Patent Application
20250214434
Aspects disclosed herein generally related to an apparatus and method for providing seat-based naturescapes audio. These aspects and others will be discussed in more detail herein.
Vehicles provide for a listening environment that differs greatly from the listening environment offered by different venues such as for example stadiums, festivals, recording studios, concert halls (e.g., large, medium, or small), etc. In general, sound recordings of audio captured in stadiums, festivals, recording studios, and concert halls, etc. may not translate well to the listening environment of a vehicle. For example, the listening environment within the vehicle is considerably smaller than the listening environment of the foregoing venues. Additionally, the listening environment for the vehicle provides for different sizes and shapes of various body shells (e.g., front side, rear side, left/right, and top) when compared to various sides or walls of the venues noted above. The different sizes and shapes that define the listening environment of the vehicle may make it difficult for sound recordings captured in other venues to translate into the vehicle. Therefore, the user experience in the vehicle suffers.
In at least one embodiment, a system including a mobile device is provided. The mobile device is positioned about a first seat in a vehicle. The mobile device includes at least one first controller programmed to communicate with an audio controller positioned in the vehicle and to generate, for selection, one or more options corresponding to a desired nature sound on a display. The at least one first controller is further programmed to transmit one or more options to select a desired nature sound on a display and to transmit a first signal indicative of the selected desired nature sound to the audio controller to playback the selected desired nature sound in the vehicle.
In at least one embodiment, a system for generating audio in a listening environment of a vehicle is provided. The system includes a memory device and at least one audio controller. The at least one audio controller includes the memory device and is programmed to receive a first signal indicative of a first selected desired nature sound from a first mobile device positioned about a first seat of the vehicle and to receive a second signal indicative of a second selected desired nature sound from a second mobile device positioned about a second seat of the vehicle, the second selected desired nature sound being different than the first selected desired nature sound. The at least one audio controller is further programmed to generate a first audio output signal including the first selected desired nature sound and a second audio output signal including the second selected desired nature sound and to transmit the first audio output signal to one of the first mobile device and a first loudspeaker positioned about the first seat to playback the first audio output signal. The at least one audio controller is further programmed to transmit the second audio output signal to one of the mobile device and a second loudspeaker positioned about the second seat to playback the second audio output signal.
In at least another embodiment, a method for generating audio in a listening environment of a vehicle is provided. The method includes receiving a first signal indicative of a first selected desired nature sound from a first mobile device positioned about a first seat of the vehicle and receiving a second signal indicative of a second selected desired nature sound from a second mobile device positioned about a second seat of the vehicle, the second selected desired nature sound being different than the first selected desired nature sound. The method further includes generating a first audio output signal including the first selected desired nature sound and a second audio output signal including the second selected desired nature sound and transmitting the first audio output signal to one of the first mobile device and a first loudspeaker positioned about the first seat to playback the first audio output signal. The method further includes transmitting the second audio output signal to one of the mobile device and a second loudspeaker positioned about the second seat to playback the second audio output signal.
The embodiments of the present disclosure are pointed out with particularity in the appended claims. However, other features of the various embodiments will become more apparent and will be best understood by referring to the following detailed description in conjunction with the accompany drawings in which:
The present disclosure will be described in detail below with reference to exemplary embodiments of the present disclosure. However, the present disclosure is not limited to the embodiments described herein, and it may be implemented in many different forms. The described embodiments are merely intended to make the present disclosure thorough and complete, and to fully convey the concept of the present disclosure to those skilled in the art. The features of the various embodiments described may be combined or substituted for each other unless expressly excluded or should be excluded according to the context.
Aspects disclosed herein generally provide for a system that provides audio related features for one or more passengers in a vehicle. For example, the disclosed system may provide audio related characteristics that include enabling occupants the ability to playback nature sounds while adjust various virtual venues. One example of an audio system that enables the playback of nature sounds in a vehicle is set forth in U.S. Pat. No. 11,485,231 entitled “SYSTEMS AND METHODS FOR PROVIDING NATURE SOUNDS” as filed on Dec. 4, 2020, which is hereby incorporated by reference in its entirety. In addition, one example of an audio system that enables the playback of audio in a vehicle based on virtual venues is set forth in U.S. Pat. No. 10,728,691 entitled “APPARATUS AND METHOD FOR GENERATING VIRTUAL VENUES FOR A LISTENING ROOM” as filed on Aug. 29, 2019, which is hereby incorporated by reference in its entirety.
By broadcasting sound elements based on the at least one vehicle state, natural sounds may be automatically played in the vehicle. For example, when a vehicle is travelling in a scenic area, sound elements corresponding to natural sounds in the scenic area may be broadcast, in order to incorporate elements of the exterior environment into the sound environment of the vehicle. Further, when an environmental condition, such as weather, is detected, sound elements corresponding to the environmental condition may be played in order to alert a user to changes in the environmental condition. As another example, a user may be stressed, such as due to a stressful driving environment (e.g., traffic), and sound elements corresponding to a more peaceful exterior environment may be played, thus reducing a stress level of the user. Further, each sound element played in the vehicle may be spatially mixed in order to create an immersive, surround sound experience. For example, each sound element may be indexed to a virtual location outside the vehicle, and the virtual location outside the vehicle may be mapped to a virtual speaker space inside the vehicle.
In this way, a sound environment inside a vehicle may be adjusted based on at least one state of a vehicle, such as a vehicle location, an environmental condition, and an emotional state (e.g., mood) of a user. For example, by adjusting the sound environment based on the at least one state of the vehicle, a user engagement with an exterior environment may be increased, which may increase user satisfaction while driving the vehicle. Further, in some examples, adjusting the sound environment based on the at least one state of the vehicle may decrease user stress levels by reducing an effect of a stressful exterior environment, such as while driving in traffic. Overall, user stress levels may be reduced while user satisfaction is increased.
For the listening environment within a vehicle, aspects disclosed herein also generally provide a vehicle audio apparatus that alters audio parameters to make the audio or user experience within the vehicle sound like a different venue (e.g., stadium, concert hall (i.e., large, small, or medium), festival, or recording studio). For example, the vehicle audio apparatus may alter audio parameters to make the vehicle sound like Carnegie Hall, Yankee Stadium, etc. based on a user selection. Moreover, the vehicle audio apparatus may be arranged to simply make the listening environment within the vehicle sound larger than it really is (e.g., if the vehicle is a compact vehicle, the vehicle audio apparatus may provide for the audio experience to sound like the user is in a sports utility vehicle (“SUV”)). Thus, the disclosed embodiment may enable the vehicle to provide natural sounds and further enhance the playback of such natural sounds by enabling vehicle occupants to selectively increase the sensation that the driver or occupant is actually positioned within the nature scene that provides the natural sounds. These aspects and others will be discussed in more detail below.
The audio system 102 (which may include an amplifier and/or other at least one audio controller 175 for receiving, processing, and/or outputting audio to one or more speakers in the vehicle) which may improve the spatial characteristics of surround sound systems. The audio system 102 may include a variety of audio components such as radios, COs, DVDs, their derivatives, and the like. The audio system 102 may incorporate, for example, 2-channel source material such as direct left and right, 5.1 channel, 6.2 channel, 7 channel, 12 channel and/or any other source materials from a matrix decoder digitally encoded/decoded discrete source material, and the like. The audio system 102 may utilize multiple audio channels. For example, the audio system 102 may utilize a first channel for primary media, such as one or more of warning, media, navigational, and telephone/telematics sound elements. Further, a second channel may be used for secondary media such as for example, a naturescape feature. As such, both primary media and secondary media may be played substantially simultaneously via audio system 102.
The amplitude and phase characteristics of the source material and the reproduction of specific sound field characteristics in the listening environment may play a role in the successful reproduction of a surround sound field. As such, the audio system 102 may increase the reproduction of a surround sound field by controlling the sound delay time, surround upmixer parameters (e.g., wrap, reverb room size, etc.), amplitude, phase, and mixing ratio between discrete and passive decoder surround signals and/or the direct two-channel output signals, in at least one example. The amplitude, phase, and mixing ratios may be controlled between the discrete and passive decoder output signals. The spatial sound field reproduction may be increased for all seating locations by re-orientation of the direct, passive, and active mixing and steering parameters, especially in a vehicle environment.
The mixing and steering ratios as well as spectral characteristics may be adaptively modified as a function of the noise and other environmental factors. For example, the mixing and steering ratios may be adjusted based on a sensed sound level external to the vehicle. As another example, the mixing and steering ratios may be adjusted based on an estimated engine noise generated by the vehicle, such as by increasing a volume in response to increased engine noise. In a vehicle, information from the data bus, microphones, and other transduction devices may be used to control the mixing and steering parameters.
The vehicle 100 includes a front center speaker (CTR speaker) 124, a front left speaker (FL speaker) 113, a front right speaker (FR speaker) 115, and at least one pair of surround speakers.
The surround speakers may be a left side speaker (LS speaker) 117 and a right side speaker (RS speaker) 119, a left rear speaker (LR speaker) 129 and a right rear speaker (RR speaker) 130, or a combination of speaker sets. Other speaker sets may be used. While not shown, one or more dedicated subwoofers or other drivers may be present. Possible subwoofer mounting locations include a trunk 105, below a seat, or the rear shelf 108. The vehicle 100 may also have one or more microphones 174 mounted in the interior. For example, at least one microphone 174 may be mounted near each seat of the vehicle 100 in order to capture audio from users, such as voice commands.
Each CTR speaker 124, FL speaker 113, FR speaker 115, LS speaker 117, RS speaker 119, LR speaker 129, and RR speaker 130 may include one or more transducers of a predetermined range of frequency response such as a tweeter, a mid-range, or a woofer. The tweeter, mid-range, or woofer may be mounted adjacent to each other in essentially the same location or in different locations. For example, the FL speaker 113 may be a tweeter located in door 103-1 or elsewhere at a height roughly equivalent to a side mirror or higher. The FR speaker 115 may have a similar arrangement to FL speaker 113 on the right side of the vehicle 100 (e.g., in door 103-2).
The LR speaker 129 and the RR speaker 130 may each be a woofer mounted in the rear shelf 108. The CTR speaker 124 may be mounted in the front dashboard 107, in the roof, on or near the rear-view mirror, or elsewhere in the vehicle 100. In other examples, other configurations of loudspeakers with other frequency response ranges are possible. In some embodiments, additional speakers may be added to an upper pillar in the vehicle to enhance the height of the sound image. For example, an upper pillar may include a vertical or near-vertical support of a car's window area. In some examples, the additional speakers may be added to an upper region of an “A” pillar toward a front of the vehicle.
Further still, in some examples, one or more speakers may be incorporated into a seat of the vehicle (e.g., one of driver seat 109, passenger seat 110, and rear seat 112 (or left rear passenger seat 112a and right rear passenger seat 112b) in order to increase a sonic quality. For example, a speaker may be integrated into a headrest of each of the driver seat 109, the passenger seat 110, and the rear seat 112. For example, left rear speaker 129 may be incorporated into a headrest of rear seat 112, and the RR speaker 130 may be incorporated into the headrest of rear seat 112. As another example, FL speaker 113 may be incorporated into a headrest of driver seat 109, and FR speaker 115 may be incorporated into a headrest of passenger seat 110. For example, incorporating speakers into headrests of the vehicle seats may enable more targeted sound mixing, such as increasing a media volume for a first user without significantly affecting the media volume for a second user. Further, incorporating speakers into headrests of vehicle seats may increase a user immersion in the media, such as in the environmental sound elements reproduced via audio system 102.
To enhance a media experience for occupants of the vehicle 100, the audio system 102 may include a naturescape feature. When the naturescape feature is activated, the audio system 102 may reproduce a plurality of sound elements (e.g., as secondary media via the second channel), such as pre-recorded natural sound elements and artificially generated reproductions of natural sound elements. The plurality of sound elements may be calibrated to provide a sonic representation of a natural environment or natural scene, such as a remote natural environment or an environment outside the vehicle. In sonic examples the plurality of sound elements may be provided in response to a user input (e.g., in a manual mode of the naturescape feature), while in other examples, the plurality of sound elements may be provided based on sensor data (e.g., in an automated mode of the naturescape feature). In the manual mode of the naturescape feature, a user may select a natural scene with associated sound elements, and the user may adjust a volume and frequency of the associated sound elements. In the automated mode of the naturescape feature, at least one vehicle controller 180 (“the vehicle controller 180) may determine one or more states associated with the vehicle 200 based on the sensor data (e.g., such as a vehicle location, an environmental condition, and an emotional state of a user), and may determine sound elements to play based on the one or more states.
Both primary media (e.g., such as music, a voice call, talk radio, etc.) and secondary media (e.g., provided by the naturescape feature) may be played via audio system 102 In some examples, the secondary media may be layered over the primary media without any adjustment to each of the primary media and the secondary media. As another example, the primary media may be ducked in response to the secondary media playing, in order to reduce a total audio volume in the vehicle, and to enhance sound quality of the secondary media. In some examples, an amount of ducking may be adjusted based on a media type. For example, talk radio may be ducked less than music, due to the wider sonic spectrum of music relative to the sonic spectrum of talk radio. As another example, the secondary media may be muted during a voice call (e.g., over the primary media channel) in order to increase clarity of the voice call. However, in some examples, a user may select to maintain the secondary media on during a voice call in order to share the sonic experience via the voice call.
Further, in each of the manual mode of the naturescape feature and the automated mode of the naturescape feature, spatial mixing may be used to provide an immersive, three-dimensional sound environment. For example, sound elements may be spatially mixed so that each sound element is perceived as originating in a spatial location. For example, wildlife sounds (e.g., such as bird sounds) may be spatially mixed so that the wildlife sounds are perceived to originate from a distinct spatial location. For example, each sound element may be continuously mapped to a virtual speaker region 162 or a distinct speaker element, and the virtual speaker region and/or each speaker may be adjusted in order to reproduce the perceived spatial location of the sound element. For example, each sound element may be indexed to a virtual location in a virtual sound space 164 (e.g., representing a space around the vehicle 100), and there may be a 1:1 mapping between the virtual sound space and the virtual speaker region 162. For example, the in-vehicle computing system may adjust audio gains, panning settings, and other audio settings for each speaker of audio system 102 based on the virtual location of the sound element. Further, the desired sound location may be perceived as inside or outside the vehicle cabin. As a first example, the virtual location in the virtual sound space 164 may be a location outside the vehicle. As a second example, the virtual location in the virtual sound space 164 may be inside the vehicle.
Further, in some examples, the composition of sound elements and/or the virtual spatial location of the sound element(s) may be adjusted based on vehicle characteristics such as movement, speed, location, or proximity. As an example, as a vehicle 100 drives through a scenic environment, various sound elements may be adjusted to give the impression of movement. For example, as a vehicle moves closer to a waterfall, a sound element corresponding to a waterfall may increase in volume. As another example, as the vehicle 100 moves laterally, a wildlife sound may be panned from a first side of the vehicle to a second side of the vehicle 100. By spatially mixing sound elements, a surround-sound, immersive experience may be provided to the user, which may increase user satisfaction.
Sound elements may be considered synthetic (e.g., not corresponding to a sound in the environment outside the vehicle 100) or real (e.g., corresponding to a sound in the environment outside the vehicle 100), and may be spatially mixed to be perceived as spatially located. As a non-limiting example, a first sound element may represent a birdcall, and may be played via audio system 102 in response to a vehicle location. For example, the birdcall may be a synthetic sound, and may not correspond to a specific birdcall detected outside the vehicle. The birdcall may be indexed to a virtual location 171 in a virtual sound space 164 surrounding the vehicle 100. The virtual location in the virtual sound space may be mapped to a location in the virtual speaker region 162, such as location 170. In order to spatially mix the first sound element, the first sound element may be panned to the left side speaker 117 and the left rear speaker 129. For example, the audio gain for the first sound element may be highest for the left side speaker 117 and the left rear speaker 129 and may be lower for other speakers of the vehicle 100. For example, each sound element may be perceived to originate from a spatial location due to a known relationship between audio panning and perceived spatial location, such as a surround sound technique known in the art (e.g., such as 5.1 surround sound, 7.1 surround sound, ambisonic surround sound, and the like). Further, some sound elements may be spatially mixed by upmixing one or two channels to multiple speakers.
As another non-limiting example, a second sound element may represent a real sound detected outside the vehicle. For example, a microphone 174 may be coupled to an exterior of the vehicle and may be configured to detect real sounds. In response to detecting a desirable natural sound, such as thunder, the second sound element may be played inside the vehicle to represent the natural sound. In some examples, the sound element may be a recording of the external sound captured by microphone 174, and in other examples, the sound element may be a pre-recorded or computer-generated representation of the external sound, such as a pre-recorded sound file of thunder. The thunder may be indexed to a virtual location 173 in the virtual sound space 164 surrounding the vehicle. The virtual location in the virtual sound space may be mapped to a location in the virtual speaker region 162, such as location 172. In order to spatially mix the second sound element, the second sound element may be panned primarily to the right-side speaker 119 and the right front speaker 115. For example, the audio gain for the first sound element may be highest for the right-side speaker 119 and the right front speaker 115 and may be lower for other speakers of the vehicle 100.
Some sound elements may be spatially mixed as ambient sounds. For example, a third sound element may represent rain sounds, and may be spatially mixed to be perceived as surrounding the vehicle. For example, the third sound element may be played at approximately the same volume via each speaker of vehicle 100, according to surround sound techniques known in the art.
In this way, each sound element may be perceived to originate from a spatial location due to a known relationship between audio panning and perceived spatial location, such as a surround sound technique known in the art (e.g., such as 5.1 surround sound, 7.1 surround sound, Ambisonic surround sound, and the like). Some sound elements may be real sound elements, and may correspond to sounds detected outside the vehicle (e.g., such as by microphone 174). Other sound elements may be synthetic sound elements and may not directly correspond to sounds detected outside the vehicle. Further, some sound elements may be spatially mixed by upmixing two channels to multiple speakers. For example, a sound element may have been recorded via a two-track recording device but may be upmixed to the plurality of speakers in vehicle 100 in order to be perceived as a surround sound.
In some examples, audio system 102 may be in the automated mode of the naturescape feature and may provide sound elements based on one or more states of the vehicle 100. Turning now to
If the vehicle 100 is determined to be in a scenic area 400, a plurality of sound elements may be provided. Specifically, based on the detected scenic area, the vehicle controller 180 may select and/or generate sound elements in order to bring the exterior environment into the vehicle 100 through an immersive sonic experience. For example, ambient natural sound(s) 202 may be played, such as ambient sounds associated with the detected scenic area, such as rain, wind, waves, and the like. Further, a plurality of spatially mixed sounds may be perceived to originate from a distinct location, such as a first spatially mixed sound 204 and a second spatially mixed sound 206. Further still, information regarding a scenic area 208 may be provided in order to enrich a user experience of the scenic area. For example, the vehicle controller 180 may access information relating to the detected scenic area and may provide the information to the user. While providing this secondary media due to the scenic area, primary media 210 may optionally continue to be played via the audio system 102. For example, the primary media 210 may be adjusted based on the secondary media.
If an environmental condition 225 is detected, a plurality of sound elements may be provided. For example, the environmental condition may be a weather-related change, and the naturescape feature may alert the user to the changing environmental conditions. For example, a plurality of spatially mixed sound elements, such as the first spatially mixed sound element 226 and the second spatially mixed sound element 228, may be provided in order to alert a user to a type of environmental change and a location of the environmental change. Further, information and/or warning regarding an environmental change 230 may be provided. In some examples, other media 232, such as lights, may be provided in order to further alert the user to the environmental change. For example, lights may reproduce the effect of lightening, or a warning light may flash to alert a user to a temperature change.
If the user emotional state 250 is detected (e.g., such as user stress or another undesirable user mood), natural sounds may be provided in order to reduce user stress and increase user enjoyment. For example, although a user may be driving through traffic, sounds of an ocean beach may be provided. For example, ambient natural sound(s) 252 (e.g., such as ocean waves) may create a baseline of a stress-relieving sound environment, and spatially mixed sounds, such as a first spatially mixed sound 254 and a second spatially mixed sound 256, may increase the verisimilitude of the sound environment by providing spatially located sound elements. Further, primary media 258 may continue to play in order to minimize disruption of the user experience. For example, the primary media 258 and the secondary media may be mixed so that the primary media 258 remains audible, while the secondary media decreases user stress by reducing the influence of a stressful external environment. Further, the audio controller 175 may adjust the secondary media based on a combination of vehicle conditions. For example, the audio controller 175 may provide secondary media based on a scenic area but may further adjust the secondary media based on an emotional state of the user. As another example, the audio controller 175 may provide secondary media based on an environmental condition but may adjust the secondary media based on the emotional state of the user.
Thus, based on a state associated with the vehicle 100, as determined by the vehicle controller 180 based on vehicle conditions and/or user inputs, the vehicle controller 180 may adjust the audio system 102 in order to provide an immersive sonic experience. Stated differently, the vehicle controller 180 may alter the sound environment in the vehicle cabin by playing sound elements corresponding to a natural environment or natural scene. Thus, in some examples, the vehicle controller 180 may increase augmentation of external environmental sounds, while in other examples the vehicle controller 180 may decrease, or even stop, augmentation of external environmental sounds. As an example, the sound elements may be calibrated to enhance a user's experience of a current vehicle location. For example, the vehicle 100 may be driving through a scenic area, such as one of a park, a forest, a beach, and a wildlife preserve. In order to enhance the user's experience of this scenic area, sound elements corresponding to the scenic area may be provided, such as ambient nature sound elements (e.g., such as wind and rain), wildlife sound elements, and the like. Further, information regarding the scenic environment may be provided. As another example, in response to an environmental change, such as an approaching storm, sound elements corresponding to the environmental change (e.g., such as pre-recorded thunder) and a warning message may be provided in order to alert the user to the environmental change. In this way, features of an environment outside the vehicle 100 may be brought in via the audio system 102, increasing user integration with the outside environment.
However, in some examples, the opposite effect may be desired, and a user may want to reduce the impact of the external environment. For example, the vehicle 100 may be in traffic, or may be located in a stressful urban environment. Such environments may increase a stress level of a user, which may decrease user satisfaction. Therefore, sound elements corresponding to a remote location may be preferred. For example, while a user is in traffic in an urban environment, sound elements corresponding to a peaceful forest may be provided, such as one or more of a gentle breeze, a waterfall, and a bird song. In this way, user stress may be reduced. In some examples, user stress may be estimated based on navigation data as provided from a navigation system in a vehicle 100. For example, when the vehicle controller 180 determines that the vehicle 100 is in heavy traffic (e.g., based on the navigation data), the vehicle controller 180 may determine that a user emotional state includes stress. Further, in some examples, a user stress level may be determined based on biometric data, such as from, for example, an infrared camera, a camera configured to detect emotional state based on facial expression, a wearable device monitoring heart rate and body temperature, and the like, and sound elements may be played in response to the user stress level exceeding a threshold user stress level.
The slide bar 302 may be moved longitudinally along the length of slide bar guide 322 as indicated by arrows 304 by human user 303. The slide bar 302 may be moved to a left extent 320 or a right extent 324 to adjust sound activity that may be associated with a particular scene that may be shown via a display. For example, a user may wish to relax by listening to prerecorded sound elements of rain falling, waves crashing on a seashore, or water rushing down a creek, etc. The user may select which sound to play back over vehicle speakers and a visual representation of the sound may be displayed on a display panel. Attributes of the sound that is selected for playback over vehicle speakers may be adjusted according to a position of slide bar 302, or of an operating state of the activity control.
The slide bar 302 may be in a base position when it is moved to the left extent 320. The slide bar 302 may be fully advanced when it is moved right to the right extent 324. In one example, lowest level outputs of controlled sound elements or features may be output when slide bar 302 is positioned at the left extent 320. Greatest or highest-level outputs of controlled sound elements or features may be output when the slide bar 302 is positioned at the right extent 324.
Referring now to
A first control region 390 for slide bar 302 begins at a left extent 320 of the slide bar guide 322 and ends at vertical line 330. Leader 310 shows the range of first control region 390. Slide bar 302 is shown in the first control region 390, so the audio system 102 shown in
The position of slide bar 302 within the first control region 390 may define the volume or sound power output level of the speakers and the frequency of playback or density for the steady-state sound elements that are included in the selected scene or environment. For example, if the slide bar 302 is positioned at the left extent of slide bar guide 322, then steady-state sound elements in the selected theme, scene, or environment may be played back at a low frequency of repetition (e.g., a rain falling sound sequence retrieved from memory may repeat at a rate of 0.03 Hz) and a very low volume or sound power output level. If the slide bar 302 is moved to the right and stopped before the slide bar 302 enters the second control region 391, then the same steady-state sound elements may be played back at a higher frequency (e.g., 0.1 Hz) and a low volume or sound power level. Thus, as slide bar 302 is moved from left to right while in the first control region, the amount of sound power and frequency of playback of steady-state sound elements is increased.
A second control region 391 for the slide bar 302 begins at the vertical line 330 and it ends at vertical line 332. Leader 312 shows the range of second control region 391. In one example, when the slide bar 302 enters the second control region 391, the volume or sound power output of steady-state sound elements is maintained at its most recent level and the stead-state sound elements frequency of playback is maintained at its most recent level. The audio system 102 shown in
The position of slide bar 302 within the second control region 391 may define the volume or sound power output level of the speakers and the frequency of playback or density for the dynamic sound elements that are included in the selected theme, scene, or environment. For example, if the slide bar 302 is positioned just to the right of vertical line 330, then steady-state sound elements in the selected theme, scene, or environment may be played back at their frequency of repetition and volume or sound power output when slide bar 302 reached the position of the vertical line 330. The dynamic sound elements in the selected theme, scene, or environment may be played back at a low frequency of repletion and a low volume or sound power output when slide bar 302 is positioned just to the right of the vertical line 330.
If the slide bar 302 is moved to the right and stopped just before the slide bar 302 reaches a position of vertical line 332, then steady-state sound elements in the selected theme, scene, or environment may continue to be played back at their frequency of repetition and volume or sound power output when slide bar 302 reached the position of the vertical line 330. The dynamic sound elements in the selected theme, scene, or environment may be played back at a higher frequency of repletion and a higher volume or sound power output than when slide bar 302 is positioned just to the left of line 330.
A third control region 392 for slide bar 302 begins at the vertical line 332 and it ends at the right extent 324 of slide bar guide 322. Leader 314 shows the range of third control region 392. In one example, when slide bar 302 enters the third control region 392, the volume or sound power output of steady-state sound elements and dynamic sound elements may be maintained at their most recent levels and the stead-state and dynamic sound elements frequency of playback may be maintained at their most recent levels. The audio system 102 shown in
The position of slide bar 302 within the third control region 392 may define the volume or sound power output level of the speakers and the frequency of playback or density for the surreal sound elements that are included in the selected theme, scene, or environment. For example, if the slide bar 302 is positioned just to the right of line 332, then steady-state and dynamic sound elements in the selected theme, scene, or environment may be played back at their frequency of repetition and volume or sound power output when the slide bar 302 reached the position of the line 332. The surreal sound elements in the selected theme, scene, or environment may be played back at a low frequency of repletion and a low volume or sound power output when the slide bar 302 is positioned just to the right of line 332.
If the slide bar 302 is moved to the right and stopped just before the slide bar 302 reaches the right extent 324 of slide bar guide 322, then steady-state and dynamic sound elements in the selected theme, scene, or environment may continue to be played back at their frequency of repetition and volume or sound power output when the slide bar 302 reached the position of the line 332. The surreal sound elements in the selected theme, scene, or environment may be played back at a higher frequency of repletion and a higher volume or sound power output than when the slide bar 302 is positioned just to the right of the line 332.
Thus, a sole activity control may be the basis for increasing a complexity of sound elements generated via the audio system 102 shown in
Referring now to
The second activity control 350 includes a slide bar 352 and a slide bar guide 360. The slide bar 352 may be moved longitudinally left and right along slide bar guide 360 and between left extent 362 and right extent 364 as indicated by arrows 354 via human user 303. In this example, the second activity control 350 has a control range (or range of authority) that is subdivided into two control regions 370 and 372 for first control region 370 and second control region 372), although range of authority 375 may be subdivided into additional control regions if desired. In one example, surround sound control parameters may be adjusted as a function of a position of slide bar 352 and the control region in which slide bar 352 is located. For example, when the slide bar 352 is positioned in the first control region 370 a center spread may be increased as the slide bar 352 is moved from the extent 362 toward the vertical line 399. Increasing the center spread may change sound distribution from a center speaker to front left and right speakers. The center spread may reach a maximum level when slide bar 352 reaches the position of vertical line 399. If slide bar moves into second control region 372, then the level of up-mixed channels may be adjusted. For example, the level of up-mixed channels may increase as the slide bar 352 moves from vertical line 399 to the right extent 364. The second activity control 350 may also adjust other surround sound control parameters such as room size emulation, delay time, and dynamic compression. Further, second activity control 350 may adjust sound control parameters for vehicle specific sound control parameters. For example, second activity control 350 may adjust delivery of sound elements to speakers to enhance sound reception for a particular passenger (e.g., front driver, front passenger, etc.).
In an example, the second activity control 350 may adjust the location of specific sound to different regions of the vehicle. For example, the second activity control 350 may adjust the sound distribution and/or location within the various vehicle zones (e.g., front left passenger, front right passenger, etc.) differently for the different sound group regions, such as steady-state sound elements, dynamic sound elements, and/or surreal sound elements. The user input controls may thus provide for adjustment of the vehicle zone to provide different control of each of the different group regions in each of the vehicle zones. In another example, the user input controls may provide for movement from one region to another of only one of the group regions, such as the steady-state sound element.
Thus, activity controls may be assigned to adjust more than one sound control parameter. Further, two or more activity controls may be provided to further increase system flexibility and user experience. In this way, a single activity control may be assigned one or more functions to reduce a number of user inputs, thereby reducing system complexity as perceived by a user.
Further.
The first plot from the top of
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The seventh plot from the top of
At the left most side of the plots, the activity control is positioned at a first extent (e.g., 320 of
Continuing to move from left to right in the plots, the sound output power amplitude and the frequency of playback for sound elements included in the first group remain constant. The sound output power amplitude of sound elements included in the second group of sound elements increases as the position of the activity control moves from the position of vertical line L1 to vertical line L2. Likewise, the frequency of playback or repetition for sound elements included in the second group of sound elements increases as the activity control moves from the position of vertical line L1 to vertical line L2. The sound output power amplitude and the frequency of playback for sound elements included in the third group remain zero. The sound output power amplitude of sound elements included in the second group of sound elements ceases increasing when the activity control reaches the position of vertical line L2. Likewise, the frequency of playback or repetition for sound elements that are included in the second group of sound elements ceases increasing when the activity control reaches the position of vertical line L2.
After the sound activity control reaches the position of line L2, the sound output power amplitude and the frequency of playback for sound elements included in the first and second groups remain constant. The sound output power amplitude of sound elements included in the third group of sound elements increases as the position of the activity control moves from the position of vertical line L2 to the activity control extent (e.g., 324 of
In this way, natural sounds may be provided to a user via the naturescape feature, in one of the manual mode and the automated mode. As elaborated above, the automated mode may automatically monitor vehicle conditions, such as vehicle location, environmental changes, and a user emotional state, and may provide sound elements to the user. Based on the state of the vehicle 100, the audio system 102 may provide sound elements. Some sound elements may be based on actual sounds detected outside the vehicle (e.g., real sound elements), while other sound elements may not be detected outside the vehicle (e.g., synthetic sound elements). Further, in the manual mode, a user may select a desired natural scene, and may adjust a mix of corresponding sound elements according to user preference. By providing natural sounds to a vehicle user, a more immersive sonic experience may be created, decreasing user stress and increasing customer satisfaction.
For the listening environment within the vehicle 100, aspects disclosed herein generally provide that the audio system 102 (e.g., via the vehicle controller 180) may also alter audio parameters to make the audio or user experience within the vehicle 100 sound like a different venue (e.g., stadium, concert hall (i.e., large, small, or medium), festival, or recording studio). For example, the vehicle audio apparatus may alter audio parameters to make the vehicle sound like Carnegie Hall, Yankee Stadium, etc. based on a user selection. Moreover, the vehicle audio apparatus may be arranged to simply make the listening environment within the vehicle sound larger than it really is (e.g., if the vehicle is a compact vehicle, the vehicle audio apparatus may provide for the audio experience to sound like the user is in a sports utility vehicle (“SUV”)). These aspects and others will be discussed in more detail.
The audio system 102 may also include a plurality of microphones 524a-524d positioned about the interior of the vehicle 100. For example, each microphone 524a-524d may be positioned equidistantly within the headliner (not shown) of the top wall 522 of the vehicle 100 to capture sound or a captured audio signal (e.g., music, noise captured from vehicle occupants that corresponds to entertainment data on an incoming audio signal including entertainment data from an electronic audio source (e.g., mobile device), speech (or dialogue from vehicle occupants), ambient noise from exterior of the vehicle 100 that enters into an interior of the vehicle 100, and/or ambient noise from within a vehicle cabin, etc.) within the listening environment 512 of the vehicle 100. It is recognized that any number of microphones 524 may be positioned within the listening environment 512 of the vehicle 10. However, in the event only one or two microphones 524 are positioned within the vehicle 100, audible sounds close to the microphones 524 may have a greater reverberation effect on the microphones 524 thereby causing a relatively unnatural sound.
As noted above, the audio system 102 includes the audio controller 175 that is arranged to employ any one or more noise cancellation techniques (e.g., active noise cancellation (ANC), room noise cancellation (RNC), and engine order cancellation (EOC)) to minimize the effects of road and engine noise (or any undesired audible noise in the ambient that does not coincide with the incoming audio data that is played back in the vehicle 100) that is picked up by the microphones 524a-524d. Similarly, the embodiment illustrated in
In general, a user (e.g., driver or passenger in the vehicle 100) may select a corresponding venue (e.g., stadium, concert hall (large, small, or medium), recording studio) for the audio controller 175 to playback audio parameters to conform the audio in the listening environment 512. It is recognized that the venues may pertain to specific venues such as Yankee stadium, Carnegie Hall, etc. A user interface 530 may be electrically coupled to the audio controller 175 to enable the user to select the corresponding venue for the audio controller 175 to playback the audio. The audio controller 175 is configured to adjust the amount of reverb that is added to an incoming audio signal from an audio source 560 (i.e., FM channel, AM channel, High Definition (HD) station, satellite radio, cell phone, tablet, etc.) and/or the captured audio signal prior to audio playback to provide the perception that the user is actually listening to the audio while situated in the selected venue setting (e.g., stadium, concert hall, recording studio, etc.) as opposed to hearing the audio based on the actual walls 516, 518, 520, and 522 (or the listening environment 512) of the vehicle 100. For example, the audio controller 175 may simulate any one or more of various walls (e.g., front, sides, rear, and top) for a corresponding virtual venue by adjusting the reverberation effect of the incoming audio and/or desired ambient sound prior to playback such that the user perceptually hears the audio in the selected venue.
The audio controller 175 may add the reverberation effect directly to the audio independent of any sound captured by the microphones 524a-524d to achieve or generate the selected venue. In another aspect, the audio controller 175 may capture any audio data by the vehicle occupants in the vehicle such that the audio controller 175 plays back audio in the vehicle 100 based on the selected virtual venue. In addition, the audio controller 175 may add the reverberation effect to the incoming audio signal from an electronic audio source (not shown) and to the captured audio signal by the microphones 524a-524d. These aspects may create a more realistic effect of actually being at one of the corresponding venue locations. For example, assuming that the user selected a large concert hall venue via the user interface 530, the audio controller 175 may playback the audio at a much louder volume that normal because the audio volume at a large concert hall may be much louder than the audio volume typically played back in the vehicle 100. In addition, the user may be able to select a venue corresponding to a listening environment 512 for a larger vehicle 100. The audio controller 175 may adjust the reverberation effect accordingly and playback the audio where it is perceived to be played back in a larger vehicle 100. In general, reverberation aspects related to the various venues may be recorded or measured at the venues and then stored in memory (not shown) of the audio controller 175 for selection by the user. It is also recognized that in one embodiment, the vehicle 100 may also allow the user the ability to select a particular location from within the selected venue (via the user interface 530) so that the user can experience listening to the audio not only from the selected venue but from a particular location within the venue. The location from within the venue may correspond to a main floor, an upper level (i.e., rafters), a lower level, an intermediate level (i.e., various level(s) between the upper level and the lower level), on stage, on-stage right or left, etc.
It is further recognized that any incoming audio that is captured by the microphones 524a-524d may be muted by the audio controller 175 when: (i) any windows in the vehicle 100 are open, (ii) a sunroof in the vehicle 100 is open, or (iii) a convertible top in the vehicle 10 is down. For example, various electronic controllers (not shown) in the vehicle 10 may monitor vehicle status such as window status (e.g., open or closed for any window), sunroof status (e.g., open or closed), and convertible top status (e.g., up or down) and transmit information to the audio controller 175 over a data communication bus via a controller area network (CAN) or other multiplexed data bus. A mixer 576 may mute the captured audio at the microphones 524 and apply the reverberation effect to the incoming audio signal to generate the audio for playback in the venue selected by the user via the user interface 530. For example, if a window is detected to be down or a convertible top is detected to be down, then the mixer 576 may mute the captured audio as the captured audio may be too loud or noisy.
In operation 602, the audio controller 175 receives captured audio from any one or more of the microphones 524 positioned within the vehicle 100.
In operation 604, the audio controller 175 processes the incoming audio from the audio source 560 to recreate acoustic characteristics of the desired or selected venue. For example, the audio controller 175 adds the corresponding reverberation effect to generate the desired virtual venue as selected by the user.
In operation 607, the audio controller 175 plays back the processed audio at the corresponding reverberation effect through the various loudspeakers 104 to enable the user to listen to the audio based on the acoustics of the selected venue.
A reverb extraction block 564 (or extraction block 564) removes reverb from the incoming audio signal to provide a dry audio signal. This operation is performed to prepare the incoming audio signal to receive the corresponding reverberation effect for the selected venue. It is recognized that the reverb extraction block 564 may not be capable of completely removing the reverb from the incoming audio signal and that some remnants of reverb may still be present on the dry audio signal. A stereo equalization block 566 receives the dry audio signal from the reverb extraction block 564. In general, the stereo equalization block 566 serves as a regular stereo equalizer in the vehicle 100 and is configured to equalize the incoming audio signal for user playback. An adder 568 receives an output from the stereo equalization block 66. The relevance of the adder 568 will be discussed in more detail below.
The audio controller 175 is configured to receive an input from each corresponding microphone 524 in the vehicle 100. As noted above, the audio captured by the microphones 524 may correspond to music, speech, and ambient noise within the vehicle 100. A microphone equalization block 570 receives the captured audio from the microphones 524 and equalizes (i.e., boosts or weakens the energy of various frequency bands) the captured audio. A feedback equalization block 572 receives an output from the microphone equalization block 570. The audio controller 175 includes a delay block 574, the mixer 576, and a spider reverb block 578. The delay block 574 receives the dry audio from the reverb extraction block 564 to time align the dry audio with the captured audio from the microphones 524. This condition accounts for the delay of processing the incoming audio signal by the audio controller 175. It is desirable to ensure that the playback of the entertainment data on the incoming audio signal is time aligned with the captured audio signal from the microphones 524. Consider the example in which vehicle occupants are clapping or singing along with the entertainment data of the incoming audio signal, in this case it is desirable to time align the playback of the entertainment data on the incoming audio signal with the clapping or vocal inputs from the vehicle occupants (as captured by the microphones 24) for playback. By capturing the playback of the entertainment data of the incoming audio signal and the clapping or vocal inputs (or other actions performed by the vehicle occupant(s) that coincide with entertainment data) by the microphones 524, this aspect further provides the experience to the vehicle occupant(s) that he/she is located within the desired venue as one would expect to hear to some extent noise that coincides with the audio playback at a venue that includes an audience. Thus, by capturing the ambient noise in the vehicle 100 with the microphones 524 and combining this data with the entertainment data of the incoming audio signal and subsequently adjusting the reverb of the mix, this aspect enhances the experience for the vehicle occupant and provides the perception that the vehicle occupant is positioned within the desired venue.
It is recognized that the delay block 574 may or may not apply a delay and that this condition is based on the processing speed of audio controller 175. The mixer 576 is configured to mix the reverb from the audio captured by the microphones 524 with any remnants of reverb that are left on the on the incoming audio signal. The mixer 576 receives a signal WINDOW/CONVERTIBLE_STATUS that indicates whether the window, convertible top, or sunroof is open or closed. Again, the mixer 576 may mute the captured signal from the microphones 524 if the window, convertible top, or sunroof is open and too much noise is on the signal. Likewise, the mixer 576 controls how much noise or voice data (i.e., captured audio data from the plurality of microphones 24) in the vehicle 100 is fed back to the spider verb block 578 versus how much audio is fed into the spider verb block 578. In general, the mixer 576 determines the blend of audio captured at the microphone 524 in relation to direct audio (or the dry audio) in order to achieve a desired blend.
The user interface 530 provides a control signal to the audio controller 175 that indicates a selected venue (or virtual venue) for the audio controller 175 to playback the audio. As noted above, the selected venue may correspond to any one of a stadium, a concert hall (e.g., large, small, or medium), recording studio)), and a listening environment of a vehicle 100 that is different from the listening environment 512 of the vehicle 100 that the user is positioned in. The spider reverb block 578 receives an output from the mixer 576 that corresponds to the mixed dry audio and the captured audio. The spider reverb block 578 generally includes a plurality of spider verb blocks 580a-580n (or “580”) and a plurality of venue equalization blocks 582a-582n (or “582”). In general, each spider verb block 580 and its corresponding venue equalization block 582 adds or adjusts the amount of reverb on the output from the mixer 576 to provide the selected or desired venue for the user. Specifically, the spider reverb block 580 replicates different reverberation characteristics of the different walls for the selected venues. The spider reverb block 578 adjusts the reverberation to correspond to a designated or selected venue and the venue equalization block 582 controls the brightness characteristics for the walls 516, 518, 520 and 522 of the vehicle 100 to provide the desired brightness characteristics for the selected venue. The selected venue may correspond to a stadium venue, a large concert hall, a medium concert hall, and so on. For example, in the event the user selected that the audio controller 175 playback the audio as if the user was positioned in Carnegie Hall, the spider verb block 580 is configured to provide reverberation effect off the walls 516, 518, 520 and 522 of the vehicle 100 to sound like the walls of Carnegie Hall. Thus, this gives the user the perception that he/she is actually listening to audio in Carnegie Hall while actually sitting in the vehicle 10. The audio controller 175 includes memory (not shown) that may store any number of desired venues and that also takes into account the various front, side, rear, and top walls of the selected venues and the manner in which the audio reflects or echoes off such surfaces of the walls. For example, the memory may store various pre-set frequency values that correspond to a characteristic of the walls for particular venue and the venue equalization block 582 may boost or decrease frequency levels of the audio output from the mixer 576 and the spider verb block 580 to further increase the perception that the user is actually located in the corresponding or selected venue.
For example, consider the scenario in which the selected venue generally provides a short ceiling that is made of metal and far away walls that have carpet on them. The ceiling may have very bright and fast reflection characteristics in comparison to the other wall that would sound very dull and have slower reflection times. The spider reverb block 578 adjusts the reverberation of the incoming audio signal and the captured audio signal to provide the desired venue and the corresponding venue equalization block 582 controls the equalization of the incoming audio signal and the captured audio signal to simulate playback in the desired venue and to simulate the brightness characteristics of walls of the desired venue. In general, the loudspeakers 104 in the vehicle 100 globally provide an output that corresponds to a desired venue and corresponding speaker(s) in a given wall may each receive a discrete input to simulate the desired brightness characteristic for that given wall of the desired venue. For example, the loudspeakers 104 in the ceiling of the vehicle 100 may receive an equalized output to provide the appearance that the sound that bounces off of the ceiling has a fast reflection time to coincide with the short ceiling of the selected venue as noted above. Likewise, the equalization may be adjusted differently for each audio output provided to a corresponding loudspeaker 104 in a particular wall 516, 518, 520, and 522 to coincide with various walls in the selected venue.
A speaker equalization block 584 receives an output from the spider verb block 578 to provide a more even audio response in the vehicle 100. The speaker equalization block 584 compensates for issues with the loudspeakers 104 in the vehicle 100. A mute block 586 is provided to simply remove the amount of reverb added by the spider verb block 578 if the user elects to hear the incoming audio in a normal mode. The user interface 530 may transmit a signal indicative of a request to the audio controller 175 to disable the reverberation effect that is added to obtain the selected venue. In response to the request, the audio controller 175 may activate the mute block 86 to simply disable the playback of the audio in the selected venue. The adder 568 receives the output from the spider reverb block 578 (or from the mute block 586) and also receives the output from the stereo equalization block 566 and sums the two audio inputs together to provide a digital version of the inputs. A digital to analog converter (DAC) 588 receives the digital output from the adder 568 and converts the digital output into an analog output. The analog output corresponds to the audio that is to be played back for the user at the selected venue. Various power stages (or power amplifiers) 590 boost the analog output for playback at the loudspeakers 104.
In view of the foregoing present disclosure, it is possible to enable users (or vehicle occupants) in the vehicle 100 to ability to select a corresponding naturescape audio format (e.g., audio that is typically heard in a forest, stream, canyon, etc.) such that the audio system 102 plays back the sounds from that nature setting and in the venue that corresponds to the naturescape setting such as for example, forest, stream, canyon, beach, etc. Thus, in this regard, the audio (e.g., music and/or voice played back in the vehicle 100 may generally sound as if it is actually in the nature setting. For example, the user may select via the user interface 530 to listen to sounds from a beach in which the audio controller 175 plays back sounds generally heard at a beach (e.g., waves crashing on the shore, seagulls, other ambient noise generally heard at the beach, etc.) and adjust the venue via the virtual venue feature so that the corresponding audio that is being played back sounds as if the waves crashing on the shore, seagulls are in a beach setting, and other ambient noise generally heard at the beach. These aspects and others will be discussed in more detail below.
For example, mix level 606a generally corresponds to an ambient scene, mix level 606b generally corresponds to an energetic mix, mix level 606c generally corresponds to bright mix, mix level 606d generally corresponds to a warm mix, and 606e generally corresponds to a relaxed mix. The slider bar control 604 is generally similar to the slider bar control 602 however, the slider bar control 604 simply illustrates different levels that may be selected for each mix level. FIG. 10 generally illustrates that one or more of the various mix levels 606a-606e may be activated at any time. For example, mix levels 606c (e.g., bright) and 606e (e.g., relaxed) may both be activated which may involve for example, wave sounds being mixed with sounds corresponding to sea gulls. Mix levels 606d (e.g., warm) and 606e (e.g., relaxed) may both be activated to which may involve for example, sounds related to rain and a fireplace.
First selection control 620 is also shown in
As generally shown at 640, this condition represents the occupant's desire to use a minimum intensity level of the selected naturescape (or mix level 606a-606e). For example, at 604, this condition corresponds to a minimum intensity level that is applied to the naturescape and/or the other audio being played by in the vehicle ((e.g., recording of artist's audio or audio being played back by a broadcast (i.e., non-naturescape audio)). For example, this condition may involve that the intensity of the selected naturescape to be at a minimum and that the virtual venues being applied by the audio system 102 along with the audio being played back by the audio system 102 also being at a minimum. As generally shown at 642, this condition represents the occupant's desire to use a maximum intensity level of the selected naturescape (or mix level 606a-606e). For example, this condition may involve that the intensity of the selected naturescape to be at a maximum and that the virtual venues being applied by the audio system 102 along with the audio (e.g., recording of artist's audio or audio being played back by a broadcast (i.e., non-naturescape audio) being played back by the audio system 102 also being at a maximum.
For example, the occupant may simply move their respective finger along the image of the forest (e.g., virtual venue) as shown in the second selection control 700 to control the audio playback for the secondary images (or naturescape images/audio ((e.g., birds, water, etc.)) shown in the forest. For example, a sphere is generally shown at 702 and a touch point 703 is also generally shown which corresponds to a point in the second selection control 700 as to where the occupant's finger is positioned on the image shown in the second selection control 700. The sphere 702 generally illustrates an area in which the occupant can move the touch point 703 to select various aspects related to naturescapes (or images of nature in the forest) by an occupant. It is recognized that the actual touch point 703 will not be visible to the occupant for selection and subsequent control of movement. In one example, the touch point 703 may be overlaid on the image shown in the second selection control 700. While the touch point 703 is generally shown circular, it is recognized that the touch point 703 may be arranged in any shape or configuration.
In general, the occupant can move the touch point 703 vertically, downward along an axis 704 toward the water to control the audio controller 175 to increase the level/volume of the water playback. In the event the occupant intends to reduce the volume or level of the playback of the water, the occupant may move the touch point 703, vertically, upward along the axis 704 away from the image of the water as shown in the second selection control 700. In addition, the occupant can move their respective finger vertically, upward along an axis 706 toward the birds to control the audio controller 175 to increase the level/volume of the bird naturescape playback (e.g., birds chirping). In the event the occupant intends to reduce the volume or level of the playback of the bird chirping, the occupant may move the touch point 703, vertically, downward along the axis 706 away from the image of the birds as shown in the second selection control 700. Similarly, the user interface 530, via the second selection control 700, enables the user to move the touch point 703 about the visual depicting the forest (or virtual venue) by moving the touch point horizontally across the axis 708. In this regard, the occupant may traverse through the forest and move closer to other items shown in the forest scene or image for the occupant to select as a naturescape for the audio system 102 to playback for the user. In one example, the occupant may touch the image of the forest and move the touch point 703 along the axis 708 to the right to move closes to the water as illustrated on the left hand side of the second selection control 700. It is recognized that the touch point 703 is generally visible in the image shown of the forest on the second selection control 700. For example, the touch point 703 may be overlayed with the image presented in connection with the second selection control 700. The touch point 703 may be visible to the user at all times except for moments in which the system enters into a time-out screen with a large image of the selected naturescape. When the user moves the touch point 703, the touch point 703 will remain in the spot where the user has left it. The audio will change based on the spot where the touch point 703 is moved to.
In another embodiment, the touch point 703 may not have any nature sounds (or naturescapes), however, in case, the corresponding visuals may illustrate the location, and dragging your finger towards the area where the birds sounds (or naturescapes) are located, birds will appear. Alternatively, the touch point 703 may be re-centered after the occupant removes his/her finger from the second selection control 700.
The control mechanism 900 may be generally defined by abounded area 901 (e.g., funnel type shape as shown in
As generally shown at 909, primary music level (or primary audio) 910 is not affected by the placement of the touch point 703 within the bounded area 901. However, naturescapes 606 is turned all the way down as reflected by the placement of the touch point 703 within the bounded area 901 (e.g., the touch point 703 is positioned adjacent or close to an icon representing the selected virtual venue 905. Similarly, as shown at 916, the microphone(s) as positioned throughout the vehicle are selected off and therefore, the occupants' voice is not captured and played back by the audio system 102 along with primary audio and the naturescape 606 within the virtual venue 905. It is recognized that the user may select a microphone playback feature in which the user selects, via the user interface 530, an option to activate one more microphones positioned throughout the vehicle such that the microphones capture audio from within the cabin and the audio system 102 plays the captured audio from within the cabin along with the primary audio, the nature sounds, and within the selected virtual venue. Consider the example in which the user selects a church for the selected virtual venue. In this case, the user (or occupant(s)) may clap their hands to gospel music that is playing back as the primary audio and the captured audio of the clapping may be played back in the virtual venue of the church. Additionally, it is possible for the user to activate the nature sounds for playback (e.g., rain, waves, etc.) such that the nature sounds, along with the primary audio (e.g., the gospel music) and the captured audio signal from within the cabin (e.g., hand clapping) is played back in the selected virtual venue corresponding to the church.
Second axis input 954 corresponds to the level selected between the naturescape and the selected virtual venue 905 (see
In general, the audio controller 175 includes the mixer 960 to mix the various levels of the naturescapes 606, the primary audio 970, and the selected virtual venue 905. Thus, in connection with the naturescapes 606, the mixer 960 adjusts the overall level (or volume) for the naturescapes 606 based on the volume information provided by the level circuits 956a-956c. The level circuits 956a-956c generally provide information corresponding to the selected level (or amount of volume) that is being requested to be applied via the control mechanism 900. In addition, the mixer 960 may also receive a signal from an immersion control circuit 914 which generally provides information corresponding to the amount of level to be applied to the selected virtual venue 905 based on the position of the touch point 703 on the first axis 902 as set forth in
The user interface 530 also provides a control signal to the audio controller 175 to receive an input for any one or more of the microphones 150 positioned in the vehicle. In this case, the audio controller 175 may receive captured audio from within the cabin of the vehicle and play this captured audio along with the naturescapes 606, the primary audio 970 within the selected virtual venue 905. One example of this aspect is set forth above in connection with the occupant(s) clapping their hands where such audio is captured and played in the selected virtual venue 905 of a church along with the primary audio 970. As further noted, one of the naturescapes 606 may also be played back along with the primary audio 970 and captured audio within the vehicle.
In operation 1002, the user interface 530 receives various input from a user (e.g., driver or vehicle occupant). In operation 1004, the audio controller 175 receives an incoming audio signal including primary audio data from the audio source 560 to playback the audio in the vehicle 100. In operation 1006, the audio controller 175 receives a first control signal from the user interface 530 in any of the manner disclosed above. The first control signal may be indicative of a desired venue (i.e., selected virtual venue 905).
In operation 1008, the audio controller 175 adjusts reverberation of at least the incoming audio signal to playback the primary audio data in the desired venue (e.g., selected virtual venue) in the vehicle 100. In operation 1010, the audio controller 175 receives a second control signal indicative of a desired nature sound (e.g., naturescape) to be played back in the listening room. The audio controller 175 receives the second control signal from the user interface 530. In operation 1012, the audio controller 175 plays back the desired nature sound along with the primary audio data in the desired venue of the vehicle 100. Additionally or alternatively, the audio controller 175 may receive the captured audio from within the cabin of the vehicle and play this captured audio along with the naturescapes 606, the primary audio 970 within the selected virtual venue 905. The audio controller 175 may transmit an audio output signal including the primary audio data, the desired nature sound, and/or the captured audio to one or more loudspeakers in the vehicle. Alternatively, the audio controller 175 may wirelessly transmit the audio output signal including the primary audio data, the desired nature sound, and/or the captured audio to the one or more mobile devices 1102 as positioned about one or more seats 109, 110, 112a, and 112b of the vehicle.
Based one or more aspects noted above, it is possible to extend the audio system 102 to include a seat-based component where an individual seat occupants (e.g., passenger) positioned in the vehicle 100 can independently adjust their own scene-related naturescape sound mix. For example, any occupant may be positioned in the driver seat 109, the passenger seat 110, the left rear passenger seat 112a, and the right rear passenger seat 112b and control their own naturescape mix (see
The interior cabin as illustrated in
It is recognized that the audio system 102 may utilize cross cancellation and/or active noise cancellation to cancel noise that leaks from neighboring zones in the vehicle 100. It is also recognized that the concepts disclosed can be extended to not only include mobile devices that serve as an audio source, but to any audio sources with user interfaces 530 that are coupled directly to the vehicle 100 such as an audio head unit that may be attached to various seatbacks or other areas proximate to or within an ISZ that encompasses a particular seat 109, 110, 112a and 112b. Thus, in this regard any reference to the mobile device 1102 and any operation performed herein, may also apply to the audio sources with user interfaces 530 positioned within (or attached) to aspects of the vehicle 100 (e.g., seat back, headrests, headliners, etc.).
Referring back to the naturescape aspect, the audio system 102 may generally provide a “stereo bed” of sound files that covers steady-state and generic sounds (e.g., nature related sounds). Each occupant can adjust their blend of dynamic sound elements via a user interface 530 on the mobile device 1102 or with a user interface that controls the audio controller 175. Thus, these signals may be routed to individual nearfield loudspeakers (e.g., die CTR speaker 124, the FL speaker 113, the FR speaker 115, and the at least one pair of surround speakers such as the LS speaker 117, the RS speaker 119, the LR speaker 129 and the RR speaker 130 or a combination of speaker sets) that are positioned proximate to each ISZ or seat 109, 110, 112a, and 112b.
Generally, for example, the driver may select a naturescape that corresponds to the “Forest” as the desired nature scene. The audio system 102 may playback a stereo bed which generally includes a steady signal such as wind noise, a gentle babbling brook, or similar. On a user interface for each mobile device 1102, each passenger may move their avatar around between, for example, 3 or more specific, dynamic sound elements. For example, birds, bugs, elk bugling, or similar dynamic sounds. The users may independently adjust their blend of these dynamic elements, for example, by adding more birds, and less bugs, more elk and less birds, etc. A matrix mixer is disclosed that downstream of shared nature sound file players, and each driver or occupant's nearfield mix is adjusted accordingly. In addition, each occupant can adjust their personal immersion level based on the present disclosure as set forth herein.
In general, the first axis 1200 and the second axis 1202 generally correspond to the naturescape of a thunder-based audio output. Thus, as the touch point 1103 is moved onto or about the first axis 1200 and the second axis 1202, the audio controller 175 transmits the thunder-based audio output. The second axis 1202 and the third axis 1204 generally correspond to the naturescape of bird sounds (or chirps). Thus, as the touch point 1103 is moved onto or about the second axis 1202 and the third axis 1204, the audio controller 175 transmits a bird-chirp based audio output. The first axis 1200 and the third axis 1204 generally corresponds to the naturescape of a wave-based audio output. Thus, as the touch point 1103 is moved onto or about the first axis 1200 and the third axis 1204, the audio controller 175 transmits a wave-based audio output. The user can move the touch point 1103 such that the series of concentric spheres 1105 may overlap onto one or more of the first axis 1200, the second axis 1202, and the third axis 1204 such that any one or more of the waterfall-based audio, the bird chirp audio, and/or the wave based audio can be played back by the audio controller 175. The greater the degree of the concentric spheres 1105 as positioned on one or more of the first axis 1200, the second axis 1202, and the third axis 1204, the greater (or higher) of the level or volume to be played back by the audio controller 175.
The touch point 1103 as shown in
In another embodiment, the manner in which the occupant selects the corresponding naturescape may involve that the occupant selects various points on the outermost sphere 1109 whereas the touch point 1103 remains generally stationary. In this case, the user may select and move the corresponding point of the outermost sphere 1109 a deeper into a corresponding naturescape region to increase the level or volume of the audio playback. Thus, in this regard, it can be seen that one or more points on the outermost sphere 1109 are positioned predominantly in the naturescape region corresponding to bird audio.
It is recognized that the primary audio being transmitted by the audio controller 175 may also be played simultaneously with the naturescape that is being played back. An occupant may perform immersion control selection 1210 (see
In another embodiment, sound immersion control may be performed as follows: the occupant may select the center sphere 1107 and move the sphere 1107 inwardly away from the outermost sphere 1109 or outwardly toward the outermost sphere 1109 while the touch point 1103 (and the outermost sphere 1109) remains generally stationary. Such movement of the center sphere 1107 generates a change in a visual topography of the touch point 1103 which causes a change in the immersion control. This aspect will be discussed in more detail below.
It is recognized that each occupant in each of the seats 109, 110, 112a, and 112b can independently select the various naturescape that he/she so desires irrespective of what other occupants can select. It is also recognized that each occupant may continue to playback the primary audio that is being played back by the audio system in the vehicle 100 while controlling the particular type of naturescape, the sound immersion level of the naturescape, and volume of the naturescape. Conversely, if the user interface 530 is part of the mobile device 1102, the occupant may select to utilize the vehicle's naturescape that is provided by the audio system 102 while utilizing a primary audio signal that is played back by the occupant's mobile device 1102. While not generally shown, the image of
In general, visual indicator 1115a is shown as being highlighted and corresponds to the location of the occupant that is currently controlling the mobile device 1102 to play the desired naturescape. In this case, it can be seen that the driver who is seated in the seat 109 has his/her mobile device 1102 paired to the audio system 102 and selects the current naturescape of birds for playback. The visual indicator 1115b corresponds to the passenger positioned in the right front seat 110 and the display on the mobile device 1102 provides an indication to the driver who is seated in the seat 109 as to what naturescape is being played back for the passenger positioned in the right front seat 110. In this case, the right front passenger is listening to the naturescape of a bird audio output. It can also be seen that the left rear passenger is listening to the wave based naturescape via indication 115c and that the right rear passenger is listening to at least the wave-based audio.
The touch point 1103 as shown in
The touch point 1103 as shown in
In another embodiment that may be used to select a corresponding naturescape, a first additional axis 1190, a second additional axis 1192, and a third additional axis 1194 is shown. In this regard, the first additional axis 1190 may be correspond to naturescape of water, the second additional axis 1192 may correspond to the nature scape of wind, and the third additional axis 1194 may correspond to the naturescape of a bird. As noted above, the touch point 1103 in this embodiment is generally stationary but the occupant may move the first point 1180 on the first additional axis 1190 to or away from the center point 1120 to control the amount of water based naturescape that is played back by the audio system 102. In addition, the occupant may move the second point 1182 on the second additional axis 1192 to or away from the center point 1120 to control the amount of wind based naturescape that is played back by the audio system 102. In addition, the occupant may move the third point 1184 on the third additional axis 1194 to or away from the center point 1120 to control the amount of bird based naturescape that is played back by the audio system 102. It is recognized that the mobile device 1102 may provide any number of additional axes that coincide with any number of naturescapes. For example, the mobile device 1102 may display five naturescape sounds to select from with each naturescape having a corresponding axis that allows the occupant the ability to select a point on the outermost sphere 1105 relative to the center point 1120 to select the desired naturescape.
As generally shown at 1302, in a first embodiment, the occupant may pinch or spread the outermost sphere 1109 to adjust the immersion level. In another embodiment and as stated above, the sound immersion control may be performed as follows: the occupant may select the center sphere 1107 and move the sphere 1107 inwardly away from the outermost sphere 1109 or outwardly toward the outermost sphere 1109 while the touch point 1103 (and the outermost sphere 1109) remains generally stationary. Such movement of the center sphere 1107 generates a change in a visual topography of the touch point 1103 which causes a change in the immersion control.
The naturescapes 1606a-1606n may correspond to the thunder-based audio, the bird-based audio, the wave-based audio, the traffic-based audio, the city-based audio, the people-based audio, the waterfall-based audio, the animal-based audio, and the wind-based audio, etc. as shown in connection with
The user interface 530 also provides the overall position of the touch point 1103 as positioned thereon for the selected naturescape(s) and provides an indication of where the touch point 1103 is positioned on any one or more of the first axis 1200, the second axis 1202, and the third axis 1204. The user interface 530 includes level circuits 956a-956c that each provide an output (or digital information) that is indicative of the desired naturescapes 1606a-1606n and a corresponding volume (or level) based on the location of the touch point 1103 on the various axes 1200, 1202, and 1204. In general, the level circuit 956a receives a signal indicative of the position of the first point 1180 on the first additional axis 1190 (see
The user interface 530 includes the main volume level selector 1502 as noted above in connection with
For a given mobile device 1102, the audio controller 175 includes a plurality of mixers 1560 (e.g., one mixer 1560 for each seat or mobile device positioned proximate to the seat) to mix the various levels of the naturescapes 1606a-160n, the primary audio 970, captured audio, and the selected immersion and/or virtual venue (from the immersion control and virtual venues circuit 958). Thus, for a single mobile device 1102 (or seat) in connection with the naturescapes 1606-1606n, a corresponding mixer 1560 adjusts the overall level (or volume) for the naturescapes 1606a-1606n based on the volume information provided by the level circuits 956a-956d. Each corresponding mixer 1560 also receives the signal from the immersion control and virtual venues circuit 958 which generally provides information corresponding to the amount of level to be applied to the selected virtual venue based on the position of the touch point 703 for a corresponding mobile device 1102. The mixer 1560 also receives the primary audio 970 to combine the primary audio 970 with the selected levels (or volume) of the naturescapes 1606a-1606n, the selected level (or volume) of the selected immersion and/or virtual venue and the primary audio 970.
The mixer 1560 combines the selected levels of the naturescapes 1606a-1606n, the immersion level and/or the virtual venue along with the primary audio and provides a first audio output to amplifier 1562. The amplifier 1562 amplifies the audio output to generate a final audio output for transmission to the corresponding mobile device 1102 and/or the loudspeakers in the vehicle. It is recognized that the audio controller 175 may be equipped with a plurality of amplifiers 1562 which each amplifier providing the final audio output (or audio output signal) that includes the selected naturescape 1606a-1606n, primary audio 970, and captured audio to a corresponding mobile device 1102 positioned about a corresponding seat 109, 110, 112a, 112b or to individual nearfield loudspeakers positioned each seat 109, 110, 112a, 112b. It is recognized that individual occupants as positioned throughout the seats 109, 110, 112a, 112b in the vehicle can adjust their blend of dynamic sound elements (e.g., naturescapes 1606a-1606n, primary audio 970, and/or captured audio) via their respective user interface on their mobile device 1102 and further the audio controller 175 may transmit each occupant's desired dynamic sound elements directly to their respective mobile device 1102 and/or to loudspeakers positioned about each of the seat in which such a user is positioned at.
The user interface 530 also provides a control signal to the audio controller 175 to receive an input for any one or more of the microphones 150 positioned in the vehicle. In this case, the audio controller 175 may receive captured audio from within the cabin of the vehicle and play this captured audio along with the naturescapes 606, the primary audio 970 within the selected virtual venue 905. One example of this aspect is set forth above in connection with the occupant(s) clapping their hands where such audio is captured and played in the selected virtual venue 905 of a church along with the primary audio 970. As further noted, one of the naturescapes 606 may also be played back along with the primary audio 970 and captured audio within the vehicle. The audio controller 175 is generally configured to receive primary audio (or music) 970 from another audio source (e.g., mobile device, radio, CD player, etc.) to play along with the selected mix level (or naturescape) 1606a-1606d for the selected immersion and/or virtual venue.
It is recognized that the controllers as disclosed herein may include various microprocessors, integrated circuits, memory devices (e.g., FLASH, random access memory (RAM), read only memory (ROM), electrically programmable read only memory (EPROM), electrically erasable programmable read only memory (EEPROM), or other suitable variants thereof), and software which co-act with one another to perform operation(s) disclosed herein. In addition, such controllers as disclosed utilize one or more microprocessors to execute a computer-program that is embodied in a non-transitory computer readable medium that is programmed to perform any number of the functions as disclosed. Further, the controller(s) as provided herein includes a housing and the various number of microprocessors, integrated circuits, and memory devices ((e.g., FLASH, random access memory (RAM), read only memory (ROM), electrically programmable read only memory (EPROM), electrically erasable programmable read only memory (EEPROM)) positioned within the housing. The controller(s) as disclosed also include hardware-based inputs and outputs for receiving and transmitting data, respectively from and to other hardware-based devices as discussed herein.
While exemplary embodiments are described above, it is not intended that these embodiments describe all possible forms of the invention. Rather, the words used in the specification are words of description rather than limitation, and it is understood that various changes may be made without departing from the spirit and scope of the invention. Additionally, the features of various implementing embodiments may be combined to form further embodiments of the invention.
This application claims the benefit of U.S. provisional application Ser. No. 63/616,233 filed Dec. 29, 2023, the disclosure of which is hereby incorporated in its entirety by reference herein.
| Number | Date | Country | |
|---|---|---|---|
| 63616233 | Dec 2023 | US |
