METHOD FOR ADJUSTING AUDIO FOR LISTENER LOCATION AND HEAD ORIENTATION WITHIN A PHYSICAL OR VIRTUAL SPACE

Abstract

The present invention is a system that detects the location and head orientation of a live performer on stage in front of an audience and adjusts the individual elements of the mix either by changing them at the listener's position or by feeding the location and orientation information back to the monitor mixer or a combination of both. The adjustments would include left/right panning, relative levels, equalization, transient response, reverberation levels, panning, and time delay, as well as other possible modifications to the signal so that the performer senses that he/she is actually listening to the various instruments, vocals, acoustic space and audience, in their real or virtual locations.

Claims

1-2. (canceled)

3. A method of detecting, for at least one live performer who is moving, the location of the performer moving and adjusting the sound mix sent to the moving performer's in ear monitor (IEM) based on the performer's location comprising the steps of: providing a location identification tag for each performer moving so as to locate the performer as the performer moves; providing a microphone to send a signal from the performer to a monitor mixer; each mixer configured to detect changes in the signal sent to the monitor mixer dependent on the location of each performer; and providing a computer in communication with the monitor mixer, the computer configured to detect the location of each performer, and the computer configured to vary the output from the monitor mixer to the in ear monitor (IEM) of the performer wearing the location identification tag dependent on the performer's location.

4. A method of detecting, for at least one live performer who is moving, the location of the performer moving and the orientation of the moving performer's head, and adjusting the sound mix sent to the moving performer's in ear monitor (IEM) based on the performer's location and head orientation, comprising the steps of: providing a location identification tag for each performer moving so as to locate the performer and in ear monitors (IEM) that are capable of transmitting a signal showing the orientation of the performer's head as the performer moves; providing a microphone to send a signal from the performers to a monitor mixer; configuring each mixer to detect changes in the signal sent to the monitor mixer dependent on the location of each performer and the orientation of the performer's head; and providing a computer in communication with the monitor mixer, the computer configured to detect the location and orientation of the head of each performer, and the computer to vary the output from the monitor mixer to the in ear monitor (IEM) of the performer, dependent on the performer's location and the orientation of the performer's head.

Description

BRIEF DESCRIPTION OF THE DRAWINGS

[0053] FIG. 1 is a view of the prior art stage and mixers.

[0054] FIG. 2 is a view of the stage showing the performers and their orientation facing the audience.

[0055] FIG. 3 is a view of the stage showing the performers with performer 1 moving to stage left and facing the audience.

[0056] FIG. 4 is a view of the stage showing performers and their orientation with performer 1 at the stage left, facing the back right of the stage.

[0057] FIG. 5 is a block diagram of the Monitor Mixer and computer controlling the input for the performers' microphones and the output to the various performers' headphones and/or speakers.

DETAILED DESCRIPTION OF THE DRAWINGS

[0058] FIG. 1 shows the prior art use of the monitor and house mixers and their relationship to the performers and the audience.

[0059] On the stage 200 are located the performers 102-108, including, for example only, the drummer 102, keyboard player 104, backup vocalists 106 and the main performer 108. Each of the above performers has associated microphones 103, 105, 107 and 109 to pick up the performers' voices and/or instruments. Wired microphone signals are split through a transformer not shown and wireless microphone signals are split after the receiver. One leg of the split is sent to the monitor mixer 110 and one signal is sent to the house mixer 112. The monitor mixer 110 is typically located on the side of the stage and is operated by a console monitor mixer person, not shown. The monitor mixer 110 receives an input from each of the performers and/or the performers' instruments and the person operating the monitor mixer 110 can control the volume and tone of each of the inputs from the performers, as well as otherwise alter the input signal. For example, the monitor mixing person can increase the sound of the drums or the keyboard or the vocal, or change the tone for one, or any combination of each of them. The monitor mixer 110 sends its outputs to the headphones 111, 113, 115, and 117 worn by each of the performers 102, 104, 106 and 108 and/or to the speaker 111a, 113a, 115a, and 117a associated with each performer 102-108 either by hard wire or by wireless connection. The outputs from the monitor mixer 110 are thus heard by each of the performers.

[0060] The monitor engineer will create an individual mix for each performer based on that performer's preferences. Each mix is then sent to either the monitor speakers located near each performer, or via RF to headphones worn by each performer. There are performers who are in a fixed position, such as a drummer, who may use just speakers. Performers will move around the stage would use just the wireless earphones. Some performers demand to have both.

[0061] The house mixer 112 also receives the output signal from each of the performers' microphones 103-109. The house mixer 112 is typically located towards the rear of the audience, not on the stage. The output of the house mixer 112 is amplified and sent to the speakers 120 and 122 that the audience hears. The number and location of the speakers 120 and 122 are selected for optimizing the volume and quality of what is heard by the audience. The performers 102, 104, 106 and 108 do not hear very much of the output of the house speakers. The operator of the house mixer 112 modifies the output of the house mixer to maximize the aesthetic sound heard by the audience. For example, the house mixer may increase the volume of the performer while reducing the volume of the vocal background 106. The house mixer can also increase the overall volume and balance of the house speakers.

[0062] Referring to FIG. 2 the localization system of the present invention is shown. Performers 1 through 7 are all equipped with active radio frequency identification tags and stereo in-ear monitors and/or associated speakers (not shown). Anchors 10 through 14 receive signals from the tags. Anchors send the received signals to the computer 30 which analyzes the relative time delay between the signals and locates each of the tags on the stage. Fixed locations such as ambience microphones 20, 21 are set in the computer.

[0063] Computer 30 sends localization information to the monitor mixer 40. The monitor mix for each performer is automatically adjusted based on the localization information.

[0064] Referring to FIG. 3, the localization system of the present invention is shown where Performer 1 moves to stage left. As Performer 1 moves, the localization system sends the signals to the computer 30 which computes the new relative locations between each performer and fixed locations.

[0065] The computer 30 sends the localization information to the monitor mixer 40. The monitor mixer 40 adjusts the mix for each performer as follows:

[0066] In comparison to FIG. 2, the panning of the audio signal from Performer 1 would shift to the left in the monitor mixes for Performers 2 through 7. The level of the audio signal from Performer 1 would increase in the monitor mixes for Performers 2 and 3, decrease for Performers 4,5,6 and 7. The delay time for the audio signal from Performer 1 would decrease for Performers 2 and 3, and increase for Performers 4,5,6, and 7. These adjustments in combination with other adjustments (reverberation, equalization, head related transfer function, etc.) would be made in the monitor mixes for Performers 2 through 7 so that their aural perception of where Performer 1 is at any particular moment will match their visual perceptions.

[0067] The panning of the audio signals from Performers 2 through 7 and from Ambience Microphones 20 and 21 would shift to the right in the monitor mix for Performer 1. The audio signals from Performers 2 and 3 and from Ambience Microphone 20 would increase and the audio signals from Performers 4,5,6 and 7 and Ambience Microphone 21 would decrease in the monitor mix for Performer 1. The delay times of the audio signals from Performers 2 and 3 and ambience microphone 20 would decrease and the delay times of the audio signals from Performers 4, 5, 6 and 7 and Ambience Microphone 21 would increase. These adjustments along with other adjustments (reverberation, equalization, head related transfer function, etc.) would be made in the monitor mix for Performer 1 so that performer's aural perception of where Performers 2 through 7 are at any particular moment will match his/her visual perception.

[0068] Referring to FIG. 4, the head orientation system of the present invention is shown as Performer 1 turns his/her head to the right. An electronic compass located in or near one of the two in-ear monitors detects the change of orientation. The orientation information is sent from Performer 1 to the computer 30 through a Bluetooth connection. The computer sends the information to the monitor mixer. The monitor mixer automatically adjusts monitor mix for Performer 1 as follows:

[0069] The panning of the audio signals from Ambience Microphones 20 and 21 and Performers 6 and 7 would shift to the left. Audio signals from Performers 4 and 5 would be centered. Audio signals from Performers 2 and 3 would shift to the right. Head related transfer function adjustments would be applied on audio signals based on the new orientation of Performer 1. These adjustments will aid in making Performer 1's aural perception match his/her visual perception.

[0070] Referring to FIG. 5 Monitor Mixer 40, the Monitor Mixer 40 has the standard audio inputs and outputs. In the event that the location and/or the orientation systems fail, the audio mixes would still be sent to the performers. In addition to the standard features found on monitor mixers, the Monitor Mixer 40 would have the added features of adjusting time delay, stereo balance, equalization, reverberation and transient response for every input to each mix. The Monitor Mixer 40 would also have the feature of adjusting HRTF, and stereo balance on each output.

[0071] The Anchors 10-14 send their data to the Computer 30 which analyzes the data to determine the location of each performer. The Computer 30 sends control signals to the Monitor Mixer 40 which is equipped to receive these signals. The Monitor Mixer 40 makes the appropriate audio adjustments to conform the audio image to the location of the audio source relative to the location of the audio output.

[0072] The orientation data generated by the compass in the performers' in-ear monitors are sent to the Computer 30. The Computer 30 generates control signals and sends them to the Monitor Mixer 40. The Monitor Mixer 40 makes the appropriate adjustments to the individual audio outputs to conform to the head orientation of each performer.