Patent Publication Number: US-11399249-B2

Title: Reproduction system and reproduction method

Description:
CROSS REFERENCE TO RELATED APPLICATIONS 
     The present application is a continuation application of International Patent Application No. PCT/JP2019/019466, filed on May 16, 2019, which claims priority to Japanese Patent Application No. 2018-100186, filed on May 25, 2018. The contents of these applications are incorporated herein by reference in their entirety. 
    
    
     BACKGROUND 
     Technical Field 
     An embodiment of the present disclosure relates to a reproduction system and a reproduction method for reproducing audio data. 
     Background Information 
     Japanese Utility-Model Application Publication No. H6-21097 discloses a configuration for recording sounds of musical instruments played by players via different channels for different musical instruments and recording performance data for a self-playing piano. The self-playing piano gives an automatic performance in accordance with the recorded performance data. The sounds of the other musical instruments are emitted from speakers corresponding to the respective channels. At the same time, a projector reproduces a video of the players. 
     SUMMARY 
     A self-playing piano moves keys and other members in the absence of a player. As in this case, when keys and other members of an acoustic instrument are driven physically in the absence of a player, even if a video of a player is reproduced, the audience would not feel as if the player is there and would have a feeling of strangeness. Therefore, in the conventional configuration, the reproducibility of a live performance is poor. 
     An object of an embodiment of the present disclosure is to provide a reproduction system and a reproduction method that reproduce a live performance with high reproducibility. 
     A reproduction system includes an output apparatus that outputs multitrack data including a plurality of track-by-track audio data of sounds of (i) musical instruments, (ii) singing voices, or both (i) and (ii), the plurality of track-by-track audio data including audio data of at least an acoustic instrument, a vibrator that vibrates the acoustic instrument in accordance with the audio data of the acoustic instrument included in the plurality of track-by-track audio data included in the multitrack data, and a speaker that outputs the sounds of (i) the musical instruments, (ii) the singing voices, or both (i) and (ii) in accordance with the plurality of track-by-track audio data. 
     According to an embodiment of the present disclosure, it is possible to cause an acoustic instrument to emit a sound without physically driving handling elements, such as keys and the like, and the reproducibility of a live performance becomes higher than the reproducibility by a conventional method or system. 
    
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         FIG. 1  is a block diagram showing the configuration of a reproduction system  1 . 
         FIG. 2  is a block diagram showing the configuration of an output apparatus  10 . 
         FIG. 3  is a schematic diagram showing the configuration of multitrack data. 
         FIG. 4  is a block diagram showing the configuration of a mixer  11 . 
         FIG. 5  is a functional block diagram showing signal processing carried out by a signal processor  204  and a CPU  206 . 
         FIG. 6  is a diagram showing processing in an input channel i. 
         FIG. 7  is a schematic diagram showing a live performance. 
         FIG. 8  is a schematic diagram showing reproduction of the live performance. 
         FIG. 9  is a sectional view of a cymbal  70  of a drum set. 
         FIG. 10  is a sectional view showing details of a vibrator  15 . 
         FIG. 11  is a partially transparent plan view of the vibrator  15 . 
         FIG. 12  is a sectional view showing details of a modification of the vibrator  15 . 
         FIG. 13  is a sectional view showing an application example of the vibrator  15 . 
         FIG. 14  is a flowchart showing operations of the reproduction system. 
         FIG. 15  is a flowchart showing details of an output step. 
         FIG. 16  is a block diagram showing the functional configuration of a CPU  104  for reception of delay adjustment at the output apparatus  10 . 
     
    
    
     DETAILED DESCRIPTION 
       FIG. 1  is a block diagram showing the configuration of a reproduction system  1 . The reproduction system  1  includes an output apparatus  10 , a mixer  11 , a speaker  12 L, a speaker  12 R, a guitar amplifier  13 , a bass guitar amplifier  14 , a vibrator  15 , a projector  16 , and a lighting controller  17 . 
     These devices are interconnected via a network. In the present embodiment, however, the devices are not necessarily interconnected via a network. For example, the devices may be connected to one another via transmission lines, such as USB cables, HDMI (registered tradename), MIDI, etc. Each of the devices does not need to be connected to a network directly. Each of the devices may be connected to the network via an audio signal terminal and an IO device with a network terminal. 
       FIG. 2  is a block diagram showing the main components of the output apparatus  10 . The output apparatus  10  includes a display  101 , a user interface (I/F)  102 , a flash memory  103 , a CPU  104 , a RAM  105 , and a network interface (I/F)  106 . 
     The output apparatus  10  is a commonly used information processor, such as a personal computer, a smartphone, a tablet-type computer, or the like. The display  101  is, for example, an LCD (liquid crystal display), a display using an OLED (organic light emitting diode), or the like, and displays various kinds of information. The user I/F  102  is a switch, a keyboard, a mouse, a trackball, a touch panel, or the like, and receives a user&#39;s input. When the user I/F  102  is a touch panel, the user I/F  102  and the display  101  form a GUI (graphical user interface). 
     The CPU  104  reads out a program stored in the flash memory  103  to the RAM  105 , and performs a predetermined function. For example, the CPU  104  displays an input picture, which is used for receiving an input from a user, on the display  101 , and receives an input, for example, by receiving the user&#39;s choice on the screen. In this way, a GUI is achieved. Also, the CPU  104  reads out specified data from the flash memory  103  or an external device in accordance with the details of the input received at the user I/F  102 , and decodes the data. The CPU  104  outputs the decoded data to other devices. 
     The program read out by the CPU  104  is not necessarily stored in the flash memory  103  inside the output apparatus  10  itself. For example, the program may be stored in a storage medium in an external device, such as a server or the like. In this case, the CPU  104  reads out the program from the server to the RAM  105  and executes the program when necessary. 
     The data to be read out by the CPU  104  are multitrack data including track-by-track audio data of sounds of musical instruments played by players or singing voices of singers.  FIG. 3  is a schematic diagram showing the configuration of the multitrack data. The multitrack data contains setting data, a timecode, track-by-track audio data, video data, lighting data, and signal processing parameters. 
     The setting data are data for the fundamental setting of the mixer. The fundamental setting of the mixer, for example, includes setting of an audio signal sampling frequency, setting of a word clock, patch setting, network setting, and the like. 
       FIG. 4  is a block diagram showing the configuration of the mixer  11 . The mixer  11  is an example of the signal processor according to the present embodiment. The mixer  11  includes a display  201 , a user I/F  202 , an audio I/O (input/output)  203 , a signal processor (DSP)  204 , a network I/F  205 , a CPU  206 , a flash memory  207 , and a RAM  208 . These elements are interconnected via a bus  171 . 
     The CPU  206  is a controller that controls the operation of the mixer  11 . The CPU  206  reads out a specified program stored in the flash memory  207  to the RAM  208  and executes the program, and in this way, the CPU  206  carries out various operations. 
     Programs to be read out by the CPU  206  are not necessarily stored in the flash memory  207  inside the mixer  11  itself. For example, the programs may be stored in a storage medium in an external device, such as a server or the like. In this case, the CPU  206  reads out a program from the server to the RAM  208  and executes the program when necessary. 
     The signal processor  204  is a DSP that carries out various kinds of signal processing. The signal processor  204  carries out signal processing, such as mixing, gain adjustment, equalizing, complexing, etc., of audio signals inputted thereto via the audio I/O  203  or the network I/F  205 . The signal processor  204  outputs the signal-processed audio signal to other devices, such as the speaker  12 L, the speaker  12 R, etc., via the I/O  203  or the network I/F  205 . 
       FIG. 5  is a functional block diagram showing the signal processing carried out by the signal processor  204  and the CPU  206 . As shown in  FIG. 5 , the signal processing is functionally carried out by an input patch  301 , an input channel  302 , a bus  303 , an output channel  304 , and an output patch  305 . 
     The input patch  301  receives audio signals through a plurality of input ports (for example, analogue input ports or digital input ports) of the audio I/O  203 , and the input patch  301  allocates at least one of the plurality of input ports to at least one of a plurality of channels (for example, 16 channels). In this way, the audio signals are allocated to channels of the input channel  302 . In this way, the audio signals are supplied to different channels of the input channel  302 . 
     Each channel of the input channel  302  carries out various kinds of signal processing of the audio signal inputted thereto. 
       FIG. 6  is a block diagram showing the processing in an input channel i. Each channel of the input channel  302  carries out, in a signal processing block  351 , various kinds of processing of the audio signals supplied thereto from the input patch  301 . In the example shown in  FIG. 6 , the signal processing block  351  carries out signal processing of attenuator (ATT), equalizer (EQ), gate (GATE), and compressor (COMP). 
     The signal-processed audio signals are level-adjusted by a fader  352 , and thereafter, sent to the next-stage bus  303  via a pan  353 . The pan  353  adjusts the balance between signals sent to a stereo bus (a bus for L channel and a bus for R channel, which are master outputs) of the bus  303 . 
     The channels of the input channel  302  output signal-processed audio signals to the next-stage bus  303 . 
     The bus  303  mixes the audio signals inputted thereto and outputs the resultant audio signals. The bus  303  includes a plurality of buses (for example, an L channel bus, an R channel bus, a SEND bus, an AUX bus, etc.). 
     The audio signals outputted from the respective buses are subjected to signal processing in the output channel  304 . In the output channel  304  also, signal processing such as equalizing, etc. is carried out. Thereafter, the signal-processed audio signals are outputted to the output patch  305 . The output patch  305  allocates each output channel to one of a plurality of analogue or digital output ports. Alternatively, the output patch  305  allocates each output channel to a speaker that is connected thereto via a network, such as the speaker  12 L, the speaker  12 R, or the like. In this way, the audio signals that have been subjected to signal processing, such as mixing and the like, are supplied to the audio I/O  203  or the network I/F  205 . 
     The details of the signal processing described above are usually set by an operator before a live performance. The signal processing parameters that indicate the signal processing details are stored in the flash memory  207  or the RAM  208 . The mixer  11  has, in the flash memory  207  or the RAM  208 , a scene memory that stores signal processing parameters. The operator can immediately call up the values set in the past only by requesting a call-up of the scene memory. Accordingly, during a live performance, the operator can call up optimum values for each scene that were set, for example, during a rehearsal of a concert. Thus, the details of the signal processing are changeable even during a live performance. 
     The signal processing details include fundamental setting, such as patch setting, etc., that is not changeable during a live performance and setting that is changeable during a live performance (for example, the kinds and order of effects used, the parameters of the respective effects, etc.). The fundamental setting that is not changeable during a live performance is included in the setting data of the multitrack data shown in  FIG. 3 . The setting that is changeable during a live performance is included in the signal processing parameters of the multitrack data shown in  FIG. 3 . 
       FIG. 7  is a schematic diagram showing a live performance. Multitrack data are produced during a live performance. In the live performance, a microphone is set for each player or vocalist. For example, a microphone is set for a vocalist to record his/her singing voice. In this example, for a guitar player G, a bass guitar player B and a drummer Dr, no microphones are set. However, when the guitar player G, the bass guitar player B and the drummer Dr also sing, microphones are set also for these players. In order to record the sound of the drum set, microphones are set for the respective musical instruments (the cymbal, the tom drum, the bass drum, etc.) of the drum set. 
     The instrumental sounds and singing voice are inputted to the mixer  11  via the microphones. The guitar, the bass guitar and other musical instruments send analogue audio signals or digital audio signals in accordance with the sounds made by the players to the mixer  11 . The guitar and the bass guitar also send the analogue or digital audio signals to the guitar amplifier  13  and the bass guitar amplifier  14 , respectively. Microphones may be set for the guitar amplifier  13  and the bass guitar amplifier  14  to record the sounds of the guitar and the bass guitar. 
     The mixer  11  carries out signal processing, such as patching, mixing, effect-making, etc. of the audio signals sent from the microphones or the musical instruments. The mixer  11  outputs the signal-processed audio signals to the speaker  12 L and the speaker  12 R. 
     In this way, in the live performance, the singing voice and the instrumental sounds are outputted from the speaker  12 L and the speaker  12 R. The speakers  12 L and  12 R are main floor-standing speakers. The sounds outputted from the speakers  12 L and  12 R reach the audience. Since the drum set is composed of acoustic instruments, the sounds generated from the respective instruments of the drum set reach the audience. Regarding the sounds of the guitar and the bass guitar, the sounds outputted from amplifying speakers for the musical instruments, namely, the guitar amplifier  13  and the bass guitar amplifier  14 , etc. also reach the audience. 
     The mixer  11  sends signal processing parameters that indicate signal processing details to the output apparatus  10 . The mixer  11  also sends fundamental setting (setting data) to the output apparatus  10 . Further, the mixer  11  sends audio signals to the output apparatus  10  for the respective input channels as track-by-track audio data. 
     The output apparatus  10  receives lighting data from the lighting controller  17 . As shown in  FIG. 7 , a camera  55  is set for each player or vocalist. The camera  55  sends video data recorded in a predetermined format (for example, MPEG4) to the output apparatus  10 . For the present embodiment, it is not essential that a camera  55  is set for each player or vocalist. For example, only one camera  55  may be used to capture video images of all the players and vocalists performing in the live performance. 
     The lighting controller  17  reads out data recorded in a predetermined format (for example DMX512) for control of lighting equipment for the live performance, and the lighting controller  17  controls lighting. The lighting controller  17  sends the lighting data to the output apparatus  10 . 
     The output apparatus  10  receives the signal parameters and the track-by-track audio data from the mixer  11 . The output apparatus  10  receives the video data from the cameras  55 . The output apparatus  10  also receives the lighting data from the lighting controller  17 . The output apparatus  10  provides these data with timecode and encodes the data into multitrack data as shown in  FIG. 3 . The timecode is temporal information that indicates the length of time that has elapsed since the start of the live performance with the start time of data recording set as 0. The signal processing parameters may be recorded in the multitrack data as event data only when some change is made to the signal processing parameters, for example, when the scene memory is called up. In this case, the volume of the multitrack data is reduced. 
     In this way, multitrack data of the live performance is produced. 
       FIG. 8  is a schematic diagram showing reproduction of the live performance. In a venue for reproduction of the live performance, screens are set at places corresponding to the positions of the players and vocalist. The output apparatus  10  decodes the multitrack data and extracts the setting data, the timecode, and the video data. The output apparatus  10  outputs the setting data to the projector  16 . The projector  16  carries out fundamental setting in accordance with the setting data. The output apparatus  10  outputs the video data to the projector  16  in synchronization with the timecode. Then, the projector  16  projects videos of the players and vocalists on the screens. 
     In the example shown in  FIG. 8 , transparent screens are used. Real musical instruments are set in front of, behind or near the transparent screens. For example, a drum set is set near the screen on which the video of the drummer is to be projected. A guitar and a guitar amplifier  13  are set near the screen on which the video of the guitar player is to be projected. A bass guitar and a bass guitar amplifier  14  are set near the screen on which the video of the bass guitar player is to be projected. In this way, near a musical instrument or an amplifying speaker for the musical instrument, the video of the player is projected, and therefore, the audience can watch the live performance reproduced with high reproducibility. 
     Projection of a video on a screen is not an element for the present embodiment. For example, the videos of the players and vocalist may be displayed on liquid crystal displays or any other displays. The screens may be transparent or opaque. However, the use of transparent screens makes the audience perceive real musical instruments superposed on the videos of the players, which heightens the reproducibility of the live performance. The video of the drummer is projected on the screen located behind the screen for the vocalist, and therefore, the audience can feel like they are in a real live performance venue. 
     The output apparatus  10  decodes the multitrack data and extracts the setting data, the timecode, and the lighting data. The output apparatus  10  outputs the setting data to the lighting controller  17 . The lighting controller  17  carries out fundamental setting in accordance with the setting data. The output apparatus  10  outputs the lighting data to the lighting controller  17  in synchronization with the timecode. Then, the lighting in the live performance is reproduced. 
     The output apparatus  10  decodes the multitrack data and extracts the setting data, the timecode, the signal processing parameters, and the track-by-track audio data. The output apparatus  10  outputs the setting data to the mixer  11 . The mixer  11  carries out fundamental setting in accordance with the setting data. Thereby, patch setting, input channel setting, output channel setting, etc. are completed. When an operator starts an operation to reproduce the live performance, the output apparatus  10  outputs the signal processing parameters and the track-by-track audio data to the mixer  11  in synchronization with the timecode. The signal processing parameters may be outputted at all times or alternatively may be outputted only when some change is made to the details of the signal processing. The audio data may be converted into digital audio signals in the output apparatus  10  or alternatively may be converted into digital audio signals by the DSP in the mixer  11 . 
     The mixer  11  receives the track-by-track audio data. The mixer  11  processes the track-by-track audio data in accordance with the set signal processing details. The mixer  11  sends the signal-processed audio data to the speaker  12 L and the speaker  12 R as audio signals. Accordingly, the singing voice and the sounds of musical instruments are outputted from the speakers  12 L and  12 R as in the live performance. The sounds outputted from the speakers  12 L and  12 R reach the audience. 
     In the example of a live performance venue shown in  FIG. 7  and the example of a reproduction venue shown in  FIG. 8 , the same equipment is set in both the live performance venue and the reproduction venue. However, the equipment in the live performance venue and the equipment in the reproduction venue are not necessarily the same. Therefore, the setting data and the signal processing parameters are adjustable depending on the equipment in the reproduction venue. After receiving the setting data and the signal processing parameters from the output apparatus  10 , the operator of the mixer  11  can make some changes to the setting data and the signal processing parameters depending on the equipment in the reproduction venue. Alternatively, the operator adjusts the setting data and the signal processing parameters by using the user I/F  102  of the output apparatus  10 , and thereafter, the signal processing parameters are outputted from the output apparatus  10  to the mixer  11 . 
     For example, when only one speaker is set in the reproduction venue, the operator at the reproduction venue makes changes to the output channel and the patch setting. For example, the operator makes settings such that the signal processing at the output side will be carried out to mix down two channels into one channel. 
     Also, for example, what frequency is prone to howling depends on the acoustic transmission characteristics in the entire venue. Therefore, the operator changes the setting of the equalizer to prevent howling from occurring in the reproduction venue. 
     The mixer  11  may automatically adjust the signal parameters depending on the equipment in each reproduction venue. For example, the mixer  11  makes the speakers in the reproduction venue emit test sounds, and obtains the transmission characteristics from the speakers to the respective microphones in the reproduction venue. The mixer  11  changes the equalizer in accordance with the obtained transmission characteristics. For example, the mixer  11  calculates a frequency response characteristic from the obtained transmission characteristics, and a notch filter is set for a frequency region where the frequency response characteristic has a steep peak. Further, the mixer  11  can dynamically change the setting of the notch filter by using a learning algorism, such as an LMS (learning measurement system) or the like. In this way, the mixer  11  can automatically adjust the signal processing parameters depending on the equipment in the venue. 
     The output apparatus  10  reads out the audio data in a track corresponding to audio signals outputted from each musical instrument. In the example shown in  FIG. 8 , the output apparatus  10  reads out audio data of audio signals outputted from the guitar and audio data of audio signals outputted from the bass guitar. The output apparatus  10  extracts these audio signals and outputs the audio signals to the guitar amplifier  13  and the bass guitar amplifier  14 . Accordingly, regarding the sounds of a guitar and a bass guitar, the sounds outputted from the guitar amplifier  13  and the bass guitar amplifier  14  reach the audience as well as the sounds outputted from the main speakers  12 L and  12 R. Thus, the reproducibility of the live performance is noticeably improved. 
     Also, the output apparatus  10  reads out audio data for a microphone set for an acoustic instrument. In the example shown in  FIG. 8 , the output apparatus  10  reads out audio data for the microphone set for each instrument of the drum set. The output apparatus  10  outputs the audio data to the vibrator  15 . 
     The vibrator  15  is an example of a vibrator according to the present embodiment. The vibrator  15  vibrates an instrument of the drum set in accordance with the audio data inputted thereto from the output apparatus  10 . 
       FIG. 9  is a sectional view of a cymbal  70  of the drum set. The vibrator  15  is fixed to the cymbal  70 .  FIG. 10  is a sectional view showing details of the vibrator  15 .  FIG. 11  is a partially transparent plan view of the vibrator  15 . 
     The vibrator  15  includes an actuator  151 , a sheet metal  152 , a cushion  153 , and a magnet  154 . The actuator  151  is shaped like a disk. The actuator  151  receives an audio signal. The actuator  151  drives a voice coil (not shown) in accordance with the audio signal inputted thereto and vibrates in a height direction (normal direction). 
     The upper surface of the actuator  151  is bonded to the flat sheet metal  152 . The sheet metal  152  is circular in a planar view. In a planar view, the sheet metal  152  is larger than the actuator  151  in area. 
     Since the sheet metal  152  is bonded to the upper surface of the actuator  151 , the sheet metal  152  vibrates with the vibration of the actuator  151 . The sheet metal  152  is attached to the lower surface of the cymbal  70  via the cushion  153 . The cushion  153  is, for example, made of an adhesive material. The cushion  153  functions to fill the space between the curved lower surface of the cymbal  70  and the flat metal sheet  152 . This suppresses noise that is generated at the contact point between the metal sheet  152  and the cymbal  70  during the vibration. The sheet metal  152  is a magnetic body. Therefore, by the magnetic force of the magnet  154  arranged on the upper surface of the cymbal  70 , the cymbal  70  is pinched between the sheet metal  152  and the magnet  154 . 
     As shown in the plan view of  FIG. 11 , two magnets  154  are used in this example. The voice coil is disposed in the center of the actuator  151  in a planar view. The voice coil is actuated by a change in magnetic field caused by an audio signal, and transmits its vibration to the cymbal  70 . If the magnets  154  are positioned close to the actuator  151 , the magnetic field of the magnets  154  may affect the magnetic field of the voice coil. Therefore, it is preferred that the magnets  154  are disposed away from the voice coil. 
     Thus, the vibrator preferably has the following features: 
     (1) the vibrator includes an actuator that vibrates in accordance with an audio signal of an acoustic instrument; 
     (2) the vibrator includes an attacher that attaches the actuator to a musical instrument by magnetic force; and 
     (3) the attacher is disposed at a location corresponding to a peripheral portion of the actuator. 
     Alternatively, the attacher (magnet  154 ) may be disposed on the axis of the actuator as shown in  FIG. 12 . In this case, an insulator  157 , such as resin or the like, is disposed between the actuator  151  and the sheet metal  152 . The insulator  157  functions to keep a distance between the actuator  151  and the metal sheet  152 . 
     In other words, the vibrator may have the following features: 
     (1) the vibrator includes an actuator that vibrates in accordance with an audio signal of an acoustic instrument; 
     (2) the vibrator includes an attacher that attaches the actuator to a musical instrument by magnetic force; 
     (3) the attacher includes a magnet and a magnetic body; and 
     (4) an insulating layer is disposed between the actuator and the magnetic body. 
     When a vibrator with the features is attached to a cymbal or any other acoustic instrument, the vibrator can vibrate the acoustic instrument without being affected by the magnetic force of the attacher. Since the vibrator is attached to the acoustic instrument by magnetic force, it is easy to attach and detach the vibrator to and from the acoustic instrument. Therefore, the acoustic instrument can be used in a live performance after the vibrator  15  is detached therefrom. 
     In the above-described embodiment, the case in which the vibrator  15  vibrates the cymbal  70  has been described as an example. However, it is possible to vibrate all other instruments of the drum set in the same structure and by the same function. The structure of the vibrator  15  is not necessarily as illustrated in  FIG. 11 or 12 . For example, the vibrator  15  may have a structure in which the actuator  151  can be pressed from one direction against an acoustic instrument. For example, the vibrator  151  may include a plurality of clamps attached to the rim of a tom drum, and a sheet metal connecting the plurality of clamps to each other, and the actuator  151  may be attached to the sheet metal and pressed against the head. 
     The vibrator  15  can vibrate not only the drum set but also any other acoustic instrument and cause the acoustic instrument to emit a sound. For example, the vibrator  15  may be attached to the soundboard of a piano and may vibrate the soundboard to generate a sound. 
     In the above-described structure, regarding a sound of an acoustic instrument, the sound emitted from the acoustic instrument reaches the audience as well as the sound emitted from the main speakers  12 L and  12 R. Therefore, the reproducibility of the live performance is noticeably improved. 
       FIG. 13  is a sectional view showing an application example of the vibrator  15 . In the application example, the structure for attachment of the vibrator  15  to the cymbal  70  is the same as that shown in  FIGS. 9, 10 and 11 , and the description is omitted. 
     The vibrator  15  further includes a baffle  90 , and auxiliary speakers  901  and  902 . The baffle  90  is shaped like a disk. In a planar view, the baffle  90  is the same as or a little smaller than the cymbal  70  in area. Though not shown, the baffle  90  has circular holes or hollows. In the circular holes or hollows, the auxiliary speakers  901  and  902  are fitted. 
     The auxiliary speakers  901  and  902  are set in such a manner as to emit sounds from the cymbal  70  to a downward direction. However, the directions in which the auxiliary speakers  901  and  902  emit sounds may be an upward direction from the cymbal  70 . 
     The auxiliary speaker  901  is a low-frequency (or full-range) speaker. The auxiliary speaker  901  outputs low-frequency sounds that are included in the sounds emitted from the cymbal  70  in the live performance and are in a too low frequency range to be reproduced by the actuator  151  (for example, sounds of 500 Hz or lower). The auxiliary speaker  902  is a high-frequency speaker. The auxiliary speaker  902  outputs high-frequency sounds that are included in the sounds emitted from the cymbal  70  in the live performance and are in a too high frequency range to be reproduced by the actuator  151  (for example, sounds of 4 kHz or higher). 
     The vibrator  15  separates the audio signal inputted thereto from the mixer  11  into a plurality of audio signals and applies low-pass filtering to one of the audio signals. Alternatively, the vibrator  15  further receives an audio signal that was already low-pass-filtered in the mixer  11 . Also, the vibrator  15  separates the audio signal inputted thereto from the mixer  11  into a plurality of audio signals and applies high-pass filtering to one of the audio signals. Alternatively, the vibrator  15  further receives an audio signal that was already high-pass-filtered in the mixer  11 . 
     The vibrator  15  inputs the low-pass-filtered audio signal to the auxiliary speaker  901 . Also, the vibrator  15  inputs the high-pass-filtered audio signal to the auxiliary speaker  902 . 
     In the structure, the vibrator  15  supplements high-frequency sounds and low-frequency sounds by using speakers, and the sounds in the live performance can be reproduced with higher reproducibility. The baffle  90 , and the auxiliary speakers  901  and  902  are disposed very near the cymbal  70 . Therefore, even when a sound of the cymbal  70  is outputted from the speakers, the audience feels as if the cymbal  70  is ringing. 
     Auxiliary speakers may be set for other acoustic instruments as well as the cymbal  70  to supplement high-frequency sounds or low-frequency sounds, and thereby, the sounds in the live performance can be reproduced with higher reproducibility. In the example described above, the auxiliary speakers are disposed very near the cymbal  70  by being attached to the baffle  90 . However, even when the auxiliary speakers are disposed near (but not so near as in the above-described example) the drum set, the audience feels as if the cymbal  70  is ringing. 
       FIG. 14  is a flowchart showing operations of the reproduction system according to the present embodiment. The reproduction system includes an output step (S 11 ) for outputting multitrack data, a vibration step (S 12 ) for vibrating an acoustic instrument, and a sound emission step (S 13 ) for emitting a sound from a speaker. The audio data is synchronized with a timecode, and therefore, the vibration step (S 12 ) for vibrating an acoustic instrument and the sound emission step (S 13 ) for emitting a sound from a speaker are executed at the same time. 
     The output apparatus  10  outputs multitrack data including track-by-track audio data of musical instruments played by players or singing voices of singers.  FIG. 15  is a flowchart showing details of the operation at the output step. The process shown in  FIG. 15  is carried out by the CPU  104 . The CPU  104  reads out a program stored in the flash memory  103  to the RAM  105  and executes the program, and thereby, the CPU  104  carries out the process shown in  FIG. 15 . 
     The CPU  104  reads out multitrack data from the flash memory  103  or any other storage device, such as a server or the like (S 21 ). The CPU  104  decodes the multitrack data and extracts fundamental data, a timecode, audio data, video data, lighting data and signal processing parameters (S 22 ). 
     Thereafter, the CPU  104 , for example, displays a confirmation picture on the display  101  and receives adjustment of the signal parameters (S 23 ). As mentioned above, the equipment in the live performance venue and the equipment in the reproduction venue are not always the same. Therefore, the operator makes adjustment to the fundamental data and the signal processing parameters by using the user I/F  102  of the output apparatus  10 . 
     Next, the CPU  104 , for example, displays a confirmation picture on the display  101  and receives delay adjustment (S 24 ).  FIG. 16  is a block diagram showing the functional configuration of the CPU  104  for the reception of delay adjustment at the output apparatus  10 . 
     Functionally, the CPU  104  includes a plurality of delayers  172 , and a decoder  175 . As mentioned above in connection with step S 22 , the decoder  175  decodes the multitrack data and extracts fundamental data, a timecode, audio data, video data, lighting data, and signal processing parameters. Also, the decoder  175  synchronizes the audio data, the video data, the lighting data and the signal processing parameters with one another by using the timecode. 
     The plurality of delayers  172  receive the audio data, the video data, the lighting data and the signal processing parameters, respectively, which are synchronized with one another. The plurality of delayers  172  provide delays to the timecode, the audio data, the video data, the lighting data and the signal processing parameters. The amounts of delays to be provided by the respective delayers  172  are manually set by the operator. 
     As mentioned above, the equipment in the live performance venue and the equipment in the reproduction venue are not always the same. Also, there may be differences in processing capability among the devices, and there may be a difference in network capability between the venues. Therefore, even though the audio data, the video data, the lighting data and the signal parameters are synchronized with one another, there may be great lags of sound, video and light reaching the audience depending on the reproduction venue. The operator adjusts the amounts of delays of the audio data, the video data, the lighting data and the signal processing parameters to adjust the timing of the arrivals of sound, video and light at the audience. 
     After completion of the adjustment, the operator requests an output of these data by using the user I/F  102  to reproduce the live performance. The CPU  104  synchronizes the audio data, the video data, the lighting data and signal processing parameters with one another, and outputs these data to the corresponding devices (S 25 ). 
     It should be understood that the present embodiment has been described as an example and that the description is not limiting. The scope of the present disclosure is not limited to the embodiment above and is determined by the claims. Further, the scope of the disclosure shall be deemed to include equivalents of the scope of the claims and all possible modifications within the scope. For example, the mixer  11  may include the function of the output apparatus  10 . The output apparatus  10  may be achieved by combination of a plurality of devices.