal consisting of at least one audio track in a known format and said tracks being constituted by a number determined of samples of known size, which has the purpose of allowing the reproduction and / or manipulation of the tracks. From said data support, from independently, in real time and without loss of quality with respect to the quality given by the format of said tracks comprising recording a data field consisting of a structure of digitized information formed by blocks of data, as many as number of samples and ordered following the numbering of said samples, and each of the data blocks being formed by the grouping of all the samples, which correspond to the same order number for each of the tracks. This patent refers to the process of recording and grouping audio data in general, without the particularity offered by the proposed invention.
Como se desprende de la investigación realizada, ninguno de los documentos encontrados afectan la novedad y la actividad inventiva de la invención comparada, ya que ninguno de éstos soluciona los problemas planteados como lo hace la invención propuesta.  As can be seen from the research carried out, none of the documents found affects the novelty and the inventive activity of the comparative invention, since none of these solves the problems posed as does the proposed invention.
DESCRIPCIÓN DE LA INVENCIÓN  DESCRIPTION OF THE INVENTION
El método de mezcla en edición audio digital objeto de esta invención consta de las siguientes etapas The method of mixing in digital audio edition object of this invention consists of the following stages
A - Crear una toma musical de un tema o canción. A - Create a musical shot of a song or theme.
B - Se coloca dicha toma musical en una pista de grabación a la que denominaremos pista 1. C - En otra pista de grabación, pista 2, se coloca la misma toma musical. B - This musical take is placed on a recording track, which we will call track 1. C - On another recording track, track 2, the same musical take is placed.
D - Se pone en marcha la primera toma musical de la pista 1. y se empieza con la toma musical de la pista 2 desde un punto cualquiera de la pista 1 hasta otro punto cualquiera de la pista 2, grabando la misma toma por las 2 pistas juntas con un intervalo de tiempo entre las dos pistas que va desde un attosegundo hasta el tiempo final de la canción, cortando en las partes, en las que se quiera crear este efecto musical. D - The first musical take of track 1 is set in motion and you start with the musical taking of track 2 from any point of track 1 to any other point of track 2, recording the same take by 2 tracks together with a time interval between the two tracks that goes from an attosecond until the final time of the song, cutting in the parts, in which you want to create this musical effect.
E - Se graba el resultado en una sola pista, pista 3, obteniéndose así una nueva grabación, siendo ésta el resultado principal del efecto musical objeto de la presente invención. E - The result is recorded in a single track, track 3, thus obtaining a new recording, this being the main result of the musical effect object of the present invention.
F -La mezcla se hace por partes, cortaremos, pegaremos, uniremos, colocaremos, mezclaremos o volveremos a mezclar (remezclaremos) la pista 1 o toma normal y la pista 2 con los arreglos realizados, dando un resultado con el efecto musical objeto de esta invención de un punto determinado a otro, quedando así en una pista 3 que pasará a ser la grabación final con el efecto musical objeto de invención incorporado. F -The mix is made by parts, cut, paste, join, place, mix or mix (remix) the track 1 or normal shot and track 2 with the arrangements made, giving a result with the musical effect object of this invention of a specific point to another, thus remaining in a track 3 that will become the final recording with the musical effect object of invention incorporated.
G - El tiempo de espera entre un punto de la pista 1 y el punto de la pista 2 para grabar dependerá del efecto que se le quiera dar según el ritmo y la velocidad de la canción, es decir, según requiera la obra musical, y los trozos de dicha canción que queramos que lleven el efecto normal o el efecto objeto de esta invención, influyendo todos los factores musicales incluso con sus detalles más insignificantes al hacer con este método las mezclas, tales como instrumentación, tempo, ritmo o velocidad. G - The waiting time between a point of the track 1 and the point of the track 2 to record will depend on the effect that you want to give according to the rhythm and the speed of the song, that is, according to the musical work required, and the pieces of that song that we want to take the normal effect or the effect object of this invention, influencing all the musical factors even with their most insignificant details when doing with this method the mixtures, such as instrumentation, tempo, rhythm or speed.
H - La voz se puede grabar en la primera toma musical o pista 1 , y luego hacer la remezcla con este método, o hacer la remezcla con este método y luego grabar la voz, y así terminar la grabación con el efecto musical objeto de esta invención, pudiéndose crear este mismo efecto con la propia voz al mismo tiempo que la música donde se quiera, y también, solo la superposición de la pista de la voz con su misma pista, dando como resultado un efecto previsto pero vocal y volviendo a remezclar con la pista músical, así como con sonidos instrumentales y no instrumentales, sea desde el punto que sea a otro punto cualquiera de la canción cuando esté terminada, aplicado este método y creando una nueva pista de grabación, considerándose también objeto de esta invención. H - The voice can be recorded in the first musical take or track 1, and then do the remix with this method, or do the remix with this method and then record the voice, and thus finish the recording with the musical effect object of this invention, being able to create this same effect with the own voice at the same time as the music where it is wanted, and also, only the superposition of the track of the voice with its same track, resulting in a predicted but vocal effect and remixing with the musical track, as well as with instrumental and non-instrumental sounds, either from the point to any other point of the song when it is finished, applying this method and creating a new recording track, also considering itself the object of this invention.
Los efectos musicales objeto de esta invención consisten en los obtenidos en la grabación final de la obra musical al aplicar este método. The musical effects object of this invention consist of those obtained in the final recording of the musical work when applying this method.
DESCRIPCIÓN DE UNA REALIZACIÓN PREFERENTE DESCRIPTION OF A PREFERRED EMBODIMENT
Se describe a continuación un modo de realización preferida de la invención, no siendo ésta sino uno de los múltiples modos de construcción que se pueden llevar a cabo para el desarrollo de la técnica y configuración descrita previamente. A preferred embodiment of the invention is described below, not being one of the multiple modes of construction that can be carried out for the development of the technique and configuration described previously.
Una realización preferida de la invención se basa en un procedimiento de mezcla en edición audio digital que consta de las siguientes etapas :  A preferred embodiment of the invention is based on a mixing method in digital audio edition consisting of the following stages:
A - Crear una toma musical de un tema o canción. A - Create a musical shot of a song or theme.
B - Se coloca dicha toma musical en una pista de grabación a la que denominaremos pista 1. B - This musical take is placed on a recording track, which we will call track 1.
C - En otra pista de grabación, pista 2, se coloca la misma toma musical. C - On another recording track, track 2, the same musical take is placed.
D - Se pone en marcha la primera toma musical de la pista 1. y se empieza con la toma musical de la pista 2 desde un punto cualquiera de la pista 1 hasta otro punto cualquiera de la pista 2, grabando la misma toma por las 2 pistas juntas con un intervalo de tiempo entre las dos pistas que va desde un attosegundo hasta el tiempo final de la canción, cortando en las partes, en las que se quiera crear este efecto musical. D - The first musical take of track 1 is set in motion and you start with the musical taking of track 2 from any point of track 1 to any other point of track 2, recording the same take by 2 tracks together with a time interval between the two tracks that goes from an attosecond until the final time of the song, cutting in the parts, in which you want to create this musical effect.
E - Se graba el resultado en una sola pista, pista 3, obteniéndose así una nueva grabación, siendo ésta el resultado principal del efecto musical objeto de la presente invención. E - The result is recorded in a single track, track 3, thus obtaining a new recording, this being the main result of the musical effect object of the present invention.
F -La mezcla se hace por partes, cortaremos, pegaremos, uniremos, colocaremos, mezclaremos o remezclaremos la pista 1 o toma normal y la pista 2 con los arreglos realizados, dando un resultado con el efecto musical objeto de esta invención de un punto determinado a otro, quedando así en una pista 3 que pasará a ser la grabación final con el efecto musical objeto de invención incorporado. F -The mixing is done in parts, we will cut, paste, join, place, mix or remix the track 1 or normal take and track 2 with the arrangements made, giving a result with the musical effect object of this invention from one specific point to another, thus remaining on a track 3 that will become the final recording with the musical effect object of invention incorporated .
G - El tiempo de espera entre un punto de la pista 1 y el punto de la pista 2 para grabar dependerá del efecto que se le quiera dar según el ritmo y la velocidad de la canción, es decir, según requiera la obra musical, y los trozos de dicha canción que queramos que lleven el efecto normal o el efecto objeto de esta invención, influyendo todos los factores musicales incluso con sus detalles más insignificantes al hacer con este método las mezclas, tales como instrumentación, tempo, ritmo o velocidad. G - The waiting time between a point of the track 1 and the point of the track 2 to record will depend on the effect that you want to give according to the rhythm and the speed of the song, that is, according to the musical work required, and the pieces of said song that we want to have the normal effect or the effect object of this invention, influencing all the musical factors even with their most insignificant details when doing with this method the mixes, such as instrumentation, tempo, rhythm or speed.
H - La voz se puede grabar en la primera toma musical o pista 1 , y luego hacer la remezcla con este método, o hacer la remezcla con este método y luego grabar la voz, y así terminar la grabación con el efecto musical objeto de esta invención, pudiéndose crear este mismo efecto con la propia voz al mismo tiempo que la música donde se quiera, y también, solo la superposición de la pista de la voz con su misma pista, dando como resultado un efecto previsto pero vocal y volviendo a remezclar con la pista músical, así como con sonidos instrumentales y no instrumentales, sea desde el punto que sea a otro punto cualquiera de la canción cuando esté terminada, aplicado este método y creando una nueva pista de grabación, considerándose también objeto de esta invención. H - The voice can be recorded in the first musical take or track 1, and then do the remix with this method, or do the remix with this method and then record the voice, and thus finish the recording with the musical effect object of this invention, being able to create this same effect with the own voice at the same time as the music where it is wanted, and also, only the superposition of the track of the voice with its same track, resulting in a predicted but vocal effect and remixing with the musical track, as well as with instrumental and non-instrumental sounds, either from the point to any other point of the song when it is finished, applied this method and creating a new recording track, considering itself also object of this invention.
Los efectos musicales objeto de esta invención consisten en los obtenidos en la grabación final de la obra musical al aplicar este método. The musical effects object of this invention consist of those obtained in the final recording of the musical work when applying this method.

Claims

REIVINDICACIONES
1.- Método de mezcla en edición audio digital, que consta de las siguientes etapas: 1.- Mixing method in digital audio edition, which consists of the following stages:
A - Crear una toma musical de un tema o canción. A - Create a musical shot of a song or theme.
B - Se coloca dicha toma musical en una pista de grabación a la que denominaremos pista 1. B - This musical take is placed on a recording track, which we will call track 1.
C - En otra pista de grabación, pista 2, se coloca la misma toma musical. C - On another recording track, track 2, the same musical take is placed.
Caracterizado porque en las siguientes etapas: Characterized because in the following stages:
D - Se pone en marcha la primera toma musical de la pista 1. y se empieza con la toma musical de la pista 2 desde un punto cualquiera de la pista 1 hasta otro punto cualquiera de la pista 2, grabando la misma toma por las 2 pistas juntas con un intervalo de tiempo entre las dos pistas que va desde un attosegundo hasta el tiempo final de la canción, cortando en las partes, en las que se quiera crear este efecto musical. D - The first musical take of track 1 is set in motion and you start with the musical taking of track 2 from any point of track 1 to any other point of track 2, recording the same take by 2 tracks together with a time interval between the two tracks ranging from an attosecond to the end time of the song, cutting in the parts, in which you want to create this musical effect.
E - Se graba el resultado en una sola pista, pista 3, obteniéndose así una nueva grabación, siendo ésta el resultado principal del efecto musical objeto de la presente invención. E - The result is recorded in a single track, track 3, thus obtaining a new recording, this being the main result of the musical effect object of the present invention.
F -La mezcla se hace por partes, cortaremos, pegaremos, uniremos, colocaremos, mezclaremos o volveremos a mezclar (remezclaremos) la pista 1 o toma normal y la pista 2 con los arreglos realizados, dando un resultado con el efecto musical objeto de esta invención de un punto determinado a otro, quedando así en una pista 3 que pasará a ser la grabación final con el efecto musical objeto de invención incorporado. F -The mix is made by parts, cut, paste, join, place, mix or mix (remix) the track 1 or normal shot and track 2 with the arrangements made, giving a result with the musical effect object of this invention of a specific point to another, thus remaining in a track 3 that will become the final recording with the musical effect object of invention incorporated.
G - El tiempo de espera entre un punto de la pista 1 y el punto de la pista 2 para grabar dependerá del efecto que se le quiera dar según el ritmo y la velocidad de la canción, es decir, según requiera la obra musical, y los trozos de dicha canción que queramos que lleven el efecto normal o el efecto musical objeto de esta invención, influyendo todos los factores musicales incluso con sus detalles más insignificantes al hacer con este método las mezclas, tales como instrumentación, tempo, ritmo o velocidad. G - The waiting time between a point of the track 1 and the point of the track 2 to record will depend on the effect that you want to give according to the rhythm and the speed of the song, that is, according to the musical work required, and the pieces of said song that we want to have the normal effect or the musical effect object of this invention, influencing all the musical factors even with their most insignificant details when doing with this method the mixtures, such as instrumentation, tempo, rhythm or speed.
H - La voz se puede grabar en la primera toma musical o pista 1 , y luego hacer la remezcla con este método, o hacer la remezcla con este método y luego grabar la voz, y así terminar la grabación con el efecto musical objeto de esta invención, pudiéndose crear este mismo efecto con la propia voz al mismo tiempo que la música donde se quiera, y también, solo la superposición de la pista de la voz con su misma pista, dando como resultado un efecto previsto pero vocal y volviendo a remezclar con la pista músical, así como con sonidos instrumentales y no instrumentales, sea desde el punto que sea a otro punto cualquiera de la canción cuando esté terminada, aplicado este método y creando una nueva pista de grabación, considerándose también objeto de esta invención. H - The voice can be recorded in the first musical take or track 1, and then do the remix with this method, or do the remix with this method and then record the voice, and thus finish the recording with the musical effect object of this invention, being able to create this same effect with the own voice at the same time as the music where it is wanted, and also, only the superposition of the track of the voice with its same track, resulting in an expected effect but vocal and remixing with the musical track, as well as with instrumental and non-instrumental sounds, either from the point to any other point of the song when it is finished, applying this method and creating a new recording track, also considered an object of this invention.
2.- Efectos musicales obtenidos mediante la ejecución del método anteriormente descrito.. 2.- Musical effects obtained through the execution of the method described above ..
PCT/ES2013/000243 2012-11-05 2013-11-04 Method for mixing in digital audio editing and effects obtained by said mixing WO2014068154A1 (en)

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Citations (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
ES2100317T3 (en) * 1991-10-29 1997-06-16 Thomson Csf PROCEDURE FOR READING REGISTERED INFORMATION AND READING SYSTEM.
ES2163915T3 (en) * 1993-10-29 2002-02-01 Time Warner Entertainm Co Lp METHOD TO CONTROL THE REPRODUCTION OF THE CONTENT OF THE AUDIO TRACKS OF AN INFORMATION SUPPORT.
ES2249987A1 (en) * 2004-07-02 2006-04-01 Fabio A. Rivas Quesada Method for recording, reproducing and handling audio data in a data recording medium
ES2369364T3 (en) * 2004-05-17 2011-11-29 Technicolor S.P.A. INCONSISTENCIES DETECTION BETWEEN A REFERENCE SOUND TRACK AND A MULTIFORMATE TRACK.

Patent Citations (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
ES2100317T3 (en) * 1991-10-29 1997-06-16 Thomson Csf PROCEDURE FOR READING REGISTERED INFORMATION AND READING SYSTEM.
ES2163915T3 (en) * 1993-10-29 2002-02-01 Time Warner Entertainm Co Lp METHOD TO CONTROL THE REPRODUCTION OF THE CONTENT OF THE AUDIO TRACKS OF AN INFORMATION SUPPORT.
ES2369364T3 (en) * 2004-05-17 2011-11-29 Technicolor S.P.A. INCONSISTENCIES DETECTION BETWEEN A REFERENCE SOUND TRACK AND A MULTIFORMATE TRACK.
ES2249987A1 (en) * 2004-07-02 2006-04-01 Fabio A. Rivas Quesada Method for recording, reproducing and handling audio data in a data recording medium

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