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At 10:23 PM +0200 6/10/01, Martin Tauchen wrote: >If we trace it really strict and puristic,the whole digital Music products >were ripped off from Standford University.FM Synthesis was developed >there in the seventies,a first commercial product-the DX7 was >released in 1983. >The same for phyical Modelling.Developed in the early eighties and >manifested as consumertool in 1993 -again Yamaha with VL1. Not ripped off in these cases. Yamaha has a long-standing set of licensing agreements with Stanford, dating to John Chowning's 1975 linear FM patent. Physical modeling was similarly licensed from Stanford. I'm not aware of any claims against Yamaha of infringement. In fact, my impression of the company is generally positive. They have a good reputation for supporting research and education, and I've personally found them (and by this I mean the individuals I've dealt with) to be cordial and even generous. In contrast, I have no such warm and fuzzy feelings for the rippers of the world, such as Behringer and Fernandes. That isn't to say there aren't problems. When Yamaha secured patents on linear FM applications to musical instrument design, this meant that other manufacturers were obliged to either pay them licensing fees or cease to use the technique in their own instruments. Some smaller manufacturers, such as Buchla, had already been using FM, but didn't think to apply for a patent. Another case that I have problems with is Coda's patents on interactive computer music and score following. They struck a deal with Roger Dannenberg, who had the foresight to secure a patent in 1985, and Coda insisted that their patents applied to all score following algorithms. Other researchers who had independently arrived at score following were in theory obliged to pay Coda for a license. -- ______________________________________________________________ Richard Zvonar, PhD (818) 788-2202 http://www.zvonar.com http://RZCybernetics.com http://www.cybmotion.com/aliaszone http://www.live365.com/cgi-bin/directory.cgi?autostart=rz