Patent ID: 12205566

DETAILED DESCRIPTION OF EXAMPLE EMBODIMENTS

Example embodiments will now be described with respect to methods, devices, and non-transitory media for creating or storing music with integrated auditory beat stimuli. By integrating ABS signals with music using the techniques described and claimed herein, it may be possible in some embodiments to mask the ABS stimuli to render them less overt and noticeable and/or to render them more pleasant to subjects. This masking may facilitate longer and more frequent use of the ABS stimuli by subjects, and may allow the stimuli to be presented to subjects in any context where music would be appropriate. Techniques are described for integrating monaural beats, binaural beats, or a combination of monaural and binaural beats into music. Music integrating binaural beats would typically be encoded as a stereo audio signal capable of being presented to a user's ears independently (e.g. through stereo headphones or earbuds), while music using monaural beats could be encoded as a stereo or mono audio signal and could be effectively presented to a subject using broadcast or ambient channels (e.g. loudspeakers). Music integrating both monaural and binaural beats could be presented through either modality and could potentially be effective in either scenario.

The techniques described herein make use of musical analysis of the pre-existing or generated music used for the integration of the ABS stimuli. Some basic concepts from music theory are discussed briefly to provide context for the description that follows.

A music composition's “key” is a group of pitches, or “scale”, that forms the framework of that composition's harmonic and melodic structure. The “root tone” is the fundamental pitch of any harmonic group of pitches consisting of two or more notes (a “chord”). These notes could be played on their own and reflect the harmonic sequence of a music composition.

When produced, root tones are able to sound in sync with all other melodic and harmonic elements of the music composition or song. When introducing sound elements into a song that match the root tones and/or the notes of a chord based on that root tone, the introduced stimulus may remain in sync with the melodic and harmonic elements of the song and avoid introducing noise perceived by a listener as dissonant.

There are a number of audio tools that provide real-time analysis of a song's key, chord progression and root tone frequencies. These audio tools may include software and hardware units. Two examples of software tools for key detection are Superpowered (https://superpowered.com/) and Mixed In Key (https://mixedinkey.com/). In some cases, the chord progression and/or root tone frequencies of a song may be determined based on key detection. Typically, music theory dictates that the root tone is the first tone of a key's scale.

The techniques described herein may in some embodiments be implemented using one or more known audio analysis and synthesis tools and techniques. These tools and techniques may include audio equalization and equalizers, audio mixing and mixers, and real-time audio analysis and analyzers.

Audio equalization (or simply “equalization”) is a term used to denote the process of attenuating the levels (i.e. amplitude) of different frequencies in an audio signal. It can be applied through both hardware and software tools, such as rack-mount audio units, VST software plugins, and components in a vehicle's control panel. Equalizers may comprise a variety of audio filters that process audio in the frequency domain. They may include shelving filters, band-pass filters, band-reject filters, high-pass filters, high-shelf filters, low-pass filters, and low-shelf filters. They are commonly applied in the sound recording process to improve an audio track's sound or make certain audio mix components sound more or less prominent. In the context of the described embodiments, an equalizer may be used not only to alter the frequency range of the recording to support specific brainwave entrainment frequencies, but also to create artifacts within the music that stimulate ABS. As one example, an audio track (such as a music track) may be fed through a band-pass filter centered at 100 Hz in one ear, and fed through a bandpass filter centered at 120 Hz in another ear, thereby creating auditory artifacts within the audio track to lightly stimulate a 20 Hz “beat” frequency.

An audio mixer is an audio unit that combines multiple tracks of sound into one or more tracks or channels. This unit also provides the ability to attenuate the volumes of each prospective track. In the described embodiments, a mixer may be used to combine an original (unmodified) audio file or audio signal with an equalized version of that file or signal, as well as with one or more oscillators used to produce ABS stimuli, to produce a modified music file or signal containing integrated ABS stimuli.

A real-time analyzer is an audio unit that measures the frequency spectrum of an audio signal. It is generally a frequency spectrum analyzer that is able to process audio in real time. This analysis may in some embodiments be used to determine root tones and keys of a piece of music, either for a piece of music as a whole or for a given moment within a piece of music. In other embodiments, key detection and/or root tone detection may be performed by a separate hardware or software module, such as the examples of key detection software described above.

Some of these tools or techniques may be implemented using software running on a processor, such as that of a general-purpose computer, or on specialized audio processing hardware. In some embodiments, the various steps of the described methods or processes may be performed by separate hardware units, such as some steps being performed by a local computer and the other steps being performed by a cloud computing server in real-time or asynchronous communication with the local computer over a network.

In the context of the described embodiments, the fundamental or center frequency of a synthesized ABS stimulus may be referred to herein as its “synthesis frequency”. This may denote, for example, the centre frequency of a band-pass filter output, the high-end cut-off frequency of a low-pass filter, or the frequency of a synthesized sine wave when any of these components is used for ABS. The entrainment frequency of a pair of ABS stimuli would therefore be equal to the delta between the synthesis frequencies of the first and second channels. Presenting the first and second channels to a subject would generate the perception of a beat at the delta frequency.

A first example embodiment of a method100for integrating auditory beat stimuli into music will now be described with reference toFIG.1. The method operates on an unmodified music signal502, which could be provided in the form of a signal received over a communication link, a digital file stored in a memory, or a music signal generated on the fly by a processor. This example and the subsequent described examples draw example frequencies from the A440 or A4 pitch standard whereby scale degree “A4” is tuned to 440 Hz, as shown in detail at (https://pages.mtu.edu/˜suits/notefreqs.html), which is hereby incorporated by reference in its entirety. However, these examples are not intended to be limiting and other embodiments could use a different pitch standard.

At step102, a root tone frequency of the unmodified music signal502is identified. This step may be implemented by a real-time analyzer in some embodiments. The root tone frequency is the frequency of the root tone of the unmodified music signal502within a selected octave: for example, if the root tone of a song is “F”, then the root tone frequency is a frequency selected from of one of the “F” notes within the A440 pitch standard, such as “F0” (21.83 Hz), “F1” (43.65 Hz), and so on through “F8” (5587.65 Hz). In the context of the described examples, the root tone frequency of a music signal may be denoted as f in equations.

Once the root tone is selected (for example, 349.23 Hz corresponding to root tone “F4”), at step104a first beat frequency is selected. This first beat frequency corresponds to the desired entrainment frequency for the ABS process. Potential entrainment frequencies for different applications are detailed in various publications relating to research on the cognitive effects of ABS. For example, beat frequencies of 1, 3, 4, 5, 6, 6.66, 7, 10, 15, 20, 30, 39, 40, 41, and 45 Hz, among others, are described in the Chaieb paper in the context of studies of the cognitive effects of ABS. In some embodiments, a beat frequency may be used that varies over time in order to assist the entrainment process. In the context of the described examples, the beat frequency of a music signal may be denoted as b in equations.

At step105, a first beat component508is generated having a frequency equal to the root tone frequency540f, and a second beat component509is generated having a frequency equal to the root tone frequency540shifted by the beat frequency660bto yield f+b (or f−b). In some embodiments, the first and second beat components508,509are pure sine waves of frequencies f and f+b respectively. In other embodiments, the first and second beat components508,509may have other waveform characteristics, such as more complex waveforms having their respective frequency peaks at frequencies f and f+b respectively and spanning a non-zero bandwidth in the frequency domain. In some embodiments, the first and second beat components508,509may be generated by two or more oscillators based on root tone and/or key data derived from the unmodified music signal502, and/or desired beat frequency data supplied based on an intended entrainment application.

At step106, a first audio signal504is generated. The first audio signal504is intended to encode an ABS stimulus with a synthesis frequency displaced (shifted) from the root tone in the frequency domain by a distance equal to the beat frequency. Thus, if the unmodified music signal502has a root tone frequency of f, then the synthesis frequency of the first audio signal504is f+b (or f−b). The purpose of this first audio signal504is to provide a signal that, when combined with the unmodified music signal502, generates a monaural and/or binaural beat with frequency b due to the delta b between unmodified music signal502root tone frequency f and first audio signal504synthesis frequency f+b (or f−b).

The first audio signal504may be generated by selecting a first portion of the unmodified music signal502lying within a first frequency range. This first frequency range may be based on a first filter frequency, such as the center frequency of a band-pass filter or the high-end cut-off frequency of a low-pass filter. The first filter frequency f+b (or f−b) is equal to the root tone frequency f shifted by the first beat frequency b. Thus, in this case, the first filter frequency operates as the synthesis frequency of the first audio signal504.

At step108, the unmodified music signal502is mixed with the first beat component508, second beat component509, and first audio signal504to produce a modified music signal620. This mixing may be within a single track or channel to produce a mono audio signal, or between two channels or tracks to produce a stereo audio signal. For example, to produce a stereo signal, a first channel of the unmodified music signal502mixed with an equalized version of the first audio signal504and second beat component509could be used to generate a first channel intended for a subject's left ear, while a second channel of the unmodified music signal502could be mixed with the first beat component508to generate the second channel intended for the subject's right ear. As described above, this mixing step108results in a monaural and/or binaural beat with frequency b due to the delta b between first beat component508at synthesis frequency f and second beat component509at synthesis frequency f+b (or f−b). This beat may be masked by the correlation to unmodified music signal502root tone frequency f and first audio signal504synthesis frequency f+b (or f−b).

The basic method100described above thus uses the root tone of a music signal as one of the synthesis frequencies for the ABS stimuli. This basic technique can be further refined to assist in integrating the ASB stimuli into the music signal.

In some embodiments, such as the expanded method200shown inFIG.2, step102is premised on a further step202of identifying a lowest dominant frequency range of the unmodified music signal502based on the lowest dominant frequency range of the music signal. Frequency analysis (such as real-time analysis) of the music signal may be used to determine the lowest dominant frequency or lowest spectral range with a significant mix presence in the music signal. This lowest frequency range may then be used to constrain the choice of root tone frequency: for example, in the above example wherein the root tone of the unmodified music signal502is “F”, the lowest dominant frequency range may be identified as being 100-200 Hz. This constrains the choice of root tone frequency to the range of 100-200 Hz, yielding only a single “F” option, “F3”, with root tone frequency 174.61 Hz.

In some embodiments, the method200may further comprise a step204of identifying a key of the unmodified music signal502. As described above with reference to basic music theory, the key of a musical composition (e.g. the key of the song is “C”) comprises a plurality of scale degrees or scale tones (e.g. “E0” is a scale tone within key “C”), and each scale degree has a scale degree frequency within the pitch standard being used (“E0”=20.60 Hz in pitch standard A440). In the presently described method200, the first beat frequency b is selected by choosing a first scale degree frequency (e.g. 20.60 Hz for “E0”) within the key (e.g. “C”) based on the proximity of the first scale degree frequency (20.60 Hz) to a desired beat frequency (e.g., an application of ABS may dictate the use of an entrainment frequency of 20 Hz). Thus, given the example musical and entrainment properties set out above, the method200would select “E0” as the scale degree in key “C” having a scale degree frequency (20.60 Hz) most proximate to the desired beat frequency (entrainment frequency 20 Hz). Given a root tone frequency of 184.61 Hz (“F3”), this would result in a first filter frequency of (174.61+/−20.60 Hz)=195.21 Hz or 154.01 Hz. When combined with the unmodified music signal502, this would yield a monaural and/or binaural beat at beat frequency 20.60 Hz, effecting a brainwave entrainment frequency at 20.60 Hz.

In a second illustrative example using the same piece of music in the key of “C” as above, the desired entrainment frequency is 16 Hz instead of 20 Hz. In this case, the scale tone of key “C” closest to 16.35 Hz is scale degree “C0”, having a scale degree frequency of 16.35 Hz in pitch standard A440. Thus, the “C0” scale degree frequency of 16.35 Hz would be selected as the beat frequency. The music would be mixed and equalized as described above to integrate monaural and/or binaural beats based on the selected beat frequency 16.35 Hz, e.g. by using a first filter frequency of (174.61+/−16.35 Hz)=190.96 Hz or 158.26 Hz.

Tables 1 and 2 below provide examples of generating either monaural beats or binaural beats using the techniques and example parameters described above. Monaural beats, as shown in Table 1, may be generated using a first layer (“Layer 1”) comprising the unmodified music signal502(or an equalized version thereof), mixed with a second layer (“Layer 2”) comprising the first audio signal504(synthesized at frequency f+b).

TABLE 1Monaural Beats onlyMonaural Beats - Layer 1Synthesis Frequency: f (Hz)Monaural Beats - Layer 2Synthesis Frequency: f + b (Hz)f = Determined by root tone and spectral data e.g. if the root tone is “F” and the lowest dominant frequency range is 100-200 Hz, f = 174.61 Hz (if A4 = 440 Hz)b = Lowest scale degree near the desired “beat” frequency - provided by key information e.g. if the desired entrainment frequency is 20 Hz, the song is in the key of C and the lowest scale tone is E0, b would be = to 20.60 Hz

Binaural beats, as shown in Table 2, may be generated using a first channel (“Channel 1”, presented to e.g. a subject's left ear) comprising the first audio signal504(synthesized at frequency f+b), mixed with a second channel (“Channel 2”, presented to e.g. a subject's right ear) comprising the unmodified music signal502(or an equalized version thereof).

TABLE 2Binaural Beats onlyBinaural Beats - Channel 1Synthesis Frequency: f + b (Hz)Binaural Beats - Channel 2Synthesis Frequency: f (Hz)f = Determined by root tone and spectral data e.g. if the root tone is “F” and the lowest dominant frequency range is 100-200 Hz, f = 174.61 Hz (if A4 = 440 Hz)b = Lowest scale degree near the desired “beat” frequency - provided by key information i.e. if the desired entrainment frequency is 20 Hz, the song is in the key of C and the lowest scale tone is E0, b would be = to 20.60 HzNOTE:If 0.5f is greater than 80 Hz, take it down one octave (i.e. instead of 0.5f, use 0.25f)

In some embodiments, particularly embodiments used to generate monaural beats, the first audio signal504may be generated by applying to the unmodified music signal502a low-pass filter with a high-end cut-off frequency equal to the first filter frequency (e.g. 192.21 Hz).FIG.3shows such a method300wherein step106is replaced with step306using such a low-pass filter extending over a low-pass frequency range.

In some embodiments, additional audio signal components may be added to the first audio signal504at step307to further assist in integrating the ABS stimuli into the music signal. Where the first audio signal504is generated using a low-pass filter (such as certain embodiments used to generate monaural beats), these additional audio signal components may comprise the output of one or more band-pass filters having center frequencies harmonic with the filter frequency of the low-pass filter. For example, one or more band-pass filters may be centered on frequencies that are one or two octaves higher than the next lowest filter frequency. In some embodiments, these band-pass filters have center frequencies (denoted as the filter frequency for a band-pass filter) that are each two octaves higher than the next lowest filter frequency, i.e., the filter frequency of each band-pass filter is equal to four times the frequency of the next lowest filter frequency (because moving one octave higher doubles the frequency of a tone, so, e.g., whereas “A4”=440 Hz, and “A5” is one octave up from “A4”, “A5”=880 Hz).

Table 3 below illustrates the filter frequencies used in an example method for generating monaural beats. Four filters are applied to the unmodified music signal502: a low-pass filter512with a filter frequency (i.e. high-end cut-off frequency) of f+b, and three band-pass filters having center frequencies each positioned two octaves above the previous filter, i.e., a first band-pass filter514at center frequency 4(f+b), a second band-pass filter516at center frequency 16(f+b), and a third band-pass filter518at center frequency 64(f+b).

TABLE 3Monaural Beats onlyLow-PassBand-PassBand-PassBand-PassFilter 512Filter 514Filter 516Filter 518Mono ChannelCut-offCentralCentralCentral(or appliedFreq: f + bFreq: 4Freq: 16Freq: 64to both stereo{Hz}(f + d)(f + b)(f + b)channels){Hz}{Hz}{Hz}Low-midLow-midMid-highbandwidthbandwidthbandwidth

The outputs of these four filters are then equalized and mixed into the unmodified music signal502along with the first beat component508and second beat component509to generate the modified music signal620. The root tone of f mixed with the filter output at f+b, and further masked by the harmonics at 4(f+b), 16(f+b), and 64(f+b), may result in a non-dissonant perception of the modified music signal620despite the presence of the beat resulting from the first beat component508at f and second beat component509at f+b. This modified music signal620may be transmitted, broadcast, presented to a subject through an audio output device (mono or stereo), or stored as a music data file on a storage medium such as a CD, hard drive, or RAM.

FIG.5Aillustrates an example set of filters510applied to the unmodified music signal502to generate a first audio signal504in accordance with the monaural beat integration method described immediately above and corresponding to Table 3 above. The unmodified music signal502is graphed in the frequency domain, with the set of filters510shown below it being applied to capture certain frequency ranges associated with each filter. The root tone frequency540fof the unmodified music signal502is up-shifted by the beat frequency560bto yield a first filter frequency550of (f+b). This first filter frequency550defines a first filter in the form of low-pass filter512, defining a first frequency range bounded at the high end by first filter frequency550. A second filter frequency552, set two octaves up from the first filter frequency550at 4(f+b), defines a second filter in the form of a band-pass filter514, defined by a center frequency equal to the second filter frequency552. This pattern continues for a third filter (band-pass filter516) and fourth filter (band-pass filter518) defined respectively by center frequencies equal to third filter frequency554(at 16(f+b)) and fourth filter frequency556(at 64(f+b)).

At the bottom left of the figure, the first beat component508and second beat component509are shown being generated at the root tone frequency540and first filter frequency550respectively. In this example, the first beat component508and second beat component509are shown as pure sine waves generated at their respective synthesis frequencies.

In other embodiments, particularly embodiments used to generate binaural beats, the first audio signal504may be generated by applying to the unmodified music signal502a band-pass filter with a center frequency equal to the first filter frequency (e.g. 192.21 Hz).FIG.4shows such a method400wherein step106is replaced with step406using such a low-pass filter extending over a band-pass frequency range.

In some such embodiments, the addition of audio signal components to the first audio signal504at step407may use not only additional band-pass filters centered on harmonic frequencies above (f+b) as in method300, but also a low-pass filter with a high-end cut-off frequency (i.e. filter frequency) equal to 0.5f+b, i.e., one octave lower than f, frequency-shifted by b. A further variant could set the low-pass filter frequency to 0.5(f+b) instead of 0.5f+b.

Some such embodiments may also generate a second audio signal506at step408for mixing with the unmodified music signal502. Whereas the first audio signal504is mixed with the unmodified music signal502to generate a first channel of the modified music signal620(intended for e.g. the left ear), the second audio signal506is mixed with the unmodified music signal502to generate a second channel of the modified music signal620(intended for e.g. the right ear). The second audio signal506contains harmonics based on the synthesis frequency f in order to enhance the binaural beat effect in conjunction with the first audio signal504generated with synthesis frequency f+b. The generation of these additional harmonics or other components takes place at step410. At step412, the first audio signal504and second audio signal506are mixed with the first beat component508, second beat component509, and unmodified music signal502as described above to produce the modified music signal620.

Table 4 below illustrates the filter frequencies used in an example method for generating binaural beats. A set of five filters530is applied to the unmodified music signal502: a low-pass filter532with a filter frequency (i.e. high-end cut-off frequency) of 0.5f+b, a band-pass filter534at center frequency f+b (i.e. the first filter frequency), and three additional band-pass filters having center frequencies each positioned two octaves above the previous filter, i.e., a second band-pass filter536at center frequency 4(f+b), a third band-pass filter538at center frequency 16(f+b), and a fourth band-pass filter539at center frequency 64(f+b). These five filter are applied to the unmodified music signal502to generate the first audio signal504.

The second audio signal506is generated using a similar set of five filters, but based on a synthesis frequency of f instead of f+b. Thus, the low-pass filter522has a filter frequency of 0.5f, the first band-pass filter524has center frequency f (i.e. the root tone frequency540), and the three additional band-pass filters have center frequencies each positioned two octaves above the previous filter, i.e., a second band-pass filter526at center frequency 4f, a third band-pass filter528at center frequency 16f, and a fourth band-pass filter529at center frequency 64f. These five filter are applied to the unmodified music signal502to generate the second audio signal506.

TABLE 4Binaural Beats onlyLow-PassBand-PassBand-PassBand-PassBand-PassFilter 532Filter 534Filter 536Filter 538Filter 539StereoCut-offCentralCentralCentralCentralChannel 1Freq:Freq:Freq: 4Freq: 16Freq: 64(L/R ear)0.5f + bf + b(f + b)(f + b)(f + b){Hz}{Hz}{Hz}{Hz}{Hz}Low-midLow-midLow-midMid-highbandwidthbandwidthbandwidthbandwidthLow-PassBand-PassBand-PassBand-PassBand-PassFilter 522Filter 524Filter 526Filter 528Filter 529StereoCut-offCentralCentralCentralCentralChannel 2Freq: 0.5fFreq: fFreq: 4fFreq: 16fFreq: 64f(L/R ear){Hz}{Hz}{Hz}{Hz}{Hz}Low-midLow-midLow-midMid-highbandwidthbandwidthbandwidthbandwidth

The outputs of these five filters are then equalized and mixed into the unmodified music signal502and the first audio signal504to generate the modified music signal620. In the case of binaural beats, this mixing comprises mixing the first audio signal504with the unmodified music signal502to generate a first channel (Stereo Channel 1) of the modified music signal620, and mixing the second audio signal506with the unmodified music signal502to generate a second channel (Stereo Channel 2) of the modified music signal620.

FIG.5Bis analogous toFIG.5A, but illustrates an example generation of binaural instead of monaural beats.FIG.5Bshows an example first set of filters530applied to the unmodified music signal502to generate a first audio signal504, and a second set of filters520applied to the unmodified music signal502to generate a second audio signal506, in accordance with the binaural beat integration method described immediately above and corresponding to Table 4 above.

First, the generation of the first audio signal504inFIG.5Bis described. The root tone frequency540fof the unmodified music signal502is up-shifted by the beat frequency560bto yield a first filter frequency550of (f+b). This first filter frequency550defines a first filter in the form of band-pass filter534, defining a first frequency range centred on first filter frequency550. A low-pass filter frequency570is set at half the root tone frequency540, or 0.5f. This low-pass filter frequency570is shifted right in the frequency domain by the amount of the beat frequency660bto yield another low-pass filter frequency572at 0.5f+b. This second low-pass filter frequency572defines a low-pass filter532, defining a frequency range bounded at the high end by filter frequency572. Moving in the high-frequency direction from the first band-pass filter534, a second band-pass filter536is set two octaves up from the first filter frequency550at second band-pass filter frequency552at 4(f+b). This pattern continues for a third band-pass filter (band-pass filter538) and fourth band-pass filter (band-pass filter539) defined respectively by center frequencies equal to filter frequency554(at 16(f+b)) and fourth filter frequency556(at 64(f+b)).

Finally, the generation of the second audio signal506inFIG.5Bis described. The second audio signal506is generated by a second set of filters520. The root tone frequency540fdefines a first filter in the form of band-pass filter524, defining a first frequency range centred on root tone frequency540at f. A low-pass filter frequency570is set at half the root tone frequency540, or 0.5f. This low-pass filter frequency570defines a low-pass filter522, defining a frequency range bounded at the high end by filter frequency570. Moving in the high-frequency direction from the first band-pass filter524, a second band-pass filter526is set two octaves up from the root tone frequency540at second band-pass filter frequency542at 4f. This pattern continues for a third band-pass filter (band-pass filter528) and fourth band-pass filter (band-pass filter529) defined respectively by center frequencies equal to filter frequency544(at 16f) and fourth filter frequency546(at 64f).

The techniques described above may be combined and/or modified to produce music tracks integrating both monaural and binaural beats. Such combined beats may be more effective than either type of beat in isolation when presented to a subject in stereo (e.g. with one channel to each ear). They may also be more versatile, e.g., they may allow the same music track to entrain subjects when presented either in stereo (binaural+monaural beats effective) or in mono (only monaural beats effective).

Tables 5 and 6 below set out example filter parameters used in an example method for integrating both monaural and binaural beats into a music signal. Like the binaural beat generation method described above with reference to Table 4 andFIG.5B, the example method below uses two low-pass filters with filter frequencies 0.5f and 0.5f+b. In this example, however, the low-pass filter frequencies are intended to be lower than a low-pass filter frequency maximum, in this example 80 Hz. If the root tone frequency f is above 160 Hz, i.e. the low-pass filter frequency 0.5f is above 80 Hz, then instead of using 0.5f and 0.5f+b the low-pass filter frequencies are instead set to 0.25f and 0.25f+b.

The example method parameters shown in Tables 5 and 6 also present two alternative methods of setting the filter frequencies for the higher-frequency harmonics: the high-frequency components of the first audio signal504may either use the values provided in the binaural beat method of Table 4, i.e. 4(f+b), 16(f+b), and 64(f+b), or they can alternatively use the values 4f+b, 16f+b, and 64f+b. Some embodiments multiply the root tone frequency (e.g. 4f) by a power of two (or four) to change the octave before shifting by the beat frequency (e.g. +b); other embodiments multiply the frequency (e.g. times 4) after shifting the root tone frequency by the beat frequency (to yield (f+b)).

TABLE 5Monaural and Binaural BeatsBinaural Beats - Channel 1Synthesis Frequency: f + b (Hz)Binaural Beats - Channel 2Synthesis Frequency: f (Hz)Monaural Beats - Layer 1Synthesis Frequency: 0.5f (Hz) →Max = 80 HzMonaural Beats - Layer 2Synthesis Frequency: 0.5f +b (Hz) → Max = 80 Hzf = Determined by root tone and spectral data e.g. if the root tone is “F” and the lowest dominant frequency range is 100-200 Hz, f = 174.61 Hz (if A4 = 440 Hz)b = Lowest scale degree near the desired “beat” frequency - provided by key information i.e. if the desired entrainment frequency is 20 Hz, the song is in the key of C and the lowest scale tone is E0, b would be = to 20.60 HzNOTE:If 0.5f is greater than 80 Hz, take it down one octave (i.e. instead of 0.5f, use 0.25f)

TABLE 6Monaural and Binaural BeatsLow-PassBand-PassBand-PassBand-PassBand-PassFilterFilterFilterFilterFilterChannel 1Cut-offCentralCentralCentralCentral(L/R ear)Freq:Freq:Freq: 4Freq: 16Freq: 640.5f + bf + b(f + b)(f + b)(f + b){Hz}{Hz}{Hz}{Hz}{Hz}0.25f + bLow-midORORORif 0.5f >bandwidthCentralCentralCentral80 HzFreq:Freq:Freq:4f + b16f + b64f + b{Hz}{Hz}{Hz}Low-midLow-midMid-highbandwidthbandwidthbandwidthLow-PassBand-PassBand-PassBand-PassBand-PassFilterFilterFilterFilterFilterChannel 2Cut-offCentralCentralCentralCentral(L/R ear)Freq: 0.5fFreq: fFreq: 4fFreq: 16fFreq: 64f{Hz}{Hz}{Hz}{Hz}{Hz}0.25f ifLow-midLow-midLow-midMid-high0.5f >bandwidthbandwidthbandwidthbandwidth80 Hz

The examples of combined monaural beats and binaural beats presented in Tables 5 and 6 above further diverge from the previously-described methods by introducing the use of multiple synthesis frequencies to generate the beats themselves. For example, as set out in Table 5, the binaural beats may be synthesized at synthesis frequencies f and f+b and mixed into the left and right channels of the modified music signal620, while the monaural beats may be synthesized at frequencies 0.5f and 0.5f+b (or 0.25f and 0.25f+b) and layered over each other by the mixer into both stereo channels. This may in some embodiments require the use of more than two oscillators to generate the required number of different beat components: in this example, four beat components would be added to the music at f, f+b, 0.5f, and 0.5f+b (or 0.25f and 0.25f+b), requiring four beat components generated by four oscillators instead of simply a first beat component508and second beat component509. This use of more than two beat components may be applied in some embodiments to the generation of binaural or monaural beats on their own.

In further embodiments, the methods described above may further apply a high-pass filter to the unmodified music signal502to generate the first audio signal504and/or second audio signal506.

The various described methods may be carried out in real time (such as using an automated software or hardware system for analyzing and modifying audio data) or asynchronously (such as by using a digital audio workstation).

Thus, these integration methods leverage the already-existing frequencies of a music recording or live track and turn them into supporting elements for ABS.

As previously discussed, the methods described above may be implemented using audio processing hardware, software, and/or firmware.FIG.6illustrates a block diagram of an example audio processing device600for integrating auditory beat stimulation stimuli into music according to the methods described above.

InFIG.6, solid lines indicate communication of audio signal, whereas dashed lines indicated communication of data used by the device such as frequency spectrum data, root tone information, key information, and so on.

The device600receives the unmodified music signal502at an input601. The input601may be an audio input or a data input depending on the nature of the received music signal; for example, if the unmodified music signal502is in the form of a file stored on a storage medium (such as a (mono, stereo, binaural, ambisonic, or 5.1 audio file), the input601may be a system data bus or other data input, whereas if the unmodified music signal502is in the form of analog audio data (such as from a synthesizer, software instrument, or microphone input) the input601may be an analog audio input. Other embodiments of the input601are possible depending on the form of the unmodified music signal502and how it is received by the device600.

The input601conveys the received audio signal to both a mixer610and a key and root tone detector602.

The key and root tone detector602processes the audio in real-time and determines the composition's key. It determines harmonic root tones of the unmodified music signal502and their changes over time and maps these out before sending this data to the oscillator(s)608and the equalizer606. The key and root tone detector602may be implemented in different embodiments as a software module and/or a hardware module capable of determining the key and harmonic root tones of a music signal input.

The spectral analyzer604may in some embodiments be a real-time analyzer. It determines the lowest spectral range with a significant mix presence in the unmodified music signal502based on the audio signal received from the key and root tone detector602. This spectral data is then sent to both the oscillator(s)608and the equalizer606.

The oscillator(s)608may in some embodiments comprise two or more oscillators producing pure tone sine waves. They produce binaural and/or monaural beats in real-time or asynchronously. The gain of each oscillator608is relative to the amplitude of the unmodified music signal502, based on the data received from the key and root tone detector602and spectral analyzer604. The amplitude of the signal502may be determined differently in different embodiments: some embodiments may use the root-mean-squared (RMS) value of a set of samples, others may use the peak amplitude of a set of samples, and others may use other known averaging or aggregating techniques to determine the overall amplitude of the signal502. The oscillators608generate the beats using synthesis frequencies derived from the spectral, key, and root tone analysis of the unmodified music signal502according to the synthesis parameters shown in e.g. Tables 1, 3, and 5. For example, if the root tone detected by the key and root tone detector602is “F”, the oscillators608may synthesize an “F” tone that is within the lowest dominant frequency range determined by the spectral analyzer604.

The equalizer606received the audio signal from the spectral analyzer604and data from the key and root tone detector602and spectral analyzer604. It uses this data to apply the various filters to generate the first audio signal504and/or second audio signal506as set out in e.g. Tables 2, 4, and 6. The equalizer606applies a low-pass filter, high-pass filter (optional) and band-pass filters to the music signal, as described in detail above.

The mixer610combines the unmodified music signal502received from input601, the equalized/filtered signal(s) (e.g. first audio signal504and/or second audio signal506) received from the equalizer606, and the output of the oscillators608together and mixes it down to a combined mono or stereo modified music signal620. In some embodiments, the mix may be balanced evenly based on the ratio of peak to RMS amplitude values of the received signals. The mixer610then sends the modified music signal620to an output612, which may take any of a number of forms depending on the intended output format of the device600, such as a data output to write the music data to a storage medium or transmit it to another component, or an audio output such as speakers or headphones to present the music to a subject.

By generating one channel with a synthesis frequency equal to the root tone of the unmodified music signal, and a second channel with a synthesis frequency equal to the root tone shifted up or down in the frequency domain by an amount close to the frequency of one of the scale degrees of the song's key, the methods and devices described herein may be able to create modified music signals620containing monaural and/or binaural beats that are less noticeable and/or less dissonant to subjects.

Although the present disclosure may be described, at least in part, in terms of methods and devices, a person of ordinary skill in the art will understand that the present disclosure is also directed to the various components for performing at least some of the aspects and features of the described methods, be it by way of hardware components, software or any combination of the two. Accordingly, the technical solution of the present disclosure may be embodied in the form of a software product. A suitable software product may be stored in a pre-recorded storage device or other similar non-volatile or non-transitory computer- or processor-readable medium, including DVDs, CD-ROMs, USB flash disk, a removable hard disk, or other storage media, for example. The software product includes instructions tangibly stored thereon that enable a processing device (e.g., a personal computer, a server, or a network device) to execute examples of the methods or systems disclosed herein.

The skilled person will also appreciate that the output of the methods and devices described above, namely the modified music signal620with integrated ABS stimuli, may be stored as music data (such as an audio file) on a storage medium such as non-volatile or non-transitory computer- or processor-readable medium, including DVDs, CD-ROMs, USB flash disk, a removable hard disk, or other storage media. The music may also be stored on other digital or analog storage media appropriate for use in audio applications or audio playback or broadcast devices, such as cassette tapes, vinyl records, or any other storage medium for digital or analog music data.

In the described methods or block diagrams, the boxes may represent events, steps, functions, processes, modules, messages, and/or state-based operations, etc. While some of the above examples have been described as occurring in a particular order, it will be appreciated by persons skilled in the art that some of the steps or processes may be performed in a different order provided that the result of the changed order of any given step will not prevent or impair the occurrence of subsequent steps. Furthermore, some of the messages or steps described above may be removed or combined in other embodiments, and some of the messages or steps described above may be separated into a number of sub-messages or sub-steps in other embodiments. Even further, some or all of the steps may be repeated, as necessary. Elements described as methods or steps similarly apply to systems or subcomponents, and vice-versa. Reference to such words as “sending” or “receiving” could be interchanged depending on the perspective of the particular device.

The above discussed embodiments are considered to be illustrative and not restrictive. Example embodiments described as methods would similarly apply to systems, and vice-versa.

Variations may be made to some example embodiments, which may include combinations and sub-combinations of any of the above. The various embodiments presented above are merely examples and are in no way meant to limit the scope of this disclosure. Variations of the innovations described herein will be apparent to persons of ordinary skill in the art, such variations being within the intended scope of the present disclosure. In particular, features from one or more of the above-described embodiments may be selected to create alternative embodiments comprised of a sub-combination of features which may not be explicitly described above. In addition, features from one or more of the above-described embodiments may be selected and combined to create alternative embodiments comprised of a combination of features which may not be explicitly described above. Features suitable for such combinations and sub-combinations would be readily apparent to persons skilled in the art upon review of the present disclosure as a whole. The subject matter described herein intends to cover and embrace all suitable changes in technology.