IN THE UNITED STATES PATENT AND TRADEMARK OFFICE
`
`In the Inter Partes Review of:
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`
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`U.S. Patent No. 7,006,636
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`Trial Number: To Be Assigned
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`Panel: To Be Assigned
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`Filed: May 24, 2002
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`Issued: February 28, 2006
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`Inventor(s): Frank Baumgarte, Christof
`Faller
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`Assignee: Avago Technologies General IP
`(Singapore) Pte. Ltd.
`
`Title: Coherence-Based Audio Coding
`And Synthesis
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`
`
`Mail Stop Inter Partes Review
`Commission for Patents
`P.O. Box 1450
`Alexandria, VA 22313-1450
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`
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`PETITION FOR INTER PARTES REVIEW UNDER 37 C.F.R. § 42.100
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`

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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`
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`TABLE OF CONTENTS
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`MANDATORY NOTICES UNDER 37 C.F.R. § 42.8(A)(1) ........................ 1  
`
`I.  
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`A.   Real Party-In-Interest Under 37 C.F.R. § 42.8(b)(1) ...................................... 1  
`
`B.   Related Matters Under 37 C.F.R. § 42.8(b)(2) ................................................ 1  
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`C.   Lead and Back-Up Counsel and Service Information Under 37 C.F.R.
`§ 42.8(b)(3) and (4) ......................................................................................... 1  
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`II.  
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`III.  
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`GROUNDS FOR STANDING ....................................................................... 2  
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`IDENTIFICATION OF CHALLENGE STATEMENT ................................ 2  
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`A.   Claims and Statutory Grounds ........................................................................ 2  
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`B.   Claim Construction ......................................................................................... 3  
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`C.   How the Claims are Unpatentable ................................................................... 5  
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`D.   Evidence Supporting Challenge ...................................................................... 5  
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`IV.   BACKGROUND ............................................................................................ 5  
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`A.   ‘636 Patent Overview ...................................................................................... 5  
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`B.   Prior Art Overview .......................................................................................... 7  
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`1.   Davis ........................................................................................................... 7  
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`2.   Dolby ......................................................................................................... 10  
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`3.   Baumgarte ................................................................................................. 14  
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`4.   Pedersen .................................................................................................... 17  
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`C.   Level of Ordinary Skill in the Art ................................................................. 18  
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`V.   HOW THE CHALLENGED CLAIMS ARE UNPATENTABLE .............. 18  
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`A.   Ground 1: Davis Anticipates Claim 1, 6, 9, and 23. ..................................... 18  
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`1.  
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`Independent Claim 1 and Dependent Claim 6 .......................................... 18  
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`2.  
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`3.  
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`Independent Claim 9 ................................................................................. 27  
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`Independent Claim 23 ............................................................................... 30  
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`B.   Ground 2: Davis and Pedersen Render Obvious Claims 1, 6, 9, 23-24, and
`30-31. ............................................................................................................ 38  
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`1.   Dependent Claims 24 and 30-31 ............................................................... 38  
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`2.  
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`Independent Claims 1, 9, and 23 and Dependent Claim 6 ........................ 44  
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`C.   Ground 3: Dolby and Pedersen Render Obvious Claims 1, 6, 9, 23-24, and
`30-31. ............................................................................................................ 50  
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`1.  
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`2.  
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`3.  
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`Independent Claim 1 and Dependent Claim 6 .......................................... 50  
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`Independent Claim 9 ................................................................................. 63  
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`Independent Claim 23 ............................................................................... 66  
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`4.   Dependent Claims 24 and 30-21 ............................................................... 76  
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`D.   Ground 4: Baumgarte and Pedersen Render Obvious Claims 1, 6, 9, 23-24,
`and 30-31. ...................................................................................................... 80  
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`1.  
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`2.  
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`Independent Claims 1 and 9 and Dependent Claim 6 ............................... 81  
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`Independent Claim 23 ............................................................................... 89  
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`3.   Dependent Claims 24 and 30-31 ............................................................... 94  
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`VI.   CONCLUSION ............................................................................................ 97  
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`EXHIBITS
`
`Exhibit No.
`
`Description
`
`1001
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`1002
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`1003
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`1004
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`1005
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`1006
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`1007
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`1008
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`1009
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`1010
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`U.S. Patent No. 7,006,636 to Baumgarte et al. (“the ‘636 Patent”)
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`Prosecution History of the ‘636 Patent
`
`Declaration of Dr. Michael Scordilis (“Dec.”)
`
`Curriculum Vitae of Dr. Michael Scordilis
`
`International Publication No. WO99/04498 to Davis et al.
`(“Davis”)
`
`International Publication No. WO01/62045 to Pedersen
`(“Pedersen”)
`
`U.S. Patent No. 6,016,473 to Dolby (“Dolby”)
`
`U.S. Publication No. 20030035553 to Baumgarte et al.
`(“Baumgarte”)
`
`G. Cauwenberghs, “Monaural Separation of Independent
`Acoustical Components,” Proceedings of the 1999 IEEE
`International Symposium on Circuits and Systems, Orlando, FL,
`vol. 5, pp. 62-65 (1999) (“Cauwenberghs”)
`
`M. Omologo & P. Svaizer, “Use of the Crosspower-Spectrum
`Phase in Acoustic Event Location,” IEEE Transactions on Speech
`& Audio Processing, vol. 5, n. 3, pp. 288-292 (1997) (“Omologo”)
`
`
`
`
`
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`
`
`Petitioners request inter partes review (“IPR”) of Claims 1, 6, 9, 23-24, and
`
`30-31 of U.S. Patent No. 7,006,636 (“the ‘636 Patent”), attached hereto as Exhibit
`
`1001.
`
`I.   MANDATORY NOTICES UNDER 37 C.F.R. § 42.8(a)(1)
`A.   Real Party-In-Interest Under 37 C.F.R. § 42.8(b)(1)
`Amazon.com, Inc. and Amazon Web Services, Inc. (collectively “Amazon”)
`
`identify the following real parties-in-interest in addition to Amazon.com, Inc. and
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`Amazon Web Services, Inc.: Amazon Digital Services LLC, AWSHC, Inc., and
`
`Amazon Fulfillment Services, Inc.
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`B.   Related Matters Under 37 C.F.R. § 42.8(b)(2)
`Broadcom Corp. and Avago Technologies General IP (Singapore) Pte. Ltd.
`
`(collectively “Broadcom”) asserted the ‘636 Patent in Broadcom Corp. et al. v.
`
`Amazon.com, Inc., et al., Case No. 8:16-cv-01774-JVS-JCG (C.D. Cal.). That case
`
`remains pending and may affect, or be affected by, decisions in this proceeding.
`
`The ‘636 Patent is also asserted against entities unrelated to Amazon in
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`Broadcom Corp. et al. v. Sony Corp., et al., Case No. 8:16-cv-01052 (C.D. Cal.).
`
`C.   Lead and Back-Up Counsel and Service Information Under 37
`C.F.R. § 42.8(b)(3) and (4)
`
`Amazon provides the following designations of counsel:
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`
`
`Lead Counsel
`Joseph F. Edell (Reg. No. 67,625)
`Joe.Edell.IPR@fischllp.com
`Fisch Sigler LLP
`5301 Wisconsin Avenue NW
`Fourth Floor
`Washington, DC 20015
`Phone: (202) 362-3524
`Fax: (202) 362-3501
`
`Back-up Counsel
`David M. Saunders
`David.Saunders.IPR@fischllp.com
`Fisch Sigler LLP
`96 North Third Street
`Suite 260
`San Jose, CA 95112
`Phone: (650) 362-8208
`Fax: (202) 362-3501
`
` Power of Attorney accompanies this Petition pursuant to 37 C.F.R. §
`
` A
`
`42.10(b). Amazon consents to electronic service by email at
`
`Joe.Edell.IPR@fischllp.com.
`
`II.   GROUNDS FOR STANDING
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`Amazon certifies that the ‘636 Patent is available for IPR, and Amazon is
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`not barred or estopped from requesting IPR on the asserted grounds.
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`III.  
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`IDENTIFICATION OF CHALLENGE STATEMENT
`A.   Claims and Statutory Grounds
`Amazon requests inter partes review of Claims 1, 6, 9, 23-24, and 30-31
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`(“Challenged Claims”). Amazon requests that the Board find the Challenged
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`Claims unpatentable.
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`IPR of the Challenged Claims is requested in view of the following:
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`•   International Publication No. WO99/04498 to Davis et al. (“Davis”) was
`published on January 28, 1999, and is prior art under §102(a), (b), and
`(e).
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`
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`•   International Publication No. WO01/62045 to Pedersen (“Pedersen”) was
`filed on February 18, 2000 and published on August 23, 2001, and is
`prior art under §102(a), (e).
`
`•   U.S. Patent No. 6,016,473 to Dolby (“Dolby”) was issued on January 18,
`2000, and is prior art under §102(a), (b), and (e).
`
`•   U.S. Publication No. 20030035553 to Baumgarte et al. (“Baumgarte”)
`was filed on November 7, 2001 and published on February 20, 2003, and
`is prior art under §102(e).
`
`Amazon requests IPR on the following grounds:
`
`Ground
`1
`
`2
`
`3
`
`4
`
`Proposed Statutory Rejections for the ‘663 Patent
`Claim 1, 6, 9, and 23 are anticipated by Davis under §102(a), (b),
`or (e).
`Claims 1, 6, 9, 23-24, and 30-31 are rendered obvious by Davis
`and Pedersen under §103(a).
`Claims 1, 6, 9, 23-24, and 30-31 are rendered obvious by Dolby
`and Pedersen under §103(a).
`Claims 1, 6, 9, 23-24, and 30-31 are rendered obvious by
`Baumgarte and Pedersen under §103(a).
`
`
`
`B.   Claim Construction
`A claim in an IPR is given its broadest reasonable interpretation in light of
`
`the specification to a person having ordinary skill in the art (“POSITA”).1 For
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`1 37 C.F.R. § 42.100(b). The district court claim construction standard (“ordinary
`
`and customary meaning”) is different than the IPR standard. Thus, Amazon’s claim
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`construction positions herein are not an assertion regarding the appropriate claim
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`purposes of the IPR, the term “auditory scene parameters” as used in claims 1, 6, 9,
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`23, and 24 should mean “parameters relating to auditory spatial cues.”
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`This meaning is consistent with the ‘636 Patent. The patent discloses that
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`inter-aural level differences (ILD), inter-aural time differences (ITD), and head-
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`related transfer function (HRTF) values are examples of auditory scene
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`parameters.2 For example, the patent refers to “auditory scene parameters (e.g.,
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`spatial cues such as an interaural level difference (ILD) value, an interaural time
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`delay (ITD) value, and/or a head-related transfer function (HRTF)).”3 The patent
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`also discloses that such parameters may include information corresponding to
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`coherence estimates between audio signals.4 Moreover, the patent specifies that
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`auditory scene parameters generally include, for example, binaural cue coding
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`(BCC) and perceptual coding of spatial cues (PCSC).5 This meaning, moreover, is
`
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`constructions in the co-pending litigation, or that claim limitations are, inter alia,
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`definite, enabled, or meet the requirements for written description.
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`2 ‘636 Patent, Abs., 2:63-3:3.
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`3 Id., 2:67-3:3.
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`4 Id., Abs., 4:37-43, 4:66-5:3, 5:10-14.
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`5 Id., 3:27-32, Figs. 3-5; see also id., 3:33-46, 10:35-41, 11:1-13, cls. 4, 11, 14, 24,
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`27.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`consistent with how a POSITA would have understood the broadest reasonable
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`interpretation of “auditory scene parameter,” consistent with the specification.6
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`C.   How the Claims are Unpatentable
`How Claims 1, 6, 9, 23-24, and 30-31 are unpatentable, including the
`
`identification of evidence, is provided in Section V.
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`D.   Evidence Supporting Challenge
`An Appendix of Exhibits is attached. The relevance of the evidence may be
`
`found in Section V. Amazon also submits a declaration of Dr. Michael Scordilis
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`(“Dec.”) in support of this Petition.
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`IV.   BACKGROUND
`A.  
`‘636 Patent Overview
`The ‘636 Patent relates generally to methods and apparatuses for audio
`
`coding.7 The patent acknowledges that it was known in the art to synthesize output
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`audio channel using audio source signals and spatial parameter values.8 But the
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`patent contends that it is desirable to include coherence estimation values with the
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`spatial parameter values.9
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`6 Dec., ¶¶49-50.
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`7 ‘636 Patent, Abs., 1:16-19.
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`8 Id., 1:41-2:39, Figs. 1-2.
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`9 Id., 2:53-57, 4:9-16, 4:37-49.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`The ‘636 Patent purports to address this desire by including a coherence
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`estimator in an audio encoding analyzer.10 The coherence estimation values
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`generated by the estimator will then be synthesize in an audio decoder.11 The
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`patent discloses that a coherence estimate γ may be calculated using the equation
`
`(5): 𝛾=(𝑃%&,&(
`)
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`+𝑃%&,+,)
`
`)/(PLLPRR).12
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`Representative claim 9 recites:
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`
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`10 Id., 6:15-35.
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`11 Id., 7:21-40.
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`12 Id., 6:58-64.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`B.  
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`Prior Art Overview
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`Davis
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`1.  
`Davis discloses methods and systems for synthesizing an audio scene based
`
`on input audio signals. For example, Davis describes a method for processing input
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`audio signals:13
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`Davis discloses an encoder that includes subband signal generators 10-30 for
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`receiving input audio signals 1-3 to generate multiple different subbands in the
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`frequency domain.14 For example, Davis specifies the encoder includes a Discrete
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`
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`13 Davis, Abs., 7:4-9, 7:30-32, Fig. 1.
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`14 Id., 5:5-14, 7:9-11.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Fourier Transform (DFT) and/or evenly- and oddly-stacked Time-Domain Aliasing
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`Cancellation (TDAC) transform filters.15
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`Moreover, Davis discloses that spatial coder 40 generates a set of auditory
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`scene parameters (i.e., spatial-characteristic signals) for each frequency band
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`received from subband signal generators 10-30.16 Davis also explains that the
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`auditory scene parameters 41, 42 (spatial-characteristic signals) include
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`information corresponding to the perceived width of the audio source, i.e., a
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`coherence estimate: “[auditory scene parameters 41, 42 each] represents…some
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`indication of soundfield width or dispersal characteristics about the directions” of
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`the audio signals.17 Even further, Davis discloses that composite signal generator
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`60 combines input audio signals to generate combined audio signal 61 for
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`transmission.18
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`15 Id., 8:13-18, 17:4-6.
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`16 Id., 5:5-14, 7:20-23, 10:30-32, 12:6-11, Fig. 1; see also id., 11:4-14.
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`17 Id., 10:30-32; see also id., 11:4-14, 12:16-19.
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`18 Id., 7:24-25, Fig. 1.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Davis also discloses a decoder that synthesizing an audio scene. For
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`example, Davis discloses the decoder that receives an encoded bitstream along
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`path 51/501:19
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`Davis further details that the encoded bitstream includes the combined audio
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`signal 61 and auditory scene parameters 41, 42 (spatial-characteristic signals).20
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`19 Davis, 6:3-19, 7:30-32, 9:19-10:9, cls. 39-40, Fig. 5.
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`20 Id., 6:3-19, 7:30-32.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Also, Davis explains that the decoder synthesizes an auditory scene of audio
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`signals along path 561-581 from the combined audio signals (along path 511) and
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`the auditory scene parameters (along paths 515-516).21
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`2.  
`
`Dolby
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`Dolby describes methods and apparatuses for synthesizing audio channels
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`based on audio scene parameters. For example, Dolby describes processes multiple
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`input audio signals (e.g., input channels 901) using an apparent direction and
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`composite signal generator 902:22
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`21 Id., 6:3-19, 7:30-32, 9:19-10:9, cls. 39-40, Fig. 5.
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`22 Dolby, Abs., 6:45-48, 11:1-6, 12:30-34, Fig. 9 (annotated).
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Dolby explains that subband encoders may include a filter bank to convert
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`input signals into subbands and a sampler to sample and digitize subbands.23
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`Moreover, Dolby details that the filter bank splits each input signal stream into
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`subbands using “discrete transforms.”24 Dolby specifies that the transform is
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`23 Id., 11:1-14.
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`24 Id., 11:1-8, Fig. 7; see also id., Abs., 1:16-24.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`preferably a “time domain to frequency-domain transform according to the Time
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`Domain Aliasing Cancellation (TDAC) technique.”25
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`Dolby also discloses generating a directional vector or “steering control
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`signal” that “has a component relating to the dominant direction of the soundfield
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`in each of the subbands.”26 For example, Dolby details that this encoder “receives
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`source information indicating how the source soundfield is mapped onto each of
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`the input channels (information describing the intended spatial direction for each
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`channel signal).”27 Dolby further explains that the encoder includes “a soundfield
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`direction detector generating a steering control signal for the composite signal
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`indicating the principal direction of the soundfield in respective subbands.”28
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`Dolby further discloses a decoder to recover and convert the subband
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`information from the encoded bitstream into subbands 1012 and audio scene
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`25 Id., 10:56-67.
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`26 Id., 6:30-39, 8:17-29, 12:34-39, 14:44-60; see also id., 1:8-12, 6:58-63, 10:7-9,
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`11:50-53.
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`27 Id., 12:34-38.
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`28 Id., 7:8-21, 7:48-58.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`parameters 1008, as shown below in Figure 10.29 Moreover, Dolby explains that
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`generator 1014 applies the audio scene parameters (steering control signal) to each
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`band of audio signals (composite signals) to generate a plurality of output audio
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`signals, e.g., channels 1016:30
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`
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`29 Dolby, 11:15-27; 13:2-17, Fig. 10; see also id., cls. 9-11, 14, 17-19, 22, 25-27,
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`30, 34, 38.
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`30 Id., 7:27-41, 13:17-36, 14:10-26; see also id., 7:65-8:10, 8:16-30, 15:19-67.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Baumgarte
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`3.  
`Baumgarte discloses methods and systems for processing multiple input
`
`audio signals. For example, Baumgarte discloses generator 402 that converts
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`multiple input audio signals from a time domain into a frequency domain:31
`
`Baumgarte relates to the synthesis of auditory scenes, described as the
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`generation of audio signals to produce the perception that the audio signals are
`
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`
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`31 Baumgarte, ¶038, Fig. 4.
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`generated by one or more different audio sources located at different positions
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`relative to the listener.32
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`Specifically, Baumgarte describes the generation of one or more auditory
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`scene parameters for each different frequency band in the converted input audio
`
`signals.33 Baumgarte also explains that signal combiner 404 combines multiple
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`input audio signals to generate combined audio signals of the bitstream.34
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`Baumgarte also discloses an audio scene node 304 that includes a transform
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`702 configured to convert an input audio signal from a time domain into frequency
`
`bands in a frequency domain:35
`
`
`32 Id., ¶003.
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`33 Id., Abs., ¶¶016, 037-038, 041-046, Figs. 4; see also id., ¶¶073-074, cls. 1, 13,
`
`Fig. 10.
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`34 Id., Abs. ¶¶016, 037, 041, Fig. 4; see also id., ¶¶073-074, cls. 1, 13, Fig. 10.
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`35 Id., ¶¶045, 053-054, 059-065, Fig. 7; see also id., cls. 14, 26.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Further, Baumgarte explains that synthesizer 704 of node 304 is configured
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`to apply an auditory scene parameter to each band to generate multiple output
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`audio signals.36 Baumgarte explains that Figure 7, as shown above, is a block
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`diagram of the process for converting a single combined audio signal and
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`corresponding auditory scene parameters into a binaural signal for a synthesized
`
`auditory scene.37 The time-frequency transform (TF) 702 converts each frame of
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`the combined signal into the frequency domain, and synthesizer 704 then applies
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`36 Baumgarte, ¶¶034, 053, 056, 067, Fig. 7.
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`37 Id., ¶053.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`the corresponding auditory scene parameters to the converted combined signal to
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`generate left and right audio signals.38
`
`Pedersen
`
`4.  
`Pedersen discloses a system which generates left and right audio signals
`
`based on auditory scene parameters.39 Pedersen describes audio scene parameters
`
`that include amplitude (dB), i.e., level, differences between left and right audio
`
`signals.40 For example, Pedersen states:
`
`[A] choice based on amplitude [i.e., level] differences may be
`advantageous, because the normal way of producing stereophonic
`signals (so-called intensity stereophony), i.e. left/right channel signals,
`to be recorded for instance on normal compact discs is to control the
`lateralisation of the created phantom sources by manipulating the
`relative amplitudes (levels) of different output sound recordings in an
`electronic mixing console.41
`
`
`38 Id., ¶¶034, 053, 056, 067, Fig. 7.
`
`39 Pedersen, 10:29-11:28, 12:19-30, 16:7-13, 20:15-26, Figs. 6(a)-6(b).
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`40 Id., 10:30-34, 11:16-28, 12:19-30, 16:7-13.
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`41 Id., 11:20-27.
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`Petition for Inter Partes Review of U.S. Patent No. 7,006,636
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`Moreover, Pedersen discloses that a coherence function for the audio
`
`signals may be calculated using the equation (1): 𝛾(𝑓)=
`|0123|
`011(3)∙022(3).42
`coherence estimation 𝛾 presented in equation (5) of the ‘636 Patent.43
`
`The coherence function presented in equation (1) is the square root of the
`
`
`
`C.   Level of Ordinary Skill in the Art
`
`A POSITA would have held a bachelor’s degree in computer science,
`
`electrical engineering, or a closely related field, and at least two years of
`
`experience in multimedia encoding and decoding.44 Alternatively, a POSITA
`
`would have held a master’s degree in computer science, electrical engineering, or a
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`closely related field, and fewer years of experience.45
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`V.   HOW THE CHALLENGED CLAIMS ARE UNPATENTABLE
`A.   Ground 1: Davis Anticipates Claim 1, 6, 9, and 23.
`1.  
`Independent Claim 1 and Dependent Claim 6
`Preamble: Under the broadest reasonable construction the preamble is non-
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`limiting. Nevertheless, Davis discloses “A method for processing two or more
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`42 Pedersen, 8:34-9:9.
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`43 Dec., ¶¶35-36.
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`44 Id., ¶¶46-48.
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`45 Id.
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`input audio signals, comprising the steps of.” Specifically, Davis describes a
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`method and system for processing input audio signals along paths 1-3:46
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`Element 1.1: Davis discloses “(a) converting M input audio signals from a
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`time domain into a frequency domain, where M>1.” Specifically, Davis discloses
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`an encoder that includes subband signal generators 10-30 for receiving input audio
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`signals 1-3 where M=3 signals:47
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`46 Davis, Abs., 7:4-9, 7:30-32, Fig. 1.
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`47 Id., 7:4-9.
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`Davis details that each of subband signal generators 10-30 generates
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`multiple different subbands in the frequency domain.48 For example, Davis
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`specifies the encoder includes a Discrete Fourier Transform (DFT) and/or even-
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`and oddly-stacked Time-Domain Aliasing Cancellation (TDAC) transform filters.49
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`A POSITA would have understood that DFT and TDAC filters convert input audio
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`signals 1-3 (e.g., M=3) from a time domain into a frequency domain.50 Davis
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`48 Id., 5:5-14, 7:9-11.
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`49 Id., 8:13-18, 17:4-6.
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`50 Dec., ¶¶62.
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`specifies that such transform filters “use [] various time-domain to frequency-
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`domain transforms to implement the filter banks. Adjacent frequency-domain
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`transform coefficients may be grouped to define ‘subbands’ having effective
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`bandwidths which are sums of individual transform coefficient bandwidths.”51
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`Element 1.2: Davis discloses “(b) generating a set of one or more auditory
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`scene parameters for each of one or more different frequency bands in the M
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`converted input audio signals.” Specifically, Davis discloses that spatial coder 40
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`generates a set of auditory scene parameters (spatial-characteristic signals) for each
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`frequency band received from subband signal generators 10-30:52
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`51 Davis, 3:3-6.
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`52 Id., 5:5-14, 7:20-23, 10:30-32, 12:6-11, Fig. 1 (annotated); see also id., 11:4-14.
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`For example, Davis explains:
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`Spatial coder 40 generates spatial-characteristic signals along paths 41
`and 42 in response to the channel subband signals received from the
`subband signal generators. Each of these spatial-characteristic signals
`represent the spatial characteristic of a soundfield that corresponds to
`one or more channel subband signals in a respective frequency
`subband.53
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`Moreover, Davis explains that each of spatial-characteristic signals 41-42
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`“represents one or more apparent directions for the soundfield and possibly some
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`53 Id., 7:20-23.
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`indication of soundfield width or dispersal characteristics about the directions.”54
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`Accordingly, a POSITA would have understood that such spatial-characteristic
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`signals correspond to one or more auditory scene parameters.55
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`Element 1.3: Davis discloses “where each set of one or more auditory
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`scene parameters comprises information corresponding to an estimate of
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`coherence between the M input audio signals, wherein the estimate of coherence
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`is related to perceived width of an audio source corresponding to the M input
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`audio signals.” Specifically, Davis explains that the auditory scene parameters 41,
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`42 (spatial-characteristic signals) include information corresponding to the
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`perceived width of the audio source, i.e., a coherence estimate.56 For example,
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`Davis explains that each of the auditory scene parameters 41, 42
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`“represents…some indication of soundfield width or dispersal characteristics about
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`the directions” of the audio signals.57 Davis, moreover, states that signal
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`directionality is based on amplitude and phase correlation of the respective
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`54 Id., 10:30-32; see also id., 11:4-14.
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`55 Dec., ¶¶69-70.
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`56 Davis, 10:30-32, 12:16-19, Dec., ¶¶76-78.
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`57 Davis, 10:30-32; see also id., 11:4-14.
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`subband channels.58 Similarly, the ‘636 Patent specifies that the soundfield
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`“width,” as described in Davis, is an appropriate measure of coherence estimation:
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`“If a stereo signal contains one auditory object, the perceptual similarity of L' and
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`R' determines the spatial image width of that object. This similarity is often
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`physically described by the cross-correlation or coherence function.”59 Moreover,
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`the ‘636 Patent discloses that “coherence of a binaural signal is related to the
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`perceived width of the audio source.”60
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`Accordingly, a POSITA would have understood that Davis’s indication of
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`“soundfield width or dispersal characteristics” correspond to the claimed “estimate
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`of coherence.”61
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`Element 1.4: Davis discloses “(c) combining the M input audio signals to
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`generate N combined audio signals, where M>N.” Specifically, Davis discloses
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`that composite signal generator 60 combines input audio signals 1-3 (where M=3
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`signals) to generate combined audio signal 61 (where N=1).62
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`58 Davis, 11:31-34, cls. 4, 27; Dec., ¶77.
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`59 ‘636 Patent, 7:61-64.
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`60 Id., 3:66-4:2.
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`61 Dec., ¶77.
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`62 Davis, 7:24-25, Fig. 1.
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`Element 1.5: Davis discloses “(d) transmitting the information
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`corresponding to the estimate of coherence along with the N combined audio
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`signals.” Specifically, Davis discloses that formatter 50 transmits combined audio
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`signal 61 along with the auditory scene parameters 41, 42 (spatial-characteristic
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`signals) that include the coherence estimate.63 For example, Davis explains:
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`“Formatter 50 assembles the spatial-characteristic signals received from paths 41
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`and 42 and the composite signal received from path 61 into an output signal that is
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`passed along path 51 for transmission or storage.”64
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`Davis thus discloses all elements of, and anticipates, claim 1.
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`Claim 6: Davis discloses “wherein the auditory scene parameters are
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`transmitted along with the N combined audio signals to an apparatus adapted to
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`synthesize an auditory scene from the N combined audio signals and the
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`auditory scene parameters.”65 Specifically, Davis discloses that a decoder receives
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`the encoded bitstream along path 51/501.66 The encoded bitstream includes the
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`63 Id., 7:30-32, Fig. 1.
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`64 Id., 7:30-32, Fig. 1.
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`65 Claim 6 depends upon claim 1, which is anticipated by Davis, as described
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`above.
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`66 Id., 6:3-19, 7:30-32, 9:19-10:9, cls. 39-40, Fig. 5.
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`combined audio signal 61 and auditory scene parameters 41, 42 (spatial-
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`characteristic signals).67 Davis explains that the decoder is adapted to synthesize an
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`auditory scene of audio signals along path 561-581 from the combined audio
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`signals (along path 511) and the auditory scene parameters (along paths 515-
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`516):68
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`67 Id., 6:3-19, 7:30-32.
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`68 Davis, 6:3-19, 9:19-33, Fig. 5.
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`Davis thus discloses all elements of, and anticipates, claim 6.
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`Independent Claim 9
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`2.  
`Preamble: Under the broadest reasonable construction the preamble is non-
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`limiting. Nevertheless, Davis discloses “An encoded audio bitstream generated
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`by.” Davis discloses that the system of Figure 1 encodes an audio bitstream for
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`transmission along path 51:69
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`Element 9.1: Davis discloses “(a) converting M input audio signals from a
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`time domain into a frequency domain, where M>1.” As described regarding
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`element 1.1 (which is the same as element 9.1), Davis discloses converting
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`multiple input audio signals from a time domain into a frequency domain.70
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`Element 9.2: Davis discloses “(b) generating a set of one or more auditory
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`scene parameters for each of one or more different frequency bands in the M
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`converted input audio signals.” As described regarding element 1.2 (which is the
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`69 Id., Abs., 7:4-9, 7:30-32, Fig. 1.
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`70 Dec., ¶117.
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`same as element 9.2), Davis discloses generating a set of one or more auditory
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`scene parameters for each frequency band in the converted input audio signals.71
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`Element 9.3: Davis discloses “where each set of one or more auditory
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`scene paramet