Patent Application
20110271187
Computer based tools that assist a composer in the writing and composing of a piece of music are well known. “Finale®” by MakeMusic, Inc. is an example thereof and is a powerful tool for notating, composing, editing and arranging musical works. This system was specifically designed for use by those possessing substantial musical skill and requires a significant investment in time to learn and use. A further compositional tool entitled “GarageBand®”, is designed and sold by Apple Inc. This software controlled system is easier to use than Finale, but still requires a great deal of musical sophistication to utilize fully.
A major problem with music compositional systems of this general type is the complexity of the graphical user interface. Naturally, that is a function, to a degree, of the complexity of the task at hand if one wants to provide for the ultimate in flexibility and breadth of scope regarding composing a musical work. Thus, it is necessary to have means for adjusting a host of factors, including; the individual notes, tempo, time signature and key, as well as the ability to arrange the work. These means of adjustment are typically achieved through a user interface wherein a time line is shown extending horizontally along the video display. The piece can be shown as written notes using standard music tablature and read from left to right and can also be shown graphically as a representation of the audio track.
With such compositional systems the user can also select from a wide range of prerecorded musical loops to create many layers of background sounds and/or accompaniments. It is also possible to play notes on an electronic keyboard having a MIDI connection to a computer running the system software where the played notes are heard audibly through the computer sound system and converted into written sheet music. This music can then be displayed in the user interface. The software can also permit changing of the “voice” of the notes played to emulate a wide range of musical instruments as well as provide for sound effects and background percussion and base tracks.
A complex variety of user operated virtual buttons or slides are typically included in the user interface and provide for insertion and use of the various effects, notes, loops, changes in time and key and so forth. These buttons can be arranged to simulate the look and feel of professional recording studio equipment. However, as indicated above, using this type of compositional software to produce a musical piece requires a considerable amount of musical ability. In addition, the user interfaces with all the different buttons, windows and pull down menus present a daunting obstacle even to the musically sophisticated person. Thus, a very considerable amount of study and work are needed to gain familiarity and fluency with existing music composition systems. Of course, for the average individual having little or no musical training there would be very little reason to even attempt to work with such systems. They would lack the motivation to consider composing a song in the first place, let alone use a software based composing system to do so. And, they would of course not have the requisite musical knowledge to tackle the considerable learning curve such compositional systems require.
Electronic keyboards are well known and also have the ability to produce a wide range of musical voices and sound effects. Many such keyboards can also assist a musician by playing percussion and bass accompaniments as well record their compositions. Electronic keyboard instruments are also known to include software that permits the transcribing of the notes played by the musician to standard tablature note and staff form. Again, such keyboards can provide significant assistance to a trained musician in creating and arranging musical compositions, but also present a very high skill and training hurdle to a musical neophyte.
Video games such as the “Guitar Hero®” and “Rock Band®”, series as developed and sold by Activision Publishing, Inc. and Harmonix Music Systems, Inc., respectively, allow a person having no musical skills or training the opportunity to simulate playing along with a prerecorded song. Thus for example, by pushing differently colored buttons on an instrument shaped controller in time with color matching “notes” scrolling by vertically from top to bottom on a video screen, an instrument part is played along with the background tracks of the selected composition. Of course, these pattern matching rhythmic games are not compositional in any sense as the entire musical content is fully prerecorded where the player has no ability to select other notes let alone create new compositions. However, more recent versions of the Guitar Hero® series, for example “Guitar Hero 5®” also includes a compositional component having a similarity to the aforementioned GarageBand® software. With this version of Guitar Hero it is possible to select among a wide variety of musical loops and styles. It is also possible to designate the key signature, the particular scale as to, for example, whether it is major, minor or blues. It also provides for the ability to play individual notes. The user interface includes, as does the standard Guitar Hero game play as discussed above, a vertically scrolling of colored dots or notes that correspond with the same colored buttons on the simulated instrument controller. It further includes virtual buttons that can be highlighted and selected by operation of the controller to select the various above stated compositional parameters and others. Although far less sophisticated than Finale® and GarageBand® and other compositional systems, this music studio ability of the Guitar Hero series of games still requires a user to have the motivation to work with and learn the user interface coupled with a reasonably sophisticated knowledge of music.
All of the aforementioned compositional systems also require essentially that the song be “constructed” along a time line in a piece by piece fashion where at least a melody must be fashioned note by note to which pre-recorded drum and bass tracks can be added. In other words, it is necessary to assemble the composition before it can be heard in its entirety. This approach is quite difficult for those having little musical training and or talent and it is a much more time consuming and difficult process.
It is known in music based video games, such as the aforementioned Guitar Hero and Rock Band, to display background animated graphics that coordinate with a prerecorded or user generated song during game play. Such graphics are shown typically as band members playing on various fanciful stage settings. These graphics are predefined animations that play repetitively during game play and therefore are quite limited in any ability to be changed during and in response to said game play.
Accordingly, it would be very desirable to have a compositional system that would be useable by those having little or no formal musical training or ability and that would also present a minimal learning curve for the user thereof. Specifically, it would be very helpful to have a compositional system where a musical composition is created in real time so that each part thereof is heard as it is selected and or created along with each and every previously selected or created part. In this manner it is much easier to know immediately how the composition sounds allowing immediate adjustments until the desired product is produced.
It would also be desirable to have a music compositional system that can be operated in a video game play manner so there exists a challenge and or entertainment value to the composing of a musical piece. It would also be desirable to enhance that entertainment value by being able to generate background graphics in real time response to the creation of the musical composition.
The music composition system of the present invention includes musical compositional software for use with a suitable data processing device, such as, a personal computer or a video game console having audio and video capabilities as well as a controller connected thereto. The software provides for the representation on a video display of a first screen having a listing of a plurality of musical styles with each musical style heading having listed there under a plurality of stage files. A stage file consists of one or more bank sets and is designed to capture a particular style of music such as, rock, jazz, blues etc. Each bank set encompasses or is consonant with the style of its stage file and the other bank sets of that stage file. Each bank set has a plurality of individual banks each of which represents a basic component of a song such as its percussion, bass, rhythm, vocal and lead/melody loops or tracks. Each bank then includes a plurality of varying musical loops consonant with each other and with the loops of the other banks in that bank set. The loops within each bank are designed to work together with each other and with the loops of the other banks in the same bank set in terms of style, key signature and beats per minute. Thus, for example, the percussion bank would include a number of different drum loops all designed to work together with each other and with the loops in all of the banks in the same bank set. Each loop in a bank would comprise different versions or aspects of that bank where, for example, the bass bank would include different but compatible bass lines. The drum bank, for example, can have loops that vary in terms of the beats accented and in the type of percussion sounds and combinations of sounds as produced by a snare drum, cymbals, a high-hat and the like. The running time of each loop would also be the same, e.g. four measures or eight measures in the same time signature and at the same tempo.
The sounds can be either digital recordings of actual instruments or could be synthesized sounds and/or sound effects. Each of the percussion, bass, rhythm vocal etc. tracks or loops would be created to play in the same time signature and at a certain predetermined beats per minute rate. In this manner the loops of a particular bank would be fully compatible with each other and playable individually or together and the loops in each bank of a bank set would also be compatible with each other in order to form a pleasing total composition. The loops play continuously from the point in time they are initiated until the user stops them or the composition ends. A bank set then would consist of a number of banks, typically five, that are all created to be compatible with each other in terms musical key, beats per minute and style and where each bank consists of a plurality of loops. Thus, in the case of a bank set having five banks where each bank has five loops, there would be 25 loops total that could be selected where any combination thereof could play in synchrony with the others.
Certain stage files include banks that have one or more free form or one shot tracks. A free form track allows the user to play a plurality of preselected notes by activating one of a plurality of note playing switches on the controller. These notes are in the correct key and style of the particular bank set. In this mode the user is in full control of the timing of the playing of a note based upon when they push the button or buttons corresponding to that note. Where the bank is the percussion one, then the buttons may correspond to particular percussion components, such as, a snare drum, bass drum, high-hat or cymbal as opposed to a particular note. One shot tracks consist of sounds or a short sequence of notes or sounds that are used to provide a particular accent at one or more various points in the composition. Both free form and one shot tracks differ from the standard continuous loops discussed above in that they only play once, i.e. they do not continuously loop.
The banks of a particular bank set are presented on a video display in a linear fashion horizontally along the bottom perimeter thereof. The controller is used to move from bank to bank and to select loops within each bank where a color bar corresponding to each bank is highlighted to quickly indicate which bank is active, that is, in which bank individual loops can be selected and activated. Each loop also has a color bar or circle that is also highlighted when selected and activated. Once a loop is selected it instantly begins to play allowing the user to then select other loops to progressively build a composition and hear it as it is constructed.
All of the loops are controlled so that when initiated they are instantly audible and are in time with any previously selected loops thus requiring no special timing selection ability of the user. The user is also able to quickly switch between banks and can easily turn off a previously selected loop and activate other loops, i.e. any combination of the loops in the bank set can be selected to play and those selections can quickly and easily be changed as their composition progresses. Each loop that is selected is highlighted and can optionally include a further animated/pulsating graphic responsive to the volume and/or beat of the loop. As a result, the user can see which loops are active and can quickly and easily and with a modicum of study learn how to move between banks and activate or deactivate various loops. In this manner they can create unique musical compositions out of a wide variety of loop combinations and do so without any formal understanding of music or music theory. Those of skill will also realize that any particular loop need not be used during the entire composition, this is to say, any of the loops can be started and stopped during the composition giving the user a great deal of freedom to create an almost unlimited number of combination and permutations of loop selections. The software herein also provides for recording and saving of the composition.
The system herein also includes a studio mode where a bank in a particular bank set can be swapped out with other banks. This gives the user more creative flexibility to create many combinations of banks and greater creative freedom. For example, a vocal bank might be replaced with a rhythm bank. The studio mode also permits volume and pitch adjustment of each of the loops of the individual banks to permit further creative possibilities.
When a bank is swapped for another the invention herein includes software for easily adapting the new bank, if needed, to the pitch and beats per minute (BPM) of the bank being replaced. A software routine herein makes a calculation as between the musical mode of the selected bank and the bank and the mode of the bank it is to be substituted for. This calculation determines the half steps or semitones that the loops of the selected bank should be lowered or raised to be as compatible as possible with that of the bank it is replacing. The BPM data of the selected loop is also adjusted up or down to that of the replaced bank so the loops all play at the same rate. Thus, when a bank is substituted for an existing bank, the program will look at target key and tempo information accompanying each bank file and adjust the new bank appropriately so as to make a good musical fit without requiring the user to make this choice.
It will be appreciated that a novice would first begin by selecting a bank set of a stage file where none of the banks have a free form or one shot tracks, but could then progress to stage files having banks including such tracks. And, as their skills mature the studio mode can be selected providing an even further range of creative compositional possibilities in terms of selecting unique combinations of banks and adjusting the volume and pitch levels of individual loops. Thus, it can be seen that the compositional system of the present invention allows the creation of a composition in real time where all the parts are heard concurrently as they are added. Moreover, the user interface is easy to learn and operate allowing a beginner to quickly be able to create unique compositions. Therefore, the compositional system herein provides a user with a basic introduction to music composition that is easily grasped and managed and that can lead them towards the development of more advanced musical skills
A further advantage concerns the present invention's ability to create rich background graphics that are modifiable wherein they have the ability to adapt and change in accordance with the loops as selected by the user. The audio files of each loop are rendered with respect to various factors prior to being used in the game system. This pre-rendered audio meta-data is then used to drive the visuals accompanying the music that is the assembly of the various audio loops. By pre-rendering the audio data a substantial computational burden is removed from the microprocessor used in the computer or game system as compared to having that processor render the audio data and produce the display visuals based thereon in real time.
The present invention also provides for multiple users where two or more controllers are used by two or more users simultaneously. For example, each player can be assigned to a particular bank to control the selection of loops therein. Where this has particular application is where multiple players are each assigned to a particular free form bank. In such case, one user may handle the percussion, one the rhythm and so forth. In this manner multiple players could comprise a “band” and create a composition cooperatively as individual players of a particular instrument.
The composition system herein also allows the user to download additional bank sets from a website as well as upload their composition to a website designed to share their compositions. Their compositions can also be output or saved as MP3 files.
In the drawings, which are not necessarily drawn to scale, like numerals may describe similar components in different views. Like numerals having different letter suffixes may represent different instances of similar components. The drawings illustrate generally, by way of example, but not by way of limitation, various embodiments discussed in the present document.
A schematic view of the musical composition system of the present invention is seen in
As seen in
At an initial menu screen, not shown, the user is given the option, by using controller 16, to select between, a “Jam” button where the user is taken to the standard game play screen, seen in
In the standard game play mode as seen in
The lowest level of this musical hierarchy is a loop, which is defined as a sound file. These can be played as 44 khz stereo .WAV files wherein the compression format on the hard drive, not shown, of the computer 12 can be OGG. The length of these files can be fixed at 1, 2, 4, or 8 bars or measures, though other numbers will be allowed in integer increments. In order to permit the widest degree of compatibility between banks, constraints can be placed on the playback tempo and music key. The playback tempo is generally fixed at either 80,100,120,140,160 BPM and the playback key is fixed at C, G, E and A and the relative minor keys thereof. Each loop also has an associated text file that helps to enable sorting into categories for easy selection/substitution of banks or loops. The information from the text files is used to display menu selections and labels. It is not necessary to have a predetermined set of labels since the program will populate the selection menus with the text that it pulls from the loops, banks, or stages.
Other key signatures and BPM are possible but it is desirable to minimize the pitch shifting and time shifting. In such cases though a tempo/key conversion program can be used to stretch the loops and pitch to help banks of one stage file be compatible with those of another stage file as is described herein in greater detail below.
If the standard game play mode is selected the user is first taken to a library screen of all the available stage files, previously save user compositions or mixes. At this screen the user can select there between in order to populate the banks 40 in the standard play mode. Stage files are labeled with a name that may describe or indicate the musical style thereof, such as, “Blues II”, “Techno Pop 3”, and the like. If the stage file includes for example, four pre-defined bank sets one will populate the five banks 40 and the other three will be loaded as well. Color indicator buttons 41 will indicate by highlighting which of the four bank sets is currently loaded into and populating banks 40. During game play, by use of the whammy bar 36, the user can switch between the bank sets of the stage file, that being four different bank sets in this example. As seen in
During the creation of a composition the user may select all the loops 42 of a particular bank 40 or just one, that being completely up to their artistic discretion. A further advantage of the present invention is that the user is not required to pay attention to issues of timing as to when they select a loop 42. In other words, they do not have to activate a loop in time with the other loop or loops 42 as that is done automatically. This result is accomplished by the fact that as the bank sets are loaded from a stage file, all the loops thereof are initiated in synchrony at zero volume. Thus, when the user activates a loop the software un-mutes that loop, i.e. brings it to a predefined non-zero volume. In this manner, regardless of when the loop 42 is activated, it is completely synchronous with the other loops 42 of the stage file. Timing selection however is a factor in the scoring of game play as will be further described herein below.
Referring again to
Each button 48 further includes a rotating clock arm 52. Arm 52 rotates clockwise through 360 degrees from a 12:00 o'clock position and back thereto. Each 360 degree clockwise rotation coincides with the duration or length of the selected loop 42. As seen by referring to both
The user can move to another bank 40 by pushing down a different fret button 26 while moving the strum bar 28 up. The tab 44 of the previously activated bank 40 remains highlighted if one or more loops 42 thereof remain active. The previously activated loop or loops 42 will continue to play and a further loop or loops 42 can then be selected in another bank 40 and activated and layered on top thereof by use of the strum bar switch 28 and fret buttons 26 as with the previous bank 42 by pushing down on the strum bar 28 while depressing a fret button 26 for a particular loop. If more than one loop 42 is desired to be initiated in a particular bank 40, the user needs only to push down on two or more of the fret buttons 26 while operating the strum bar 28. A loop can be stopped while in an active bank by pushing down on the strum bar 28 while not pushing down on that loop's correspondingly colored fret button. If another loop 42 in that same bank 40 is desired to be kept playing then its corresponding fret button 26 needs to be held down. In this manner it can be seen that the user can easily move back and forth between banks 40 and activate any combination of the twenty-five loops 42 in that bank set.
It is important to note that the composition is assembled in real time where the user can hear the results of what they are doing immediately. That is, all selected loops 42 are playing simultaneously. This is very important for most individuals as it is very difficult to put together parts of a composition one part at a time without knowing how they sound in a full context of all the various musical components. Those of skill will now understand that a person of limited musical ability can easily and quickly assemble a composition of uniquely combined loops by simply moving between banks 40 and selecting loops 42. Also, a record button 54 can be activated as the composition is being assembled or thereafter to record the composition. A timing graphic 56 counts out the length of the composition as it is being recorded. An interesting feature of not having a timing constraint with regard to the activating of a loop 42 is that the user has a wide degree of freedom in assembling the sequence of selection of loops 42. In other words, a particular loop 42 in, for example, a percussion bank can play for a part of the composition and be exchanged for another percussion loops at another point therein. Moreover, this transition can be done quickly and need not coincide with the end of a loop 42 as indicated by timing arm 52 but could be initiated at any time within the loop. Thus, using musical terms, the initiation is not tied to the beginning or end of a musical measure, thereby creating an additional level of creative opportunity.
In the game play mode as represented by the standard composition interface of
Those of skill will recognize that scoring of the “quality” of a composition would be problematic. Thus, scoring is based on objective criteria, such as, were the loops 42 selected “in time” with the other loops 42 of the same bank or other banks. As stated above, all the loops are synchronized regardless of the timing selection of the user, however, the software can determine if the initiating of a continuously repeating loop 42 is done at, or within a close tolerance of the “beat” of one or more other previously selected loops. Thus, for example, if the time signature of the loops 42 is 4/4, that is, four beats to a measure with a quarter note representing one beat, a score is given if the loop is initiated within a certain tolerance of the start of each measure thereof, i.e. one chance every four beats. One shot and free form loops are scored if they are initiated within a tolerance of any beat thereof, e.g. any one of the four beats in a 4/4 time signature, however these loops are scored lower than correctly initiated continuous loops. Other objective criteria can include an increase in points for the use of free from notes and/or the correct timing of the initiation thereof, an increase in points for attainment of a certain level of composition complexity in terms of range of loops 42 used in the composition and/or as a function of the activation and deactivation thereof with a corresponding loss of points for exceeding a predetermined complexity level which may be indicated by too many loops activated for a predetermined period of time and/or too high a total of loop activations and deactivations occurring during a predetermined period of time and/or during the entire length of the composition. A scoring graphic 58 indicates what the user's score is and a multiplier graphic 60 indicates if the scoring is being multiplied, e.g. one times (1×), two times (2×) etc. The multiplier is reduced or lost when no loops are activated after a predetermined period of time has elapsed. This prevents the user from accumulating the points without interaction. A fade button 62 allows the user a means of ending the composition by fading it to an end point. The composition can also be stopped by operating the controller 26 to select the menu button 63.
At the end of play the user is first queried if they want to save their composition and subsequently in a separate screen the total score is shown for the composition. A user filled box permits the user to give a unique name to their composition. In this same screen the score can be added to or increased by an achievement score that can be a function of, for example, how many saved compositions they have and/or the number of saved compositions that have achieved a certain predetermined total score.
The studio mode user interface is seen in
If the template option is chosen then a pull down menu provides choices of differently named and described templates, e.g. “slow blues 3” or “dark metal 2”. Each template is empty in the sense of having no bank sets. However, the templates include a set key and tempo that is evocative or a style and or “mood” of music. Thus, when a template is selected the user must populate each bank individually and each bank, if necessary, is automatically adjusted by the software to fit the key and tempo criteria of the template thereby permitting the user to ultimately create a composition in that template musical style. A more detailed description of this software adjustment process in set out below.
At the studio mode screen of
If the user selects the option to choose from the existing stage files a pull down menu will provide a listing thereof from which a selection can be made. If the stage file has more than one bank set the one will populate the banks 40 and the others will be loaded a previously described. Selection of mix button 70 permits the user to swap an existing bank for another or adjust the volume and pitch of each of the loops 42 thereof. Thus, selection of a bank tab 46 will open a screen that allows the user the option to swap out that bank for another or adjust the pitch and volume of the loops 42 thereof. If the user selects the bank swap, pull down menus are presented that can be used to filter or narrow down the number of banks by criteria such as genre of music, e.g. rock, country, blues, etc. and/or by functional category, such as, drums, guitar, bass and the like. Once a bank is chosen a select button can be activated to replace the existing bank 40 with the newly selected one. Selecting of that bank again allows the user the option of swapping out that bank for another or adjusting the volume or pitch of each of the loops thereof.
Selection of the adjustment option, as is represented in
A performance mode is represented in
When a composition is completed and saved the user is given the option to export it and save it as an MP3 file. Users can also upload the file to a website designed for users of the compositions system of the invention herein so that others using said system can play the compositions of others. The uploaded compositions can also be rated/scored by other users wherein that score can be used to augment their internal score and/or to give prominence on the website lists of downloaded compositions. The website can also provide for the downloading of additional stage files.
When a source bank 40 or loop is loaded into a target Bank the source bank or loop will automatically adjust, if necessary to match the beats per minute BPM and the pitch/key of the bank set it is going to be transplanted into. For an understanding of how this pitch adjustment is accomplished it is helpful to look at the representation of a portion of a piano keyboard as depicted in
To shift the pitch of a sample loop to that of a target loop to provide for an overall musically aesthetically pleasing transplant of one into the other the software herein uses an equation to calculate what amount or number of semitone steps the former must be moved up or down to match the latter. The equation requires the semitone offset of the sample and the target as well as the semitone offset relating to the key of the source and target. The semitone offset of the particular mode of each is found in table A below.
The semitone offset of the key of the source and target are contained in table B below.
With these data it is then determined how many semitones the sample needs to be shifted to sound appropriate in the target context. That is done using the equation n=(Kt−Ks)−(Mt−Ms), wherein:
Kt is the Target Root Key Semitone Offset Value from Table B.
Ks is the Source Root Key Semitone Offset Value from Table B.
Mt is the Target Root Mode Semitone Offset Value from Table A.
Ms is the Source Root Mode Semitone Offset Value from Table A.
Some examples of the results from this equation are set out below in Table C.
By adding or subtracting 12 from the Result of the equation in
The software herein also performs a tempo shift which is calculated by determining the source and target beats per minute (BPM) of the source and target loops. For example, if the source loop is 120 BPM and the target tempo is 60 BPM then the source loop is increased 200% in length, or for a 90 BPM target where the original sample is at 120 BPM, the original sample is decreased in length by 33%. In the present invention each loop is tagged with proper mode and tempo identification making it possible to take musical loops that were created in one context and transplant them into a different musical context with reasonable chance for a pleasing result.
Each loop 42 comprises audio data that can be rendered to produce meta-data to drive audio visualizers. This pre-rendering greatly reduces the computational burden that would be placed on the microprocessor capacity of the applicable computer or game console running the software herein as compared to attempting to render the audio data and generate video based thereon in real time. Using this pre-rendering approach the game software herein can create a richer and more interesting graphical game environment.
This pre-rendered audio meta-data data contains information gathered from detailed analysis of the audio signal with respect to such factors that include, but are not limited to, pitch, transient, spectrum, amplitude and speech analysis. Those of skill will realize that many types of data analyses can be run which data generated there from can then be fed into visualizers to create pleasing visual effects. An analysis tool is used that consists of algorithms that analyze each loop. Those of skill will understand that a wide variety of algorithms can be devised to look for particular types of audio data or event signatures, such as energy level, bass drum kicks, certain music pitch, and the like. In the present case, each loop is in the open source audio format .ogg having 0 to 32 channels, each channel corresponding to one type of algorithm analysis. The meta-data curves are grouped based on a particular bank set or stage file and stored in the data directory of the game software. When a stage file, for example, is selected and loaded, all of the corresponding meta-data curves for that stage are also loaded into the audio engine thereof. The data in those curves is accessed for a specific point in the playback of the corresponding audio loop .ogg files using functions that sample the curve data based on the stage file type and returns the sum, max, or average of the data for all the currently playing .ogg files of the particular stage file. The meta-data so generated is generally reviewed manually as it is understood that the algorithms may not analyze the audio data correctly and human intervention is often needed to “scrub” the data to produce a desired clean data result.
The graphical data is generated by suitable 3D generating graphic software, such as 3D Artist Studio Max™ to generate the 3D mesh. Other software, such as Photoshop® can be used to create the surfaces and textures. Before selection of a particular stage file the game user can select from a plurality of venues. The venues are composed of various 2D and 3D graphical elements that comprise the environment in which the game is played. Each venue includes a wide plurality of “Gadgets” or graphical shapes or figures that respond to the audio meta-data. Thus, as is well understood, a gadget can consist of a shape, such as an orb, that may respond to one or more of the meta-data curves generated from the one or more algorithms. Thus, the orb may be programmed to respond to a bass kick to pulsate with each kick and/or to rise higher based on the volume of the sum of all the selected loops. Other gadgets can then be designed to respond to other meta-data information. Thus, the gadgets poll the meta-data curves based on the properties of the gadgets as determined using an editor, such as Tool Bench® as developed by Emergent Game Technologies. Various game creation software exists to prototype and develop game software, such as, GameBryo® Lightspeed™, also by Emergent Game Technologies.
| Number | Date | Country | |
|---|---|---|---|
| 61335990 | Jan 2010 | US | |
| 61354706 | Jun 2010 | US |
