INTERFACE(S) (ETC.) TO CORRECT MUSICIAN TIMING-DISTORTIONS AND OTHER LOSSES ARISING FORM USING HEADPHONES AND CLOSE MICROPHONE PLACEMENTS (ETC.)

摘要

This invention contributes towards restoring the natural "live feel" lost toheadphone monitoring and close microphone (and/or D.I.) techniques frequentlyused when musician(s) record (or overdub) in the studio. Techniques thateffectively remove or reduce distances (displacements) between musician(s),andmusician(s) and their amplifier/speaker systems, and timing reference(e.g. drummer) and, thus, lead to subtle timing-errors heard as unnaturalmusicaltensions and reduced separation (distinction) between instruments on playback;techniques that, also, eliminate expected room acoustics. This R3 (RestoreRoomRelationships) invention is not a 'sound effects' processor. In fact, the 'R3mode'allows a musician's 'sound effects' to sound just like they do listening viatheirinstrument amps speaker system, and so preserves the interactive 'vibe' inreal-timeand playback. An important feature is that the 'R3 mode' has no direct(i.e. no zero latency) signal-path(s). Another important feature is theintuitive easewith which musicians can restore complex interactive musical relationshipsvis-à-vis simply "tune back the vibe" when using 'R3 mode' headphones.This invention, also, eliminates the uncomfortable 'boxed in' feelingmusiciansexperience when using the headphone-jack on their amplifier to practice.The creative musical satisfaction derived by restoring displacements andexpectedroom acoustics when using the 'R3 mode' is nothing short of inspirational, intheopinion of the musician inventor Chris Davis; who sums up the R3 modeexperience as:"When you feel comfortable with your soundyou just create better music!"