Patent Grant
12022143
Certain exemplary embodiments relate to entertainment systems and, more particularly, certain exemplary embodiments relate to jukebox systems that incorporate digital downloading jukebox features along with karaoke jukebox and/or photo booth features.
Jukeboxes have been around for decades and provide users with the ability to select desired music for reproduction in a convenient and advantageous manner. Jukeboxes conventionally have been provided in commercial establishments, such as restaurants and bars, in order to provide desired music on demand for patrons thereof for a fee. Over the last several years, a new generation of jukebox devices have become available that provide significant improvements in the operation thereof for all parties involved. More specifically, the conventional standalone phonorecord and CD jukeboxes are being replaced by digital downloading jukeboxes that are controlled by and communicate with a central server. An example of this new generation jukebox system is shown in U.S. Pat. No. 6,308,204, the entire disclosure of which is incorporated herein by reference. A leading provider of this new generation of jukebox systems is TouchTunes Music Corporation.
The jukebox devices 16 (sometimes referred to herein as simply “jukeboxes”) are operable to communicate with the central server 12 through a communications network 14, such as, for example, the Internet. The jukeboxes 16 periodically communicate with the server 12 in order to provide information to the server 12 regarding the specific songs that have been played on the jukebox. The central server then uses this information in order to determine the appropriate royalties and/or other payments that are owed for songs played on each jukebox. Thus, one advantage of this new generation of jukeboxes is that the sound reproduction and/or other applicable music rights can be adhered to in a more accurate and reliable manner, thereby assuring the proper royalties are paid to the artists or music owners. The central server 12 can also provide new songs to the jukebox 16 in order to assure that the appropriate or most popular songs are maintained on the jukebox based on the specific customers at that location. Thus, the songs available on each jukebox can be customized through communication with the central server in order to provide the songs and/or types of music that customers generally request at each jukebox location. As described in the above-referenced U.S. Pat. No. 6,308,204, the central server can also advantageously be used to update the operating software on the jukeboxes in order to, for example, change the operation of the jukebox, such as to provide new or improved features. Thus, another advantage of this new generation of jukeboxes is that the songs (or other audio and/or visual content), and the operation of the jukebox itself can be remotely changed as desired without the need to have someone (such as a routeman) personally service the jukebox. Instead, such updates can be done using the central server 12.
As indicated above, the jukebox devices 16 each include a mass storage device, such as a hard drive, which stores the songs and associated video/graphics data (if any), as well as any other desired graphical information for reproduction on the jukebox. The mass storage device of the jukebox typically has limited storage capacity relative to the storage device of the central server 12. As a result, only a fraction of the songs stored on the central server are typically stored on the mass storage device of the jukebox at any one time. There may be other reasons as well, such as for security of the data or limited room in the jukebox itself, for having limited storage capacity on the jukebox and/or limiting the number of songs stored thereon. For example, physical space may be limited on wall-mount jukeboxes or the like, which are designed to be small in size as compared to free-standing models. As explained above, the songs on the jukebox can be changed through communication with the central server, but typically any one jukebox only stores a relatively small subset of the complete library of songs maintained by the central server at any one time.
In order to increase the revenue that a jukebox generates, making the most desired or popular songs available on the jukebox over time may be seen as an advantage. If customers cannot find songs they like on the jukebox, usage of the jukebox (and the revenue generated thereby) can decrease. On the other hand, it is not always possible to predict in advance exactly what a customer at any particular location will desire to play on the jukebox. In fact, there are likely many instances where a customer would have selected a song that exists on the central server but is not currently present on the jukebox. As a result, the jukebox may not be enjoyed and used to its fullest extent. In order to address this problem and increase revenue, jukebox systems have in the past provided a feature that enables the user to search for songs on the central server from the jukebox and request an immediate download of a desired song from the central server to the jukebox for an additional fee. This feature enables the user to play any song in the master library of songs maintained by the central server using the jukebox, regardless of whether or not the specific song is presently stored in the mass storage of the jukebox itself Thus, the user can first look for desired songs on the local storage of the jukebox and then, if desired, search further on the central server for desired songs (e.g., in connection with search functionality, potentially accessible by selecting a central server search function button on the screen). The jukebox device typically charges an additional fee (such as five credits instead on one credit) for an immediate download and play of a song from the central server as opposed to a standard play directly from the jukebox's local storage.
In addition to all the features of a conventional jukebox, there is a need for an integrated karaoke experience. In that regard, current jukeboxes typically are turned off or otherwise deactivated during karaoke nights, where karaoke providers bring in their own separate equipment and set it up at the venue, or the venue itself simply sets up the separate karaoke system in which it has separately invested. The deactivation of the jukebox device, even if only temporary, represents a loss of potential revenue during such karaoke establishments. The setup and tear-down of the separate karaoke systems also is inconvenient and sometimes burdensome, e.g., for short-staffed venues, for venues where there is not a lot of space, etc. Moreover, conventional jukeboxes have been largely shut out from “karaoke-only” establishments. Because jukeboxes and karaoke device belong in different classes in the real world, a whole market remains unavailable and thus untapped.
As is known, the karaoke environment involves an organized process of selecting music from an exclusive karaoke catalog that contains legally licensed music. Unfortunately, it has been very challenging to develop a sufficiently feature-rich solution to allow a true karaoke experience to take place in a bar or public venue. Karaoke systems in place today for commercial uses typically present music that the “KJ” or “Karaoke Jockey” (as opposed to the “DJ”) has accumulated. It has been observed that few KJs make any effort to obtain legally licensed versions of the songs that make use of Even genuine efforts to license songs from appropriate karaoke music suppliers are fraught with risk, as the suppliers themselves oftentimes do not have coherent and effective licensing capability. And even genuine efforts to license songs still cannot provide to KJs the vast music catalog available on jukebox devices.
Thus, it will be appreciated that there is a need in the art for a new catalog management and royalty payment strategy that goes beyond what has been put in place for conventionally licensed music for mechanical reproduction and performance, e.g., so as to accommodate karaoke environments. For instance, certain exemplary embodiments provide a way to comply with obligations to respect author rights, in the more complicated karaoke environment where a different set of rights is implicated, e.g., in connection with vocal elimination and replacement, generation of new content, etc.
In this vein, as is known, the karaoke experience creates a new work, namely, a combination of the original music and the performer(s) singing. There oftentimes is a desire for performers to retain audio or audio and video copies of their performances. To meet this need, however, would imply the potentially recurring usage of the original music track and the appropriate tracking and management of these produced works, e.g., to comply with current copyright laws. Thus, another challenge facing the development of a karaoke application involves providing the ability to create these new performance works, while also managing them in a manner that respects the licensing demands of the original rights holder(s). Media management, however, is hampered currently, as digital media and ubiquitous player technology has become widespread.
One aspect of certain exemplary embodiments relates to providing, in the venue or location corresponding to the physical jukebox and karaoke environment, the ability to seamlessly transition between conventional jukebox usage or, jukebox plus broadcast TV (as in using the jukebox audio system to play the sound for a football game being presented on the venues televisions), and/or a new karaoke-appropriate audio and video configuration. In so doing, it may be desirable to make adjustments to a number of settings of the combined karaoke jukebox system.
For instance, the volume settings for all zones may be altered to fairly present the stage environment and provide the performer with suitable audio monitor capability. In addition, video screens may be repurposed to provide information about upcoming performers and lyrics for the current song. As alluded to above, it would be desirable to have this transition take place in a seamless manner, demanding very little skill from venue staff or the karaoke master of ceremonies or the de facto “KJ.”
Thus, it will be appreciated that there is a need in the art for techniques for improving jukeboxes by also incorporating karaoke features that provide karaoke performs a “take-away” while addressing licensing, reporting, and/or other requirements, both at and away from the venue and location, while also enabling for a seamless transition between jukebox and karaoke modes of operation.
The inventors of the instant application have recognized that karaoke can be a positive, social, experience that is fun and sometimes even competitive. Performance is a part of the karaoke experience, for both performers and the audience. The more people involved in the experience, the more fun it tends to be. Smart technology can provide new KJ features. Smart technology also can leverage opportunities to create a connected karaoke experience for a connected world.
Thus, an aspect of certain exemplary embodiments relates to encouraging more people to perform, and/or connecting more people to the performance—before, during, and/or after a performance.
An aspect of certain exemplary embodiments relates to providing a karaoke jukebox connected system with collaborative touch points (including, for example, user devices such as mobile phones, tablets, etc.; jukeboxes themselves; game or other fixed or portable terminals in a location; etc.) that define unique moments.
Another aspect of certain exemplary embodiments relates to treating a performance as a moment of the karaoke experience that other moments both lead to and stem from. Another aspect of certain exemplary embodiments relates to defining moments in the experience by providing unique or signature interactions that help make the experience immersive and unique for patrons, whether they are performing or watching at the location or remote from the location.
Certain exemplary embodiments relate to a jukebox device usable in a jukebox mode, and (a) a karaoke mode, and/or (b) a photo-booth mode, as shown and described herein.
Certain exemplary embodiments relate to a method for operating a jukebox device usable in a jukebox mode, and (a) a karaoke mode, and/or (b) a photo-booth mode, as shown and described herein.
Certain exemplary embodiments relate to a system including a jukebox device usable in a jukebox mode, and (a) a karaoke mode, and/or (b) a photo-booth mode, as shown and described herein.
In certain exemplary embodiments, a method of recording a karaoke performance in which a karaoke performer sings a song through a first microphone connected to a jukebox that is playing the song is provided. A user can check in to a site where the jukebox is located via an application running on a portable electronic device being operated by the user. The application has access to a karaoke queue maintained by the jukebox, with the karaoke queue indicating the songs that are being sung. There is a synchronizing of times as between the jukebox and the electronic device upon said check in. The electronic device is caused to capture at least video of the karaoke performance mediated by the jukebox. The captured video is received from the electronic device at a network location. At the network location, the captured video is combined, with reference to the synchronized times, with high-quality audio captured by the first microphone connected to the jukebox and high-quality song audio corresponding to the song associated with the karaoke performance, in order to create a combined recording of the karaoke performance.
In certain exemplary embodiments, a method of generating a file corresponding to a performance in which a performer sings a song with backup instrumentation is provided. Audiovisual data captured from a user device is received, with the audiovisual data including first audio data and first video data. Audio-only data having a quality higher than the first audio data is received. The first audio data and the audio-only data are digitally combined such that the first audio data is at least partially replaced with the audio-only data in order to produce a new audiovisual data file with user-generated video content synchronized with high-quality audio content based on a common time reference value.
According to certain exemplary embodiments, non-transitory computer readable storage mediums tangibly store programs that, when executed, implement these and/or other methods.
Similarly, according to certain exemplary embodiments, systems are configured to implement these and/or other methods. For instance, in certain exemplary embodiments, a digital jukebox system is provided. In the system, there is provided a digital jukebox device comprising processing resources including at least one processor and a memory, with the processing resources being configured to cause the digital jukebox device to operate in standard jukebox and karaoke jukebox modes. The standard jukebox mode is programmed to cause the digital jukebox device to reproduce instances of media when corresponding payments have been made. The karaoke jukebox mode is programmed to cause the digital jukebox device to enable a karaoke performer to participate in a karaoke performance in which the karaoke performer sings a song through a first microphone connected to the digital jukebox device that is playing the song. A check-in module is configured to enable a user to check in to a site where the digital jukebox device is located via an application running on a portable electronic device being operated by the user, with the application having access to a karaoke queue maintained by the digital jukebox device, the karaoke queue indicating the songs that are being sung. A synchronization module is configured to cause time to be synchronized as between the digital jukebox device and the electronic device upon said a successful check-in operation performed in connection with the check-in module. A non-transitory computer readable medium is configured to receive, via the application, at least video of the karaoke performance mediated by the jukebox captured by the electronic device. A mixer is configured to combine, with reference to the synchronized times, the captured video with high-quality audio captured by the first microphone connected to the jukebox and high-quality song audio corresponding to the song associated with the karaoke performance, in order to create a combined recording of the karaoke performance.
The exemplary embodiments, aspects, and advantages disclosed herein may be provided in any suitable combination or sub-combination to achieve yet further exemplary embodiments.
These and other features, aspects, and advantages of the instant invention will be further understood by review of the following detailed description of the exemplary embodiments when read in conjunction with the appended drawings, in which:
Referring now more particularly to the drawings,
The songs (and/or other data) may be digitized, compressed and encrypted by the central server 12 prior to sending songs to the jukeboxes for security and bandwidth purposes using known techniques. The songs are then decompressed and decrypted by the jukeboxes for storage and reproduction thereon. Thus, each of the jukeboxes maintains in a database a library of digitized songs for play on the jukebox, wherein the library can be changed or updated through communication by the central server. The jukeboxes may also receive and store data constituting images (e.g., still and/or moving video and/or graphical images) that can be displayed on the display 18 of the jukebox device 16. In one exemplary embodiment of the invention, the jukebox devices have similar structure and operation described in U.S. Pat. No. 6,308,204 referenced above. Thus, the jukebox devices 16 each may include one or more microprocessors, such as a main CPU and an audio DSP, a memory, such as a hard drive, for storing songs and/or other content, a display of displaying visual items, an audio arrangement 20 for providing audio, a communication system for enabling the jukebox to communicate with the central server 12 through the communications network 14, and operating software, including a multitasking operating system, that controls the operation of the jukebox. The operating software also may be updateable through communication with the central server 12 as described, for example, in U.S. Pat. No. 6,308,204 referenced above. The jukeboxes 16 further include one or more payment devices, such as coin, bill and/or credit card input devices, for enabling a customer to pay for usage of the jukebox device in a convenient manner. The screen 18 may be an interactive device such as, for example, a touch screen that enables the user to input selections by touching the screen. Each jukebox device has, in one embodiment, a local server 22 that can be accessed by the jukebox device. The local servers are respectively connected to the jukebox devices using Ethernet or other type of local connection. In another embodiment, the local server may simply be a logical extension (e.g., partition, directory, or area) of the jukebox's hard drive, rather than a separate hardware device. The local servers 22 may each include a mirror copy of the master library of musical recordings maintained by the central server 12. The local server 22 can be loaded with the master library by the entity that owns and/or controls the jukebox network prior to shipping the local server and jukebox device to the jukebox distributor or operator. Of course, over time, the local sever will no longer correspond identically to the central server, due to the fact that the central server may be continually updated with additional or new songs. Thus, the local servers 22 also may be updated periodically to maintain a correspondence with the library on the central server 12. This updating can be done, for example, by the central server 12 through communication with the jukebox devices connected with the local servers 22 using, for example, either dial-up or broadband modems. Alternatively, the updating can be done personally with an update tool that can be connected by a routeman or other person directly to the jukebox or local server for the purpose of updating the contents of the local server. The portable tool could include a removable storage medium, such as a hard drive, that could be returned to and reused by the owner of the jukebox system for future updates. The tool itself could be kept by the operator or other person in charge of maintaining specific jukeboxes for use upon receipt of the updated removable storage medium from the owner of the jukebox system.
For security reasons, the local server 22 may not include all of the digital data that constitutes any one song that is stored on the local server 22. In addition, the part of the song that is on the local server is encrypted. The jukebox device 16 contains the missing part of each of the songs on the local server, thereby enabling the jukebox to assemble the complete song based on the contents of the local server and the memory on the jukebox device. The missing data located on the jukebox is needed in order to decrypt the songs. For example, a single block (or other small fraction) of data for each song may be missing on the local server but present on the jukebox device, and the encryption may be based on the missing block and may proceed on a block by block basis. Thus, none of the blocks can be decrypted without obtaining and/or decrypting a preceding block. This feature provides significant security and prevents or deters theft or other type of unauthorized use or copying of the songs on the local server. Thus, in this embodiment, each local server must be specifically assigned to a specific jukebox device so that the decryption described above can be properly performed. In accordance with an exemplary embodiment, the local servers may also each be individually registered with and identified to the central server 12, so that the central server can individually manage and monitor each local server. The same is true for the jukebox device itself, i.e., it may also be registered with the central server so that it too can be individually monitored and managed by the central server. As will be understood from the foregoing description, the local servers become an important and advantageous part of the jukebox system by allowing the contents thereof to be accessed by the jukebox device to provide additional services (such as providing additional songs) not available on the jukebox device itself. As will be explained below, the song library of the central server and/or the storage capacity itself can be advantageously used to provide services to other jukeboxes, such as fee-based residential and commercial jukeboxes and/or other fee-based equipment. One use of the local servers may be to provide an immediate song downloading feature.
As shown in
The songs to be used for karaoke may be stored in the songs database 310 in certain exemplary embodiments. However, in different exemplary embodiments, the songs to be used for karaoke may be stored in a database separate from the songs database 310. That separate database may be a part of, or at least accessibly by (e.g., from a remote location) the karaoke jukebox system 302. In still other exemplary embodiments, songs from the song database 310 may be used for karaoke, e.g., if a vocal eliminator or other transform is applied so as to suitably reduce (and sometimes even eliminate) some or all of the main vocal tracks in the song. Of course, the vocal eliminator may be bypassed when the jukebox is operating in its normal jukebox mode. In certain exemplary embodiments, these features may be combined in various combinations and/or sub-combinations. For instance, two or more database of karaoke songs may be provided separate from the songs database 310, e.g., with one database of karaoke songs being available on the karaoke jukebox system 302 and another database of karaoke songs being located remote from, but still being accessible and managed by, the process of the karaoke jukebox system 302. A premium or at least increased number of credits may be charged for accessing songs from the remote database of karaoke songs, e.g., as specified in a fee table and as read by the system 302 when modes are changed and a selection is made in a respective mode. In certain exemplary embodiments, another premium may be charged for selecting a song from the “regular” songs database 310 and then applying the vocal eliminator or other transforms to it, also potentially as specified in the fee table. This second premium may be higher than the first premium in certain exemplary embodiments.
Metadata may be associated with songs in the karaoke database or catalog. Such metadata information may include, for example, lyrics of a song, rated difficulty, key, range, snippet (e.g., available for playback on a mobile device), an indication as to when the song was last played at a given location or venue, its popularity, frequency of play, etc. This and/or other information may be used in helping to develop recommendations for patrons in general or patrons who are recognized jukebox and/or karaoke users (e.g., based on their known favorites, known vocal ranges, etc.), when a recommendation function of the jukebox is activated by the patron, when the patron logs into the jukebox, etc.
In certain exemplary embodiments, a simple karaoke and/or song queue may be maintained. However, in certain other exemplary embodiments, a priority queue may be maintained, e.g., based on additional credits paid. Additionally, or in the alternative, smart queuing may help to group similar or dissimilar songs or songs that sound good together in a group (e.g., a medley of different songs), space apart duplicates, delete duplicates, space apart or move together songs that are known to get a good crowd reaction, etc. A program or program module corresponding to this smart queuing function may implement this dynamic reordering based on, for example, popularity scores associated with the songs, beat counts or known tempo data (e.g., retrieved from a metadata source including such information) saved in the database or otherwise known ahead of time, artist/album/song title data, and/or the like. To accommodate network connections, the karaoke jukebox system 302 may include a network interface 318, which connects the karaoke jukebox system 302 to the AV network 304 and/or other outside resources. The network interface 318 of the karaoke jukebox system 302 also may accommodate connections to patrons' mobile devices 320. It will be appreciated that such connections may be direct connections to the karaoke jukebox system 302 or indirect connections, e.g., mediated by the AV network 304, a local server, and/or the like.
Audio may be output from the karaoke jukebox system 302 using one or more audio output ports and/or circuits 322. The audio output 322 may support zoned output, e.g., to multiple speakers and/or speaker systems 324. The operating system of the jukebox may maintain separate song and/or karaoke queues for the various zones in certain exemplary embodiments. For instance, separate queues may be maintained so that songs may be played in certain zones even though other zones are playing different songs and/or are participating in karaoke. Auxiliary and/or microphone input ports 326 may facilitate one or more microphone connections, e.g., for karaoke, general announcement and/or other purposes. A camera 328 integral with or otherwise connected to the karaoke jukebox system 302 may be configured to capture images and/or videos, e.g., for use in photo booth and/or other modes (and in some cases at least temporarily stored on a storage location of the jukebox device). For example, the camera may be used for custom attract loops (e.g., where images and/or video from the location are captured and incorporated into standard attract videos/images at predefined or other times), security purposes, etc. A video output circuit 330 may facilitate connections to multiple displays 332, e.g., through a switching device 334 as described herein.
A storage location of the AV network 304 may include a master catalog 336 of instances of media available for playback on the karaoke jukebox system 302. This may include, for example, songs, advertisements, attract media clips, and/or the like. The AV network 304 also may include a social network interface 338, enabling connections to be made to one or more social networks 340 (such as, for example, myTouchTunes, Facebook, Twitter, LinkedIn, etc.). One or more remote devices 342 may be able to connect with the AV network 304, the social networks 340, and/or the karaoke jukebox system 302 (e.g., directly or using the AV network 304 as an intermediary) in certain exemplary embodiments. In different scenarios, a KJ may be a member of the venue staff, an enthusiastic audience participant, an operator, or an automated (machine) controller in different exemplary embodiments. A human user may, for example, operate a simple remote control or remote controlled equipped smart device, e.g., to manage the sequence of subsequent performers, make a simple audio adjustments, and provide spontaneous event related commentary or supplemental audio and video clips or segment initiation. In example use cases, a control system may be used to move a nervous performer back in the queue, raise or lower the volume for a particular performer, play prerecorded applause or cheering, display encouraging or amusing comments on the video display systems, skip performers who are no longer present (e.g., because they have left the venue, are not available, have decided to skip their performance, etc.), and/or the like. Human KJs may be located at or remote from the venue in different example scenarios.
An example karaoke jukebox remote control usable in connection with certain exemplary embodiments is shown in
In certain exemplary embodiments, the jukebox, operating in a karaoke mode, may be configured to take over one or more peripheral displays connected to the jukebox, e.g., by sending a karaoke alert signal and overriding the video source.
Because the display systems within a venue may be prewired and because it has been observed that the staff of a location typically does not want to be involved in potentially tedious management of the displays (which may be televisions in some example setups), it would be desirable to provide a technique for initiating karaoke and having the displays the location owner has chosen to automatically switch from the broadcast video feed to the karaoke feed. Certain exemplary embodiments therefore may incorporate a small computing device, sometimes referred to herein as a switching device (e.g., switching device 334 in
A data stream of lyrics, performance, and/or other data may be created for display on an associated display device. This information may be created by the jukebox, the switching device, a video server, or some other device. The created data may include, for example, an ongoing display of upcoming performers, information about the current performance (e.g., lyrics, performer identifier, song identifier, etc.), comments about previous performers, the experience in the venue generally, etc. A data stream of lyrics and performance data in certain exemplary embodiments may be displayed on or via the karaoke jukebox alone, one or more displays connected to the karaoke system, portable devices logged into the jukebox system at or remote from the venue, and/or the like.
Certain exemplary embodiments may enable a patron to search for lyrics to discover a song to sing. It will be appreciated that it would be desirable to enable patrons to find music that they would feel comfortable singing. Unfortunately, however, it oftentimes is difficult for individuals to spontaneously think of a song that they would enjoy singing and/or that they could sing well (or at least enjoyably). The more “hints” or “triggers” provided to the patron to find the song, however, the higher the likelihood that the patron will ultimately find an acceptable song and thereby volunteer to perform. Thus, certain exemplary embodiments enable patrons to search the karaoke catalog in one or more ways including, for example, by original artist, by song title, by genre, by key, by beats per minute, by performance type (e.g., solo, duet, group, etc.), by year or the period when a song may have been popular, etc. In addition, or in the alternative, a performer may want to sing a song about a particular subject, possibly making it appropriate for the moment (e.g., a patriot song on Independence Day, a Christmas or Hanukkah song during the month of December, a birthday-related song on a friend's birthday, etc.). Collections of songs may be assembled into songbooks that offer similar characteristic that can be labeled and potentially assist the performer in finding a song. Oftentimes, performers recall only a portion of the lyrics of the song. For these situations, patrons may be able to use a search function to search a lyrics database for a phrase or selection of words to find songs containing them.
Performers may identify themselves. Identification of performers may, for example, facilitate retention of performance data. Indeed, a performance name could be provided as a casual or playful name or handle, or simply the first name of the individual to perform. Providing performance names also may help performers know when their turns are, e.g., if a queue is visually displayed on a suitable display device. Performance names may be used in presentations of the actual performance, e.g., to help identify the singing “artist.” An example tagline may be provided, with suitable text such as, for example, “Coming up next, My Way, by Dave.”
Performers also may want to “keep” or otherwise have access to their performances or data about their performances such as, for example, what song was sung, when they sang it, the location they sang it in, etc. This information may be stored in a database on the jukebox and/or in the audiovisual distribution record, e.g., as a part of a patron's personal karaoke record. To maintain such a personal karaoke record, a patron may login to the jukebox system with a user id/password combination, or create a new profile, and submit credentials to an authorized station service from a social network that the performer participates in such as, for example, Facebook, Twitter, myTouchTunes, or the like. The karaoke jukebox system may then associate the audio-video and performance data with the performer, e.g., by using profile information. Appropriate follow-on actions then may be taken on the performer's behalf such as, for example, copying media or metadata to a remote repository for subsequent playback, posting elements of the performance to a social network web service under the performance credentials, etc. The posting to the social networking site may be as simple as a “Tweet” along the lines of “@Dave performing #My Way at #Michael's Bar,” potentially with an expected or actual performance time to either “advertise” or “commemorate” the experience. Alternatively, or in addition, more content-rich data may be posted such as, for example, an audio and/or audiovisual clip of some or all of the performance.
In certain exemplary embodiments, a karaoke player may be linked with a smart phone, tablet, or other suitable device. This may be advantageous in that it may allow patrons to see the karaoke queue, or at least a portion thereof. In some cases, patrons may want to check on their locations in the queue to manage their time in the venue. In other cases, patrons may want to look at the queue to determine whether it is “worth it” to sign up for a song. Integration with a mobile device therefore may make it possible to view the queue or a portion thereof, browse through the karaoke catalog from a “safe” location where there is not a lot of pressure to make an immediate selection, review the lyrics of a potential song, submit credentials and/or performance name along with the song selection to enter the queue, watch the performance on the mobile device the lyrics for the current song being performed, etc. The smart phone, tablet, or other computing device may interface with the jukebox device directly or via the audiovisual distribution network in different embodiments, e.g., to retrieve queue information, sign up for a performance, browse the catalog, etc. Thus, a remote interface may be provided to the jukebox and/or audiovisual network, allowing the mobile device user to log in and access the lyrics database, karaoke queue, etc., through a customized and simplified user interface.
In certain exemplary embodiments, the time of one or more mobile devices in a location may be synchronized with the time of the karaoke jukebox system. For instance, mobile devices within the location may be able to determine the real time, or at least an offset between the time within the device and the time on the karaoke jukebox or system as a whole. This synchronization may allow two or more devices within the venue to present or capture media in a manner that is synchronized to what is being presented on or captured via the karaoke jukebox. This media could be promotional, the actual lyrics of the song and the timed visual progression through the lyrics, games associated with karaoke or the performer's performance, time-based quiz or voting interactions, and/or the like. The synchronization of time between the devices may facilitate public workgroup contests, quizzes or surveys, etc., being completed in a fair and visually sensible manner.
Certain exemplary embodiments enable the creation of a “mixed performance” that accepts audio from the karaoke jukebox microphone(s) input(s), as well as the backing music audio track. Thus, in certain exemplary embodiments, the karaoke jukebox offers real-time music mixing and manipulation arrangement by, for example, overlaying the inbound performer audio while also rendering the song music media. These two audio streams may be mixed by the mixing arrangement together to create a merged audio file, including both original music and audio captured in the venue. This resulting merged file may be considered a new work to be tracked for royalty and rights holder properties. However, the resulting merged file may be transferred and/or re-performed under the karaoke jukebox systems' control, e.g., to facilitate rights tracking and/or royalty sharing. Additional audio may be pre-pended or appended to the merged file, e.g., to include sponsored advertisements, information about the venue and/or performance, rights information, etc.
In a similar vein, a configuration arrangement of the karaoke jukebox system may be used to configure the jukebox to alternatively or in addition create a mixed performance of the microphone(s) input(s) and the backing music, together with one or more still images in a video file for later access. Doing so may help to create the illusion of a professional performance for the karaoke performer, adding to the overall sense of enjoyment on the part of the performer. The performer may take one or more pictures on the karaoke jukebox device itself, from a connected mobile device, from an image stored on the performer's social network environment, and/or other source(s). For those recordings that are retained, pictures may be used as graphics along with the recorded performance audio. Multiple pictures may be used in a slideshow-like fashion. In certain exemplary embodiments, the karaoke jukebox system may automatically insert pictures at predefined locations. Such locations may include, for example, the beginning, middle, and/or end of the song. Other locations may include, for example, automatically detected and/or predefined “transition locations” in a song (e.g., at the well known different parts of Queen's “Bohemian Rhapsody,” whenever a beat is dropped in Rush's “Freewill,” etc.).
In place of, or in addition, using still images, certain exemplary embodiments may alternatively or additionally incorporate video recordings in a video file for later access. For instance, if the performer chose to sing into a camera in, on, or of the karaoke jukebox, it may be possible to record the video and merge it with the audio from the microphone(s) and the background music to generate a common audio-video file of the performance. This audio video file also may be subject to the rights holder's music restrictions and therefore may also be restricted to the ownership rights assigned to the video file by the performer and/or the owner of the background music. The karaoke jukebox system including network services may maintain control over some or all aspects of the media so as to help ensure a respect for all of the stakeholder's rights.
The video file may be made to include automated lead-in and/or lead-out audio and/or video for later access. The lead-in/lead-out audio/video may be stored on or accessible by the karaoke jukebox system, and the performer may or may not select such clips in different implementations. For karaoke jukebox performances that have an associated video, these clips may effectively serve as an “envelope” for the performance. This may help to create a professional looking memento of a pleasant performance event, that optionally may be purchased for a price (e.g., via subsequent download from the karaoke jukebox system, a social networking site like myTouchTunes, retrieved via email, etc.), automatically distributed to registered karaoke jukebox users, uploaded in whole or in part to social networking sites, etc.
As the performer performs the song, audio from the performer's microphone may be captured. This microphone may be a high-quality input source and may be controlled to capture a small amount of background noise, especially when compared with the amount of background noise of the electronic device. The audio from the performer's microphone may be digitally “retouched” and mixed with the underlying high-quality music from the karaoke jukebox, e.g., in connection with a suitable module of the jukebox, a server, or other computer resource. Digital and/or other effects may be added, for example, to add reverb, depth to the vocals, harmony lines, auto-tune features, etc. These effects may be triggered automatically, e.g., at predetermined points in the song, e.g., where the original recording originally included such features. A metadata database may be consulted by the computer system doing the retouching for such information and optionally to trigger such effects. The digital and/or other effects may be added by applying known filters, algorithms, transforms, and/or the like at these and/or other predefined or user-specified times. In certain exemplary embodiments, the digital and/or other effects may be added directly on the karaoke jukebox itself, e.g., via a suitably configured audio manipulation module running thereon.
Referring once again to
In certain exemplary embodiments, audio from multiple electronic devices may be combined with the higher quality audio data from the karaoke jukebox system. This may be advantageous when, for example, highly directionalized audio is captured representing, for example, left- or right-channel audio data, e.g., by virtue of the location of the person doing the recording. In certain exemplary embodiments, left and right channel audio data may be mixed in at equal parts, e.g., using a suitable interface arrangement. In other cases, the source recording(s) may be converted to monophonic data and replicated over both left and right channels. Similarly, vdata may be mixed in from the various sources, as well. This may be advantageous, for example, if a computer algorithm detects too much darkness, too much light, fast movements that might cause dizziness when played back, etc. In certain exemplary embodiments, all audio and/or video streams may be stored for later mixing and matching, e.g., by the performer, the recorder(s), the venue, and/or others.
Still referring to
In certain exemplary embodiments, the performer may be able to preview the media before it is distributed to others, e.g., using the link, accessing information from a jukebox or other designated terminal or device, etc.. For instance, the performer may use the corresponding device and a user interface thereon to designate created audio/video packages as being available to anyone, anyone who recorded the performance, friends only, venue only, lists or sub-lists of friends possibly organized in groups, etc. Thus, a performer may have at least some control over user-generated contact that uses the particular performer's likeness. Similarly, in certain exemplary embodiments, the owner or operator of the electronic device may designate the created audio/video packages as being only selectively available. These features advantageously may promote privacy, help performers retain rights in their likenesses, help provide for overall music royalty accounting, etc.
The acoustic settings of a venue may be adjusted to properly accommodate the transition from conventional audio to karaoke audio in certain example instances. Karaoke jukebox systems are typically installed in venues where the usage is not 100% karaoke and, as such, the audio systems within locations may be set up through an appropriate interface to support various zones with a relative volume given to each his own. Because the focal point for a karaoke performance typically is the stage or area from which the patron performs, it is possible that the relative volume for each of the zones does not correspond to acoustically logical setup for karaoke. Thus, certain exemplary embodiments may dynamically adjust the volumes for the zones so as to optimize the acoustics for karaoke performances. For instance, plural acoustic program settings may be provided, e.g., for accommodating live jukebox, background music, karaoke, live DJ, and/or other events. These settings may be specified in advance (e.g., by an operator, manager, location staff, or other authorized personnel) and/or dynamically adjusted (e.g., by an operator, manager, location staff, or other authorized personnel). One the relative balance is established, the plural settings may be saved to a non-transitory computer readable storage medium (e.g., of or in communication with the karaoke jukebox system) for possible later consultation. Transition settings between the various modes also may be saved to facilitate switchover as between the various modes in a simple manner.
A microphone configuration utility module may be provided to help establish an improved acoustic balance in the venue. Display screens may be displayed after triggering said configuration utility and may in certain instances instruct or indicate (e.g., on a layout of the establishment or a generic layout) to the technician where to place the microphone(s). After the technician indicates to the configuration utility that the microphone was appropriately placed, the configuration utility may trigger (in connection with speakers) the emission of a series of tones emitted from the various possible zones that may be received by the microphone's inputs and processed to establish the improved balance and volume limits to be applied to the control circuit of the speakers. This technique may ease installation of the karaoke jukebox system and help reduce the likelihood of feedback. In certain exemplary embodiments, the user may be asked to stand in a central area (e.g., a performance area) with the microphone(s). In other exemplary embodiments, the installer may be requested to reposition the microphone(s) in front of the various speakers installed within the location, listen to test signals projected from the speakers, and allow the system to adjust the appropriate volumes and identify potentials for feedback or poor sound quality. The configuration utility arrangement may in certain exemplary embodiments comprise a selection display or arrangement to optionally undertake a zone-by-zone and/or speaker-by-speaker test to be performed in certain example situations. The resulting profile may be stored and used for adjustments in volume, balance levels, etc., when the jukebox switches between modes. These sound equalization techniques may be similar to those provided by Yamaha's YPAO system.
A module of the karaoke jukebox system of certain exemplary embodiments may be configured to detect a dominant melody line within a song and to allow the processor(s) of the jukebox to measure and compare the performer to be measured against this melody line. Such a comparison may be visually displayed for the performer and/or the audience, e.g., so that they can compare the karaoke performance against the performance popularized by the originating artist. This may be accomplished by, for example, comparing the observed sound to a reference saved in the jukebox, network storage location (e.g., of the central server, from an outside provider database, etc.), or elsewhere. In some cases, it is possible to obtain metadata or the like that includes song performance evaluation data, e.g., from an outside source such as, for example, a database maintained by a separate provider, a store of pre-computed metadata managed by the jukebox provider (and accessible via the central server or the like), etc. In other cases, however, the karaoke jukebox system may be able to implement algorithms to search for a melody line against which the performance is to be gauged. The karaoke jukebox's implementation of this dynamic melody creation, interpolation, or extraction, can be compared against the inbound audio to create informative and entertaining renderings on the displays connected to the karaoke jukebox system. A score can be associated to the performance by comparing the performance to the actual or inferred melody line and/or detected timing or syncopation to the original material for scoring on note accuracy, timing accuracy, and/or the like, e.g., resulting from the comparison of the karaoke performance against the performance popularized by the originating artist and saved in a memory for later use and/or consultation. These accuracy assessments can take place in a regular sampling in certain instances, resulting in a score for each sample and allowing the system to produce an aggregate score depending on the policies in place such as, for example, favoring strong beginning or endings, favoring entire song, discarding deviations beyond a threshold, weighting deviations differently, etc.
In certain exemplary embodiments, the supporting instrumentation (e.g., the song data absent to vocal tracks including, for example, the rhythm section, etc.) may be modified based on, for example, the calculated quality of the performance as compared to the derived melody line. For instance, if a scoring system of the karaoke jukebox system determines that the performer is performing above a threshold, the karaoke jukebox system may be made to generate additional audio signals to be layered into the performance audio (such as applause) and to display new video (e.g., cheering crowds, crowds waving lighters, etc.) and/or cues on the karaoke jukebox video system.
Similarly, in addition or in the alternative, the performer's microphone volume may be altered (potentially dynamically), e.g., based on the calculated quality of the performance as compared to the derived melody line. The scoring system may determine that one performer out of a group of performers singing at the same or different times is scoring higher and thus “doing better” than others. For that singer a, dynamic melody creation, interpolation, extraction arrangement of the jukebox, or the like, may be configured or programmed to have the volume of audio increased relative to the other performers. Similarly, poor performers may have their volume reduced. Additionally, or alternatively, even within a single song, the microphone volume may be increased relative to the underlying song for a good performer, whereas the microphone volume may be reduced the microphone volume may be for a poor performer and/or supporting vocals may be added.
As alluded to above, then, in certain exemplary embodiments, a singer's performance may be based on the calculated quality of the performance as compared to the derived melody line. By using the different scores of performers saved in memory, for example, the scoring system may be able to rate the performance of a performer as an overall score to allow the performer to be compared to other performers and performances of that particular performer or other performers. Similarly, scoring may be based in part on a detection regarding the cadence of the song lyrics and a corresponding comparison to the beat of the song. A karaoke jukebox may use algorithms related to beat detection to alter its lighting, as well as for cadence comparison related to perceived consonants to the song beat. Improved alignment and timing may be made to result in a higher score. Scores in absolute terms and/or tending to reflect comparative performance, e.g., over time for a particular performer, may be provided in certain exemplary embodiments.
Depending on the resulting beat detection and performance comparison provided by said above algorithm, it may be desirable to add supporting acoustics to the performance, for example, to add beat or rhythm backing instrumentals to the performance. If a performer appears to be off-beat, it may be desirable to reduce the volume of that performer's microphone, slow down or speed up the song accordingly, and/or take other ameliorative actions to make the song sound better or at least “not as bad” as it otherwise might. Thus, certain exemplary embodiments support alteration of the supporting instrumentation based on the calculated quality of the performance as compared to the consonants timing to the beat or the like, microphone volume based on the calculated quality of the performance as compared to the consonants timing to the beat o the like, etc. The singer's performance may be rated based on a variety of factors as indicated above.
The key that a performer is best suited to is rarely known for the average individual attempting karaoke. Performers therefore may inadvertently find themselves attempting to sing a song that out of their vocal range, potentially presenting a greater challenge than otherwise would be necessary or might be desirable (e.g., for an enjoyable experience). A key change algorithm in certain exemplary embodiments therefore may change the key of the song by dynamically transposing it, or raising or lowering the music frequency, or even auto-tuning the incoming audio from the performer's microphone. However, it may be possible for certain exemplary embodiments to recommend a best key for a performer to use and/or a best key for a performer to use on a particular song, e.g., based on past performance and scores, historical or predicted vocal ranges, etc.
It also would be advantageous for a performer to be able to determine their natural key. This may be possible by having the performer sing a short scale or arpeggio following some prompting audio. Alternatively, or in addition, “corrections” for a performer may be made in substantially real time, e.g., by having the person sing a short scale or ratio or song lyric and displaying a graphic showing higher or lower, or just right. This may be performed as a part of a per-performance singer calibration step or during karaoke mode in certain instances. The key determination algorithm may be able to guide a performer to his or her most natural key (e.g., by visually or otherwise informing the performer how well the performer sings the short scale or audio segment described above, compared to a known or derived baseline) and, once determined, suggest a difficulty rating for each song for that performer, e.g., based on how far away a given song is from the natural key, etc. For instance, songs that are within a whole step of a natural key may be rated as easy, songs that are within a major third may be rated as medium difficulty, songs that are between a major third and a major fifth away from a natural key may be rated as hard, and songs beyond that may be rated as “very hard” or “expert.” Such rating may be saved in a memory and compared to the natural key of the performer, e.g., to generate a display list within which the difficulty level is indicated. It also may be able to inspect the number of determined melody line notes that are outside of the performer's range or expected range. The greater number of derived melody notes within the performers range, the higher the confidence level would be that the song would be appropriate for the patron. A song with many notes outside the performer's perceived range would be a more difficult song to perform.
Auto-tuning or auto-tune-like features also may be present on or accessible via the karaoke system and selectively actuated within predetermined thresholds to compensate for deviations within certain amounts and/or to create interesting effects at the appropriate times during certain song performances.
If a performer has been identified to the system and the system has determined a most comfortable key (e.g., through an advising procedure such as that described above, the performer submitting a most comfortable key, an analysis of past performances, etc.), the system may be configured to suggest the key that a song should be performed in and/or that is most suitable for the performer and yet still recognizable to the audience. This may be accomplished, for example, by comparing the song, the metadata identifying when singing is taking place, and the perceived or derived melody. Song suggestions also may be generated and/or particular songs ranked based on this data in certain exemplary embodiments.
Rather than the performer selecting a specific song the system may in certain instance provide a game allowing other performers to issue a challenge, e.g., by selecting a song to be sung by a performer who has already agreed to participate in the game and optionally sending a message to that performer, displaying a message on a shared or centralized display, etc. In one example scenario, the game program may offer the possibility to define one or several teams with the name or other indicia of the singers. There could be, for example, multiple (e.g., two or more) teams of one or more (e.g., three) singers. The game program may allow each team may take turns selecting a song for one or more of the other teams' singers. With little preparation, the challenged singers may be asked to perform the song chosen by the opponents. The audience may rate the song performance through a scoring system, simple applause that could be detected by the microphone, by sending text, email, or other messages, etc., and the game program may generate a ranking by using such information. Rankings could additionally or alternatively be based on the more objective techniques described above. Different weights could be assigned to objective (system-determined) and subjective (audience-provided) feedback to determine an overall score. Indeed, objectively “bad” performances oftentimes are enjoyable to audience members, and good “stage presence” can sometimes make up for some objective deficiencies in the performance. The tables could then be turned, and the challenged singers may be able to select a song for their opponents in an example karaoke jukebox operating mode.
In another example variation, the system may be set up to select songs at random but from one or more specific categories, genres, etc. (e.g., from country classics). In this mode, patrons may be asked to sign up to participate in the “country classics challenge” and may be asked to perform the songs selected by the system based on criteria established at the beginning of the contest.
In still another example variation, possible songs may be presented to the audience for the next performer. Based on voting from mobile phones, applause judged by the performer or the system, etc., one of the possible next songs may be selected. This sort of “karaoke roulette” may allow for a tournament orientation, a game that allows an evening or segment of an evening to take place, etc. The scoring may be the same as or different from that described above.
It will be appreciated that these and/or other “variations” may be provided in various combinations and sub-combinations in different exemplary embodiments to provide enjoyable karaoke experiences. Thus, it will be appreciated that these and/or other “variations” may be available on a single karaoke jukebox device, e.g., in different operating modes selectable by a KJ, venue staff, or other persons.
The karaoke jukebox system are provided with a connection arrangement that may support connections to smart phones or portable devices in a manner that allows them to enter the karaoke jukebox environment but continues to respect and manage the licensed content being presented on the karaoke jukebox. The connections from the smart phones or portable devices may take place directly from the portable device to a local area wireless system or near field communication system within the venue, through Bluetooth connections, over a wide area network connecting the smart phone to the karaoke jukebox system server infrastructure, or in some other way.
By virtue of commands and exchange of messages, the server infrastructure may communicate to the karaoke jukebox system commands for changing behavior. These commands may include, for example:
A request for a music or karaoke catalog;
A request for lyrics for a song within the catalog;
A submission of user credentials to log in to the karaoke jukebox system;
A command to check in or initiate a session with respect to a particular venue;
A submission of a song performance request;
A withdrawal of the song performance request;
A request to defer or accelerate a performance request;
A comment or vote or request for information about the current performance;
A request for the pending queue of performances;
A submission from the mobile device to the karaoke jukebox of a photo taken of a performer;
A submission from mobile device to the karaoke jukebox of a picture or video taken of a performer's performance;
A request from the mobile device to the karaoke jukebox and the karaoke jukebox server infrastructure to establish a venue time allowing for synchronization of the devices and the synchronous presentation of lyrics;
Information concerning performance and submission of other vote, a survey response, responses related input;
Other features, as appropriate.
In certain exemplary embodiments, a mobile device may interact with the karaoke jukebox system to search for content using suitable criteria such as, for example, song name, artist, album, genre, theme, recommendations, collections, etc.
In certain exemplary embodiments, a mobile device may interact with the karaoke jukebox system to follow synchronized lyrics being presented on the karaoke jukebox device and/or secondary displays, directly on a mobile device.
In certain exemplary embodiments, a mobile device may interact with the karaoke jukebox system to select a song from the catalog and to submit that song name and a performance name for addition to the performance queue.
In certain exemplary embodiments, the karaoke jukebox system is provided with an arrangement enabling a mobile device to interact with the jukebox system by delivering comment messages to comment on a performance from the mobile application such as, for example, sending encouragements to enthusiastically support the performer, to remain neutral, to comment on how good or how poor the performance is, etc. In certain exemplary embodiments, the messages sent by the mobile device may be used to vote up or down, or like or dislike a performance, e.g., by allotting a timeframe to send messages considered as votes, by inserting in the message a flag identifying the message as a vote, etc. More numerical voting or scoring also may be possible. The votes and/or scoring features may be tabulated and displayed via a display in the karaoke jukebox system.
In certain exemplary embodiments, a mobile device may interact with the karaoke jukebox system to record a performance using the video camera in the mobile device. This video stream may be sent to the karaoke jukebox system, and/or the server for merging with the high quality audio processed through the microphone(s) connected to the karaoke jukebox system, e.g., to create performance video file for later access.
Thus, it may be possible to use a mobile application on the mobile device to record video of the performer's performance of a song. The jukebox system, server, or mobile device may include an arrangement to appropriately synchronize that video with the audio captured by the karaoke jukebox system. In addition, it may be desirable to have some, all, or none of the ambient noise of the crowd and the venue to be added to the composite performance audio. Accordingly, the audio and video files captured by the mobile device may be transmitted through the local wireless within the location, over a wide area network through the karaoke jukebox server infrastructure, or via some other means, to the karaoke jukebox system. At that time either, within the karaoke jukebox system or within the karaoke jukebox server infrastructure, for example, the original song music, the recorded audio from the performer or performers, any real-time alteration such as reverb, the video from the mobile device and, optionally the audience audio from the mobile device, may be integrated into a complete video performance package. This video performance package may be a video file on its own, a series of files that would enable the creation of a video file based on mix input rules governing the relative volumes of all audio data and the resulting quality metrics of the output audio video file, etc. Synchronization may make this combination possible. Similar to the description above, audio and/or video content may be pre-pended or appended. In certain exemplary embodiments, a mobile device may interact with the karaoke jukebox system to purchase a rehearsal package for use at home or at a location other than a venue, with the package optionally including a fixed number of recordings. On the mobile device, it may be desirable to select a song and, if required, purchase the rights to using that song and lyric data to rehearse for a future performance. This rehearsal package may allow the mobile user to purchase or to have temporary access to a version of the song lyric data playable within the karaoke mobile device one or more times, e.g., up to a limit identified within the package. This rehearsal package may (either for free or at some charge) enable the user to practice singing on the mobile device for a number of hours or days, a finite number of performances, or in an unlimited manner. In certain example implementations, after this time has elapsed, the number of performances has been met, etc., the music and lyrics may not be made available as part of the rehearsal package. It also may be possible to purchase special rehearsal packages that have no limit or much larger limits on rehearsal access to ration or rehearsal number of attempts in different implementations. In certain exemplary embodiments, the rehearsal application may be available for free or a one-time cost, whereas particular rehearsal packages with particular songs may be provided for free or for some amount of money.
Performance and/or grading techniques such as those described above may be possible via a rehearsal module running on a mobile device equipped with a suitable mobile karaoke jukebox application. For instance, it may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to detect the dominant melody line within a song and to allow the performer to be measured against this melody line. For instance, when using a rehearsal package on the karaoke mobile device, it may be possible to offer the ability for the performer to be measured against this melody line and observe visual and/or audio feedback meters, gauges, or indicators. This may involve the mobile application detecting the dominant melody line, making use of a metadata file including the melody line, etc., and comparing the input audio to the expected melody.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to alter the supporting instrumentation based on the calculated quality of the performance as compared to the derived melody line. For example, additional beat backing instrumentals could be added as encouragement, or additional voice support may be added for “bad” performances.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to alter the performer's microphone volume, e.g., based on the calculated quality of the performance as compared to the derived melody line.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to rate the performer's performance based on the calculated quality of the performance as compared to the derived melody line.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to detect the rhythm and beat within a song and to allow the performer to be measured by the comparison of consonants timing to the beat. As in the karaoke jukebox system, it also may be desirable within the karaoke mobile system that the music obtained from the karaoke jukebox could be analyzed for beat detection. This beat detection may be used to detect the rhythm and intonation of consonants within the performance and provide a comparison to the music being rehearsed. Alternatively, or in addition, metadata may be provided to aid with or reduce the need for sophisticated detection techniques.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to alter the supporting instrumentation based on the calculated quality of the performance as compared to the consonants timing to the beat. Depending on the score of this comparison, additional backing instrumentation could be added, removed, etc.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to alter the performer's microphone volume based on the calculated quality of the performance as compared to the consonants timing to the beat.
It may be possible in certain exemplary embodiments to use a rehearsal package via the mobile device to rate the performer's performance based on the calculated quality of the performance as compared to the consonants timing to the beat.
Performers may use their mobile devices to identify themselves and view personal, competitive, historical, and/or other performance data. For instance, previous performance data for poor performers who have identified themselves may be maintained on the karaoke jukebox server infrastructure. This content may be available through controlled player systems so as to respect the original rights holders' work. The karaoke jukebox mobile application may connect to the karaoke jukebox server infrastructure for the purpose of obtaining previous performances and performance data for the individual who has submitted the appropriate credentials. In other words, to view a video, a mobile device user may have to access content from a secure site or portal through which royalty and/or other accounting metrics may be maintained. This approach may allow the karaoke mobile device to play contents from the karaoke jukebox server infrastructure on the karaoke mobile device in a controlled manner that also respects appropriate copyright laws and/or other relevant agreements. It also may be possible for karaoke jukebox patrons to lend or provide temporary access to media related to their performances, which may be stored on the karaoke jukebox server infrastructure. That media may, for example, be viewed using controlled karaoke jukebox player systems that continue to respect the rights of the original song rights holders and also the rights of the performer.
An identified performer may be able to view previous performances via a mobile device. For instance, on the karaoke mobile device, once an individual has submitted the appropriate credentials, the individual may be able to view their own content (performances and performance data), as well as content for those performers to which they have been provided temporary or permanent access.
An identified performer may be able to share a performance with others through a submission to a social media service through a mobile device. For instance, it may be possible for performers to submit a performance, a performance snippet, or performance data or a combination thereof, to a social media site, e.g., once they have submitted their credentials for a social media service. In certain implementations, such submissions may be automated (e.g., for a venue's social network presence, for certain registered users who have configured their applications appropriately, etc.). For this media to play in the social media site, the social media site may have to support a karaoke jukebox system media player that that is configured to respect all of the rights of those concerned (e.g., by providing limited access, royalty accounting functions, etc.).
Conventional jukebox environments and karaoke environments differ in the sense that, for karaoke environments, there is the concept of a performance soundstage. The karaoke experience may be improved by their being stronger sound around the performance and less sound when far from the performance.
In addition, or in the alternative, a performer may benefit from a monitor, e.g., so that the performer can perhaps more easily hear the music, voice, etc., and make the appropriate adjustments. Monitors may be provided on the floor in front of the performer and facing up at an angle. However, this arrangement can be problematic within some normal bars and restaurants, as the performance stage often serves “double-duty” as the dance floor during jukebox periods. It may be more convenient to have a portable and optionally wireless performer monitor that could connect to the karaoke jukebox when required in certain example scenarios. In certain exemplary embodiments, a performer may use wireless headphones connected to the karaoke jukebox as a monitor. In other exemplary embodiments, a mobile application running on a portable device of the performer may be used to playback the background and/or vocal audio, thereby functioning as a monitor. The karaoke monitor may in certain implementations make this connection to the karaoke jukebox wirelessly and without any perceived latency. This could be accomplished through conventional wireless data technology, through analog RF communications that could be less subject to interference from other equipment within the venue, and/or other suitable techniques. This sort of arrangement may help avoid the requirement for a wire running across a potentially high-traffic area. It also may be desirable to have this monitor speaker be battery operated, thereby helping to reduce the need for a power cord. This monitor system could be moved to a safe location where it could be recharged during the day and then put into position temporarily during karaoke performances. The karaoke jukebox system may treat this as an additional zone and allowed the performer or the KJ to adjust relative volume for the performers.
Certain exemplary embodiments relate to karaoke video and lighting accessories. As in conventional jukeboxes, karaoke jukeboxes may have the ability to control outbound lighting via a DMX output stream, a serial stream of data indicating light control, or some other means. The karaoke jukebox also may be able to control performer spotlights installed in the venue. These venue spotlights may be aimed at the performance area and may alter color and intensity based on the data stream transmitted from the jukebox, e.g., in time to the music and/or in response to metadata associated with the song being performed, scoring, audience reactions, KJ cues, etc. In addition, or in the alternative, it may be possible, under control of the karaoke jukebox system, to move the spotlights according to predetermined animations such as, for example, searchlight and audience highlight, as well as a variety of other video effects with the lights moving about. The lights may return to the stage based on commands from the karaoke jukebox, after a predefined animation has run, upon KJ cues, etc. The pan-tilt-zoom (PTZ) capability of these spotlights may in certain exemplary embodiments also be applied to a video camera in certain exemplary embodiments. A video camera may, for example, respond to pan, tilt, and zoom controls from an operator using either a remote control, the karaoke mobile device specially equipped with the remote control, an automated device tracking the performer, etc. Performer tracking could take place from the performer positioning him or herself within a target that is displayed on the second screen, the karaoke jukebox, a screen visible on the audio monitor, or elsewhere. Once positioned inside the screen, and with the song beginning, the karaoke jukebox system may transmit pan-tilt-zoom commands as appropriate to the camera, e.g., based on face, motion, and/or other tracking of the performer.
This PTZ camera and spotlight capability also may be controlled by a camera, trained on the performer, or elsewhere. However, in certain exemplary embodiments, it may respond to infrared light or other signals being emitted by the performer's microphone, e.g., for tracking purposes. A periodic confirmation of the face location of the performer holding the microphone may allow the camera to self-correct throughout the performance in certain example instances.
The performance monitor may include both audio speakers and a video screen for prompting the performer in certain exemplary embodiments. This video screen may perform a face tracking alignment and show the singer's performance superimposed with the lyrics or, alternatively or in addition, could be simply the lyrics or the performance.
The karaoke jukebox microphone system may include a mechanism for animating in visible light such as, for example, infrared or a spatial (e.g., geo) positioning signal, potentially allowing the camera and/or spotlight within the venue to illuminate and record video of the performance. The karaoke jukebox microphone system may have the ability through either a gesture or a button to restart a song from the karaoke system in certain example implementations. The karaoke jukebox microphone system may have the ability either through a gesture or a button to allow the performer to enhance voice performance (e.g., via auto-tuning features). The gesture could allow the second screen or the monitor screen to display options for the performance such as, for example, change key, add reverb, auto-tune, etc.
The karaoke jukebox system may include a server infrastructure that allows patrons using their mobile devices, home computers, or other devices, to access and interact with (e.g., through a browser) the karaoke jukebox environment. This interaction may take place in a matter such that the media presented is secure and respects the song rights holders' rights. Thus, the karaoke jukebox infrastructure may allow performers to identify themselves through credentials to gain access to the system or at least access to protected media content, performance data, and/or the like. Identified performers with suitable rights may be able to view previous performances, a record of previous performances, and/or the like, through the karaoke jukebox infrastructure.
An identified user could, subject to fees and/or the limits imposed by the rights holder, share access to performance data or performances with other identified users. In addition, or in the alternative, an identified user could, using social media credentials, post access to performance data, performances, or portions thereof, on a corresponding social media site. If the site supports a karaoke jukebox infrastructure media player, for example, it may allow for controlled access to other users already qualifying for access based on authorization by the identified user. In certain exemplary embodiments, generated content may be made available in a proprietary format that is only accessible via a jukebox infrastructure media player. For instance, the proprietary format may include digital rights management (DRM) features, watermarks, and/or the like, and may thus facilitate rights-tracking and royalty accounting. For performances where unlimited rights have been acquired or where the rights are not required, it may be possible to post performance data or performances to fully public sites. It also may be advantageous for both the rights holders and further performers to be able to post snippets of performance data or performances to social media sites and to sites used to promote the karaoke experience at the venue or on behalf of the karaoke network or a partner of the karaoke network. These snippets need not necessarily contain the entire performance, but instead may provide an opportunity to share a portion of the experience and encourage further investigations. For example, snippets may effectively serve as “teasers,” incentivizing a person to purchase a performance, e.g., as a memento of an enjoyable outing.
An identified user may be able to purchase or request use of a rehearsal package for use out of the venue. As indicated above, this rehearsal package may include a duration of time for which the user is able to have access to the song(s) and lyric data for the purpose of practicing, a finite number of performances where the user would have access to the music and the lyric data, etc. In addition a rehearsal package may include guidance instructions or anecdotes surrounding the performance of a particular song.
It may be helpful for the performer to view the quality of his performance as established by comparing the voice to the derived melody line or a melody metadata for that song. This could be graphically or acoustically presented to the performer to encourage and adjust his or her performance. Based on the scoring of the performer's rehearsal, the supporting instrumentation could be altered to provide encouragement. Similarly, using a rehearsal package, the performer's microphone volume may be altered based on the calculated quality of the performance as compared to the derived melody line. The performance ultimately could be rated, e.g., based on the calculated quality of the performance as compared to the derived melody line, beat of song and the lyrics metadata to provide feedback as to the timing of the rehearsal, etc. Based on the scoring of the performer's rehearsal of the song timing and rhythm, the supporting instrumentation may be altered to encourage the rehearsal. In addition, or in the alternative, the rehearsal package may include audio snippets of encouragement from performers or music experts.
The performance packages discussed herein may be provided as standalone components, modules, or arrangements, executable on a computer device including at least one processor and memory. Such components, modules, or arrangements may, for example, be configured to execute process steps corresponding to the flowcharts shown and described herein. The information obtained via rehearsal packages may be stored and uploaded to the karaoke jukebox server, e.g., for future consultation, e.g., in the event that the singer ever attempts to perform a song. Based on performance data from the rehearsal package, values such as degree of auto-tuning, microphone volume, background music volume, etc., may be read and set for the venue.
The following are illustrative use cases for an improved karaoke jukebox system in accordance with certain exemplary embodiments.
The patron looks at the lyrics screen and is able to see feedback from the crowd. Prompts for actions to be undertaken during a performance may be provided, e.g., as shown in
In certain exemplary embodiments, the video that is captured may incorporate video content captured by a camera integral with the karaoke jukebox system, external cameras provided in the location, and/or video captured by one or more portable devices (e.g., smart phones or the like) of one or more patrons in the establishment. Because devices connected to the karaoke jukebox system may have a synchronized time base, the disparate sources may be spliced together as the performance is taking place or at a later time. For instance, it may be possible for a KJ to instruct one or more displays in the venue to receive a video signal from a particular device. Much like a director, the KJ may switch the effective input video source. A patron may also be able to do this at a later time, e.g., to create a custom movie of the performance. For instance, video from plural devices may be submitted (automatically or upon a user request) to the central audiovisual network server and associated with a particular performance date/time and/or performer. The performer or others may search through a catalog of user-generated content to make their own movies. High-quality audio recorded by the karaoke jukebox microphone may be added as the audio track to the video. As above, this may be facilitated by virtue of the time synchronization features of certain exemplary embodiments. In certain exemplary embodiments, a composite video may be automatically generated. For instance, the video may randomly select different video segments or mix in the karaoke jukebox video content with user content on a random, pseudo-random, or non-random basis. The other patrons' cameras may provide different angles of the performance. Thus, in certain example instances, regardless of whether the video content is user-generated or automatically generated, the other views may be selectively incorporated, e.g., based on the performer's movements. The performer's movements may be tracked by the karaoke jukebox, the position-indicating or -inferring devices (e.g., trackers, accelerometers, gyros, etc.) incorporated into the microphone, etc. Based on this data, tracking data associated with the devices, facial or image recognition performed on the videos, and/or the like, certain videos may be selected for merging into a common video file, e.g., with the high-quality captured audio.
Photo booths are known in the art. However, the inventors of the instant application have realized it is possible to build on the familiar fun of the traditional photo booth through modern technology to create a next generation experience. For instance, rather than providing a rather sterile environment in which pictures can only be taken at fixed intervals, certain exemplary embodiments relate to the incorporation of photo booth like activities into a jukebox and/or karaoke jukebox. In certain of such exemplary embodiments, a series of digital photographs may be taken in succession (e.g., 12 photos in some number of seconds). In certain of such exemplary embodiments, the flash color may be optimized or improved for the environment through the use of LEDs or other lights disposed on the jukebox (e.g., by having the camera determine the lighting and then calculating the amount of offset for the lighting features, and adjusting the flash when taking the picture). Digital filters may help improve the quality of the picture and/or enable a user to express creativity. For instance, music themed filters, backgrounds, or the like may be added to a picture along with, or rather than, frames that may be music, venue, or otherwise themed. Drawing tools may enable users to make further modifications to captured images. Digital “proof sheets” may give users a potentially greater control of their photos and enable users to pick their favorites. Because photos are taken digitally, they may be delivered to a user or users through a digital channel such as, for example, email, posting to a server or social media site, etc. Captured and optionally subsequently modified images may be incorporated into music videos, karaoke performances, attract loops, uploaded to social media sites for the venue and/or user(s) whose picture(s) are taken, and/or the like.
The following description provides an example use case for a photo booth jukebox in accordance with certain exemplary embodiments. An attract loop for the photo booth may include previously taken and/or canned photos. From a “home screen,” a user may opt to switch to jukebox mode (e.g., to access jukebox related features), a photo booth mode, or a video mode. When the user has selected the photo booth mode, the user may have the option to take a test picture. Test pictures may be used to help users orient themselves in front of the camera, demonstrate how much of the picture will be cropped out, etc. Before taking a live shot, a user may be prompted to provide advance payment and/or accept the terms and conditions of use.
When the photo booth is ready to take a picture, a countdown may be displayed on the jukebox or related display, e.g., so that the person(s) being photographed can compose himself/herself/themselves appropriately.
An electronic or digital “proof sheet” may be displayed, an example of which is shown in
Various filters may be applied and/or elements added to some or all of the selected images. For example, a “rock star filter” may add multiple spotlights of different colors, while adding lens flares and/or the appearance of fog to create a “rock star like” atmosphere for the picture. The images may be converted to black and white or sepia tone, softened, have their corners faded out or otherwise distorted to give the appearance of a vintage or Technicolor image, etc. Blurring, shading, sharpening, red eye reduction, lens flares, etc., may be added. Images may have their color levels, brightness, contrast, etc., adjusted. Frames may include, for example, vintage or rounded frames, themed frames (e.g., as shown in
A user may select a target output device or location for the image. For instance, a user may opt to print the picture(s) to a printer integral with or otherwise connected to the photo booth jukebox, send a digital copy via email or MMS message, post the picture to a particular social networking site, etc. The photo booth jukebox may have suitable network and/or telephony connections (potentially through optional servers or gateways) for accomplishing the digital transmission of the image(s). A user may purchase additional copies for print or for digital transmission. Digital transmitted images may have copy protection, digital watermarks, etc., that may help guard against unauthorized reproduction. In some scenarios, a user may pay a premium for a non-protected image. In cases where an image is to be uploaded to a social media site on behalf of the user, a registered user's profile may be queried to obtain the relevant username and password or other credentialing information to allow logging in and posting to the site. If such information has not been provided, or if the user is not a recognized registered user, the photo booth jukebox may prompt the user to enter such information.
When printing and/or digital transmission is complete, the user may be prompted to return to the proof sheet, start a new photo session, return to jukebox mode, etc. The attract loop may be updated to include the recently captured image in certain example instances (e.g., in the event that the user does not “opt out” of such inclusion).
As can be appreciated from the above, technology can be leveraged to improve conventional photo booth experiences, while also tying them into the jukebox and venue environment. For instance, the photo booth jukebox may become a “photo director,” instructing users to “strike a pose.” Participants may respond to suggestions about expressions to make (“Show me scared”), iconic poses (“Now Vogue!”), etc. Such pictures may be printed, digitally transmitted, uploaded to a social networking site, etc.
In another example mode, users may sign up for a “night unfolding,” “scavenger hunt,” or “challenge” mode. Throughout a predefined time, a mobile application running on a mobile device of a user may prompt the user to take pictures at various times, with various people, with certain expressions/poses/items/etc., and/or the like. These photos may be turned into a slide show, video, or the like, that can be digitally transmitted. Prizes may be awarded for successful completion of a challenge. Contests also may be run, e.g., for costume parties, etc., where user-based voting is possible.
Time limits may be imposed in certain cases, e.g., to help ensure that the jukebox is not used for excessive photo booth operations. For instance, a user may complete a photo booth experience within 1-10 minutes, with a typical minimum time being about one and one-half minutes, and a maximum time of seven minutes being set. If a jukebox is busy or has not been used or the queue is running low, deactivation of some or all of the photo booth features may be triggered. Timers may be displayed when a predefined use time is coming to an end (e.g., 30 seconds before a 7 minute period is about to elapse), etc. In some cases, if user chooses to take a test shot, the photo may remain on the screen for a short time (e.g., 10 seconds) or until a begin or play button is pressed. A test shot may be deactivated after a short time (e.g., 2 minutes) after use, as well. Live preview functions may be provided in certain exemplary embodiments. The live preview functions may display raw image data, which may be maintained for possible later use. Facial detection for focus and metering may be activated, e.g., using known algorithms. Optimization filters may be run once photos are taken, potentially including a skin smoothing function and creating an enhanced effect to separate foreground elements from background elements. Users may have predefined times for completing different sub-operations within the photo booth experience. For instance, the user may have 1 minute to complete selections from the proof sheet, 3 minutes to modify photos, 2 minutes to print/transmit selections, etc. These timers may restart if the user returns to the proof sheet or starts a new photo booth session. Of course, it will be appreciated that these time frames are provided by way of example, and that longer or shorter time limits may be imposed in some situations, whereas some situations may not include time limits at all. Users may be charged for various features in different embodiments. For instance, a base purchase price of, for example, $5, may enable the user to take a photo burst, select four photos, and print them out. This price may be reduced if no printer is attached, if a network connection is not possible, etc. Text messaging, emailing, uploading, extra prints, more manipulations, etc., may cost a premium in certain scenarios. In certain scenarios, digital transmissions and/or uploads may be provided free of cost, or possibly free of cost if the user opts in to allowing the venue to use the images for publicity and/or other purposes.
With the advent of real-time broadband connectivity, it is possible for patrons to make use of music lists that they, or their friends, maintain on external data services (such as, for example, social networking sites). These data services may also allow for patrons to post their current activities or observations. The digital jukebox systems of certain exemplary embodiments may allow patrons to identify themselves to the jukebox by submitting credentials to a jukebox individual account or a social networking account. Once identified, the activities such as music selection, comments on music, social plans, collections of music, etc., can be shared through the social networks.
In creating an identity on a jukebox network, it would be desirable to enable the patron to submit an image to be associated with an account. Such an image may be referred to as an avatar of a patron. It would be desirable to enable a patron to create an avatar either by a separate transaction performed from a computer or mobile smart phone where a photograph is submitted to the jukebox network, or directly through the jukebox itself.
This may be accomplished in certain exemplary situations by configuring the jukebox with picture-taking capabilities, and by allowing a patron to associate this picture with the individual's account. These images could be representative of a single person, a group account representing all the staff at a particular location, a close-knit group of friends sharing an evening, a larger group, etc. Alternatively, or in addition, rather than a still frame avatar, certain exemplary embodiments enable patrons to take short videos of themselves and use these videos as avatars, or mementos of the time spent at the location. Indeed, these images and/or videos, like activity and music sharing, may provide visual mementos of time spent together in the venue. This may provide a more enjoyable experience for individuals, enabling them to enjoy music and have a photo or video record of the evening.
As jukeboxes become more sophisticated and migrate towards media centers and incorporate more media center capabilities, it would be desirable to provide supplemental audio and microphone capabilities. Doing so in certain situations could allow individuals at the jukebox to interact with a system or remote individual and be able to hear audio intended just for them and not for broadcast throughout the venue. In addition, or in the alternative, individuals could respond or submit audio that would be picked up by a microphone configured to favor local audio rather than the audio on the surroundings.
These microphones, which may be provided inside the jukebox, as wireless peripherals to the jukebox, etc., may allow patrons in certain exemplary instances to add audio clips to their avatars (e.g., still photo or video avatars) that could be experienced through social media distribution services. Individuals could see their friends' avatars and hear associated audio clips.
A venue could also periodically have the most popular or featured patrons possessing an avatar or avatar with audio being presented over the jukebox controlled audio and video systems in certain exemplary embodiments. These could be similar to an individual's introduction of a playlist or music set.
The camera used for capturing the avatar in the jukebox could also have additional capabilities and/or be leveraged in a number of different ways, e.g., as set forth herein. For instance, the jukeboxes of certain exemplary embodiments may be configured to take photographs while playing music, thereby allowing patrons to engage with the jukebox without interrupting the play of music. Multitasking operating systems and/or functionalities may be provided for these and/or other purposes.
Alternative pictures not intended for avatar creation could be provided as a charged-for service. Patrons may pay for such images by providing music credits to the jukebox. This photograph taken by the jukebox could, in return for a number of credits, or cash paid via credit card or bills or coins, or virtual wallet associated with individuals social media account, be modified, printed, and/or distributed over, email, the Internet, a social network, to mobile applications, e.g., as set forth herein.
In-venue printing capability also may be provided. For instance, in certain exemplary embodiments, the jukebox may include within its form a printing means allowing patrons to obtain prints of their photographs from the jukebox device after a short delay. Alternatively, a remote printing station controlled by the jukebox and used for printing photographs and other materials (such as coupons, promotional vouchers, etc.) may be under the control of or at least in communication with the jukebox, so that these images may be printed on behalf of individuals, venues, advertisers, and/or others. Any suitable wired or wireless connection may be provided. For instance, a network printer may be configured, e.g., over a LAN or WAN connection, Bluetooth, and/or the like.
Videos could also be paid for music credits or cash or credit or a virtual wallet account, etc., to allow patrons to take the video of the moment and to share this video via a social media website, email, and Internet link, and/or the like. Audio optionally may be captured along with the video, e.g., through a microphone provided to the jukebox and/or synced from a remote source (e.g., a mobile device of the patron). The synchronization may be facilitated by providing a common or shared timestamp service as between the various devices involved in the video and/or audio capture.
This video session may also be possible whether music is playing or not, thereby providing a second revenue opportunity for the jukebox device. For instance, the jukebox could earn money for the operator by playing music and selling photo services or video services or audio video services, all at the same or substantially the same time, e.g., through multitasking operations.
As it is possible to operate the camera within the jukebox at all times, and by employing an algorithm that compares recent images captured with the current image, it is possible to detect the motion in front of the jukebox. This motion may be used in certain exemplary embodiments to trigger a particular attract loop, encouraging the passerby to engage in a music or other activity on the jukebox. This motion sensing tracking could also trigger face detection services that would allow a portion of the observed image to be presented on the jukebox or on TV screens connected to the jukebox in certain situations. In addition, or in the alternative, it may be possible to apply a filter or frame to the observed image offering an example of what a photograph or video could look like if one were to be taken and paid for. Captured and/or printed images may be incorporated into standard attract loops advertising the jukebox, karaoke, and/or photo booth features of the smart jukebox in certain exemplary embodiments.
Most jukeboxes are typically installed in locations with subdued lighting. It therefore may be desirable to supplement the available light when taking a picture with light from the jukebox. For example, based on the luminosity detected from the camera, the jukebox may in certain exemplary embodiments compensate its LED and/or other lighting system and, if required or desirable, use the light emitted from the LCD display to supplement both the luminosity of the picture to be taken or video to be taken, thereby possibly improving the effective white balance of the picture to be taken or video to be taken. Of course, other image and/or video characteristics aside from or in addition to white balancing may be adjusted, modified, and/or improved by altering the lights including, for example, color saturation, overall brightness, color tone, exposure, etc. It may also be possible to correct for ambient light asymmetries, inadequacies, and/or the like in certain exemplary embodiments, e.g., by using the camera to detect or surmise the existence of such problems and then instruct the lighting system(s) of the jukebox how to correct for them.
It is very popular to celebrate an event with a group of people using social media. However, a jukebox provides an additional opportunity to non-contiguous interactions to be associated with a single event. For instance, a baseball team could have won an important game that it wishes to commemorate with music and pictures. A first individual could create the event, by identifying himself with credentials and creating an event name. The event could have a theme assigned to it from a series of templates offered by the jukebox. In this example, the patron would select a sports victory theme and give it a name such as “Finally beat the Panthers.” Throughout the evening, others could go to the jukebox and using credits or cash or a virtual wallet or the like, add music selections, or photographs, or comments to the event.
In certain exemplary embodiments, each event entry may be performed as part of a payment event. For instance, patrons could pay to take one or more pictures or submit videos or commentary to the event, etc. In addition, or in the alternative, the creation of the event itself may require payment. This payment may cover all, some, or none of the possible subsequent activities that may be associated with the event throughout a night or event or duration of time.
This ability of certain exemplary embodiments to create a media log of the event by using the jukebox may allow a digital memento to be created by the jukebox for a variety of experiences. The event could be an experience that took place before convening at the location, events taking place in the location such as a singing contest, trivia contest, or other group activity.
The ability for the jukebox to be the repository for the event media and then to post this media to social networks or to e-mail addresses of specific individuals may help create a record of the experience on behalf of the group rather than by individual who then shares it with the group.
In certain exemplary embodiments, users may identify themselves through a user name and password combination, an image presented to the camera, or an electronic message from a close proximity device, for the purpose of creating a virtual event and/or adding elements to the event.
In certain instances, a jukebox equipped with photo and/or video capabilities may serve as a draw to individuals in a location to participate and share their experiences. The contribution of social media need not be restricted to that captured solely at the jukebox. For instance, a jukebox photo booth application may allow a user to login or check in to the jukebox from a mobile device and participate in the exchange of entertainment media directly from one's own mobile device. This may in certain exemplary embodiments include the ability to submit media photographs, videos, text, audio, etc., to the jukebox repository, or to consume audio video text and images being projected from the jukebox in real-time or retrospectively. All of the social media sharing capabilities may be possible from a mobile device that has checked into a jukebox equipped with fully photo booth capability. Thus, capturing, sharing (through the Internet, email, a social networking site, and/or the like), etc., may be enabled through both the jukebox and a plurality of mobile devices at or away from the venue, in certain exemplary embodiments.
A challenge exists in delivering jukebox distributed media to devices within the location so that video imagery and/or audio is/are synchronized. Audio, video, trivia, game data, and/or the like, may become disinteresting or unfair if the time synchronization is not managed effectively. In certain exemplary embodiments, the jukebox may be equipped with a mechanism to synchronize its time and the time of remote devices, e.g., using a network server or direct communications between devices. Additionally, because of the unpredictable latency of wireless networks, it may be desirable for jukebox to discover a latency occurrence and to re-synchronize the timing, allowing all devices to once again be presenting media in a sufficiently synchronized timeframe, so that the media experience is not compromised. Thus, it will be appreciated that certain exemplary embodiments may enable mobile devices to check-in with a jukebox device and establish a time sync between devices over a WAN, WLAN, and/or the like, e.g., so that video, images, and/or audio may be distributed, displayed, captured, and/or otherwise manipulated in an acceptable and appropriate time-synced manner.
Once checked in (e.g., identified to a social networking service as being present at a location based on, for example, transmission of a signal indicating the location and login credentials of the user), mobile devices may be able to participate in a virtual event, or to initiate the creation of a virtual event, in certain exemplary embodiments. This may allow others to submit song selections, audio, video, and commentary to the digital record of the event, for example. From a mobile device, this may take place at no charge, be funded by a virtual wallet associated with the account of the mobile device owner, etc.
Thus, it will be appreciated that using certain exemplary techniques disclosed herein, many people may be able to participate in an event from a variety of different computing devices, thereby forming a collection of different sub-events or activities.
Certain exemplary embodiments described herein may be used in connection with the user interfaces disclosed in, for example, U.S. application Ser. No. 12/929,466, filed on Jan. 26, 2011, which is hereby incorporated herein in its entirety. Furthermore, certain exemplary embodiments may be used in connection with the designs shown and described in U.S. Pat. Nos. D475,029, granted May 27, 2003; D616,414, granted May 25, 2010; D629,382, granted Dec. 21, 2010; D642,553, granted Aug. 2, 2011; 29/371,255 filed Dec. 14, 2010; and/or 29/401,854, filed Sep. 16, 2011, the entire contents of each of which is hereby incorporated herein.
Although certain exemplary embodiments have referred to a karaoke and a photo booth application in combination with a jukebox, it will be appreciated that the techniques disclosed herein may be used in any combination or sub-combination. For instance, the karaoke, photo booth, and/or jukebox techniques disclosed herein may be applied to any type of on-demand paid media kiosk or the like.
As indicated above, certain exemplary embodiments may feature tie-ins to social networking sites. For instance, karaoke contests may be viewed locally, nationally, or even internationally (e.g., worldwide) via social networking sites or the like. People around the world could use social networking or other sites to vote for their favorite performances, and people can advance through a competition. Such techniques could even be used as a possible entryway to a reality-television style competition to be aired on television and/or over the internet. The ultimate competition may be karaoke, live music, or otherwise based. In certain exemplary embodiments, a patron may develop a list of karaoke or photo booth friends. This list may be generated automatically by scanning connections in a social network in certain exemplary embodiments. In certain exemplary embodiments, the karaoke jukebox system may enable patrons to communicate with their friends via SMS, email, social networking, jukebox-specific, and/or other messages. In certain exemplary embodiments, a “buddy list” may be built and used for instant communications. Patrons could issue karaoke challenges, meet-up requests/messages/details, comments on photos, song or karaoke song suggestions, etc. Messages may be sent automatically to a patron whenever a friend has checked in to a location, signed up for a performance, completed and/or shared a performance, etc.
In addition to possibly being able to buy a memento of a night out (e.g., a karaoke audio and/or video performance; a photo, video, slideshow; event package including songs and photos and/or videos; etc.), messages may be sent to patrons letting them know when their songs have been made available and possibly edited by an editor so that they can subsequently download them (e.g., for a price).
Certain exemplary embodiments relate to an entertainment center comprising a computer capable of communicating with networks, wherein said computer is further connected to at least one display through standard analog, digital, or network-addressable displays, said computer being operable to interact with a remote device connected to one of said networks in communication with said computer, said remote device being operable to accept a code and transmit said code to said computer, and wherein said computer can validate against a database or against an algorithm the validity of said code and, upon positive validation, said computer is configured to allocate a monetary value or a credit value to said remote device. The remote device may be operable to browse content contained on said computer and said remote device may be further operable to select and pay for said content using said monetary or said credit value, said computer may be operable to reduce said monetary or said credit value upon a selection by said remote device. The code may instead or in addition be sent to the remote device and entered on the computer.
Certain exemplary embodiments relate to an out-of-home entertainment center coupled with at least one Internet-based messaging system and/or a social networking site and coupled with at least one remote device, said remote device being connected to the out of home entertainment center by a wired or wireless local area network or through the Internet, wherein the use of some of the entertainment center services by said remote device causes said entertainment center to send messages to said at least one Internet-based messaging system. Connecting the system through the Internet may require a user to input a code to the remote device that uniquely identifies the entertainment center.
Some of the handheld devices referred to herein may be those described, for example, in application Ser. No. 11/902,790, the entire contents of which is incorporated herein by reference.
The present disclosure has used certain terms that should not be interpreted as limiting the invention to a particular embodiment, hardware components and configurations, software configurations, etc. For example, many features and examples have been described in relation to their existence within a bar, pub, or other environment. However, it will be appreciated that the features present in the exemplary embodiments of the present invention are adaptable for use in any location where a jukebox (or multiple jukeboxes) may be located. Similarly, while certain features and functions are described with reference to usage by “users,” “owners,” “operators,” “patrons,” etc., it will be appreciated that these terms are generic and may, in most cases, be used interchangeably depending on the embodiment chosen and the feature employed. For example, while it may be advantageous to limit the initial song selection to owners and/or operators, in certain exemplary embodiments, patrons may play a role in the initial song selection. It will be appreciated that the term “display” includes, for example, monitors connected to computers directly or remotely, or embedded ICs such as IP TV technology. Displays may be network addressable. Also, standard digital signs (LED based) also may be considered displays and/or may be provided as network addressable displays.
Although certain exemplary embodiments have been described in connection with out-of-home locations, it will be appreciated that the techniques described herein may be adapted for use in an in-home or personal jukebox device, e.g., that has a suitable connection to the jukebox network or is configured for stand-alone operation.
Moreover, although certain exemplary embodiments have been described in connection with in-home and several illustrative out-of-home scenarios, the exemplary techniques described herein may be used in connection with different locations and/or events. In general, the example techniques for blending high quality audio with ambient audio and/or potentially user-generated video described herein may be used in connection with any kind of live event where a recording might be desirable such as, for example, at concerts; plays and musicals; speeches, rallies, or protests; retail or other shopping events; newsworthy events or events that are reported as news; etc.
In the public or concert performance context, for instance, certain exemplary embodiments provide a means for a performer, record label, school, production company, or other suitably qualified party to allow recordings of a concert and optionally to charge a for those recordings. It currently is common for people attending a concert to use the video recording capabilities of their mobile devices to record portions of the concert. While the audio and video quality oftentimes is relatively low, the recording nonetheless is seen as an important memento of the event. And even though the audio and video quality oftentimes is relatively low, the person or persons recording the performance may not have the legal bundle of rights necessary to do so. Thus, it will be appreciated that it would be desirable to also enable the recording of performances or events in a way that promotes user-generated content while still respecting the rights of those rights holders and also potentially offering them monetary compensation for granting licenses in and to the recordings and/or new works created via the blending approaches.
In certain exemplary embodiments, an artist, booking agent, venue staff, school teacher, or other authorized person may contact a recording service, e.g., run by the assignee of the instant invention, to request that recording and blending services be made available at a particular event. The identified event would be identified, and an entry for the event would become present in a recording schedule used by mobile or other devices equipped with a custom recording application. The custom recording application may be downloaded or otherwise installed for a fee in some scenarios and may be used for unlimited or some limited number of subsequent events. In certain exemplary embodiments, the application may be free or available for a nominal fee, but users may be charged for recordings, e.g., by song, number of songs, or duration of time. Different pricing tiers may be set for different songs, artists, labels, song lengths, event types, etc. For instance, school events may be less expensive than Indie rock events, which may be less expensive than a recording of some or all of a Rolling Stones concert. In some cases, a special labeled version of the recording application may be created, enabling branding and messaging to help market the artist or other artists on the same label or representation.
In one exemplary use case, a user buys a custom summer tour app for a predetermined amount of money (e.g., a Katy Perry Summer Tour app for $10.00). This application permits the user to video three songs in one or more shows. When the tour or show ends, or when the three videos have been captured, a link to the video is provided, with the video including actual audio from the performance mixed in with some ambient crowd noise.
Certain exemplary embodiments may include one or more upload systems. Similarly, the recording system may receive a high quality (e.g., digital) audio feed of the performance and possibly also background acoustics of ambient noise within the venue such as applause and cheering. A mixer or mixing board may be provided on-site to receive such inputs. The mixer or mixing board may be as simple as a mixed balanced line out fed in to the recording service's upload device (e.g., computer, laptop, or other combination of suitably configured hardware and/or software). The upload device may forward either digital versions of the live audio feed, mixed songs (e.g., that have been post-processed after the performance or processed in real-time or substantially in real-time), or multiple unmixed or partially mixed audio streams for later assembly in final mixing. The upload device may be configured to identify the performance (e.g., with a name, date, time, and/or unique identifier) and to characterize the method and format of upload material (e.g., file format, whether the audio stream(s) is/are raw or fully or partially mixed, source device(s) for the audio stream(s), etc.). Video also may be gathered and uploaded via the same device in certain exemplary embodiments, and this type of and/or other related information may be provided. The uploaded data may be stored to a storage location in the cloud. The cloud service may be configured to archive the uploaded material for subsequent processing.
A performance archive system located in or having access to the cloud may process inbound or uploaded audio streams and, where necessary or desirable, add relevant metadata to organize the received audio. For instance, depending on the upload stream, audio may be identified as lead-in or actual song performances. A matching system may be configured to identify contiguous audio streams, and individual identification of songs therefore may not always be required.
Similar to as described in the karaoke jukebox related examples above, audio and/or video may be gathered from audience members using an application on their smart phones, tablets, or other computing devices. A mobile user having a device equipped with the recording application or a specially designed application for this particular artist may, for example, purchase or qualify for the right to record a performance. As indicated above, the recording may be limited in some way, e.g., to a particular number of songs, a total amount of time, etc. The application, running on or accessible via the device, may interface with an embedded or attached video camera to create a digital recording of a period of/or time during the performance. If the mobile user is satisfied with the recording, (e.g., from reviewing it on their mobile device, or from his/her assessment of the video captured, etc.), the mobile user may choose to save the recording. This may cause the recording to be copied to the cloud for archiving and matching against the performance audio. It is noted that there could be many users for a given performance, with each user possibly submitting his/her own clips for matching.
The recording system cloud service may ingest inbound mobile user mobile clips and (if present) metadata concerning the user and rights purchased. This material may be archived (e.g., stored to a database) as performance mobile video and audio recordings, and associated metadata (as appropriate and as available).
Based on timestamps and metadata received from both the upload feed, or calculated from the time of an upload feed, and metadata timestamps received within the mobile user video feed, a matching process may begin. The audio data files of the mobile video and the upload video may be compared to one another using a pattern matching or algorithm, e.g., with time sequencing capabilities. When the “best” match is obtained, audio segment time delimiters may be used to create a new video with a revised audio mix. That is, transitions between songs, sets, spoken acknowledgements, etc., may be detected or otherwise marked, and used as delimiters for different portions. In addition, if it is determined that a particular user has “missed” the beginning, end, or intermediary portion of an otherwise contiguous clip (e.g., because the user did not recognize the song being played, the user's mobile device ran out of battery, the user was too slow pushing a record button, etc.), the “missing” audio and/or video may be supplied to the segment. This missing data may be supplied by others who managed to record that part, from a “house” or “official” source, etc. Timestamps may facilitate detection of missing parts and location of those portions that are to be added.
Similar to the above, in the audio mix, the audio from the device may be replaced with up to 100% of the uploaded audio from the performer's mixing board, which represents very high quality audio. In some cases, it will may desirable to have some audio from the mobile device, e.g., recording the patrons' reactions to, or comments on, the performance, etc. The amount of mobile background audio included could be configurable at the mobile device in certain exemplary embodiments.
Once the remixing process has taken place, a new mixed song coupled to the mobile video may be used to produce a digital video file that is archived on the cloud server. The address of this video segment may be indexed for distribution to the mobile patron and/or others who qualify for the download. Once the patron's mobile video has been processed, an indication may be sent to the mobile device on which the video originated alerting the user that the video has been processed. This link to the new processed video may be available online for streaming or can be downloaded, depending on the rights authorized by the artist or artist representatives, for example. The link to the video could be e-mailed to other devices, e.g., depending on the rights permitted by the artist. Other individuals (e.g., fan club members, school boosters or parents, etc.) also may receive email or other links. In certain exemplary embodiments, the file, a portion thereof, or a link thereto, could be posted to or disseminated a public service such as a social network site (e.g., as a posting on the performer's page, as a Tweet from an authorized account, etc.).
Thus, it will be appreciated that the example techniques that are being applied for karaoke may be used for non-jukebox and non-karaoke events such as, for example, certain live performances or shows. Certain exemplary embodiments therefore relate to the creation and optional distribution (possibly selling) of new content, including high-quality audio synched with a video captured on a mobile device, with that new work optionally being paid for via a mobile application.
Example details as to how this may be accomplished will now be explained in connection with
The custom application may include, for example, branding and/or a look-and-feel appropriate for an artist, customized advertisements geared towards a particular target audience, etc. If there is no special application, or once the custom application is built, the process waits for the performance at step S2416. At the venue, for example, the upload system is prepared, e.g., in step S2414. This may include, for example, connecting a computer system (including suitable hardware and/or software) to a mixing board, ensuring that potentially secure connections to a remote storage location are made available (e.g., over an Internet connect), etc.
Thus, using a specialized recording application on a mobile device, a patron may select the record feature and, if the user has been authorized to take a recording, either through the purchase of recording rights or, because of the performance being available at no charge from the performer, the mobile device may begin recording all video and audio subject to a potential time restriction. Users may be instructed to begin recording no more than X seconds before song, and to end recording no more than Y seconds following a song (which may be an automatic cutoff in some instances). Alternatively, or in addition, some performances may allow for recording without song delimitation restrictions, but rather allowing a contiguous segment, or continuous segments of a performance.
For each mobile device equipped with the specialized application and the appropriate rights to record, each recorded segment from the pressing of the record to the pressing of the and record button may have the video and audio submitted to the network storage cloud service. The video resolution and audio quality of the submissions may vary because of the capabilities of the mobile device or the bandwidth necessary to transfer this data. Submissions may be archived, e.g., by performance and possibly in time sequence or other order, as they are received in certain exemplary embodiments. The indexing and archiving may be sufficiently capable of conveying an indication as to the general time the recording was made to facilitate matching. These archives may be treated as individual clips, and may be matched against the stored uploaded performance audio data received.
Once the new video was created through a remix of the audio from the uploaded source and the mobile submitted source, the new video may be stored on a cloud server with a unique address (e.g., GUID). In some cases, the video may be controlled by the performer and only accessible through a subsequent transaction. For instance, the patron who had purchased the rights to record one or more segments of the performance may have access via a credential authentication to stream this clip to any device that supports authentication and audio/video playback.
In some circumstances, the performer may be willing to relinquish the rights to control the new video creation and would allow the actual file to be downloaded rather than streamed, e.g., upon the payment of an additional fee. For instance, a user-recorder may be incentivized to sell his/her recording by being rewarded with some monetary credit based on downloads of his/her recording. In other cases, the user-recorder may receive no credit, but rather licensing fees charged to community downloaders may be transferred to the original rights holder(s) and/or facilitators of the upload/download/matching system. These and/or other revenue sharing schemes also may be made available for the karaoke-jukebox embodiments discussed above.
Although this may require temporary bursts of processing power, space savings may be generated, as not all clips would need to be combined immediately. In certain exemplary embodiments, a user may be allowed to select which one or more audio clips are to be combined with which one or more video clips, etc., specify levels for high quality audio versus mobile audio, etc. The process to match the uploaded performance with the submitted mobile video clip may take some time. In some instances, the uploaded performance may only be available hours or even days following the performance.
Particular hardware combinations and configurations are disclosed which represent only one way which the embodiments may be constructed, and other combinations and configurations may be used in different exemplary embodiments. For instance, central servers may, in some exemplary embodiments, be comprised of one or more servers acting together or separately to coherently provide the full range of services necessary to enable a functioning jukebox. For example, a cluster of servers may comprise a virtual central server, with one server providing media, another tracking membership, still another processing licensing, etc.
Similarly, the local servers described herein may be incorporated into the jukeboxes. For example, the local servers may appear to function independently, even though they exist as part (e.g. partition) of an integrated mass storage device within the jukebox. Indeed, as hard disks become larger and less expensive, they may preferably serve the functions of local servers.
Also, although the term “song” has been used sometimes in the above-description, this term is not intended to be limiting to the scope of the invention, and any instance or instances of media (e.g., song, video, song/video combination, data, information etc.) can be used in any embodiment herein and still fall within the intended scope of the invention.
It will be appreciated that the screen shots and software arrangements presented herein are only one exemplary method for organizing and displaying the features disclosed herein. Other configurations are possible and are therefore contemplated herein. In this vein, the techniques disclosed herein may be implemented by any suitable combination of hardware, software, firmware, and/or the like. The various modules, arrangements, programs, etc., may be implemented in these and/or other ways.
While the preferred aspects of the invention have been illustrated and described herein, it will be apparent to one of ordinary skill in the art that various changes and/or modifications can be made. Thus, the specific description herein is meant to be exemplary only and is not intended to limit the invention beyond the terms of appended claims.
This application is a continuation of U.S. application Ser. No. 17/079,706, filed Oct. 26, 2020, which is a continuation of U.S. application Ser. No. 16/774,323 filed Jan. 28, 2020, which is a continuation of U.S. application Ser. No. 16/293,524 filed Mar. 5, 2019, now U.S. Pat. No. 10,582,240 issued Mar. 3, 2020, which is a continuation of U.S. application Ser. No. 14/041,309 filed Sep. 30, 2013, now U.S. Pat. No. 10,225,593 issued Mar. 5, 2019, which is a continuation of U.S. application Ser. No. 13/621,922 filed Sep. 18, 2012, now U.S. Pat. No. 9,324,064 issued Apr. 26, 2016, which claims the benefit of Provisional Application Nos. 61/584,750 filed on Jan. 9, 2012, and 61/536,015 filed on Sep. 18, 2011, the entire contents of each of which is hereby incorporated herein by reference in this application. This application also incorporates by reference the entire contents of application Ser. No. 12/929,466 filed on Jan. 26, 2011 now U.S. Pat. No. 9,521,375 issued Dec. 13, 2016; Ser. No. 12/737,395 filed on Jan. 7, 2011 now U.S. Pat. No. 8,849,435 issued Sep. 30, 2014; 61/202,617 filed on Mar. 18, 2009; Ser. No. 12/318,864 filed on Jan. 9, 2009 now U.S. Pat. No. 8,332,887 issued Dec. 11, 2012; Ser. No. 12/222,785 filed on Aug. 15, 2008; Ser. No. 12/076,761 filed on Mar. 21, 2008 now U.S. Pat. No. 9,953,481 issued Apr. 24, 2018; Ser. No. 11/902,790 filed on Sep. 25, 2007 now U.S. Pat. No. 9,171,419 issued Oct. 27, 2015; and Ser. No. 11/902,658 filed on Sep. 24, 2007 now U.S. Pat. No. 10,373,420 issued Aug. 6, 2019.
| Number | Name | Date | Kind |
|---|---|---|---|
| 3710137 | Stephens, Jr. | Jan 1973 | A |
| 3807541 | Kortenhaus | Apr 1974 | A |
| 3982620 | Kotenhaus | Sep 1976 | A |
| 4008369 | Theurer et al. | Feb 1977 | A |
| 4064362 | Williams | Dec 1977 | A |
| 4186438 | Benson | Jan 1980 | A |
| 4232295 | McConnell | Nov 1980 | A |
| 4335809 | Wain | Jun 1982 | A |
| 4335908 | Burge | Jun 1982 | A |
| 4356509 | Skerlos et al. | Oct 1982 | A |
| 4369442 | Werth et al. | Jan 1983 | A |
| 4375287 | Smith | Mar 1983 | A |
| 4412292 | Sedam | Oct 1983 | A |
| 4413260 | Siegel et al. | Nov 1983 | A |
| 4521014 | Sitrick | Jun 1985 | A |
| 4528643 | Freeny | Jul 1985 | A |
| 4558413 | Schmidt et al. | Dec 1985 | A |
| 4572509 | Sitrick | Feb 1986 | A |
| 4577333 | Lewis et al. | Mar 1986 | A |
| 4582324 | Koza | Apr 1986 | A |
| 4588187 | Dell | May 1986 | A |
| 4593904 | Graves | Jun 1986 | A |
| 4597058 | Izumi | Jun 1986 | A |
| 4636951 | Harlick | Jan 1987 | A |
| 4652998 | Koza | Mar 1987 | A |
| 4654799 | Ogaki | Mar 1987 | A |
| 4658093 | Hellman | Apr 1987 | A |
| 4667802 | Verduin et al. | May 1987 | A |
| 4674055 | Ogaki et al. | Jun 1987 | A |
| 4675538 | Epstein | Jun 1987 | A |
| 4677311 | Morita | Jun 1987 | A |
| 4677565 | Ogaki | Jun 1987 | A |
| 4696527 | Ding et al. | Sep 1987 | A |
| 4703465 | Parker | Oct 1987 | A |
| 4704725 | Harvey et al. | Nov 1987 | A |
| 4707804 | Leal | Nov 1987 | A |
| 4722053 | Dubno | Jan 1988 | A |
| 4761684 | Clark | Aug 1988 | A |
| 4766581 | Korn et al. | Aug 1988 | A |
| 4787050 | Suzuki | Nov 1988 | A |
| 4792849 | McCalley | Dec 1988 | A |
| 4807052 | Amano | Feb 1989 | A |
| 4811325 | Sharples | Mar 1989 | A |
| 4814972 | Winter et al. | Mar 1989 | A |
| 4815868 | Speicher | Mar 1989 | A |
| 4825054 | Rust | Apr 1989 | A |
| 4829570 | Schotz | May 1989 | A |
| 4852154 | Lewis et al. | Jul 1989 | A |
| 4857714 | Sunyich | Aug 1989 | A |
| 4868832 | Marrington | Sep 1989 | A |
| 4885694 | Pray et al. | Dec 1989 | A |
| 4905279 | Nishio | Feb 1990 | A |
| 4920432 | Eggers | Apr 1990 | A |
| 4922420 | Nakagawa | May 1990 | A |
| 4924378 | Hershey | May 1990 | A |
| 4926485 | Yamashita | May 1990 | A |
| 4937807 | Weitz | Jun 1990 | A |
| 4949187 | Cohen | Aug 1990 | A |
| 4953159 | Hayden et al. | Aug 1990 | A |
| 4956768 | Sidi | Sep 1990 | A |
| 4958835 | Tashiro | Sep 1990 | A |
| 4977593 | Ballance | Dec 1990 | A |
| 4999806 | Chernow | Mar 1991 | A |
| 5008814 | Mathur | Apr 1991 | A |
| 5012121 | Hammond | Apr 1991 | A |
| 5027426 | Chiocca | Jun 1991 | A |
| 5041921 | Scheffler | Aug 1991 | A |
| 5046093 | Wachob | Sep 1991 | A |
| 5053758 | Cornett et al. | Oct 1991 | A |
| 5058089 | Yoshimara | Oct 1991 | A |
| 5077607 | Johnson et al. | Dec 1991 | A |
| 5081534 | Geiger et al. | Jan 1992 | A |
| 5101499 | Streck et al. | Mar 1992 | A |
| 5106097 | Levine | Apr 1992 | A |
| 5117407 | Vogel | May 1992 | A |
| D327687 | Arbitor | Jul 1992 | S |
| 5138712 | Corbin | Aug 1992 | A |
| 5148159 | Clark et al. | Sep 1992 | A |
| 5155847 | Kirouac | Oct 1992 | A |
| 5159678 | Wengelski et al. | Oct 1992 | A |
| 5163131 | Row | Nov 1992 | A |
| 5166886 | Molnar | Nov 1992 | A |
| D332096 | Wolff et al. | Dec 1992 | S |
| 5172413 | Bradley et al. | Dec 1992 | A |
| 5180309 | Egnor | Jan 1993 | A |
| 5189630 | Barstow et al. | Feb 1993 | A |
| 5191573 | Hair | Mar 1993 | A |
| 5191611 | Lang | Mar 1993 | A |
| 5192999 | Graczyk | Mar 1993 | A |
| 5197094 | Tillery | Mar 1993 | A |
| 5203028 | Shiraishi | Apr 1993 | A |
| 5210854 | Beaverton et al. | May 1993 | A |
| 5214761 | Barrett et al. | May 1993 | A |
| 5222134 | Waite et al. | Jun 1993 | A |
| 5228015 | Arbiter et al. | Jul 1993 | A |
| 5237157 | Kaplan | Aug 1993 | A |
| 5237322 | Heberle | Aug 1993 | A |
| 5239480 | Huegel | Aug 1993 | A |
| 5250747 | Tsumura | Oct 1993 | A |
| 5252775 | Urano | Oct 1993 | A |
| 5260999 | Wyman | Nov 1993 | A |
| 5261104 | Bertram et al. | Nov 1993 | A |
| 5262875 | Mincer et al. | Nov 1993 | A |
| 5276866 | Paolini | Jan 1994 | A |
| 5278904 | Servi | Jan 1994 | A |
| 5282028 | Johnson et al. | Jan 1994 | A |
| 5289476 | Johnson et al. | Feb 1994 | A |
| 5289546 | Hetherington | Feb 1994 | A |
| 5315161 | Robinson | May 1994 | A |
| 5315711 | Barone et al. | May 1994 | A |
| 5319455 | Hoarty et al. | Jun 1994 | A |
| 5321846 | Yokota et al. | Jun 1994 | A |
| 5327230 | Dockery | Jul 1994 | A |
| 5335313 | Douglas | Aug 1994 | A |
| 5339095 | Redford | Aug 1994 | A |
| 5339413 | Koval | Aug 1994 | A |
| 5341350 | Frank | Aug 1994 | A |
| 5355302 | Martin et al. | Oct 1994 | A |
| 5357276 | Banker | Oct 1994 | A |
| 5369778 | SanSoucie | Nov 1994 | A |
| 5375206 | Hunter | Dec 1994 | A |
| 5386251 | Movshovich | Jan 1995 | A |
| 5389950 | Martin et al. | Feb 1995 | A |
| 5404505 | Levinson | Apr 1995 | A |
| 5406634 | Anderson et al. | Apr 1995 | A |
| 5408417 | Wilder | Apr 1995 | A |
| 5410326 | Goldstein | Apr 1995 | A |
| 5410703 | Nilsson et al. | Apr 1995 | A |
| 5418713 | Allen | May 1995 | A |
| 5420923 | Beyers | May 1995 | A |
| 5428252 | Walker | Jun 1995 | A |
| 5428606 | Moskowitz | Jun 1995 | A |
| 5431492 | Rothschild | Jul 1995 | A |
| 5440632 | Bacon et al. | Aug 1995 | A |
| 5444499 | Saitoh | Aug 1995 | A |
| 5445295 | Brown | Aug 1995 | A |
| 5455619 | Truckenmiller et al. | Oct 1995 | A |
| 5455926 | Keele | Oct 1995 | A |
| 5457305 | Akel | Oct 1995 | A |
| 5465213 | Ross | Nov 1995 | A |
| 5467326 | Miyashita et al. | Nov 1995 | A |
| 5469370 | Ostrover et al. | Nov 1995 | A |
| 5469573 | McGill et al. | Nov 1995 | A |
| 5471576 | Yee | Nov 1995 | A |
| 5473746 | Pritt et al. | Dec 1995 | A |
| 5475835 | Hickey | Dec 1995 | A |
| 5481509 | Knowles | Jan 1996 | A |
| 5487167 | Dinallo et al. | Jan 1996 | A |
| 5489103 | Okamoto | Feb 1996 | A |
| 5495610 | Shing | Feb 1996 | A |
| 5496178 | Back | Mar 1996 | A |
| 5499921 | Sone | Mar 1996 | A |
| 5511000 | Kaloi | Apr 1996 | A |
| 5513117 | Small | Apr 1996 | A |
| 5515173 | Mankovitz et al. | May 1996 | A |
| 5519435 | Anderson | May 1996 | A |
| 5519457 | Nishigaki et al. | May 1996 | A |
| 5521631 | Budow et al. | May 1996 | A |
| 5521918 | Kim | May 1996 | A |
| 5521922 | Fujinami et al. | May 1996 | A |
| 5523781 | Brusaw | Jun 1996 | A |
| 5528732 | Klotz | Jun 1996 | A |
| 5532734 | Goertz | Jul 1996 | A |
| 5532991 | Sasaki | Jul 1996 | A |
| 5546039 | Hewitt et al. | Aug 1996 | A |
| 5548729 | Akiyoshi | Aug 1996 | A |
| 5550577 | Verbiest | Aug 1996 | A |
| 5554968 | Lee | Sep 1996 | A |
| 5555244 | Gupta | Sep 1996 | A |
| 5557541 | Schulhof | Sep 1996 | A |
| 5557724 | Sampat et al. | Sep 1996 | A |
| 5559505 | McNair | Sep 1996 | A |
| 5559549 | Hendricks | Sep 1996 | A |
| 5559714 | Banks et al. | Sep 1996 | A |
| 5561709 | Remillard | Oct 1996 | A |
| 5565908 | Ahmad | Oct 1996 | A |
| 5566237 | Dobbs | Oct 1996 | A |
| 5570363 | Holm | Oct 1996 | A |
| 5578999 | Matsuzawa et al. | Nov 1996 | A |
| 5579404 | Fielder et al. | Nov 1996 | A |
| 5583561 | Baker et al. | Dec 1996 | A |
| 5583937 | Ullrich et al. | Dec 1996 | A |
| 5583994 | Rangan | Dec 1996 | A |
| 5583995 | Gardner et al. | Dec 1996 | A |
| 5590318 | Zbikowski et al. | Dec 1996 | A |
| 5592482 | Abraham | Jan 1997 | A |
| 5592551 | Lett | Jan 1997 | A |
| 5592611 | Midgely et al. | Jan 1997 | A |
| 5594509 | Florin | Jan 1997 | A |
| 5596702 | Stucka et al. | Jan 1997 | A |
| 5612581 | Kageyama | Mar 1997 | A |
| 5613909 | Stelovsky | Mar 1997 | A |
| 5616876 | Cluts | Apr 1997 | A |
| 5617565 | Augenbraun et al. | Apr 1997 | A |
| 5619247 | Russo | Apr 1997 | A |
| 5619249 | Billock et al. | Apr 1997 | A |
| 5619250 | McClellan et al. | Apr 1997 | A |
| 5619698 | Lillich | Apr 1997 | A |
| 5623666 | Pike | Apr 1997 | A |
| 5631693 | Wunderlich et al. | May 1997 | A |
| 5636276 | Brugger | Jun 1997 | A |
| 5638426 | Lewis | Jun 1997 | A |
| 5642337 | Oskay et al. | Jun 1997 | A |
| 5644714 | Kikinis | Jul 1997 | A |
| 5644766 | Coy | Jul 1997 | A |
| 5654714 | Takahashi et al. | Aug 1997 | A |
| 5659466 | Norris et al. | Aug 1997 | A |
| 5661517 | Budow et al. | Aug 1997 | A |
| 5661802 | Nilssen | Aug 1997 | A |
| 5663756 | Blahut et al. | Sep 1997 | A |
| 5668592 | Spaulding | Sep 1997 | A |
| 5668778 | Quazi | Sep 1997 | A |
| 5668788 | Allison | Sep 1997 | A |
| 5675734 | Hair | Oct 1997 | A |
| 5680533 | Yamato et al. | Oct 1997 | A |
| 5684716 | Freeman | Nov 1997 | A |
| 5689641 | Ludwig et al. | Nov 1997 | A |
| 5691778 | Song | Nov 1997 | A |
| 5691964 | Niederlein et al. | Nov 1997 | A |
| 5696914 | Nahaboo et al. | Dec 1997 | A |
| 5697844 | Von Kohorn | Dec 1997 | A |
| 5703795 | Mankowitz | Dec 1997 | A |
| 5704146 | Herring et al. | Jan 1998 | A |
| 5708811 | Arendt | Jan 1998 | A |
| 5712976 | Falcon et al. | Jan 1998 | A |
| 5713024 | Halladay | Jan 1998 | A |
| 5715416 | Baker | Feb 1998 | A |
| 5717452 | Janin et al. | Feb 1998 | A |
| 5721583 | Harada et al. | Feb 1998 | A |
| 5721815 | Ottesen et al. | Feb 1998 | A |
| 5721827 | Logan et al. | Feb 1998 | A |
| 5721829 | Dunn et al. | Feb 1998 | A |
| 5724525 | Beyers et al. | Mar 1998 | A |
| 5726909 | Krikorian | Mar 1998 | A |
| 5734719 | Tsevdos et al. | Mar 1998 | A |
| 5734961 | Castille | Mar 1998 | A |
| 5739451 | Winksy et al. | Apr 1998 | A |
| 5743745 | Reintjes | Apr 1998 | A |
| 5745391 | Topor | Apr 1998 | A |
| 5748254 | Harrison et al. | May 1998 | A |
| 5748468 | Notenboom et al. | May 1998 | A |
| 5748954 | Mauldin | May 1998 | A |
| 5751336 | Aggarwal et al. | May 1998 | A |
| 5752232 | Basore et al. | May 1998 | A |
| 5757936 | Lee | May 1998 | A |
| 5758340 | Nail | May 1998 | A |
| 5761655 | Hoffman | Jun 1998 | A |
| 5762552 | Vuong | Jun 1998 | A |
| 5774527 | Handelman et al. | Jun 1998 | A |
| 5774668 | Choqiuer | Jun 1998 | A |
| 5774672 | Funahashi | Jun 1998 | A |
| 5778395 | Whiting | Jul 1998 | A |
| 5781889 | Martin et al. | Jul 1998 | A |
| 5786784 | Gaudichon | Jul 1998 | A |
| 5790172 | Imanaka | Aug 1998 | A |
| 5790671 | Cooper | Aug 1998 | A |
| 5790856 | Lillich | Aug 1998 | A |
| 5790935 | Payton | Aug 1998 | A |
| 5793364 | Bolanos et al. | Aug 1998 | A |
| 5793980 | Glaser | Aug 1998 | A |
| 5798785 | Hendricks | Aug 1998 | A |
| 5802283 | Grady et al. | Sep 1998 | A |
| 5802599 | Cabrera | Sep 1998 | A |
| 5805804 | Laursen et al. | Sep 1998 | A |
| 5808224 | Kato | Sep 1998 | A |
| 5809246 | Goldman | Sep 1998 | A |
| 5812643 | Schelberg et al. | Sep 1998 | A |
| 5815146 | Youden et al. | Sep 1998 | A |
| 5825884 | Zdepski et al. | Oct 1998 | A |
| 5828343 | MacDonald et al. | Oct 1998 | A |
| 5831555 | Yu et al. | Nov 1998 | A |
| 5831663 | Waterhouse et al. | Nov 1998 | A |
| 5832024 | Schotz et al. | Nov 1998 | A |
| 5832287 | Atalla | Nov 1998 | A |
| 5835843 | Haddad | Nov 1998 | A |
| 5842869 | McGregor et al. | Dec 1998 | A |
| 5845104 | Rao | Dec 1998 | A |
| 5845256 | Pescitelli et al. | Dec 1998 | A |
| 5848398 | Martin | Dec 1998 | A |
| 5851149 | Xidos et al. | Dec 1998 | A |
| 5854887 | Kindell | Dec 1998 | A |
| 5857020 | Peterson | Jan 1999 | A |
| 5857707 | Devlin | Jan 1999 | A |
| 5862324 | Collins | Jan 1999 | A |
| 5864811 | Tran et al. | Jan 1999 | A |
| 5864868 | Contois | Jan 1999 | A |
| 5864870 | Guck | Jan 1999 | A |
| 5867714 | Todd | Feb 1999 | A |
| 5870721 | Norris | Feb 1999 | A |
| 5880386 | Wachi et al. | Mar 1999 | A |
| 5880769 | Nemirofsky et al. | Mar 1999 | A |
| 5884028 | Kindell | Mar 1999 | A |
| 5884298 | Smith | Mar 1999 | A |
| 5887139 | Madison, Jr. et al. | Mar 1999 | A |
| 5893162 | Lau et al. | Apr 1999 | A |
| 5895455 | Bellinger et al. | Apr 1999 | A |
| 5896094 | Narisada et al. | Apr 1999 | A |
| 5903266 | Berstis et al. | May 1999 | A |
| 5913040 | Rakavy | Jun 1999 | A |
| 5914712 | Sartain et al. | Jun 1999 | A |
| 5915094 | Kouloheris | Jun 1999 | A |
| 5915238 | Tjaden | Jun 1999 | A |
| 5917537 | Lightfoot | Jun 1999 | A |
| 5917835 | Barrett | Jun 1999 | A |
| 5918213 | Bernard et al. | Jun 1999 | A |
| 5920700 | Gordon et al. | Jul 1999 | A |
| 5920702 | Johnson | Jul 1999 | A |
| 5923885 | Johnson | Jul 1999 | A |
| 5926531 | Petite | Jul 1999 | A |
| 5926624 | Katz et al. | Jul 1999 | A |
| 5930765 | Martin | Jul 1999 | A |
| 5931908 | Gerba | Aug 1999 | A |
| 5933090 | Christenson | Aug 1999 | A |
| 5940504 | Griswold | Aug 1999 | A |
| 5949411 | Doerr et al. | Sep 1999 | A |
| 5949688 | Montoya | Sep 1999 | A |
| 5953005 | Liu | Sep 1999 | A |
| 5953429 | Wakai et al. | Sep 1999 | A |
| 5956716 | Kenner et al. | Sep 1999 | A |
| 5959869 | Miller | Sep 1999 | A |
| 5959945 | Kleiman | Sep 1999 | A |
| 5960167 | Roberts et al. | Sep 1999 | A |
| 5963916 | Kaplan | Oct 1999 | A |
| 5966495 | Takahashi | Oct 1999 | A |
| 5970467 | Alavi | Oct 1999 | A |
| 5978855 | Metz et al. | Nov 1999 | A |
| 5978912 | Rakavy et al. | Nov 1999 | A |
| 5980261 | Mino et al. | Nov 1999 | A |
| 5999499 | Pines et al. | Dec 1999 | A |
| 5999624 | Hopkins | Dec 1999 | A |
| 6002720 | Yurt | Dec 1999 | A |
| 6005599 | Asai et al. | Dec 1999 | A |
| 6008735 | Chiloyan et al. | Dec 1999 | A |
| 6009274 | Fletcher | Dec 1999 | A |
| 6011758 | Dockes et al. | Jan 2000 | A |
| 6018337 | Peters | Jan 2000 | A |
| 6018726 | Tsumura | Jan 2000 | A |
| 6023705 | Bellinger et al. | Feb 2000 | A |
| 6025868 | Russo | Feb 2000 | A |
| 6026168 | Li et al. | Feb 2000 | A |
| 6034925 | Wehmeyer | Mar 2000 | A |
| 6038591 | Wolfe et al. | Mar 2000 | A |
| 6040829 | Croy et al. | Mar 2000 | A |
| 6041354 | Biliris et al. | Mar 2000 | A |
| 6049891 | Inamoto | Apr 2000 | A |
| 6054987 | Richardson | Apr 2000 | A |
| 6055573 | Gardenswartz et al. | Apr 2000 | A |
| 6057874 | Michaud | May 2000 | A |
| 6067564 | Urakoshi et al. | May 2000 | A |
| 6069672 | Claassen | May 2000 | A |
| 6072982 | Haddad | Jun 2000 | A |
| 6086380 | Chu | Jul 2000 | A |
| 6107937 | Hamada | Aug 2000 | A |
| 6118450 | Proehl et al. | Sep 2000 | A |
| 6124804 | Kitao et al. | Sep 2000 | A |
| 6131088 | Hill | Oct 2000 | A |
| 6131121 | Mattaway et al. | Oct 2000 | A |
| 6134547 | Huxley et al. | Oct 2000 | A |
| 6138150 | Nichols et al. | Oct 2000 | A |
| 6146210 | Cha et al. | Nov 2000 | A |
| 6148142 | Anderson | Nov 2000 | A |
| 6151077 | Vogel et al. | Nov 2000 | A |
| 6151634 | Glaser | Nov 2000 | A |
| 6154207 | Farris et al. | Nov 2000 | A |
| 6157935 | Tran et al. | Dec 2000 | A |
| 6161059 | Tedesco et al. | Dec 2000 | A |
| 6170060 | Mott et al. | Jan 2001 | B1 |
| 6173172 | Masuda et al. | Jan 2001 | B1 |
| 6175861 | Williams, Jr. et al. | Jan 2001 | B1 |
| 6182126 | Nathan et al. | Jan 2001 | B1 |
| 6185184 | Mattaway et al. | Feb 2001 | B1 |
| 6185619 | Joffe et al. | Feb 2001 | B1 |
| 6191780 | Martin et al. | Feb 2001 | B1 |
| 6192340 | Abecassis | Feb 2001 | B1 |
| 6195732 | Adams et al. | Feb 2001 | B1 |
| 6198408 | Cohen | Mar 2001 | B1 |
| 6202060 | Tran | Mar 2001 | B1 |
| 6209060 | Machida | Mar 2001 | B1 |
| 6212138 | Kalis et al. | Apr 2001 | B1 |
| 6216175 | Sliger et al. | Apr 2001 | B1 |
| 6216227 | Goldstein et al. | Apr 2001 | B1 |
| 6219692 | Stiles | Apr 2001 | B1 |
| 6223209 | Watson | Apr 2001 | B1 |
| 6226412 | Schwab | May 2001 | B1 |
| 6226715 | Van Der Wolf et al. | May 2001 | B1 |
| 6240550 | Nathan et al. | May 2001 | B1 |
| 6243725 | Hempleman et al. | Jun 2001 | B1 |
| 6247022 | Yankowski | Jun 2001 | B1 |
| 6256773 | Bowman-Amuah | Jul 2001 | B1 |
| 6262569 | Carr et al. | Jul 2001 | B1 |
| 6280327 | Leifer et al. | Aug 2001 | B1 |
| 6282709 | Reha et al. | Aug 2001 | B1 |
| 6288688 | Hughes et al. | Sep 2001 | B1 |
| 6288991 | Kajiyama et al. | Sep 2001 | B1 |
| 6289382 | Bowman-Amuah | Sep 2001 | B1 |
| 6292443 | Awazu et al. | Sep 2001 | B1 |
| 6298373 | Burns et al. | Oct 2001 | B1 |
| 6301710 | Fujiwara | Oct 2001 | B1 |
| 6302793 | Fertitta et al. | Oct 2001 | B1 |
| 6308204 | Nathan | Oct 2001 | B1 |
| 6311214 | Rhoads | Oct 2001 | B1 |
| 6315572 | Glaser | Nov 2001 | B1 |
| 6323911 | Schein et al. | Nov 2001 | B1 |
| 6332025 | Takahashi et al. | Dec 2001 | B2 |
| 6336219 | Nathan | Jan 2002 | B1 |
| 6341166 | Basel | Jan 2002 | B1 |
| 6344862 | Williams et al. | Feb 2002 | B1 |
| 6346951 | Mastronardi | Feb 2002 | B1 |
| 6353820 | Edwards et al. | Mar 2002 | B1 |
| 6356971 | Katz et al. | Mar 2002 | B1 |
| 6359616 | Ogura et al. | Mar 2002 | B1 |
| 6359661 | Nickum | Mar 2002 | B1 |
| 6370580 | Kriegsman | Apr 2002 | B2 |
| 6379187 | Nishimatsu | Apr 2002 | B2 |
| 6381575 | Martin et al. | Apr 2002 | B1 |
| 6384737 | Hsu et al. | May 2002 | B1 |
| 6393584 | McLaren et al. | May 2002 | B1 |
| 6396480 | Schindler et al. | May 2002 | B1 |
| 6397189 | Martin et al. | May 2002 | B1 |
| 6407987 | Abraham | Jun 2002 | B1 |
| 6408435 | Sato | Jun 2002 | B1 |
| 6408437 | Hendricks et al. | Jun 2002 | B1 |
| 6421651 | Tedesco et al. | Jul 2002 | B1 |
| 6425125 | Fries et al. | Jul 2002 | B1 |
| 6430537 | Tedesco et al. | Aug 2002 | B1 |
| 6430738 | Gross et al. | Aug 2002 | B1 |
| 6434678 | Menzel | Aug 2002 | B1 |
| 6438450 | DiLorenzo | Aug 2002 | B1 |
| 6442549 | Schneider | Aug 2002 | B1 |
| 6446130 | Grapes | Sep 2002 | B1 |
| 6449688 | Peters et al. | Sep 2002 | B1 |
| 6470496 | Kato et al. | Oct 2002 | B1 |
| 6473794 | Guheen et al. | Oct 2002 | B1 |
| 6488508 | Okamoto | Dec 2002 | B2 |
| 6490570 | Numaoka | Dec 2002 | B1 |
| 6493871 | McGuire et al. | Dec 2002 | B1 |
| 6496927 | McGrane et al. | Dec 2002 | B1 |
| 6498855 | Kokkosoulis et al. | Dec 2002 | B1 |
| 6522707 | Brandstetter et al. | Feb 2003 | B1 |
| 6535911 | Miller et al. | Mar 2003 | B1 |
| 6538558 | Sakazume et al. | Mar 2003 | B2 |
| 6543052 | Ogasawara | Apr 2003 | B1 |
| 6544122 | Araki et al. | Apr 2003 | B2 |
| 6549719 | Mankovitz | Apr 2003 | B2 |
| D475029 | Nathan et al. | May 2003 | S |
| 6560651 | Katz et al. | May 2003 | B2 |
| 6570507 | Lee et al. | May 2003 | B1 |
| 6571282 | Bowman-Amuah | May 2003 | B1 |
| 6577735 | Bharat | Jun 2003 | B1 |
| 6578051 | Mastronardi et al. | Jun 2003 | B1 |
| 6587403 | Keller et al. | Jul 2003 | B1 |
| 6590661 | Shnier | Jul 2003 | B1 |
| 6590838 | Gerlings et al. | Jul 2003 | B1 |
| 6598230 | Ballhorn | Jul 2003 | B1 |
| 6622307 | Ho | Sep 2003 | B1 |
| 6628939 | Paulsen | Sep 2003 | B2 |
| 6629318 | Radha et al. | Sep 2003 | B1 |
| 6643620 | Contolini et al. | Nov 2003 | B1 |
| 6643690 | Duursma et al. | Nov 2003 | B2 |
| 6654801 | Mann et al. | Nov 2003 | B2 |
| 6658090 | Harjunen et al. | Dec 2003 | B1 |
| 6662231 | Drosset et al. | Dec 2003 | B1 |
| 6702585 | Okamoto | Mar 2004 | B2 |
| 6724974 | Naruto et al. | Apr 2004 | B2 |
| 6728824 | Chen | Apr 2004 | B1 |
| 6728956 | Ono | Apr 2004 | B2 |
| 6728966 | Arsenault et al. | Apr 2004 | B1 |
| 6744882 | Gupta et al. | Jun 2004 | B1 |
| 6751794 | McCaleb et al. | Jun 2004 | B1 |
| 6755744 | Nathan et al. | Jun 2004 | B1 |
| 6762585 | Liao | Jul 2004 | B2 |
| D495755 | Wurz et al. | Sep 2004 | S |
| 6789215 | Rupp et al. | Sep 2004 | B1 |
| 6816578 | Kredo et al. | Nov 2004 | B1 |
| 6898161 | Nathan | May 2005 | B1 |
| 6904592 | Johnson | Jun 2005 | B1 |
| 6920614 | Schindler et al. | Jul 2005 | B1 |
| 6928653 | Ellis et al. | Aug 2005 | B1 |
| 6934700 | Ijdens et al. | Aug 2005 | B1 |
| 6942574 | LeMay et al. | Sep 2005 | B1 |
| 6974076 | Siegel | Dec 2005 | B1 |
| 7024485 | Dunning et al. | Apr 2006 | B2 |
| 7073172 | Chamberlain | Jul 2006 | B2 |
| 7074999 | Sitrick | Jul 2006 | B2 |
| 7103583 | Baum et al. | Sep 2006 | B1 |
| 7107109 | Nathan et al. | Sep 2006 | B1 |
| 7111129 | Percival | Sep 2006 | B2 |
| 7114013 | Bakke et al. | Sep 2006 | B2 |
| 7124194 | Nathan et al. | Oct 2006 | B2 |
| 7160132 | Phillips et al. | Jan 2007 | B2 |
| 7188352 | Nathan et al. | Mar 2007 | B2 |
| 7195157 | Swartz et al. | Mar 2007 | B2 |
| 7198571 | LeMay et al. | Apr 2007 | B2 |
| 7205471 | Looney et al. | Apr 2007 | B2 |
| 7206417 | Nathan | Apr 2007 | B2 |
| 7210141 | Nathan et al. | Apr 2007 | B1 |
| 7231656 | Nathan | Jun 2007 | B1 |
| 7237198 | Chaney | Jun 2007 | B1 |
| 7281652 | Foss | Oct 2007 | B2 |
| 7293277 | Nathan | Nov 2007 | B1 |
| D560651 | Berkheimer et al. | Jan 2008 | S |
| 7347723 | Daily | Mar 2008 | B1 |
| D566195 | Ichimura et al. | Apr 2008 | S |
| 7356831 | Nathan | Apr 2008 | B2 |
| 7406529 | Reed | Jul 2008 | B2 |
| 7415707 | Taguchi et al. | Aug 2008 | B2 |
| 7418474 | Schwab | Aug 2008 | B2 |
| 7424731 | Nathan et al. | Sep 2008 | B1 |
| 7430736 | Nguyen et al. | Sep 2008 | B2 |
| 7433832 | Bezos et al. | Oct 2008 | B1 |
| 7448057 | Nathan | Nov 2008 | B1 |
| 7483958 | Elabbady et al. | Jan 2009 | B1 |
| 7500192 | Mastronardi | Mar 2009 | B2 |
| 7512632 | Mastronardi et al. | Mar 2009 | B2 |
| 7519442 | Nathan et al. | Apr 2009 | B2 |
| 7522631 | Brown et al. | Apr 2009 | B1 |
| 7533182 | Wurtzel et al. | May 2009 | B2 |
| 7549919 | Nathan et al. | Jun 2009 | B1 |
| 7574727 | Nathan et al. | Aug 2009 | B2 |
| 7634228 | White et al. | Dec 2009 | B2 |
| 7647613 | Drakoulis et al. | Jan 2010 | B2 |
| 7657910 | McAulay et al. | Feb 2010 | B1 |
| D616414 | Nathan et al. | May 2010 | S |
| 7749083 | Nathan et al. | Jul 2010 | B2 |
| 7757264 | Nathan | Jul 2010 | B2 |
| 7761538 | Lin et al. | Jul 2010 | B2 |
| 7765019 | Sinai | Jul 2010 | B2 |
| 7770165 | Olson et al. | Aug 2010 | B2 |
| 7778879 | Nathan et al. | Aug 2010 | B2 |
| 7783593 | Espino | Aug 2010 | B2 |
| 7783774 | Nathan et al. | Aug 2010 | B2 |
| 7793331 | Nathan et al. | Sep 2010 | B2 |
| 7819734 | Nathan et al. | Oct 2010 | B2 |
| 7822687 | Brillon et al. | Oct 2010 | B2 |
| D629382 | Nathan et al. | Dec 2010 | S |
| 7870088 | Chen | Jan 2011 | B1 |
| 7937724 | Clark et al. | May 2011 | B2 |
| D642553 | Nathan et al. | Aug 2011 | S |
| 8015200 | Seiflein et al. | Sep 2011 | B2 |
| 8165318 | Nathan et al. | Apr 2012 | B2 |
| D665375 | Garneau et al. | Aug 2012 | S |
| 8325571 | Cappello et al. | Dec 2012 | B2 |
| 20010016815 | Takahashi et al. | Aug 2001 | A1 |
| 20010023403 | Martin et al. | Sep 2001 | A1 |
| 20010030660 | Zainoulline | Oct 2001 | A1 |
| 20010037367 | Iyer | Nov 2001 | A1 |
| 20010044725 | Matsuda et al. | Nov 2001 | A1 |
| 20020002079 | Martin et al. | Jan 2002 | A1 |
| 20020002483 | Siegel et al. | Jan 2002 | A1 |
| 20020018074 | Buil et al. | Feb 2002 | A1 |
| 20020032603 | Yeiser | Mar 2002 | A1 |
| 20020040371 | Burgess | Apr 2002 | A1 |
| 20020113824 | Myers | Aug 2002 | A1 |
| 20020116476 | Eyal et al. | Aug 2002 | A1 |
| 20020118949 | Jones et al. | Aug 2002 | A1 |
| 20020120925 | Logan | Aug 2002 | A1 |
| 20020126141 | Mastronardi | Sep 2002 | A1 |
| 20020129036 | Ho Yuen Lok et al. | Sep 2002 | A1 |
| 20020162104 | Raike et al. | Oct 2002 | A1 |
| 20030005099 | Sven et al. | Jan 2003 | A1 |
| 20030006911 | Smith et al. | Jan 2003 | A1 |
| 20030008703 | Gauselmann | Jan 2003 | A1 |
| 20030014272 | Goulet et al. | Jan 2003 | A1 |
| 20030018740 | Sonoda et al. | Jan 2003 | A1 |
| 20030027120 | Jean | Feb 2003 | A1 |
| 20030031096 | Nathan et al. | Feb 2003 | A1 |
| 20030037010 | Schmelzer | Feb 2003 | A1 |
| 20030041093 | Yamane et al. | Feb 2003 | A1 |
| 20030050058 | Walsh et al. | Mar 2003 | A1 |
| 20030064805 | Wells | Apr 2003 | A1 |
| 20030065639 | Fiennes et al. | Apr 2003 | A1 |
| 20030076380 | Yusef et al. | Apr 2003 | A1 |
| 20030088538 | Ballard | May 2003 | A1 |
| 20030093790 | Logan et al. | May 2003 | A1 |
| 20030101450 | Davidsson et al. | May 2003 | A1 |
| 20030104865 | Itkis et al. | Jun 2003 | A1 |
| 20030108164 | Laurin et al. | Jun 2003 | A1 |
| 20030135424 | Davis et al. | Jul 2003 | A1 |
| 20030191753 | Hoch | Oct 2003 | A1 |
| 20030208586 | Mastronardi et al. | Nov 2003 | A1 |
| 20030225834 | Lee et al. | Dec 2003 | A1 |
| 20040010800 | Goci | Jan 2004 | A1 |
| 20040025185 | Goci et al. | Feb 2004 | A1 |
| 20040085334 | Reaney | May 2004 | A1 |
| 20040103150 | Ogdon et al. | May 2004 | A1 |
| 20040107214 | Hung | Jun 2004 | A1 |
| 20040204220 | Fried et al. | Oct 2004 | A1 |
| 20040205171 | Nathan et al. | Oct 2004 | A1 |
| 20040220926 | Lamkin et al. | Nov 2004 | A1 |
| 20040243482 | Laut | Dec 2004 | A1 |
| 20050060405 | Nathan et al. | Mar 2005 | A1 |
| 20050073782 | Nathan | Apr 2005 | A1 |
| 20050086172 | Stefik | Apr 2005 | A1 |
| 20050125833 | Nathan et al. | Jun 2005 | A1 |
| 20050267819 | Kaplan | Dec 2005 | A1 |
| 20060018208 | Nathan et al. | Jan 2006 | A1 |
| 20060031896 | Pulitzer | Feb 2006 | A1 |
| 20060035707 | Nguyen et al. | Feb 2006 | A1 |
| 20060062094 | Nathan et al. | Mar 2006 | A1 |
| 20060227673 | Yamashita et al. | Oct 2006 | A1 |
| 20060239131 | Nathan et al. | Oct 2006 | A1 |
| 20060293773 | Nathan et al. | Dec 2006 | A1 |
| 20070047198 | Crooijmans et al. | Mar 2007 | A1 |
| 20070086280 | Cappello et al. | Apr 2007 | A1 |
| 20070121430 | Nathan | May 2007 | A1 |
| 20070142022 | Madonna et al. | Jun 2007 | A1 |
| 20070160224 | Nathan | Jul 2007 | A1 |
| 20070204263 | Nathan et al. | Aug 2007 | A1 |
| 20070209053 | Nathan | Sep 2007 | A1 |
| 20070247979 | Brillon et al. | Oct 2007 | A1 |
| 20080003881 | Wu | Jan 2008 | A1 |
| 20080065925 | Oliverio et al. | Mar 2008 | A1 |
| 20080069545 | Nathan et al. | Mar 2008 | A1 |
| 20080077962 | Nathan | Mar 2008 | A1 |
| 20080086379 | Dion et al. | Apr 2008 | A1 |
| 20080096659 | Kreloff et al. | Apr 2008 | A1 |
| 20080137849 | Nathan | Jun 2008 | A1 |
| 20080155588 | Roberts et al. | Jun 2008 | A1 |
| 20080168807 | Dion et al. | Jul 2008 | A1 |
| 20080171594 | Fedesna et al. | Jul 2008 | A1 |
| 20080184870 | Toivola | Aug 2008 | A1 |
| 20080195443 | Nathan et al. | Aug 2008 | A1 |
| 20080198271 | Malki | Aug 2008 | A1 |
| 20080239887 | Tooker et al. | Oct 2008 | A1 |
| 20080275771 | Levine | Nov 2008 | A1 |
| 20090037969 | Nathan et al. | Feb 2009 | A1 |
| 20090070341 | Mastronardi et al. | Mar 2009 | A1 |
| 20090087161 | Roberts | Apr 2009 | A1 |
| 20090100092 | Seiflein et al. | Apr 2009 | A1 |
| 20090129753 | Wagenlander | May 2009 | A1 |
| 20090138111 | Mastronardi | May 2009 | A1 |
| 20090168901 | Yarmolich et al. | Jul 2009 | A1 |
| 20090172565 | Jackson et al. | Jul 2009 | A1 |
| 20090240721 | Giacalone | Sep 2009 | A1 |
| 20090265734 | Dion et al. | Oct 2009 | A1 |
| 20090282491 | Nathan | Nov 2009 | A1 |
| 20090298577 | Gagner et al. | Dec 2009 | A1 |
| 20090316929 | Tashev | Dec 2009 | A1 |
| 20090328095 | Vinokurov et al. | Dec 2009 | A1 |
| 20100042505 | Straus | Feb 2010 | A1 |
| 20100131558 | Logan et al. | May 2010 | A1 |
| 20100192753 | Gao | Aug 2010 | A1 |
| 20100211818 | Nathan et al. | Aug 2010 | A1 |
| 20100241259 | Nathan | Sep 2010 | A1 |
| 20100247081 | Victoria Pons | Sep 2010 | A1 |
| 20100269066 | Nathan | Oct 2010 | A1 |
| 20100299232 | Nathan et al. | Nov 2010 | A1 |
| 20100306179 | Lim | Dec 2010 | A1 |
| 20110055019 | Coleman | Mar 2011 | A1 |
| 20110066943 | Brillon et al. | Mar 2011 | A1 |
| 20110144983 | Salazar | Jun 2011 | A1 |
| 20110173521 | Horton et al. | Jul 2011 | A1 |
| 20110246517 | Nathan et al. | Oct 2011 | A1 |
| 20110283236 | Beaumier et al. | Nov 2011 | A1 |
| 20110298938 | Nathan et al. | Dec 2011 | A1 |
| 20110304685 | Khedouri et al. | Dec 2011 | A1 |
| 20120053931 | Holzrichter | Mar 2012 | A1 |
| 20120150614 | Dion et al. | Jun 2012 | A1 |
| 20120209685 | Nealer | Aug 2012 | A1 |
| 20120323652 | Mastronardi et al. | Dec 2012 | A1 |
| 20130044995 | Cappello et al. | Feb 2013 | A1 |
| 20130070093 | Rivera et al. | Mar 2013 | A1 |
| Number | Date | Country |
|---|---|---|
| 199954012 | Apr 2000 | AU |
| 2119184 | Sep 1994 | CA |
| 3406058 | Aug 1985 | DE |
| 3723737 | Jan 1988 | DE |
| 3820835 | Jan 1989 | DE |
| 3815071 | Nov 1989 | DE |
| 4244198 | Jun 1994 | DE |
| 19610739 | Sep 1997 | DE |
| 19904007 | Aug 2000 | DE |
| 0082077 | Jun 1983 | EP |
| 0140593 | May 1985 | EP |
| 0256921 | Feb 1988 | EP |
| 0283304 | Sep 1988 | EP |
| 0283350 | Sep 1988 | EP |
| 0309298 | Mar 1989 | EP |
| 0313359 | Apr 1989 | EP |
| 0340787 | Nov 1989 | EP |
| 0363186 | Apr 1990 | EP |
| 0425168 | May 1991 | EP |
| 0464562 | Jan 1992 | EP |
| 0480558 | Apr 1992 | EP |
| 0498130 | Aug 1992 | EP |
| 0507110 | Oct 1992 | EP |
| 0529834 | Mar 1993 | EP |
| 0538319 | Apr 1993 | EP |
| 0631283 | Dec 1994 | EP |
| 0632371 | Jan 1995 | EP |
| 0711076 | May 1996 | EP |
| 0786122 | Jul 1997 | EP |
| 0817103 | Jan 1998 | EP |
| 0841616 | May 1998 | EP |
| 0919964 | Jun 1999 | EP |
| 0959570 | Nov 1999 | EP |
| 0974896 | Jan 2000 | EP |
| 0974941 | Jan 2000 | EP |
| 0982695 | Mar 2000 | EP |
| 1001391 | May 2000 | EP |
| 1170951 | Jan 2002 | EP |
| 1288802 | Mar 2003 | EP |
| 1408427 | Apr 2004 | EP |
| 1549919 | Apr 2004 | EP |
| 2602352 | Feb 1988 | FR |
| 2808906 | Nov 2001 | FR |
| 2122799 | Jan 1984 | GB |
| 2166328 | Apr 1986 | GB |
| 2170943 | Aug 1986 | GB |
| 2193420 | Feb 1988 | GB |
| 2238680 | Jun 1991 | GB |
| 2254469 | Oct 1992 | GB |
| 2259398 | Mar 1993 | GB |
| 2262170 | Jun 1993 | GB |
| 2380377 | Apr 2003 | GB |
| 57173207 | Oct 1982 | JP |
| 58-179892 | Oct 1983 | JP |
| 60-253082 | Dec 1985 | JP |
| 61084143 | Apr 1986 | JP |
| 62-192849 | Aug 1987 | JP |
| 62-284496 | Dec 1987 | JP |
| 63-60634 | Mar 1988 | JP |
| 2-153665 | Jun 1990 | JP |
| 02-100300 | Aug 1990 | JP |
| 5-74078 | Mar 1993 | JP |
| 5122282 | May 1993 | JP |
| 06-127885 | May 1994 | JP |
| 07281682 | Oct 1995 | JP |
| 08-037701 | Feb 1996 | JP |
| 8274812 | Oct 1996 | JP |
| 08279235 | Oct 1996 | JP |
| 9114470 | May 1997 | JP |
| 9127964 | May 1997 | JP |
| 10-098344 | Apr 1998 | JP |
| 10-222537 | Aug 1998 | JP |
| 2000-209500 | Jul 2000 | JP |
| 2003-015668 | Jan 2003 | JP |
| 2003-076380 | Mar 2003 | JP |
| 204-240066 | Aug 2004 | JP |
| 2004-240066 | Aug 2004 | JP |
| 2005-107267 | Apr 2005 | JP |
| 2007-018730 | Jan 2007 | JP |
| 2007-081686 | Mar 2007 | JP |
| 07504517 | Mar 2007 | JP |
| 2008-292875 | Dec 2008 | JP |
| 2009-100134 | May 2009 | JP |
| 2010-008870 | Jan 2010 | JP |
| 2010-502087 | Jan 2010 | JP |
| 2010-112982 | May 2010 | JP |
| 2010-164922 | Jul 2010 | JP |
| 2010-541415 | Dec 2010 | JP |
| 2005-107267 | Apr 2011 | JP |
| 2011-075708 | Apr 2011 | JP |
| 10-1024841 | Mar 2011 | KR |
| 514511 | Dec 2002 | TW |
| M274284 | Sep 2005 | TW |
| M290206 | May 2006 | TW |
| WO 8601326 | Feb 1986 | WO |
| WO 9007843 | Jul 1990 | WO |
| WO 9108542 | Jun 1991 | WO |
| WO 9120082 | Dec 1991 | WO |
| WO 9316557 | Aug 1993 | WO |
| WO 9318465 | Sep 1993 | WO |
| WO 9403894 | Feb 1994 | WO |
| WO 9414273 | Jun 1994 | WO |
| WO 9415306 | Jul 1994 | WO |
| WO 9415416 | Jul 1994 | WO |
| WO 9503609 | Feb 1995 | WO |
| WO 9529537 | Nov 1995 | WO |
| WO 9612255 | Apr 1996 | WO |
| WO 9612256 | Apr 1996 | WO |
| WO 9612257 | Apr 1996 | WO |
| WO 9612258 | Apr 1996 | WO |
| WO 9807940 | Feb 1998 | WO |
| WO 9811487 | Mar 1998 | WO |
| WO 9845835 | Oct 1998 | WO |
| WO 9935753 | Jul 1999 | WO |
| WO 0100290 | Jan 2001 | WO |
| WO 0108148 | Feb 2001 | WO |
| WO 02095752 | Nov 2002 | WO |
| WO 2003005743 | Jan 2003 | WO |
| WO 03024012 | Mar 2003 | WO |
| WO 2003024012 | Mar 2003 | WO |
| WO 03069613 | Aug 2003 | WO |
| WO 04029775 | Apr 2004 | WO |
| WO 2006014739 | Feb 2006 | WO |
| WO 2006138064 | Dec 2006 | WO |
| WO 2008126311 | Oct 2008 | WO |
| WO 2008126311 | Oct 2008 | WO |
| WO 2011094330 | Aug 2011 | WO |
| WO 2011094339 | Aug 2011 | WO |
| Entry |
|---|
| “About Ecast”, date unknown, leaflet. |
| Austin Cyber Limits: Name That Tune [online], [retrieved Jul. 23, 2001]. Retrieved from the Internet: <http://www.pbs.ork/klru/austin/games/namethattune.html>. |
| Back to the Tunes [online], [retrieved Jul. 23, 2001]. Retrieved from the Internet: <http://citc5.hispeed.com/rules.html>. |
| Bonczek et al, “The DSS Development System”, 1983 National Computer Conference, Anaheim, California, May 16-19, 1983, pp. 441-455. |
| Chan et al., “Distributed servers architectures for networked video services”, IEEE Trans on Networking, vol. 9, No. 2, pp. 125-136, 2001. |
| Chen et al., “Optimization of the grouped sweeping scheduling (GSS) with heterogeneous multimedia streams”, ACM Multimedia, pp. 1-7, 1993. |
| Crutcher et al., “The networked video Jukebox”, IEEE, Trans. on circuits and systems for video technology, vol. 4, No. 2, pp. 105-120, 1994. |
| “Darts Revolution Again”, Replay Magazine, Mar. 1991, pp. 146-148. |
| Decision of the European Patent Office to revoke the related EP Patent No. 786 125, dated Feb. 17, 2005. |
| Derfler et al., “How Networks Work”, Millennium Ed., Que Corporation, Jan. 2000. |
| Drews, C.; Pestoni, F.; “Virtual jukebox: reviving a classic,” Proceedings of the 35th Annual Hawaii International Conference System Sciences, pp. 887-893, Jan. 7-10, 2002. |
| “Ecast Forges Landmark International Technology Partnership”, Business Wire at www.findarticles.com/cf_0/m0EIN/2000_July_25/63663604/print.html, 2 pages, Jul. 25, 2000. |
| “Ecast Selects Viant to Build Siren Entertainment System (TM)”, ScreamingMedia, PR Newswire San Francisco, industry.java.sum.com/javanews/stories/story2/0,1072,17618,00.html, 3 pages, Aug. 3, 1999. |
| European Search Report from EP 1 993 079. |
| European Search Report issued for European Application No. 08000845.1-1238/1962251, dated Apr. 3, 2009. |
| Fachbuch, “Unterhaltungselektronic von A-Z” gfu 1, VDE-Verlag GmbH, pp. 12-13, 1983-1984. |
| Gallardo et al., “Tangible Jukebox: back to palpable music”, ACM TEI, pp. 199-202, 2010. |
| Gralla, “How the Internet Works”, Millennium Ed., Que Corporation, Aug. 1999. |
| Grimes, Chapter 18, “Taking Advantage of Web-based Audio”. |
| Hicks et al., “Dynamic software updating”, ACM PLDI, pp. 13-23, 2001. |
| IBM Technical Disclosure Bulletin, vol. 30, No. 5, Oct. 1987, “Method for Automated Assembly of Software Versions”, pp. 353-355. |
| IBM Technical Disclosure Bulletin, vol. 32, No. 9A, Feb. 1990, “Robotic Wafer Handling System for Class 10 Environments” pp. 141-143. |
| IBM Technical Disclosure Bulletin, vol. 33, No. 12, May 1991, “High-speed Opens and Shorts Substrate Tester”, pp. 251-259. |
| IBM Technical Disclosure Bulletin, vol. 41, No. 1, Jan. 1998, “Safe Mechanism for Installing Operating System Updates with Applications,” pp. 557-559. |
| International Search Report for PCT/US2009/003998, dated Aug. 17, 2009. |
| International Search Report for PCT/US2011/22598, dated Mar. 29, 2011. |
| ITouch 8 Plus brochure, JVL Corporation, 2005, 2 pages. |
| ITouch 27 New Games brochure, JVL Corporation, 2005, 2 pages. |
| Johnny Rockets Name That Tune [online], [retrieved Mar. 7, 2002]. Retrieved from the Internet: <http://www.johnnyrockets.com/docs/funstuff.html>. |
| Koskelainem, “Report on Streamworks™”. |
| Kozierok, The PC Guide, Site Version 2.2.0, http://www.pcguide.com, Apr. 17, 2001. |
| Kraiss et al., “Integrated document caching and prefetching in storage hierarchies based on Markov chain predictions”, The VLDB Journal, vol. 7, issue 3, pp. 141-162, 1998. |
| Liang et al., “Dynamic class loading in the Java virtual machine”, ACM OOPSLA, pp. 36-44, 1998. |
| Look and iTouch brochure, JVL Corporation, 2004, 2 pages. |
| Ludescher et al., “File Storage Management for TFTF physics data”, IEEE, pp. 856-859, 1992. |
| Megatouch Champ brochure, Merit Industries, Inc., 2005, 2 pages. |
| Melnik et al., “A mediation infrastructure for digital library services”, ACM DL, pp. 123-132, 2000. |
| Merriam Webster's Collegiate Dictionary, Tenth Edition, Merriam-Webster, Inc., p. 361 (definition of dynamically). |
| Mickey B's Jukebox Revue—Name That Tune! [online], [retrieved Jul. 23, 2001]. Retrieved from the Internet: <http://mickeyb.com/tune/>. |
| Mod Box Internet brochure, Merit Entertainment, 2006, 2 pages. |
| Newsome et al., “Proxy compilation of dynamically loaded java classes with MoJo”, ACM LCTES, pp. 204-212, 2002. |
| Koskelainem, “Report on Streamworks™M”. |
| Outlaw, Computer Technology Review, “Virtual Servers Offer Performance Benefits for Network Imaging”, 1993. |
| Office Action dated Jan. 28, 2014 in corresponding Great Britain Application No. 1320224.7. |
| Office Action dated Jan. 16, 2014 in corresponding Great Britain Application No. 1320224.7. |
| Patent Abstract of Japan vol. 95, No. 010 & JP 07 281682 A (Naguo Yuasa), Oct. 1, 27, JP 07 281682, figure 1-6 abrége. |
| Pohlmann, “Principles of Digital Audio”, Third Edition, 1995. |
| PR Newswire, Press Release, “MusicMatch Announces Commerical Availability of Meta Trust Certified MusicMatch jukebox”, New York; Nov. 15, 1999, extracted from Internet, http://proquest.umi.com on Sep. 17, 2002. |
| Rollins et al., “Pixie: A jukebox architecture to support efficient peer content exchange”, ACM Multimedia, pp. 179-188, 2002. |
| Schneier, “Applied Cryptography”, Second Edition, John Wiley & Sons, Inc. New York, 1996. |
| Sprague et al., “Music selection using the partyvote democratic Jukebox”, ACM AVI, pp. 433-436, 2008. |
| Stevens, “TCP/IP Illustrated: vol. 1, the Protocols”. |
| Stewart, “Ecast Deploys Marimba's Castanet to Power an Internet-Based, Entertainment Management System for the Out-of-Home Market”, Marimba, Press Release, 3 pages, www.marimba.com/news/releases/ecast.dec13.html, Dec. 13, 1999. |
| Strauss et al., “Information Jukebox A semi public device for presenting multimedia information content”, Pers. Ubiquit Comput, 7, pp. 217-220, 2003. |
| Summary of the oral proceedings regarding EP 786 125 before the Opposition Division of the European Patent Office, Feb. 17, 2005. |
| Tom & Liz's Name That Tune [online], [retrieved Jul. 23, 2001]. Retrieved from the Internet: <http://home.att.net/˜tomnliz/Music.html>. |
| Vortex Brochure, JVL Corporation, 2005, 2 pages. |
| Waingrow, “Unix Hints & Hacks”, Que Corporation, Indianapolis, IN, 1999. |
| White, “How Computers Work”, Millennium Ed., Que Corporation, Indianapolis, IN, Sep. 1999 (Sep. 22, 1999). |
| Supplementary European Search Report for corresponding European Application No. EP 12831287, dated Feb. 16, 2016. |
| Extended European Search Report in corresponding European Application No. EP 12831287.3 dated Feb. 23, 2016. |
| Decision of Refusal dated Feb. 23, 2016 in corresponding JP Patent Appln. No. Tokugan 2004-530943. |
| International Preliminary Report on Patentability dated Apr. 10, 2014 in corresponding International Appln. No. PCT/US2012/055849. |
| Office Action issued in Japanese Appln. No. 2014-530943 dated Apr. 7, 2015 (with translation). |
| International Search Report and Written Opinion dated Feb. 1, 2013 in corresponding PCT Appln. No. PCT/US12/55849. |
| Merriman Webster's Collegiate Dictionary, Ninth Edition, Merriam Webster, Inc., p. 1148, 1986 (definition of “Stand”). |
| International Search Report and Written Opinion dated Feb. 1, 2013 in corresponding PCT Application No. PCT/US12/55849. |
| International Preliminary Report on Patentability dated Apr. 10, 2014 in corresponding International Application No. PCT/US2012/055849. |
| Office Action issued in Japanese Application No. 2014-530943 dated Apr. 7, 2015 (with translation). |
| Number | Date | Country | |
|---|---|---|---|
| 20220329892 A1 | Oct 2022 | US |
| Number | Date | Country | |
|---|---|---|---|
| 61584750 | Jan 2012 | US | |
| 61536015 | Sep 2011 | US |
| Number | Date | Country | |
|---|---|---|---|
| Parent | 17079706 | Oct 2020 | US |
| Child | 17843301 | US | |
| Parent | 16774323 | Jan 2020 | US |
| Child | 17079706 | US | |
| Parent | 16293524 | Mar 2019 | US |
| Child | 16774323 | US | |
| Parent | 14041309 | Sep 2013 | US |
| Child | 16293524 | US | |
| Parent | 13621922 | Sep 2012 | US |
| Child | 14041309 | US |
