Victor Hardy Attorney Austin Texas discusses 8 player audio program segments and why the construction of 'selected audio program segments' is necessary to give meaning to claims.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
Sound recording glossary by Liam Oven for Unit 73ItsLiamOven
The document provides definitions for various terms related to sound design and production. It includes a glossary with definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, audio limitations involving things like sound processor units and digital sound processors, audio recording systems involving analogue, digital mini disc and compact disc formats, MIDI, and software sequencers. For each term, the student provided a short definition from an online source as well as their own thoughts on how the term relates to their production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
Kyle Fielding produced a glossary of terms related to sound design and production for a games design course. The glossary contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like .mp3, audio hardware limitations such as sound processor units and digital sound processors, and audio techniques including mono, stereo, and surround sound. Kyle explained how each term is relevant to his own production practice, such as using sound libraries to organize sounds and common file formats when saving and opening files.
1. The document provides definitions for various audio and sound design terms, sourced from online research.
2. Definitions include formats like .wav, .aiff, and .mp3, concepts like lossy compression, and hardware like sound cards and digital signal processors.
3. It also defines audio recording and playback systems from analogue to digital, surround sound, and direct audio using pulse code modulation.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
This document contains a glossary of terms related to sound design and production. It defines terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo audio, audio recording systems like analog and digital, MIDI, software sequencers, plugins, and MIDI keyboard instruments. For each term, it provides a short definition and URL source, as well as describing the relevance of the term to the author's own production practice, such as using .wav files and mono audio when editing sounds, and using MIDI for creating custom music tracks.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
Sound recording glossary by Liam Oven for Unit 73ItsLiamOven
The document provides definitions for various terms related to sound design and production. It includes a glossary with definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, audio limitations involving things like sound processor units and digital sound processors, audio recording systems involving analogue, digital mini disc and compact disc formats, MIDI, and software sequencers. For each term, the student provided a short definition from an online source as well as their own thoughts on how the term relates to their production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
Kyle Fielding produced a glossary of terms related to sound design and production for a games design course. The glossary contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like .mp3, audio hardware limitations such as sound processor units and digital sound processors, and audio techniques including mono, stereo, and surround sound. Kyle explained how each term is relevant to his own production practice, such as using sound libraries to organize sounds and common file formats when saving and opening files.
1. The document provides definitions for various audio and sound design terms, sourced from online research.
2. Definitions include formats like .wav, .aiff, and .mp3, concepts like lossy compression, and hardware like sound cards and digital signal processors.
3. It also defines audio recording and playback systems from analogue to digital, surround sound, and direct audio using pulse code modulation.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
This document contains a glossary of terms related to sound design and production. It defines terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo audio, audio recording systems like analog and digital, MIDI, software sequencers, plugins, and MIDI keyboard instruments. For each term, it provides a short definition and URL source, as well as describing the relevance of the term to the author's own production practice, such as using .wav files and mono audio when editing sounds, and using MIDI for creating custom music tracks.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source as well as how the term relates to his own production practice, such as recording sounds for editing and using different file formats.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for 18 terms researched by the student, including Foley artistry, sound libraries, uncompressed and lossy audio file formats (wav, aiff, mp3), limitations of audio hardware, mono and stereo audio, pulse code modulation (PCM), analog and digital audio recording systems, and surround sound. For each term, the student provides a short definition from an online source as well as their thoughts on how the term relates to their own production practice.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, compressed formats like .mp3, audio hardware like sound processors and digital sound processors, audio limitations like mono and stereo sound, audio recording systems like analog, digital, compact discs, digital audio tape, and MIDI. It also defines software sequencers and plug-ins. For each term, it gives a short definition and references the source URL. It sometimes provides additional details on how the term relates to the author's own production practice.
The document is a glossary created by Joshua Gillespie for a games design course. It contains definitions of various audio and sound design terms. Joshua researched definitions online and provided the URL sources. He also described how each term relates to his own production work creating sounds for a game. The glossary covers areas like foley artistry, sound file formats, audio limitations, recording systems, MIDI, sampling and more.
This document is a glossary produced by a student at Salford City College for a BTEC Extended Diploma in Games Design unit on sound for computer games. It contains definitions of over 20 key terms related to sound design and production that were researched from online sources. For each term, the student provided a short definition from their research along with a URL source, and also described how the term relates to their own production practice.
The document is a glossary produced by Cameron McRae for a BTEC Extended Diploma in Games Design course. It contains definitions and explanations of various audio and sound design terms. McRae provides researched definitions from online sources and describes how each term relates to their own production practice. The glossary covers topics such as sound file formats, audio limitations, audio recording systems, MIDI, audio sampling, and software used for audio editing and production.
This document discusses adding effects to audio recordings using virtual studio technology. It notes that effects can be added by double clicking an audio file and selecting from a variety of effect options, allowing the user to manipulate aspects of the audio like tempo and bass.
This document contains a glossary of terms related to sound design and production for a games design course. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations involving sound cards and processors, and other concepts. For each term, it gives a short definition from an online source and asks the student to describe how the term relates to their own production practice.
The document is a glossary assignment for a games design course requiring research and definitions of audio terms related to sound design and production. It includes over 20 terms defined with URLs for supporting information. For many terms, the student also provides details on how the term relates to their own production work, such as using MIDI keyboards and software to create and edit soundtracks, and having the option to output audio files in different formats like .wav and .mp3.
This document is a glossary assignment for a games design course requiring research and definitions of sound design and production terms. It includes over 20 terms defined with URLs citing their sources. For some terms, the student provides additional details on how the term relates to their own production practice, such as using compression to reduce file sizes or recording foley sounds.
1. The document is a glossary of terms related to sound design and production for computer games created by Joshua Crooke. It contains definitions of terms researched from various websites and describes how some of the terms relate to Joshua's own production practice.
2. The glossary includes terms like foley artistry, sound libraries, audio file formats (wav, aiff), audio limitations (sound processor unit, digital sound processor, RAM), mono/stereo audio, surround sound, audio recording systems (analogue, MIDI), software plug-ins, and constraints on audio sampling like bit-depth and sample rate.
3. Joshua recorded sound effects using an analogue recording system and edited sounds using software plug-ins in
The document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their production practice. It includes definitions for over 20 terms related to sound design, formats, limitations, recording systems, MIDI, sampling and more. Each term defines provided with a short definition and URL source, and the student describes how the term relates to their own work producing audio for games.
The document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their production practice. It includes definitions for over 20 terms related to sound design methodology, file formats, audio limitations, recording systems, MIDI, sampling and more. Each definition includes a short description and URL source. The student provides a brief explanation of how each term relates to their own work producing audio for games.
1. The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, limitations of audio hardware, recording systems, sampling constraints, and more.
2. For each term, it provides a short definition from an online source along with a description of how the term relates to the student's own production practice.
3. The glossary is intended to help the student research and understand foundational concepts in sound design as part of their study of a BTEC extended diploma in games design.
1. The document provides definitions for sound design and audio production terms as part of an assignment to create a glossary.
2. The student was asked to research definitions of provided terms and relate each definition to their own production practice.
3. Terms researched included foley artistry, sound libraries, audio file formats like .wav and .aiff, audio limitations regarding hardware, audio recording systems, MIDI, audio sampling concepts like bit depth and sample rate, and other audio software and hardware terms.
The document is a glossary assignment for a games design course requiring students to research and define terms related to sound design and production. It includes over 30 terms defined with URLs for sources. Some key terms defined include foley artistry, sound libraries, uncompressed and compressed audio file formats like .wav and .mp3, limitations of early game audio hardware, analog and digital audio recording systems, MIDI, sampling concepts like bit depth and sample rate, and plug-ins. The student provides their own production experience for some terms.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like mp3, audio hardware limitations, recording systems, MIDI, software sequencers, plugins, sampling, and more. For each term, it gives a short definition from an online source as well as how the term relates to the author's own production practice using Reaper for sound design work.
This document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their own production practice. It contains definitions for over 30 terms related to sound design, file formats, limitations, recording systems, MIDI, sampling and more. Each term includes a short internet definition sourced by URL and a brief description by the student of how the term relates to their own work, such as using sound libraries and file formats in the Reaper software.
This document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations regarding mono/stereo sound, audio recording systems, MIDI, software sequencers, and considerations for audio sampling like bit-depth and sample rate. Each term's definition includes a short description and a citation of the source. Accompanying each definition is a brief explanation from the student of how the term relates to their own production work.
The document is a glossary assignment for a games design course requiring the student to research terms related to sound design and production. It includes definitions for over 20 terms sourced from online references. For each term, the student provides a short definition and URL source, and describes how the term relates to their own production practice, such as using uncompressed audio formats, lossy compression to reduce file sizes, and mono/stereo audio.
Podcasting sfrome2011 by Maria Grazia Bovo (FAO)ShareFair
The document discusses podcasting, including how to create, publish, and listen to podcasts. It provides details on key elements like storage and bandwidth requirements. It then presents a case study of how the Food and Agriculture Organization uses podcasting to produce and distribute audio recordings of conference and council sessions within 24 hours. FAO's system involves specialized recording hardware and software to capture high quality audio across multiple channels simultaneously and make the files available online through an RSS feed.
The document provides a template for Lewis Brady to complete a glossary of sound design and production terms. It instructs him to research definitions for provided terms, cite the sources, and describe how the terms relate to his own production practice. Lewis provides researched definitions and URLs for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware and software like MIDI, and more. He describes how each term is relevant to his own work in areas like game production, soundcloud, and file types he commonly uses.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source as well as how the term relates to his own production practice, such as recording sounds for editing and using different file formats.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for 18 terms researched by the student, including Foley artistry, sound libraries, uncompressed and lossy audio file formats (wav, aiff, mp3), limitations of audio hardware, mono and stereo audio, pulse code modulation (PCM), analog and digital audio recording systems, and surround sound. For each term, the student provides a short definition from an online source as well as their thoughts on how the term relates to their own production practice.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, compressed formats like .mp3, audio hardware like sound processors and digital sound processors, audio limitations like mono and stereo sound, audio recording systems like analog, digital, compact discs, digital audio tape, and MIDI. It also defines software sequencers and plug-ins. For each term, it gives a short definition and references the source URL. It sometimes provides additional details on how the term relates to the author's own production practice.
The document is a glossary created by Joshua Gillespie for a games design course. It contains definitions of various audio and sound design terms. Joshua researched definitions online and provided the URL sources. He also described how each term relates to his own production work creating sounds for a game. The glossary covers areas like foley artistry, sound file formats, audio limitations, recording systems, MIDI, sampling and more.
This document is a glossary produced by a student at Salford City College for a BTEC Extended Diploma in Games Design unit on sound for computer games. It contains definitions of over 20 key terms related to sound design and production that were researched from online sources. For each term, the student provided a short definition from their research along with a URL source, and also described how the term relates to their own production practice.
The document is a glossary produced by Cameron McRae for a BTEC Extended Diploma in Games Design course. It contains definitions and explanations of various audio and sound design terms. McRae provides researched definitions from online sources and describes how each term relates to their own production practice. The glossary covers topics such as sound file formats, audio limitations, audio recording systems, MIDI, audio sampling, and software used for audio editing and production.
This document discusses adding effects to audio recordings using virtual studio technology. It notes that effects can be added by double clicking an audio file and selecting from a variety of effect options, allowing the user to manipulate aspects of the audio like tempo and bass.
This document contains a glossary of terms related to sound design and production for a games design course. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations involving sound cards and processors, and other concepts. For each term, it gives a short definition from an online source and asks the student to describe how the term relates to their own production practice.
The document is a glossary assignment for a games design course requiring research and definitions of audio terms related to sound design and production. It includes over 20 terms defined with URLs for supporting information. For many terms, the student also provides details on how the term relates to their own production work, such as using MIDI keyboards and software to create and edit soundtracks, and having the option to output audio files in different formats like .wav and .mp3.
This document is a glossary assignment for a games design course requiring research and definitions of sound design and production terms. It includes over 20 terms defined with URLs citing their sources. For some terms, the student provides additional details on how the term relates to their own production practice, such as using compression to reduce file sizes or recording foley sounds.
1. The document is a glossary of terms related to sound design and production for computer games created by Joshua Crooke. It contains definitions of terms researched from various websites and describes how some of the terms relate to Joshua's own production practice.
2. The glossary includes terms like foley artistry, sound libraries, audio file formats (wav, aiff), audio limitations (sound processor unit, digital sound processor, RAM), mono/stereo audio, surround sound, audio recording systems (analogue, MIDI), software plug-ins, and constraints on audio sampling like bit-depth and sample rate.
3. Joshua recorded sound effects using an analogue recording system and edited sounds using software plug-ins in
The document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their production practice. It includes definitions for over 20 terms related to sound design, formats, limitations, recording systems, MIDI, sampling and more. Each term defines provided with a short definition and URL source, and the student describes how the term relates to their own work producing audio for games.
The document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their production practice. It includes definitions for over 20 terms related to sound design methodology, file formats, audio limitations, recording systems, MIDI, sampling and more. Each definition includes a short description and URL source. The student provides a brief explanation of how each term relates to their own work producing audio for games.
1. The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, limitations of audio hardware, recording systems, sampling constraints, and more.
2. For each term, it provides a short definition from an online source along with a description of how the term relates to the student's own production practice.
3. The glossary is intended to help the student research and understand foundational concepts in sound design as part of their study of a BTEC extended diploma in games design.
1. The document provides definitions for sound design and audio production terms as part of an assignment to create a glossary.
2. The student was asked to research definitions of provided terms and relate each definition to their own production practice.
3. Terms researched included foley artistry, sound libraries, audio file formats like .wav and .aiff, audio limitations regarding hardware, audio recording systems, MIDI, audio sampling concepts like bit depth and sample rate, and other audio software and hardware terms.
The document is a glossary assignment for a games design course requiring students to research and define terms related to sound design and production. It includes over 30 terms defined with URLs for sources. Some key terms defined include foley artistry, sound libraries, uncompressed and compressed audio file formats like .wav and .mp3, limitations of early game audio hardware, analog and digital audio recording systems, MIDI, sampling concepts like bit depth and sample rate, and plug-ins. The student provides their own production experience for some terms.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like mp3, audio hardware limitations, recording systems, MIDI, software sequencers, plugins, sampling, and more. For each term, it gives a short definition from an online source as well as how the term relates to the author's own production practice using Reaper for sound design work.
This document is a glossary assignment for a games design course requiring the student to research and define audio terms and relate them to their own production practice. It contains definitions for over 30 terms related to sound design, file formats, limitations, recording systems, MIDI, sampling and more. Each term includes a short internet definition sourced by URL and a brief description by the student of how the term relates to their own work, such as using sound libraries and file formats in the Reaper software.
This document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations regarding mono/stereo sound, audio recording systems, MIDI, software sequencers, and considerations for audio sampling like bit-depth and sample rate. Each term's definition includes a short description and a citation of the source. Accompanying each definition is a brief explanation from the student of how the term relates to their own production work.
The document is a glossary assignment for a games design course requiring the student to research terms related to sound design and production. It includes definitions for over 20 terms sourced from online references. For each term, the student provides a short definition and URL source, and describes how the term relates to their own production practice, such as using uncompressed audio formats, lossy compression to reduce file sizes, and mono/stereo audio.
Podcasting sfrome2011 by Maria Grazia Bovo (FAO)ShareFair
The document discusses podcasting, including how to create, publish, and listen to podcasts. It provides details on key elements like storage and bandwidth requirements. It then presents a case study of how the Food and Agriculture Organization uses podcasting to produce and distribute audio recordings of conference and council sessions within 24 hours. FAO's system involves specialized recording hardware and software to capture high quality audio across multiple channels simultaneously and make the files available online through an RSS feed.
The document provides a template for Lewis Brady to complete a glossary of sound design and production terms. It instructs him to research definitions for provided terms, cite the sources, and describe how the terms relate to his own production practice. Lewis provides researched definitions and URLs for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware and software like MIDI, and more. He describes how each term is relevant to his own work in areas like game production, soundcloud, and file types he commonly uses.
Shaun Warburton produced a glossary of sound design and production terms. He researched definitions from online sources and described how each term relates to his own production practice. Some key terms he defined and related to his work include foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, lossy compression formats like .mp3, limitations of early sound technology like Sound Processor Units, and digital audio recording systems like MIDI keyboards.
The document provides definitions for key terms related to sound design and production. It includes a template for the student, Lewis Brady, to research definitions of glossary terms and describe their relevance to his own production practice. He provides definitions for 15 terms from sources like Wikipedia, along with brief explanations of how some of the terms like Foley artistry and sound libraries relate to improving audio quality in his game production and using SoundCloud.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, uncompressed audio, WAV and AIFF file formats, lossy compression, MP3 files, sound cards, digital sound processors, RAM, mono audio, stereo audio, surround sound, PCM, analog audio, digital mini discs, and compact discs. For each term, it provides a short internet-sourced definition and links, as well as describing the relevance of the term to the author's own production practice where possible.
This document provides a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processors and memory, audio recording systems using analog and digital methods, MIDI, software plugins, sampling keyboards, and factors that influence file size like bit depth and sample rate. The student created their own sample library and uses .wav files, and discusses how some of the researched terms relate to their own production practice.
The document is a glossary assignment for a games design course requiring research and definitions of sound design and production terms. It contains a template with over 30 terms defined along with their relevance to the student's own production practice. Definitions are from online sources and include terms like foley artistry, sound libraries, file formats like .wav and .mp3, audio hardware and software like MIDI, samplers and plugins.
This document contains a glossary of terms related to sound design and production for computer games. It provides researched definitions for over 20 terms, sourced from websites. For each term, it also describes the relevance to the author's own production practice, such as describing file formats used for storing sounds. The glossary covers areas such as sound file formats, audio hardware, audio recording and sampling techniques, and software used for sound design.
This document provides a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware limitations, and audio configurations like mono, stereo, and surround sound. For each term, it provides a short definition and links to external sources, as well as describing the relevance of the term to the document author's own production practice. The glossary is intended to research and gather definitions for provided terms as part of a BTEC course assignment on sound design for computer games.
This document contains a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo sound, audio recording systems such as compact discs, MIDI, audio sampling concepts like bit depth and sample rate, and other sound design tools and methods. For each term, it provides a short definition from an online source and describes how the term relates to the author's own production practice for their games design coursework.
Similar to 8 player audio program segment by Victor Hardy (20)
A Critical Study of ICC Prosecutor's Move on GAZA WarNilendra Kumar
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Indonesian Manpower Regulation on Severance Pay for Retiring Private Sector E...AHRP Law Firm
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3. E.D. Tex.’s
Construction
PTAB’s
Construction
Personal Audio’s
Construction
(same as PTAB’s)
Defendants’
Construction
Audio program
segments that
have been
chosen by or for
a user.
Audio program
segments that
have been
chosen by or for
a user.
Audio program
segments that
have been
chosen by or for
a user.
Preamble is
limiting.
Plain and
ordinary
meaning.
Preamble is not
limiting.
“[Selected] Audio Program Segments”
4. “Selected Audio Program Segments” (‘076 patent, claim 1)
The term “selected audio program segments” is found in the preamble of claim 1 of the ‘076
patent.
1. A player for reproducing selected audio program segments comprising, in
combination:
means for storing a plurality of program segments, each of said program segments
having a beginning and an end,
means for receiving and storing a file of data establishing a sequence in which said
program segments are scheduled to be reproduced by said player,
means for accepting control commands from a user of said player,
means for continuously reproducing said program segments in the order established
by said sequence in the absence of a control command,
means for detecting a first command indicative of a request to skip forward, and
means responsive to said first command for discontinuing the reproduction of the
currently playing program segment and instead continuing the reproduction at
the beginning of a program segment which follows said currently playing program
in said sequence.
’076 patent, Claim 1
5. “Selected Audio Program Segments” (‘076 patent, claim 1)
The specification is replete with references to the invention as a "blown-film"
liner, including the title of the patent itself and the "Summary of the
Invention…" Our analysis shows that the inventor considered that the "blown-
film" preamble language represented an important characteristic of the
claimed invention. We therefore agree with the district court's conclusion that
a review of the entirety of the '047 patent reveals that the preamble language
relating to `blown-film' does not state a purpose or an intended use of the
invention, but rather discloses a fundamental characteristic of the claimed
invention that is properly construed as a limitation of the claim itself.
Poly-America, L.P. v. GSE Lining Tech., Inc.,
383 F.3d 1303, 1310 (Fed. Cir. 2004)
It is well settled that the preamble is limiting where, as here, it
adds an essential limitation or discloses a fundamental
characteristic of the invention.
6. “Selected Audio Program Segments” (‘076 patent, claim 1)
“In considering whether a preamble limits a claim, the preamble is analyzed to
ascertain whether it states a necessary and defining aspect of the invention, or
is simply an introduction to the general field of the claim. In Kropa v. Robie, 38
C.C.P.A. 858, 187 F.2d 150, 152 (1951), the court aptly described the inquiry as
whether the preamble is "necessary to give life, meaning and vitality to the
claims or counts…" The preamble serves to focus the reader on the invention
that is being claimed. We conclude that the preamble in this case necessarily
limits the claims, in that it states the framework of the invention, whose
purpose is rapid single-copy printing of a customer's selected book…”
On Demand Mach. Corp. v. Ingram Indus.,
442 F.3d 1331, 1343 (Fed. Cir. 2006)
Additionally, the preamble is limiting where, as here, it provides
necessary context or framework for the claimed inventions that is
necessary to describe the invention.
7. “Selected Audio Program Segments” (‘076 patent, claim 1)
The preamble recites the fundamental teaching of the invention – a player for reproducing
selected audio program segments. Each element of the claim that follows teaches how the
device handles the selected program segments.
A contrary conclusion would mean that the “program segments” in the claim body would be far
broader that contemplated by the invention. It would also mean that one could then perform
the steps in the body of the claim and never reproduce any “selected audio program segment”—
the identified purpose of the method in the claim.
1. A player for reproducing selected audio program segments comprising, in combination:
means for storing a plurality of program segments, each of said program segments having a beginning
and an end,
means for receiving and storing a file of data establishing a sequence in which said program segments
are scheduled to be reproduced by said player,
means for accepting control commands from a user of said player,
means for continuously reproducing said program segments in the order established by said sequence
in the absence of a control command,
means for detecting a first command indicative of a request to skip forward, and
means responsive to said first command for discontinuing the reproduction of the currently playing
program segment and instead continuing the reproduction at the beginning of a program
segment which follows said currently playing program in said sequence.
’076 patent, Claim 1
8. “Selected Audio Program Segments” (‘076 patent, claim 1)
Personal Audio’s proposed
construction reflects the patents’
emphasis on the “selection” of audio
program segments as a fundamental
characteristic of the claimed
inventions.
9. The Invention
The specification describes interactive selection of programs (e.g.
music) from a program library as a key feature of the invention.
FIELD OF THE INVENTION
This invention relates to electronic information
distribution systems and more particularly to a system for
dynamically and interactively selecting and playing particular
programs from a program library.
‘076 Patent, 1:6-9
It is accordingly an object of the present invention to provide easy
access to rich selection of audio programming and to allow the
listener to dynamically and interactively locate and select desired
programming from the available collection in an easy and
institutive way…
‘076 Patent, 1:64-2:3
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10. “Selected Audio Program Segments” (‘076 patent, claim 1)
The E.D. Tex. has already ruled that the preamble is
necessary to give meaning to the claim:
“[I]t appears to the court that
construction of ‘selected audio
program segments’ is necessary . . .
to give meaning to the claim.”
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11. “Selected Audio Program Segments” (‘076 patent, claim 1)
Attached as Exhibit Y
The E.D. Tex. also held that
one of ordinary skill in the
art would interpret the
language in the preamble
as limiting.
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12. “Selected Audio Program Segments” (‘076 patent, claim 1)
The specification fully supports this position:
Download processing… extracts from the library 130 data defining compressed
program, advertising, and glue segments, and/or associated text program data, based
on selections and preferences made by (or inferred for) the user…
‘076 patent, 6:62-66
The data downloaded includes a recommended program sequence file which
provisionally identifies the order in which downloaded program segments are to be
played, with the initial selection and sequence being established based on user
preference data by the download compilation processing mechanism seen at 151 at
the server.
‘076 patent, 8:39-44
At the conclusion of a session, subscriber is given the opportunity at 217 to select
programming which should be included in the next programming download.
‘076 patent, 9:31-33
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13. “Selected Audio Program Segments” (‘076 patent, claim 1)
Defendants argue that the preamble
contains only redundant information
and is not limiting. Yet, Defendants
rely on the preamble language in
order to interpret the body of claim 1.
88
14. “Selected Audio Program Segments” (‘076 patent, claim 1)
The Court construed “file of data establishing a
sequence” as “a file of data that identifies the order in
which audio program segments are to be played and
that may contain information about the sequence of
events that occurred during playback”
Claim Construction Order at 20,
Personal Audio LLC v. Apple, Inc.,
No. 9:09-cv-111 (E.D. Tex. Dec. 21, 201)
(attached as Exhibit D)
The Court’s previous construction of “file of data
establishing a sequence” acknowledge the limitation from
the preamble.
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15. “Selected Audio Program Segments” (‘076 patent, claim 1)
Defendants propose that “means for receiving and storing
file of data establishing a sequence in which said program
segments are scheduled to be reproduced by said player” is
“a file that is received by the player, stored, and used by
the processor to both control playback of each song in the
recommended order and respond to control commands”
Defendants’ proposed construction of “file of data
establishing a sequence” acknowledge the limitation from
the preamble.
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16. “Selected Audio Program Segments” (‘076 patent, claim 1)
Defendants also argue that the “program segments” of claim 1
are “audio program segments.”
[T]he claimed ‘program segments’ recited in the claim body refer to
‘audio program segments’… The title of the patent is “Audio Program
Player Including a Dynamic Program Selection Controller,” and the
Summary of the Invention states that the present invention takes the
form of an audio program player which automatically plays a
predetermined schedule of audio program segments… (See ’076 patent at
Summary of the Invention, 2:6-8). Thus… the patents are directed to an
audio player playing back audio programs.
Defendants’ Responsive Brief at 7.
The essential “selected” and “audio” language are recited only
in the preamble – not the claim body. Thus, the Defendants
concede that the preamble limits claim 1.
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