Abstract: Methods, systems, and devices for audio detection are described. A security and automation system may include a control system that includes a hub device and one or more user interfaces. The control system is configured to receive, at a microphone included in the control system, an audio signal from a zone within the premises. In some examples, the control system may be configured to communicate with nodes of the security and automation system using one or more wireless access technologies and one or more wired access technologies. The control system may determine, at a first processor of the control system, that a set of characteristics of the audio signal satisfies a threshold. The control system may transmit a notification of an event in the zone of the premises based on determining that the set of characteristics of the audio signal satisfies the threshold.

Abstract: A computer-based music synthesizer system includes a data storage medium for electronically storing a multiplicity of four-part hymns. The user of the system may select the hymn to be played, and may also cause the system to automatically generate an appropriate plagal cadence to establish an “amen” phrase at the end of the hymn. Each of the four parts of the hymn may be independently orchestrated by the user. Alternatively, the user may select one of a plurality of pre-stored orchestration schemes to cause each part of the hymn to have a predetermined orchestration which may be different from the orchestration of the other parts.

Abstract: A technique for digitally processing a counterpart of a musical sound first transforms a set of time-domain samples of the sound into frequency-domain counterparts, gradually coerces the frequency-domain counterparts into integer multiples of a fundamental frequency of the sound, and then, in each of a plurality of amplitude transition portions, gradually changes the amplitudes of the frequency-domain counterparts from the beginning to the end of each amplitude transition portion.

Abstract: A technique for digitally processing a counterpart of a musical sound first transforms a set of time-domain samples of the sound into frequency-domain counterparts and then gradually coerces the frequency-domain counterparts into integer multiples of a fundamental frequency of the sound.