PATENT DOCUMENT

Publication Number: US-7952012-B2
Application Number: US-50611109-A
Country: US
Kind Code: B2

Title: Adjusting a variable tempo of an audio file independent of a global tempo using a digital audio workstation

Abstract:
A computer implemented method allows a DAW to adjust a variable tempo of an audio file independent of a global tempo. The method includes causing the display of a musical arrangement having a global tempo. The musical arrangement includes an audio file having a variable tempo which is independent of the global tempo. The method includes adjusting the variable tempo of the audio file, wherein the variable tempo begins at an initial tempo and adjusts to an end tempo over a set length of time. The method can also include outputting the audio file having the variable tempo in response to a command to play the musical arrangement.

Claims:
1. A computer implemented method to adjust the tempo of an audio file using a digital audio workstation, the computer implemented method comprising, in a processor:
 causing the display of a musical arrangement having a global tempo, wherein the musical arrangement includes an audio file having a variable tempo which is independent of the global tempo; and 
 adjusting the variable tempo of the audio file, wherein the variable tempo begins at an initial tempo and adjusts to an end tempo over a set length of time. 
 
     
     
       2. The method of  claim 1 , further comprising outputting the audio file having the variable tempo in response to a command to play the musical arrangement. 
     
     
       3. The method of  claim 1 , wherein adjusting the variable tempo of the audio file includes resampling, so that the pitch and tempo of the audio file are linked. 
     
     
       4. The method of  claim 1 , wherein at least one of the initial tempo, the end tempo, and the set length of time is set in response to receiving a command. 
     
     
       5. The method of  claim 1 , further comprising causing the display of a graphical tempo adjustment line showing the initial tempo, the end tempo, and an adjustment between the initial tempo and end tempo. 
     
     
       6. The method of  claim 1 , wherein the adjustment between the initial tempo and end tempo occurs at one of a constant rate, an exponentially decreasing rate, and an exponentially increasing rate. 
     
     
       7. The method of  claim 1 , wherein one of the end tempo and the beginning tempo is equivalent to the global tempo. 
     
     
       8. A system to adjust the tempo of an audio file using a digital audio workstation, comprising:
 a display device; 
 an input device for navigating the display; and 
 a processor coupled to the display and the input device, the processor further adapted to:
 cause the display of an arrangement having a global tempo on the display device, wherein the arrangement includes an audio file having a variable tempo which is independent of the global tempo; and 
 adjust the variable tempo of the audio file, wherein the variable tempo begins at an initial tempo and adjusts to an end tempo over a set length of time. 
 
 
     
     
       9. The system of  claim 8 , further comprising the processor adapted to output the audio file having the variable tempo in response to a command to play the musical arrangement. 
     
     
       10. The system of  claim 8 , further comprising the processor adapted to adjust the variable tempo by resampling, so that the pitch and variable tempo of the audio file are linked. 
     
     
       11. The system of  claim 8 , wherein at least one of the initial tempo, the end tempo, and the set length of time is set in response to receiving a command. 
     
     
       12. The system of  claim 8 , further comprising the processor adapted to display a graphical tempo adjustment line. 
     
     
       13. The system of  claim 8 , wherein the processor adjusts the variable tempo of the audio file at one of a constant rate, an exponentially decreasing rate, and an exponentially increasing rate. 
     
     
       14. The system of  claim 8 , wherein one of the end tempo and the initial tempo is equivalent to the global tempo. 
     
     
       15. A computer program product for adjusting the tempo of an audio file using a digital audio workstation, comprising:
 a computer-readable medium; and 
 a processing module residing on the computer-readable medium and operative to:
 cause the display of an arrangement having a global tempo on a display module, wherein the arrangement includes an audio file having a variable tempo which is independent of the global tempo; and 
 adjust the variable tempo of the audio file, wherein the variable tempo begins at an initial tempo and adjusts to an end tempo over a set length of time. 
 
 
     
     
       16. The computer program product of  claim 15 , further comprising the processor module adapted to output the audio file having the variable tempo in response to a command to play the musical arrangement. 
     
     
       17. The computer program product of  claim 15 , further comprising the processor module adapted to adjust the variable tempo by resampling, so that the pitch and tempo of the audio file are linked. 
     
     
       18. The computer program product of  claim 15 , wherein at least one of the initial tempo, the end tempo, and the set length of time is set is response to receiving a command. 
     
     
       19. The computer program product of  claim 15 , further comprising the processor module adapted to cause the display of a graphical tempo adjustment line. 
     
     
       20. The computer program product of  claim 15 , further comprising the processor module adapted to adjust the tempo at one of a constant rate, an exponentially decreasing rate, and an exponentially increasing rate. 
     
     
       21. The computer program product of  claim 15 , wherein one of the end tempo and the beginning tempo is equivalent to the global tempo.

Description:
FIELD 
     The following relates to computing devices capable of and methods for arranging music, and more particularly to approaches for adjusting a variable tempo of an audio file independent of a global tempo in a digital audio workstation. 
     BACKGROUND 
     Artists can use software to create musical arrangements. This software can be implemented on a computer to allow an artist to write, record, edit, and mix musical arrangements. Typically, such software can allow the artist to arrange files on musical tracks in a musical arrangement. A computer that includes the software can be referred to as a digital audio workstation (DAW). The DAW can display a graphical user interface (GUI) to allow a user to manipulate files on tracks. The DAW can display each element of a musical arrangement, such as a guitar, microphone, or drums, on separate tracks. For example, a user may create a musical arrangement with a guitar on a first track, a piano on a second track, and vocals on a third track. The DAW can further break down an instrument into multiple tracks. For example, a drum kit can be broken into multiple tracks with the snare, kick drum, and hi-hat each having its own track. By placing each element on a separate track a user is able to manipulate a single track, without affecting the other tracks. For example, a user can adjust the volume or pan of the guitar track, without affecting the piano track or vocal track. As will be appreciated by those of ordinary skill in the art, using the GUI, a user can apply different effects to a track within a musical arrangement. For example, volume, pan, compression, distortion, equalization, delay, and reverb are some of the effects that can be applied to a track. 
     Typically, a DAW works with two main types of files: MIDI (Musical Instrument Digital Interface) files and audio files. MIDI is an industry-standard protocol that enables electronic musical instruments, such as keyboard controllers, computers, and other electronic equipment, to communicate, control, and synchronize with each other. MIDI does not transmit an audio signal or media, but rather transmits “event messages” such as the pitch and intensity of musical notes to play, control signals for parameters such as volume, vibrato and panning, cues, and clock signals to set the tempo. As an electronic protocol, MIDI is notable for its widespread adoption throughout the industry. 
     Using a MIDI controller coupled to a computer, a user can record MIDI data into a MIDI track. Using the DAW, the user can select a MIDI instrument that is internal to a computer and/or an external MIDI instrument to generate sounds corresponding to the MIDI data of a MIDI track. The selected MIDI instrument can receive the MIDI data from the MIDI track and generate sounds corresponding to the MIDI data which can be produced by one or more monitors or speakers. For example, a user may select a piano software instrument on the computer to generate piano sounds and/or may select a tenor saxophone instrument on an external MIDI device to generate saxophone sounds corresponding to the MIDI data. If MIDI data from a track is sent to an internal software instrument, this track can be referred to as an internal track. If MIDI data from a track is sent to an external software instrument, this track can be referred to as an external track. 
     Audio files are recorded sounds. An audio file can be created by recording sound directly into the system. For example, a user may use a guitar to record directly onto a guitar track or record vocals, using a microphone, directly onto a vocal track. As will be appreciated by those of ordinary skill in the art, audio files can be imported into a musical arrangement. For example, many companies professionally produce audio files for incorporation into musical arrangements. In another example, audio files can be downloaded from the Internet. Audio files can include guitar riffs, drum loops, and any other recorded sounds. Audio files can be in sound digital file formats such as WAV, MP3, M4A, and AIFF. Audio files can also be recorded from analog sources, including, but not limited to, tapes and records. 
     Using the DAW, a user can make tempo changes to a musical composition. The tempo changes affect MIDI tracks and audio tracks differently. In MIDI files, tempo and pitch can be adjusted independently of each other. For example, a MIDI track recorded at 100 bpm (beats per minute) can be adjusted to 120 bpm without affecting the pitch of samples played by the MIDI data. This occurs because the same samples are being triggered by the MIDI data at a faster rate by a clock signal. However, tempo changes to an audio file inherently adjust the pitch of the file as well. For example, if an audio file is sped up, the pitch of the sound goes up. Conversely, if an audio file is slowed, the pitch of the sound goes down. Conventional DAWs can use a process known as time stretching to adjust the tempo of audio while maintaining the original pitch. This process requires analysis and processing of the original audio file. Those of ordinary skill in the art will recognize that various algorithms and methods for adjusting the tempo of audio files while maintaining a consistent pitch can be used. 
     Conventional DAWs are limited in that a musical arrangement typically has a global tempo. In a conventional DAW, MIDI and audio files follow this global tempo. Conventional DAWs do not provide an audio file having a variable tempo that is independent of the global tempo of the musical arrangement. Similarly, conventional DAWs do not provide a graphical interface to set an initial tempo, end tempo, and/or set length of time for adjustment of the variable tempo of an audio file in the musical arrangement having the global tempo. 
     SUMMARY 
     A computer implemented method allows a user to adjust a variable tempo of an audio file independent of a global tempo of a musical arrangement. The method can include causing the display of a musical arrangement having a global tempo. The musical arrangement can include an audio file having a variable tempo which is independent of the global tempo. The method can then include adjusting the variable tempo of the audio file so that the variable tempo begins at an initial tempo and adjusts to an end tempo over a set length of time. In some embodiments, either the initial tempo or end tempo is equal to the global tempo. 
     Many other aspects and examples will become apparent from the following disclosure. 
    
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
       In order to facilitate a fuller understanding of the exemplary embodiments, reference is now made to the appended drawings. These drawings should not be construed as limiting, but are intended to be exemplary only. 
         FIG. 1  depicts a block diagram of a system having a DAW musical arrangement in accordance with an exemplary embodiment; 
         FIG. 2  depicts a screenshot of a GUI of a DAW displaying a musical arrangement including MIDI and audio tracks in accordance with an exemplary embodiment; 
         FIG. 3  depicts a screenshot of a GUI of a DAW displaying a musical arrangement including audio files, in which a first audio file has a fade-in variable tempo adjustment, a second audio file has a fade-out variable tempo adjustment, and a third and a fourth audio file having a cross-fade variable tempo adjustment in accordance with an exemplary embodiment; and 
         FIG. 4  illustrates a flow chart of a method for adjusting a variable tempo of an audio file independent of a global tempo of a musical arrangement in accordance with an exemplary embodiment. 
     
    
    
     DETAILED DESCRIPTION 
     The functions described as being performed at various components can be performed at other components, and the various components can be combined and/or separated. Other modifications also can be made. 
     Thus, the following disclosure ultimately will describe systems, computer readable media, devices, and methods for adjusting a variable tempo of an audio file independent of a global tempo in a musical arrangement using a digital audio workstation. Many other examples and other characteristics will become apparent from the following description. 
     Referring to  FIG. 1 , a block diagram of a system including a DAW in accordance with an exemplary embodiment is illustrated. As shown, the system  100  can include a computer  102 , one or more sound output devices  112 ,  114 , one or more MIDI controllers (e.g. a MIDI keyboard  104  and/or a drum pad MIDI controller  106 ), one or more instruments (e.g. a guitar  108 , and/or a microphone (not shown)), and/or one or more external MIDI devices  110 . As would be appreciated by one of ordinary skill in the art, the musical arrangement can include more or less equipment as well as different musical instruments. 
     The computer  102  can be a data processing system suitable for storing and/or executing program code, e.g., the software to operate the GUI which together can be referred to as a DAW. The computer  102  can include at least one processor, e.g., a first processor, coupled directly or indirectly to memory elements through a system bus. The memory elements can include local memory employed during actual execution of the program code, bulk storage, and cache memories that provide temporary storage of at least some program code in order to reduce the number of times code must be retrieved from bulk storage during execution. Input/output or I/O devices (including but not limited to keyboards, displays, pointing devices, etc.) can be coupled to the system either directly or through intervening I/O controllers. Network adapters may also be coupled to the system to enable the data processing system to become coupled to other data processing systems or remote printers or storage devices through intervening private or public networks. Modems, cable modem and Ethernet cards are just a few of the currently available types of network adapters. In one or more embodiments, the computer  102  can be a desktop computer or a laptop computer. 
     A MIDI controller is a device capable of generating and sending MIDI data. The MIDI controller can be coupled to and send MIDI data to the computer  102 . The MIDI controller can also include various controls, such as slides and knobs that can be assigned to various functions within the DAW. For example, a knob may be assigned to control the pan on a first track. Also, a slider can be assigned to control the volume on a second track. Various functions within the DAW can be assigned to a MIDI controller in this manner. The MIDI controller can also include a sustain pedal and/or an expression pedal. These can affect how a MIDI instrument plays MIDI data. For example, holding down a sustain pedal while recording MIDI data can cause an elongation of the length of the sound played if a piano software instrument has been selected for that MIDI track. 
     As shown in  FIG. 1 , the system  100  can include a MIDI keyboard  104  and/or a drum pad controller  106 . The MIDI keyboard  104  can generate MIDI data which can be provided to a device that generates sounds based on the received MIDI data. The drum pad MIDI controller  106  can also generate MIDI data and send this data to a capable device which generates sounds based on the received MIDI data. The MIDI keyboard  104  can include piano style keys, as shown. The drum pad MIDI controller  106  can include rubber pads. The rubber pads can be touch and pressure sensitive. Upon hitting or pressing a rubber pad, or pressing a key, the MIDI controller ( 104 , 106 ) generates and sends MIDI data to the computer  102 . 
     An instrument capable of generating electronic audio signals can be coupled to the computer  102 . For example, as shown in  FIG. 1 , an electrical output of an electric guitar  108  can be coupled to an audio input on the computer  102 . Similarly, an acoustic guitar  108  equipped with an electrical output can be coupled to an audio input on the computer  102 . In another example, if an acoustic guitar  108  does not have an electrical output, a microphone positioned near the guitar  108  can provide an electrical output that can be coupled with an audio input on the computer  102 . The output of the guitar  108  can be coupled to a pre-amplifier (not shown) with the pre-amplifier being coupled to the computer  102 . The pre-amplifier can boost the electronic signal output of the guitar  108  to acceptable operating levels for the audio input of computer  102 . If the DAW is in a record mode, a user can play the guitar  108  to generate an audio file. Popular effects such as chorus, reverb, and distortion can be applied to this audio file when recording and playing. 
     The external MIDI device  110  can be coupled to the computer  102 . The external MIDI device  110  can include a processor, e.g., a second processor which is external to the processor  102 . The external processor can receive MIDI data from an external MIDI track of a musical arrangement to generate corresponding sounds. A user can utilize such an external MIDI device  110  to expand the quality and/or quantity of available software instruments. For example, a user may configure the external MIDI device  110  to generate electric piano sounds in response to received MIDI data from a corresponding external MIDI track in a musical arrangement from the computer  102 . 
     The computer  102  and/or the external MIDI device  110  can be coupled to one or more sound output devices (e.g., monitors or speakers). For example, as shown in  FIG. 1 , the computer  102  and the external MIDI device  110  can be coupled to a left monitor  112  and a right monitor  114 . In one or more embodiments, an intermediate audio mixer (not shown) may be coupled between the computer  102 , or external MIDI device  110 , and the sound output devices, e.g., the monitors  112 ,  114 . The intermediate audio mixer can allow a user to adjust the volume of the signals sent to the one or more sound output devices for sound balance control. In other embodiments, one or more devices capable of generating an audio signal can be coupled to the sound output devices  112 ,  114 . For example, a user can couple the output from the guitar  108  to the sound output devices. 
     The one or more sound output devices can generate sounds corresponding to the one or more audio signals sent to them. The audio signals can be sent to the monitors  112 ,  114  which can require the use of an amplifier to adjust the audio signals to acceptable levels for sound generation by the monitors  112 ,  114 . The amplifier in this example may be internal or external to the monitors  112 ,  114 . 
     Although, in this example, a sound card is internal to the computer  102 , many circumstances exist where a user can utilize an external sound card (not shown) for sending and receiving audio data to the computer  102 . A user can use an external sound card in this manner to expand the number of available inputs and outputs. For example, if a user wishes to record a band live, an external sound card can provide eight (8) or more separate inputs, so that each instrument and vocal can each be recorded onto a separate track in real time. Also, disc jockeys (djs) may wish to utilize an external sound card for multiple outputs so that the dj can cross-fade to different outputs during a performance. 
     Referring to  FIG. 2 , a screenshot of a musical arrangement in a GUI of a DAW in accordance with an exemplary embodiment is illustrated. The musical arrangement  200  can include one or more tracks with each track having one or more of audio files or MIDI files. Generally, each track can hold audio or MIDI files corresponding to each individual desired instrument. As shown, the tracks are positioned horizontally. A playhead  220  moves from left to right as the musical arrangement is recorded or played. As one of ordinary skill in the art would appreciate, other tracks and playhead  220  can be displayed and/or moved in different manners. The playhead  220  moves along a timeline that shows the position of the playhead within the musical arrangement. The timeline indicates bars, which can be in beat increments. For example as shown, a four (4) beat increment in a 4/4 time signature is displayed on a timeline with the playhead  220  positioned between the thirty-third (33rd) and thirty-fourth (34th) bar of this musical arrangement. A transport bar  222  can be displayed and can include commands for playing, stopping, pausing, rewinding and fast-forwarding the displayed musical arrangement. For example, radio buttons can be used for each command. If a user were to select the play button on transport bar  222 , the playhead  220  would begin to move down the timeline, e.g., in a left to right fashion. 
     As shown, the lead vocal track,  202 , is an audio track. One or more audio files corresponding to a lead vocal part of the musical arrangement can be located on this track. In this example, a user has directly recorded audio into the DAW on the lead vocal track. The backing vocal track,  204 , is also an audio track. The backing vocal track  204  can contain one or more audio files having backing vocals in this musical arrangement. The electric guitar track  206  can contain one or more electric guitar audio files. The bass guitar track  208  can contain one or more bass guitar audio files within the musical arrangement. The drum kit overhead track  210 , snare track  212 , and kick track  214  relate to a drum kit recording. An overhead microphone can record the cymbals, hit-hat, cow bell, and any other equipment of the drum kit on the drum kit overhead track. The snare track  212  can contain one or more audio files of recorded snare hits for the musical arrangement. Similarly, the kick track  214  can contain one or more audio files of recorded bass kick hits for the musical arrangement. The electric piano track  216  can contain one or more audio files of a recorded electric piano for the musical arrangement. 
     The vintage organ track  218  is a MIDI track. Those of ordinary skill in the art will appreciate that the contents of the files in the vintage organ track  218  can be shown differently because the track contains MIDI data and not audio data. In this example, the user has selected an internal software instrument, a vintage organ, to output sounds corresponding to the MIDI data contained within this track  218 . A user can change the software instrument, for example to a trumpet, without changing any of the MIDI data in track  218 . Upon playing the musical arrangement the trumpet sounds would now be played corresponding to the MIDI data of track  218 . Also, a user can set up track  218  to send its MIDI data to an external MIDI instrument, as described above. 
     Each of the displayed audio and MIDI files in the musical arrangement as shown on screen  200  can be altered using the GUI. For example, a user can cut, copy, paste, or move an audio file or MIDI file on a track so that it plays at a different position in the musical arrangement. Additionally, a user can loop an audio file or MIDI file so that it is repeated, split an audio file or MIDI file at a given position, and/or individually time stretch an audio file for tempo, tempo and pitch, and/or tuning adjustments as described below. 
     Display window  224  contains information for the user about the displayed musical arrangement. As shown, the current tempo in bpm of the musical arrangement is set to 120 bpm. The position of playhead  220  is shown to be at the thirty-third (33rd) bar beat four (4) in the display window  224 . Also, the position of the playhead  220  within the song is shown in minutes, seconds etc. 
     Tempo changes to a musical arrangement can affect MIDI tracks and audio tracks differently. In MIDI files, tempo and pitch can be adjusted independently of each other. For example, a MIDI track recorded at 100 bpm (beats per minute) can be adjusted to 120 bpm without affecting the pitch of the sound generators played by the MIDI data. This occurs because the same sound generators are being triggered by the MIDI data, they are just being triggered faster in time. In order to change the tempo of the MIDI file, the signal clock of the relevant MIDI data is changed. However, tempo changes to an audio file inherently adjust the pitch of the file as well. For example, if an audio file is sped up, the pitch of the sound goes up. Similarly, if an audio file is slowed, the pitch of the sound goes down. 
     In regards to digital audio files, one way that a DAW can change the duration of an audio file to match a new tempo is to resample it. This is a mathematical operation that effectively rebuilds a continuous waveform from its samples and then samples that waveform again at a different rate. When the new samples are played at the original sampling frequency, the audio clip sounds faster or slower. In this method, the frequencies in the sample are scaled at the same rate as the speed, transposing its perceived pitch up or down in the process. In other words, slowing down the recording lowers the pitch, speeding it up raises the pitch. Thus, using resampling, the pitch and tempo of an audio are linked. 
     A DAW can use a process known as time stretching to adjust the tempo of audio while maintaining the original pitch. This process requires analysis and processing of the original audio file. Those of ordinary skill in the art will recognize that various algorithms and methods for adjusting the tempo of audio files while maintaining a consistent pitch can be used. 
     One way that a DAW can stretch the length of an audio file without affecting the pitch is to utilize a phase vocoder. The first step in time-stretching an audio file using this method is to compute the instantaneous frequency/amplitude relationship of the audio file using the Short-Time Fourier Transform (STFT), which is the discrete Fourier transform of a short, overlapping and smoothly windowed block of samples. The next step is to apply some processing to the Fourier transform magnitudes and phases (like resampling the FFT blocks). The third step is to perform an inverse STFT by taking the inverse Fourier transform on each chunk and adding the resulting waveform chunks. 
     The phase vocoder technique can also be used to perform pitch shifting, chorusing, timbre manipulation, harmonizing, and other modifications, all of which can be changed as a function of time. 
     Another method that can be used for time shifting audio regions is known as time domain harmonic scaling. This method operates by attempting to find the period (or equivalently the fundamental frequency) of a given section of the audio file using a pitch detection algorithm (commonly the peak of the audio file&#39;s autocorrelation, or sometimes cepstral processing), and cross-fade one period into another. 
     The DAW can combine the two techniques (for example by separating the signal into sinusoid and transient waveforms), or use other techniques based on the wavelet transform, or artificial neural network processing, for example, for time stretching. Those of ordinary skill in the art will recognize that various algorithms and combinations thereof for time stretching audio files based on the content of the audio files and desired output can be used by the DAW. 
       FIG. 3  illustrates a screenshot of a GUI of a DAW displaying a musical arrangement including audio files, in which a first audio file has a fade-in variable tempo adjustment, a second audio file has a fade-out variable tempo adjustment, and a third and fourth audio file have a cross-fade variable tempo adjustment in accordance with an exemplary embodiment. The screenshot  300  includes a timeline for the displayed musical arrangement. Specifically, the GUI allows the user to selectively set an initial tempo, end tempo, and set time of length for a variable tempo adjustment of each displayed audio file. In the exemplary musical arrangement of  FIG. 3 , a second Audio Track,  302 , contains four audio files related to a club dance beat. A third Audio Track,  304 , contains one audio file related to a contemplative synth. The musical arrangement of  FIG. 3  includes a global tempo  306 , which is shown on screen  300  as 120.00 bpm. The global tempo can be modified. Those of ordinary skill in the art would recognize various methods for changing the global tempo  306 , such as utilizing plus minus buttons (not shown) or manually entering a desired global tempo with computer input device such as a mouse and/or keyboard (not shown). 
     As shown in  FIG. 3 , the GUI displays an exponential fade-in curve to control the variable tempo of the first audio file  308 . The exponential fade-in curve for adjusting the variable tempo includes an initial tempo  310  of 0 bpm and an end tempo  312  that is equivalent to the global tempo (120 bpm). The exponential fade-in curve for adjusting the variable tempo of the first audio file  308  has a set time length of 2 bars, beginning at bar  2  and ending at bar  4  on the timeline. Those of ordinary skill in the art would recognize that other units of time, for example seconds, can be used for the set time length of any variable tempo adjustment. 
     A user can set the initial tempo, end tempo, and/or set length of time by use of an input device such as a mouse. A user can select a fade tool function, e.g. selecting the function from a menu with a mouse. Then the user can drag a rubber band box, using the fade tool, over a selected area of an audio file to set the initial tempo, end tempo, and/or set length of time. Additionally, a user can modify the curve of a fade by grabbing and moving a displayed tempo adjustment line. The DAW can adjust the curve of the tempo adjustment line by curve fitting based on a selected position by a user. For example, using a mouse, a user can drag and adjust the tempo adjustment line and the DAW displays the resulting curved tempo adjustment line based on a position of the initial tempo, position of the end tempo, and position of the mouse cursor. 
     For example, a user can drag a box, e.g. a rubber band box, over the beginning of the first audio file to a desired variable tempo fade-in position on the first audio file. Upon creating this box, the DAW can set the initial tempo, end tempo, and/or set length of time. Additionally, a user can then further fine tune the initial tempo, end tempo, and/or set length of time. For example a user can manually enter values for a set length of time and a curvature desired for a given audio file as shown in box  332 . Furthermore, a user can then adjust the tempo fade-in curve of the first audio file to be a constant rate, exponential increasing rate, or exponential decreasing rate, for example. The DAW can allow other adjustment rates and combinations thereof. In  FIG. 3 , the screenshot illustrates an exponential decreasing fade-in variable tempo adjustment for the first audio file. A user can adjust the fade-in rate of the variable tempo by grabbing the displayed tempo adjust line  334  and moving to adjust curvature (not shown). A user can adjust a position of the initial tempo, a position of the end tempo, and/or the set length of time by clicking and dragging a portion of the tempo adjustment line along a timeline. A DAW can allow other methods of adjusting the rate of adjustment of the variable tempo of the first audio file as well. 
     Upon receiving a command to play the musical arrangement, the DAW can play all files in the arrangement according to the global tempo, except the audio files that have variable tempo adjustment fades. For example, the first audio file  308  includes an exponential decreasing tempo fade-in as shown. The DAW can use a resampling algorithm, as described above, to alter the variable tempo of the first audio file. In this example, the pitch of the first audio file will start at a low value corresponding to the initial tempo and the pitch will increase until the end tempo is reached. In this example, upon reaching the end tempo, the first audio file will play at its original pitch. This can cause the DAW to play the first audio file similar to a classic tape varispeed speed-in effect. The DAW can utilize other tempo-adjusting algorithms as well. 
     Furthermore, as shown in  FIG. 3 , a user can create a linear tempo fade-out adjustment to control the variable tempo of the second audio file  314 . The linear tempo fade-out adjustment includes an initial tempo  316  that is equivalent to the global tempo (120 bpm) and an end tempo  318 , of 0 bpm. The linear fade-out for adjusting the variable tempo of the second audio file  314  has a set time length of 2 beats (half a bar), beginning at a second beat of bar  7  and ending at a fourth beat of bar  7 . As described above, a user can modify the tempo fade-out adjustment for the second audio file  314  to be linear, exponential increasing, or exponential decreasing, for example. A user can drag a box over the end of the second audio file to create a desired fade-out tempo adjustment for the second audio file. As described above, a user can implement other methods for setting the initial tempo, end tempo, and/or set length of time for a variable tempo adjustment. 
     Upon receiving a command to play the musical arrangement, the DAW can play the arrangement according to the global tempo, but output the second audio file according to the variable tempo corresponding to the linear tempo fade-out as shown. The DAW can use a resampling algorithm, as described above, to alter the variable tempo of the second audio file. In this example, the pitch of the second audio file will start at an original pitch corresponding to the initial tempo and the pitch will decrease until the end tempo is reached. In this example, as approaching the end tempo, the second audio file can go down in pitch. This can cause the DAW to play the second audio file similar to a classic tape varispeed speed-down effect. 
     Furthermore, as shown in  FIG. 3 , a user can create a linear tempo cross-fade adjustment to control the variable tempo of the third audio file  320  and fourth audio file  326 . The cross-fade tempo adjustment in this example is actually a linear tempo fade-out adjustment applied to the third audio file  320 , overlapped with a linear tempo fade-in adjustment applied to the fourth audio file  326 . The linear tempo fade-out of the third audio file includes an initial tempo  322  that is equivalent to the global tempo (120 bpm) and an end tempo  324 , of 0 bpm. The linear tempo fade-in of the fourth audio file includes an initial tempo  328 , of 0 bpm, and an end tempo  330  that is equivalent to the global tempo (120 bpm). The tempo fade-out of the third audio file  320 , overlapped with the tempo fade-in of the fourth audio file  326  creates a tempo cross-fade. 
     The cross-fade of variable tempo between the third audio  320  and fourth audio file  326  file has a set time length of 1 bar (4 beats), beginning at a second beat of bar  12  and ending at a second beat of bar  13 . A user can modify the tempo cross-fade adjustment between the third audio file  320  and the fourth audio file  326  to be linear, exponential increasing, or exponential decreasing, for example. The DAW can implement other patterns for adjustment for such a cross-fade tempo adjustment. 
     Upon receiving a command to play the musical arrangement, the DAW can play the arrangement according to the global tempo, but output the third and fourth audio file according to the variable tempo corresponding to the linear tempo cross-fade as shown for the third and fourth audio file. The DAW can use a resampling algorithm, as described above, to alter the variable tempo of the third and fourth audio file. In this example, the pitch of the third audio file will start at an original pitch corresponding to the initial tempo and the pitch will decrease until the end tempo is reached. Furthermore, in the example, the pitch of the fourth audio file will start at a low value and increase to an original pitch when the end tempo for the fourth audio file is reached. This can cause the DAW to play the third and fourth audio files with a classic tape varispeed cross-fade speed-down/speed-up effect. The DAW can perform variable tempo adjustments with any known method for adjusting tempo of an audio file. 
     Referring to  FIG. 4 , a flow chart of a method for adjusting a variable tempo of an audio file independent of a global tempo in a musical arrangement in accordance with an exemplary embodiment is illustrated. The exemplary method  400  is provided by way of example, as there are a variety of ways to carry out the method. In one or more embodiments, the method  400  is performed by the computer  102  of  FIG. 1 . The method  400  can be executed or otherwise performed by one or a combination of various systems. The method  400  described below can be carried out using the devices illustrated in  FIG. 1  by way of example, and various elements of this figure are referenced in explaining exemplary method  400 . Each block shown in  FIG. 400  represents one or more processes, methods or subroutines carried out in exemplary method  400 . The exemplary method  400  can begin at block  402 . 
     At block  402 , a musical arrangement with a global tempo and one or more audio files with a variable independent tempo is displayed. For example, the computer  102 , e.g., processor, causes the display of the musical arrangement with a global tempo and the audio file with a variable independent tempo. In another example, a display module residing on a computer-readable medium can display the musical arrangement with a global tempo and the audio file with a variable independent tempo. After displaying the musical arrangement, the method  400  can proceed to block  404 . 
     At block  404 , the variable tempo of an audio file can be adjusted. The variable tempo of the audio file can include an initial tempo, an end tempo, and a set length of time for adjustment. For example, dragging a graphical box over an audio file including a variable tempo can allow a user to enter a desired initial tempo, end tempo, and/or set length of time for adjusting the tempo of the audio file, independent of the global tempo of the arrangement. In one example, the initial tempo and end tempo are pre-defined. For example an initial tempo can be pre-defined as 0 bpm and the end tempo can be pre-defined as equal to the global tempo for a tempo fade-in. For a tempo fade-out, the initial tempo can be pre-defined as equal to the global tempo and the end tempo can be pre-defined as 0 bpm. Dragging a graphical box over an intersection of two audio files can allow a user to enter a tempo cross-fade, i.e. initial tempo, end tempo, and/or set length of time for fading out one of the audio files and allow a user to enter a different initial tempo, end tempo and/or set length of time for the other audio file. These adjustments overlapping create a tempo cross-fade as described above. 
     A tempo adjustment can be at an exponentially decreasing rate, exponentially increasing rate, or a constant (linear) rate. The DAW can implement other rates for variable tempo adjustment of an audio file. 
     The processor or a processor module can display a GUI to illustrate tempo adjustments that will be applied to audio files in a musical arrangement upon receiving a play command, as shown in  FIG. 3 . The DAW can display these adjustments by utilizing a graphical tempo adjustment line as shown in  FIG. 3 . In this figure a user has set an initial tempo, end tempo (which is equal to the global tempo), and set time of length to create a fade-in tempo adjustment for a first audio file  308  at an exponentially decreasing rate. In  FIG. 3  a user has set an initial tempo (which is equal to the global tempo), end tempo, and set time of length to create a fade-out tempo adjustment for a second audio file  314  at a constant (linear) rate. In  FIG. 3  a user has created a cross-fade tempo adjustment between a third audio file  320  and a fourth audio file  326 . 
     At block  406 , upon receiving a play command, the method can include outputting the musical arrangement according to a global tempo and outputting each audio file including a variable tempo that is independent of the global tempo. For example, the DAW can output each audio file including a variable tempo by utilizing a resampling algorithm creating classic tape varispeed effects. In such an implementation, the pitch and tempo of each audio file including a variable tempo adjustment would be linked. The DAW can utilize other algorithms for audio tempo adjustment. 
     The technology can take the form of an entirely hardware embodiment, an entirely software embodiment or an embodiment containing both hardware and software elements. In one embodiment, the invention is implemented in software, which includes but is not limited to firmware, resident software, microcode, etc. Furthermore, the invention can take the form of a computer program product accessible from a computer-usable or computer-readable medium providing program code for use by or in connection with a computer or any instruction execution system. For the purposes of this description, a computer-usable or computer readable medium can be any apparatus that can contain, store, communicate, propagate, or transport the program for use by or in connection with the instruction execution system, apparatus, or device. The medium can be an electronic, magnetic, optical, electromagnetic, infrared, or semiconductor system (or apparatus or device) or a propagation medium (though propagation mediums in and of themselves as signal carriers are not included in the definition of physical computer-readable medium). Examples of a physical computer-readable medium include a semiconductor or solid state memory, magnetic tape, a removable computer diskette, a random access memory (RAM), a read-only memory (ROM), a rigid magnetic disk and an optical disk. Current examples of optical disks include compact disk-read only memory (CD-ROM), compact disk-read/write (CD-R/W) and DVD. Both processors and program code for implementing each as aspect of the technology can be centralized and/or distributed as known to those skilled in the art. 
     The above disclosure provides examples and aspects relating to various embodiments within the scope of claims, appended hereto or later added in accordance with applicable law. However, these examples are not limiting as to how any disclosed aspect may be implemented, as those of ordinary skill can apply these disclosures to particular situations in a variety of ways.

Metadata:
Filing Date: 20090720
Publication Date: 20110531
Grant Date: 20110531
Priority Date: 20090720
Inventors: HOMBURG CLEMENS
Assignee: APPLE INC
CPC Classifications: [{"code": "G10H2210/241", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H1/40", "inventive": true, "first": true, "tree": "[]"}, {"code": "G10H2220/005", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H1/0066", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H2250/161", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2220/086", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2250/631", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2210/391", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2210/241", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2250/161", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2220/086", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H2250/631", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H1/0091", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H7/04", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H2210/391", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H1/40", "inventive": true, "first": true, "tree": "[]"}, {"code": "G10H1/0091", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H2220/116", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H7/04", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H2220/005", "inventive": false, "first": false, "tree": "[]"}, {"code": "G10H1/0066", "inventive": true, "first": false, "tree": "[]"}, {"code": "G10H2220/116", "inventive": false, "first": false, "tree": "[]"}]
Family ID: 43464353