JPH02287599A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To obtain stereophonic effect that a player intends by providing a sound source means and changing localization according to whether the note number of note-on information is even or odd. CONSTITUTION:A sound source 9 is a sound source means, timbre is set according to control data inputted from a CPU 1 through a bus 2, and a musical sound is generated while the sounding state is controlled. Then, the sound source 9 decides by time-division processing whether the note number of the inputted note-on information is even or odd by using the least significant digit bit of a note number stored in a RAM 8. The musical sound is assigned to a right or left channel according to whether the note number is even or odd. Here, a MIDI circuit 5 transfers a signal which controls a sound source module to the CPU 1 or receives the signal from the CPU 1 and changes the localization of the musical sound between the right and left channels to generate the musical sound based upon the note-on information. Consequently, the player obtains the intended stereophonic effect by changing the localization of the musical sound according to whether the note number is even or odd.

Description

DETAILED DESCRIPTION OF THE INVENTION [Field of Industrial Application] The present invention relates to an electronic musical instrument that controls sound production while controlling the localization of musical tones.

[Conventional technology]

BACKGROUND ART In recent years, electronic musical instruments that can output musical tones not only in monaural but also in stereo have been developed. In such a case, a device has been developed that allocates musical tones to left and right channels.

As a conventional example of such a device, for example, two types of musical sound outputs are generated by adding different effects such as LFO vibrato or LFO remolo to musical sounds, and these musical sounds are localized in a preset position by the performer. There is one that divides the signal into left and right channels. Alternatively, there is also a control system in which the two types of musical tones are randomly distributed between the left and right channels.

[Problem to be solved by the invention]

However, in the conventional example described above, the musical tones are not distributed to the left and right channels by the performance operation, but are distributed to the left and right channels regardless of the performer's intention.
This has the problem that it is not possible to obtain the stereo effect intended by the performer.

An object of the present invention is to make it possible to control the localization of musical tones based on the player's performance operations, thereby making it possible to obtain the stereo effect intended by the player.

[Means to solve the problem]

The present invention first includes sound source means that independently generates musical tone signals in each of two localizations. This means can be applied to various types of sound sources, such as a frequency modulation type or phase modulation type digital sound source, a PCM sound source, etc. And, for example, it is a means for independently generating musical tone signals in each localization of the left channel and right channel of stereo, for example, by time-division processing.

In this case, musical tone signals are generated independently in each of the left and right channels in a polyphonic number such as 4 tones, 8 tones, etc.

Next, the apparatus includes localization control means for generating a musical tone based on the note-on information while changing the localization in the sound source means depending on whether the note number of the input note-on information is an even number or an odd number. In this case, the note-on information is
For example, MIDI (Musical Instrument
Input from a keyboard instrument or the like based on the Digital Interface standard, or input in response to keys pressed from a built-in keyboard section. Further, the note number takes a value of 0-127, for example. Then, the localization control means alternately changes the sound generation assignment to, for example, the left and right channels in the sound source means depending on whether the note number is an even number or an odd number, and controls the pitch, volume, timbre, etc. based on each note-on command. This is a means of controlling the sound to produce musical tones. Here, according to a preferred configuration example, when a predetermined localization is determined in accordance with the human power of each note-on information, the predetermined polyphonic number of musical tones are produced at the predetermined localization in the sound source means. If so, the localization control means causes the sound source means to generate a musical tone based on the note-on information at a localization other than the predetermined localization.

Similarly, when the predetermined localization is determined, if the predetermined polyphonic number of musical tones are being produced at both of the two localizations in the sound source means, the localization control means determines the predetermined localization in the sound source means. Among the musical tones being sounded, the musical tone whose sounding was started earliest is muted, and a musical tone based on the note-on information is generated.

(Function) When a performer uses a built-in keyboard instrument, etc. or is connected to an external device via MIDI, etc., and performs a performance by repeatedly pressing keys on the keyboard, etc., whether the pressed key number is an even number or not. Depending on whether the number is an odd number, the localization of the musical tones produced by the sound source means changes alternately between the left and right channels, for example.In other words, the performer can change the localization of the musical tones produced by selecting the key number from even-numbered keys and odd-numbered keys. Furthermore, by playing chords spanning even-numbered keys and odd-numbered keys, for example, it is possible to produce a musical sound with a wide localization in the left and right channels, and it is possible to obtain a stereo effect based on the performer's intention.

Note that this is not limited to keyboard operations, but also sequencer operations.
Even when automatic performance is performed using, for example, note-on information can control the localization of musical tones in synchronization with the input.

In this case, if the polyphonic number of musical tones in a certain localization becomes full, appropriate control can be performed, for example, by distributing the tones to another localization.

Furthermore, if the polyphonic number of musical tones in both localizations is full, the musical tones can be played with priority given to the last sound in the localization specified by the localization control means, and in this case as well, appropriate control can be performed. It can be carried out.

〔Example〕

Hereinafter, the present invention will be described in detail with reference to the drawings. The present embodiment is realized as an electronic musical instrument that can select any performance mode from among a plurality of performance modes, of which the parts related to the present invention are a normal mode (NORMAL MODE) and a keyboard mode (Ke
This relates to note-on control processing (described later) when y Board Mode) is selected.

Fig. 1 is a block diagram of an electronic musical instrument according to the present invention. This embodiment uses external MIDI commands (including data).

same as below. ) and controls the sound source based on it to produce the corresponding musical tone. However, as shown in the same figure, it is realized as a keyboard instrument having a keyboard section 16 or a controller 17. It is also possible to realize it as a part. Note that the controller 17 may include, for example, a Bender wheel for arbitrarily changing the pitch during performance;
A modulation wheel that allows you to arbitrarily change the depth of tremolo, etc., and a Definable cuheel that allows you to arbitrarily change data for one or more of the preset musical tone components. There are other operators such as In the following description, unless otherwise specified, the sound source module will be described as being controlled based on external MIDI commands.

A central control unit (hereinafter referred to as CPU) 1 processes data from each processing section, which will be described later, and sends out control data for controlling each processing section, thereby controlling the entire electronic musical instrument.

The switch section 3 is a group of various switches, including a switch for changing the tone color, a switch for changing the performance mode (described later), and a switch for changing the setting state of various control data, performance mode setting data, tone data, etc. , or a volume for changing data values, and these switch information is sent to the CPU via bus 2.
After the data is imported and processed, the data is set or sent to each processing system.

The display unit 4 is an LED or LCD display, etc.
The current performance status, setting data values, system setting status, etc. are displayed in response to data sent from the CPU via bus 2.

The MIDI circuit 5 receives a signal input from the outside to control the main tone generator module according to the MIDI standard, and transmits the signal to the bus 2.
This is an interface circuit for transmitting signals for controlling an external electronic musical instrument, which are transferred to the CPU via the bus 2, or conversely output from the CPU via the bus 2, in accordance with the MIDI standard.

The external interface 6 is an interface circuit for importing data, programs, etc. stored in the IC card, and conversely writing data, programs, etc. to the IC card. Note that this circuit is not particularly related to the present invention.

The ROM 7 is a read-only memory that stores programs, tone data, performance data, etc. for operating the sound source module.

The RAM 8 is a rewritable memory that temporarily stores data used in the program, timbre data, timbre control data, performance data, performance status data, and the like.

The sound source 9 is a circuit that generates musical tones while setting the tone and controlling the sound generation state based on control data input from the CPU via the bus 2. Digital sound source circuits can be applied.

The D/A converter 10 is a conversion circuit that converts digital musical tone data from the sound source 9 into a stereo analog musical tone signal.

The panning effect generator 11 is a circuit that adds a panning effect to the stereo analog musical tone signal from the D/A converter 10 to automatically change the localization of the left and right channels. The state of this panning effect is controlled by a control signal input via bus 2 from the CPUI. The present invention relates to a type of panning processing for distributing a musical sound signal between left and right stereo channels, but the panning effect generator 11 is a circuit that adds a panning effect to the analog musical sound signal in a fixed position or at random. This is not particularly relevant to this embodiment. Of course, this is related to this embodiment, and it is clear that the localization control of the present invention may be performed by such a panning effect generator 11.

The filter 12 is a left and right channel independent filter for removing unnecessary frequency components from the stereo musical sound signal from the panning effect generator 11.

The amplifier 13 amplifies the stereo output for left and right channels independently, and the stereo musical tone signals amplified in this way are emitted from each speaker 14, 15. Note that when this embodiment is implemented as a sound source module, the amplifier 13 and speakers 14 and 15 may be omitted, and the stereo musical sound signal from the filter 12 may be output to an external audio system connected to the sound source module.

i! As described at the beginning, the keyboard section 16 and the controller 17 are an example of the configuration when this embodiment is implemented as part of a keyboard instrument, and are not directly related to the present invention, so a description of their operation will be omitted.

1. Flow The operation of the electronic musical instrument having the above configuration will be explained below.

Note that each operation flowchart shown below is based on c in Fig. 1.
This is executed by pui operating according to a program stored in the ROM 7.

The electronic musical instrument according to this embodiment starts the general operation flowchart shown in FIG. 5 at the same time as the power is turned on and repeatedly executes it, but also interrupts the operation flowcharts shown in FIGS. 2 to 4, 20, and 21. Execute by. Note that FIGS. 9 and 11 to 18 show details of each part of the general operation flowchart of FIG. 5.

First, the basic operation flow of this embodiment will be explained according to the operation flowcharts of FIGS. 2 to 5.

The explanation will be given with reference to each processing unit shown in FIG. 1 from time to time.

FIG. 2 shows a processing flow that is executed with priority over the general operation flowchart of FIG. The state of each switch is loaded into an area (not shown) of the RAM 8. After executing this process, the process returns to the general operation flowchart of FIG. 5 again.

FIG. 3 shows a process that is executed with priority over the general operation flowchart of FIG. 5 based on an interrupt from the MIDI circuit 5 when the MIDI circuit 5 receives a MIDI command from an external device (not particularly shown). 5301, the MID1 circuit 5 receives the M
Processing is carried out to import an IDI command into an area not particularly shown in the RAM 8, and processing to set a flag indicating that a MIDI input has occurred in an area not particularly shown in the RAMB. After executing this process, the process returns to the general operation flowchart of FIG. 5 again.

FIG. 4 shows how, when this embodiment is realized as a part of a keyboard instrument and is equipped with a keyboard section 16, a controller 17, etc., the operation data is output to an external device when these are operated. This is the processing flow of 540
1, the MI
A process of outputting as a MIDI command via the DI circuit 5 is performed. Note that this operation is normal MIDI command output processing and is not directly related to the present invention.

FIG. 5 is a general operation flowchart repeatedly executed by the CPUI.

When the power is first turned on, in 5501, the sound source 9
Initialization processing is performed, such as initial settings for , initial display data settings for the display unit 4 , and initialization of each control data, control data, calculation data, etc. in the RAM 8 .

Next, in 5502, it is determined whether the state of the switch section 3 has changed. Note that the switch data determined here is detected by the interrupt processing shown in FIG.
The switch data imported into AM8 is used.

If there is a change in the switch state as a result of the above determination, 5503
At , switch change processing is performed. Here, in addition to setting the performance mode, setting tone data, setting MIDI control data, setting panning (PAN) control data, changing each data, setting musical tone control data for the sound source 9, and setting the display section 4. All necessary processing depending on the system status, such as data settings, initial settings of control data, control over the panning effect generator 11, exchange of data or programs with an IC card etc. via the external interface 6, and MIDI control. will be done. Note that this operation will be detailed later. After the above operation, 5504
Move on to processing.

On the other hand, if there is no change in the switch state as determined in step 5502, the switch change process in step 5503 is not executed, and
The process moves to step 504.

Subsequently, in step 5504, it is determined whether a MIDI command has been input via the old DI circuit 5.

Note that the flag for determining the presence or absence of MIDI input is set in the RAM 8 by the interrupt processing shown in FIG. 3, as described above.

If there is a IIIDI input (based on the above determination), the MIDI IN process of 5505 is executed. Here, the entered MI
Identify the DI command, change the internal performance mode, change the tone data, change the PAN control data, change the musical tone control data, and all processes related to these, as well as control the musical tone and display data. control, MIDI
control etc. are processed according to the system status and configuration data. Note that this is a part particularly related to the present invention,
The operation according to the present invention will be explained in detail later. After the above operations, the process moves to step 5506.

On the other hand, if there is no MIDI manual power as determined in 5504, the MIDI IN process in 5505 is not executed, and the MIDI IN process in 550 is not executed.
Proceed to step 6.

At 3506, it is determined whether or not there is a change in key depression in the keyboard section 16. As explained in the section "Configuration of this embodiment," this process is executed when this embodiment is realized as a part of a keyboard instrument and has the keyboard section 16, and the own keyboard operation also produces musical sounds. In order to reflect this in the sound production control, 35
It is determined whether or not there is a change in key depression in step 06.

If a key press/release operation is performed, key press change processing is performed in 5507. This processing involves changing data in response to key press/release operations, assigning sounds, producing sounds, muting, MIDI control, etc., and is the same as the operation of a normal keyboard instrument, and is directly related to the present invention. Since it is not relevant, its details will be omitted.

After the above processing or if there is no change in the key press as determined in step 5506, return to step 3502 to determine step 550.
Processes 2 to 5507 are repeatedly executed.

Note that if this embodiment is implemented as a sound source module type electronic musical instrument that does not have the keyboard section 16, it is not necessary to execute the processes 5506 and 5507.

In the basic operation flow of this embodiment described above, the part that is particularly relevant to the present invention is the MIDI IN process at 3505 in the general operation flowchart of FIG.
Before explaining these details, an outline of the sound production mode of the electronic musical instrument according to this embodiment will be explained.

In this embodiment, the maximum number of simultaneous sound productions (hereinafter referred to as polyphonic (Poly) number or simply Po1y) is 8 notes, and a maximum of 8 tones can be produced simultaneously as a sound source.

And NORMAL MODE
, combination mode
MODE), and multi-polyphonic mode (MLI
It has three performance modes: LTl, POLY MODE). In NORMAL MODE, the tone is 8.
It is possible to produce musical tones of the tone Po1y.

In the COMBINATION MODE, there are two sound generation areas, and each area can be assigned one timbre of four tones Po1y. That is, it is possible to generate musical tones with a mixture of two tones using four tones Po1y. MULTl, POLY MOD
E has eight sound generator areas, and it is possible to allocate 0 to 8 tones Po1y of one tone to each area. However, in
The total number of Po1y in all areas of LTl and POLYMODE will never be larger than 8 notes.

Furthermore, for each of the above three performance modes, NORM
AL MODE and COMBINATION MODE
Now, each keyboard mode (Key Board
Mode), Guitar Mode
) and wind instrument mode (Wind Mode) can be selected alternatively.
The ey Board Mode is fixedly set.

FIG. 6 shows the sound production mode of this embodiment when each MIDI command is inputted via the MIDI circuit 5 of FIG. 1 in each of the performance modes described above. In the table of the same figure, Note
The on10ff command is a command to start or end sound, the Pitch Bender command is a command to pitch bend (change pitch), and the After Touch command is a command to start or end sound.
This command instructs the key pressure after pressing the key. Furthermore, the tone change command is a command that instructs to change the tone to be produced, and the control change command is a command that instructs to change various controls such as the modulation sine wheel, foot volume, portamento data, master volume, foot switch, etc. be.

In Figure 6, NORMAL MOD is selected as the first performance mode.
If Key Board Mode is selected in E, Noteonloff, Pitch Bende
r, After Touch, Tone Change, and Control Change commands operate only when a fixed predetermined MIDI ID code is specified, and commands in other MIDI ID codes are ignored.

As the second performance mode, play Gu in NORMAL MODE.
If imarMode is selected, Note
For each command of onloff and Pitch Bender, it operates independently corresponding to each MIDI ID code from a fixed predetermined MIDI ID code to a channel added by 5. For example, when the predetermined MIDI ID modulus is 1, up to 1+5=6 channels can be operated independently. This is because the MIDI ID modulus of commands input from a stringed instrument such as a guitar is set independently for each string.
In many cases, the strings to 6th strings are assigned to channels 1 to 6, and Note onloff (corresponds to picking for each string) and Pitch Render are set for each string.
This is because each instruction (corresponding to the bending playing method, etc. for each string) is given. On the other hand, After Tou
ch, tone change, and control change commands will only be accepted if a fixed predetermined MIDI ID code for the lowest channel among the six channels is specified, and the command will be accepted on the channel +5 from the above channel. The command is executed simultaneously for the corresponding six strings. This is because timbre changes, etc. are instructed to all 6 strings at the same time, so by sending commands using only the lowest MIDI ID modulus, commands can be executed for all 6 strings. This prevents redundancy such as transferring commands to each string separately.

As the third performance mode, Wi
If ndMode is selected, Key Boa
Same as when rd Mode is selected, but
If the After Touch command is input, A
The fter Toucb command data can be used to change the volume of the musical tone.
Conversion curve for converting to tone parameters (hereinafter referred to as
Sets the after curve unique to wind instruments. Furthermore, as shown in Fig. 6, the Guitar Mo
In case of de, it is set as an after curve similar to Key Board Mode. In this way, Win
The reason for changing only the d Mode setting is that in the case of wind instruments, aftertouch is often used to control the volume, etc., but at the beginning of the sound, the aftertouch data is always small, so if you control it in the same way as aftertouch in Key Board Mode, The rise of the sound is always slow,
This is because the performance becomes unnatural. In addition, Gui
The tarMode aftertouch may be added using a dedicated touch key provided on the guitar body. Here, the aftercurve or the algorithm for determining it is stored, for example, in the ROM 7 in FIG.
The CPU refers to the same curve based on the data of the After Touch command inputted, converts it into parameters of the volume and timbre of the musical tone, and outputs the parameters to the sound source 9.

In contrast to the above NOHMAL MODE, the fourth performance mode, COMBrNATION MODE, is the first to third performance mode of NORMAL MODE, as shown in Figure 6, except that two tones are sounded at the same time and the number of polyphony is four.
This is exactly the same as in each performance mode. However, the key
K in NORMAL MODE on board
Unlike the case of the ey Board Mode, as will be described later, when a note is turned on, no sound generation processing is performed for the left and right allocation related to the present invention.

As the fifth performance mode, MULTl, POLY MOD
E is assumed to be used as a sound source for a sequencer (automatic performance bag W), and in this embodiment the Key Board
Only Mode can be set, Note onl
off, PitchBender, After
The Touch, Tone Change, and Control Change commands are independent for each MIDI channel, and operate on the sound generation area of the same channel as the MIDI channel independently set for the eight sound generation areas.

As mentioned above, in this example, NORMAL MOD
E.

COMBINATION MODE or M [ILTl,
In addition to being able to select each POLY MODE performance mode, the main feature is that it is possible to control the production of musical tones that are optimal for each device, depending on whether the externally connected electronic musical instrument is a keyboard, electronic guitar, electronic wind instrument, etc. be.

φ of the switch 几 Below, 3 of the general operation flowchart in Figure 5 above.
503 switch change processing and 5505 MIDI I
The N process and the control data change process due to interrupts will be sequentially explained.

First, the switch change process when each performance mode is set with the switch section 3 of FIG. 1 in FIG. 5 will be explained.

FIG. 7 shows a part of the switch unit 3 shown in FIG. 1, and is a key switch for setting each performance mode. 1 in the same figure
8.19 and 20 are NORMALMODE, , C
OMBINATION MODE and MULTl, PO
This is a switch to set LY MODE, and 21 is Ke
y Board Mode.

This is a select key for selecting Guitar Mode or Wind Mode.

FIG. 8 shows an example of the display on the display section 4 of FIG. 1 when each performance mode is selected. In this example, the display unit 4 has 16
It is composed of an LCD module with 2 lines of characters.

In the figures (a) to (C), NORMAL MODE is selected and Key Board Mode, Gui
This is a display example when tar Mode and Wind Mode are selected, and the underlines under the characters "K", rQJ, and "W" are blinking with a cursor. 8(a) each time the select key 21 in FIG. 7 is pressed.
- et al) - (C) - (a), and the display changes as follows.
ey Board Mode-=Guitar Mod
e-Wind Mode −+Key Board M
The performance mode changes like ode.

FIG. 8(d) to (f) are COMBINATTON M
ODE and Key Board Mode, ,G
This is a display example when uitar mode and wind mode are selected, and each performance mode can be selected using the select key 21 in FIG. 7, as in the case of NORMAL MODE.

FIG. 8 (6) shows the display of MULTl and POLY MODE, and as mentioned above, Key Board Mod
Since e is fixed, the display of rKu is omitted.

In addition, in FIGS. 8(a) to (8), rPST in the first line of the screen
The letter 1 stands for preset bank 1, and the letter r on the second line
A-IJ, rA-2J, rA-3J, etc. indicate 1.2.3 of tone bank A, and both indicate areas where tone data is stored. Also, “■Z EPJ, rVZ
Characters such as BASSJ, rVZ TRUMPETJ, etc.
Indicates the tone name.

Furthermore, in FIG. 8(d) to (f), r 1 +l]J is 2
In the sense of simultaneous sound pronunciation, this indicates that the sound bank and sound name of the sound production area surrounded by the mouth are displayed.

Figure 8 (The characters “11111111” in the first line of the scent are
The Po1y numbers of eight sound production areas 1 to 8 are displayed in order from the left. In addition, the figure ((to) all indicates l Po1y. It also shows that the tone bank and tone name of the sound production area surrounded by the mouth are displayed.

FIG. 9 is an operation flowchart of a program executed when each switch of the switch section 3 of FIG. 1 (including each switch 18 to 21 of FIG. 7) is pressed. This operation flowchart shows details of the switch change process 5503 in the general operation flowchart of FIG.

In FIG. 9, at 5901, it is determined whether the key switch whose state has changed is newly pressed or released, and if it has been released, the process proceeds to 3906 to perform switch OFF processing. However, each of the switches 18 to 21 in FIG. 7 does not have an OFF state, so the process ends without performing any processing.

If a key switch whose state has changed is pressed anew, 5
In each of the determination processes 902 to 5905, each key switch 18 (NORMAL MODE) and 19 in FIG.
(COMBINATION MODE), 20 (MU
LTl, POLY MODE), 21 Determine whether or not (select key) is pressed, and if YES, 5907~5
Perform each process in 910, and if none of the above is the case, return 59.
At step 11, processing for changing the corresponding switch is performed. In addition, 5
Since the process of 911 is not directly related to the present invention, its details will be omitted.

When the NORMAL MODE setting switch in Figure 7 18 is pressed, the process advances from 3902 to 5907 and the
LMODE setting processing is performed. Here, all the musical tones being produced by the sound source 9 in Fig. 1 are muted, and the NORMAL
Key Board Mode, G
Determine either uitar mode or wind mode. The flag NORMFG is shown in Figure 10 (b).
As shown in the figure, bits from bit to 4 are unused.
5.6.7 is Key BoardMode, Gui
Each bit is set to "1" in tar mode and wind mode, and each mode is exclusive, so any one bit is always rlJ. After the above determination,
After setting information to the flag MODEFG in FIG. 10(a), which is the sound generation control RAM (part of the RAM 8 in FIG. 1. Initialize all storage areas (not shown) necessary for sound generation control on the RAMB. Here, the flag MODEFG is
) as shown in 1-byte RAM, bito,
1.2 are NORMALMODE and COMBIN, respectively.
ATION MODE, MULTl, POLY MO
It is set to ``1'' when the mode is DE, and each mode is mutually exclusive, so only one of the 3 bits is ``1'', and any bit is ``1''. ing. Therefore, in the NORMAL MODE setting process described above, bito and 1.2 of the flag MODEFG are set to 'IJ', 'OJ', and 'OJ', respectively. Note that bit 3.4 of the flag MODEFG is unused. Also, bit5.6.7 is Key Board Mode,
, GuitarMode, and Wind Mode, and each of these modes is exclusive, so one of the bits is always set to "1".

Next, COMBINATION MODE in Figure 7 19
When the setting switch is pressed, the process proceeds from 3903 to 3908 in FIG. 9, and the COMBINATION MODE setting process is performed. Here, all the musical tones being produced by the sound source 9 in FIG. 1 are muted, and the COMBINATION M
Read out the flag COMBFG shown in FIG. 10 (C), which is a dedicated RAM of ODE (part of RAM 8 in FIG. 1), and set Key BoardModeSGuitarMo
Determine either de or Wind Mode. The flag COMBFG, as shown in FIG. 10(C), has exactly the same configuration as the flag NORMFG in FIG. 10(a). After the above determination, the NORMAL MODE
Similar to the setting process, the flag MODEFG in FIG. 10(a)
After setting the information to COMB, which was already explained in Figure 6.
- In order to perform the operation in the sound generation mode of NATION MODE, all storage areas (not shown) necessary for sound generation control on the RAMB in FIG. 1 are initialized.

Next, MULTl and POLY MODE in Figure 7 20
When the setting switch is pressed, the process proceeds from 5904 to 5909 in FIG. 9, where MULT1 and POLY MODE setting processing is performed. Here, all the musical tones being produced by the sound source 9 in FIG. 1 are muted, and the flag MOD in FIG.
Set EFG's bitoS 1.2 to "0", "0" and "
l”, and set bits 5, 6, and 7 to “l”, “0”, and “0” respectively.
”. This is MULTl, POLY MO
In DE, as already explained in Fig. 6, Key Boa
This is because it is fixed to rd Mode.

On the other hand, if the select key in Fig. 7 21 is pressed, the 9th
Proceeding from 5905 to 5910 in the figure, G and W change processing is performed. This process is performed by MLILTl, POLYMOD
If E is selected, the process ends without performing any processing. When NORMAL MODE is selected, first, in the flag NORMFG in Fig. 10 et al.
When bit5 is “1”, when bit6 is “1”, b
When iL7 is “1”, each bit5.6.7 is set to “1”.
O” “l” “0”, “0” “0” “1”, rl, r□,
After setting r□, NOR similar to the above 5907
Executes MAL MODE setting processing.

When COMBINATION MODE is selected, first, in the flag COMBFG in FIG. 10(C), when bit5 is "1", when bit6 is "1", and when bit7 is "1", bit5 .6
．． 7 as “0”, “1”, “0”, “0”, “0”, “1”, “1”
” “0” After setting to “0”, the COMBINATION MODE setting process similar to 3908 above is executed.

MIDI IN 几 After the switch change processing is performed at 8503 in FIG. 5 and the performance mode is set as described above, the MIDI IN in FIG.
Note onloff from external equipment via circuit 5
, Pitch Bender, After Tou
The operation when the MIDI commands ch and tone change are input will be described below. Note that the Key Boa mode in NORMAL MODE is particularly relevant to the present invention.
When rd Mode is selected, Note o
This is a processing operation when the n command is input, and is characterized by performing a sound generation operation while distributing musical tones to the left and right stereo channels, as will be described later.

When each of the above MIDI commands is input, the third
The operation flowchart shown in the figure is executed, and the MIDI command received by the MIDI circuit 5 is taken into the RAM 8. This state is detected in the determination process 3504 in FIG. 5, and the HIDE IN process 5505 is executed. The details of this process are shown in FIG.

In the same figure, Note onloff and Pitch Bend are shown in 51101 to 51104, respectively.
It is determined whether the command is er, After Touch, or tone change. If the command is a control change command other than the above command, as will be described later, it is processed by control data change processing based on interrupts at regular intervals, so the MIDIIN processing ends without performing anything according to the determination at 31113.

Furthermore, in the case of commands other than these, it is determined in step S1114 which ones are invalidated and which ones are valid, and then the processing of the valid commands is executed. Applicable commands include system messages that are not related to the MIDI channel, such as exclusive messages, common messages, and real-time messages based on the MIDI standard.

Next, Note onloff, Pitch B
A case where any one of the commands ender, AfterTouch, or tone change is input will be described.

Note that the following explanation corresponds to the general operations in each of the first to fifth performance modes already explained in the section "Summary of sound production mode in this embodiment" using FIG. 6.

First, as the first performance mode, select NORMAL MODE.
The case where Key Board Mode is selected will be explained.

First, note in the first performance mode that is particularly relevant to the present invention.
If the on10ff command is input, Figure 11 3
The determination at 1101 becomes YES-, and the channel determination I at 51105 is executed. Details of channel determination 1 are shown in FIG. In the case of the first performance mode, Fig. 12 312
01, the determination in S 1203 is NO, and S 1205
By executing the determination process, the MIDI channel (hereinafter simply referred to as MID) specified in the input command is
S
The determination in 1205 is YES, and 31106 in FIG.
Proceed to the Note on10ff process. This process is the first
Shown in Figure 4. In the case of the first performance mode, S1401, S
The determination in step 1402 is No, and the process advances to step S1403.

If the command is a Note on command, select S
Proceed to 1414, and further, if the determination in S 1414 is YES
, the subsequent determination of 81415 is also YES, and S 141
6 left and right portions proceed to sound generation processing.

In this embodiment, the sound source 9 in FIG. 1 is capable of producing sounds in parallel in eight-note polyphony through time-sharing processing, and has eight modules as shown in FIG. 19. That is, each module means each time division timing corresponding to the above eight sounds. Furthermore, the outputs of modules 1 to 4 are accumulated into one and output as the stereo right channel musical tone (R in the figure), and the outputs of modules 5 to 8 are also accumulated into one and output as the stereo left channel tone. It is output as a musical tone (L in the same figure). In this example, at 31416, N
A major feature is that the left and right channels are switched and sound is produced depending on whether the note number specified by the ote on command is an even number or an odd number. In FIG. 18, the left and right portions of 31416 in FIG. 14 show details of the sound generation process.

First, in 31801, it is determined whether the note number specified by Note on Core 7 is an even number or an odd number. Now, the Note on command is input as a MIDI command, but when a MIDI command is input, the operation flowchart in FIG. 3 is executed based on the interrupt from the MIDI circuit 5 as described above, and the
The MIDI command received by the IDI circuit 5, namely N
The ote on command is stored in RAM8.

Specifically, the note number to be Note on is R.
Stored in AMB. Whether this note number is an even number or an odd number can be determined based on whether the least significant bit of the note number stored in the RAM 8 is "1" or "0".

As a result of the above determination, if the note number is an even number, processing is performed in steps S1802 to S1807 to basically make the left channel sound, and if the note number is an odd number, the steps 31808 to 31813 are performed. This process basically causes the right channel to produce sound.

If the note number is an even number, first, 318
In 02, modules 5 to 5 corresponding to the left channel in the sound source in FIG. 19 (corresponding to sound source 9 in FIG. 1, the same applies hereinafter)
If there is a module out of 8 that is not being sounded, its module number (5 to 8) is written into an accumulator (not shown) in the CPUI of FIG. 1, and if there is no module, the accumulator is set to 0.

At step 31803, it is determined whether distribution to the left channel is possible based on the contents of the accumulator, and if possible, at step 31804, a sound generation instruction is issued to the sound source module corresponding to the contents of the accumulator.

As a result of the determination in step 31803, if distribution to the left channel is impossible, that is, if the content of the accumulator is 0, distribution to the right channel is performed. That is, 3180
5, if there is a module that is not being sounded among the modules 1 to 4 corresponding to the right channel in the sound source in Figure 19, write that module number (1 to 4) into the accumulator; if not, set the accumulator to 0. .

Then, in 31806, it is determined whether distribution to the right channel is possible based on the contents of the accumulator, and if possible, in 31804, a sound generation instruction is given to the sound source module corresponding to the contents of the accumulator.

If distribution to the right channel is also not possible as determined in S1806, that is, if the contents of the accumulator are 0, the process proceeds to 31807, and the first one of modules 5 to 8 corresponding to the left channel in the sound source in FIG. Gives pronunciation instructions to the module that is pronounced.

In this way, first, if distribution to the left channel is not possible, distribution to the right channel is performed, and if distribution to the right channel is also not possible, sound generation control is performed to give priority to the left channel. Note that the sound generation control may be performed on a first-come, first-served basis, and in that case, the process of 31807 may be omitted.

Regarding the above operation, if the note number is an odd number, the processing of S1808 to S1813 causes the right channel to sound.
The processing is exactly the same as that of 31807, except that the left and right sides are reversed.

Through the above processing, each time a Note on command is input, musical tones are generated for the left and right channels depending on whether the note number specified by the command is an even number or an odd number.

Next, 314 of the Note on10ff process in Figure 14
Returning to step 03, if the input command is a note off command, the process advances to step S1405, where the notes currently being produced by the sound source 9 and having the same note number (hereinafter referred to as Note No.) are muted.

Next, when the Pitch Bender command is input in the first performance mode, the determination in 31101 in FIG. 11 is NO.
After that, the determination of 31102 becomes YES, and 311
Channel determination 1 of 07 is executed. This is the above-mentioned Not
eon10ff :2? As in the case of the command, after the determinations in S 1201 and S 1203 in FIG. 12 are No,
S only if MIDI channel and fixed channel are equal
The determination at 1205 is YES, and the process proceeds to Pitch Bender processing at 31108 in FIG. 11. This process is the first
It is shown in Figure 5. In the case of the first performance mode, S 1501, S
The determination in step 1502 is NO, and the process advances to step S1503.

Here, the pitch bender data is reflected on all eight sounds that can be produced at the same time.

When the After Touch command is input in the first performance mode, after the determinations at 51101 and 31102 in FIG. 11 become NO, the determination at 51103 becomes YES,
Channel determination 2 of 51109 is executed. This process is shown in FIG. That is, only when the MIDI channel and the fixed channel are equal, the determination in S1301 becomes YES, and the process proceeds to After Touch processing in FIG. 5IIIO. This process is shown in FIG. In the case of the first performance mode, S 1601 and S 1602 (7) discrimination is N.
otona#), proceed to S1603. Here, we perform aftertouch processing suitable for keyboard instruments. Specifically, the input aftertouch data is stored in ROM7 in Figure 1.
The parameters of the volume and timbre of musical tones are converted based on the conversion curve suitable for the keyboard instrument stored in the keyboard, and the parameters are transferred to the sound source 9 to change the characteristics of the sound source.

When a tone change command is input in the first performance mode, the determination is N (S1101 to S11030 in FIG. 11).

After that, the determination of 51104 becomes YES, and 5ll
11 channel decisions 2 are performed. That is, the above A
As with the fter Touch command, MIDI
Figure 13 31 only if the channel and the fixed channel are equal.
The determination at step 301 is YES, and the process proceeds to tone color change processing at step 31112 in FIG. This process is shown in FIG. In the case of the first performance mode, the determination in S1701 is NO, and the process advances to S1702, where all the sounds being produced are muted. Next, in step S1703, the RAM 9M area for sound generation control in RAMB in FIG. 1 is initialized, and then in step S1703,
In step 4, the tone data inputted to the sound source 9 is transferred, and the tone to be produced by the sound source 9 is switched.

Next, as the second performance mode, select NORMAL MODE.
The case where Guitar Mode is selected will be explained.

When the Note on10ff command is input in the second performance mode, the determination at 31101 in FIG. 11 becomes YES, and channel determination 1 at 51105 is executed. That is, after the determination in FIG. 12 31201 becomes NO, S 1
If the determination in S 203 is YES and the determination process in S 1204 is executed, the determination in S 1204 is YES only if the MIDI channel is within the range of 6 channels from the fixed channel to the fixed channel + 5 channels. Then, the process proceeds to 31106 in FIG. 11, that is, the Note on 10ff process in FIG. 14. In the case of the second performance mode, after the determination in S1401 becomes No, S14
The determination in step 02 is YES, and the process advances to S1409. Then, if the command is a Note on command, S1
Proceeding to step 411, first, if there is a module currently producing sound to which the same channel as the MIDI channel of the sound source 9 in FIG. 1 is assigned, it is muted. Note that the channel determination is performed in step 51413, which will be described later, based on channel data stored in the RAMB of FIG. Next, 51
At step 412, an empty module of the sound source 9 is instructed to start generating sound. Furthermore, in S1413, the module and MIDI channel that started generating sound are stored in the RAM 8. As mentioned above, the reason why the sound of the same channel is muted and then a new sound is started is because the MIDI channel of the command input from a stringed instrument such as a guitar is set independently for each string. This is because it is impossible for multiple string sounds to be sounded at the same time. In addition, in order to leave a lingering sound, the sound may be muted by adding an appropriate envelope.

On the other hand, if the command is a Note off command,
Proceed to S1410 and MI with the sound source 9 currently producing.
Mute sounds with the same DI channel.

When a Pitch Bender command is input in the second performance mode, after the determination at 31101 in FIG. 11 becomes NO, the determination at 51102 becomes YES, and channel determination 1 at 31107 is executed. This is the same as the above Note
As with the on10ff command, 3120 in Figure 12
After the determination in S1203 is NO, the determination in S1203 is YE.
S, and only when the MIDI channel is within the range of 6 channels from the fixed channel to the fixed channel + 5 channels, the determination in S1204 becomes YES,
Figure 11 31108, ie Pitch B in Figure 15
Proceed to ender processing. In the case of the second performance mode, S 1
After the determination in S 501 becomes NO, the determination in S 1502 becomes YES and the process advances to S 1504. Here, the pitch bender data is reflected only for sounds whose MIDI channel is the same as the previously produced channel (currently producing channel). In other words, pitch bending is applied independently only to the notes corresponding to the strings that have been bent, for example.

When the After Touch command is input in the second performance mode, after the determinations in S 1101 and 51102 in FIG. Just like when the After Touch command is input in the first performance mode, the determination in S1301 becomes YES only when the MIDI channel and the fixed channel are equal, and the After Touch command in S1110 in FIG.
oucl+ processing, that is, After Tou in Figure 16
Proceed to ch processing. In other words, in the case of the second performance mode, Af
For the ter Touch command, see the above Note.
Unlike the on10ff command or the PitchBender command, this command is accepted only when a fixed predetermined MIDI channel, which is the lowest string channel among the six channels, is specified. 16th
The After Touch processing in the figure is the same as in the first performance mode, S 1601 → S 1602 → S 160
3, aftertouch processing suitable for keyboard instruments is performed, but in this case, the above command is simultaneously executed for channels for six strings corresponding to channels +5 from the fixed channel.

Thereby, by transferring the After Touch command for one string, it is possible to simultaneously apply the aftertouch effect to six strings.

When a tone change command is input in the second performance mode, the determination in steps 5IIOI to S 1103 in FIG. 11 is N.

After that, the determination of 51104 becomes YES, and 5l1
11 channel determination 2, that is, FIG. 13, is executed, and as in the case of the After Touch command, the MI
Only when the DI channel and the fixed channel, that is, the lowest string channel are equal, the determination at 31301 in FIG. 13 becomes YES, the command is accepted, and the process proceeds to the tone change process at 51112 in FIG. 11, ie, FIG. 17. Here, the first
As in the performance mode, all the notes being sounded are muted in steps S 1701 → 51702, and the first note is muted in S 1703.
The RAM area for sound generation control in the RAMB shown in the figure is initialized, and in step S1704, the manually inputted tone data is transferred to the sound source 9, and the tone to be produced by the sound source 9 is switched. In this case as well, the above command is executed simultaneously for 6 strings of channels corresponding to the channel +5 from the fixed channel, so that the After for 1 string is
By transferring Touch commands, you can change the tone of 6 strings at the same time.

Next, as the third performance mode, NORMAL MOD
The case where Wind Mode is selected in E will be explained.

If the Note on10ff command is input in the third performance mode, the Key Boa
As in the case where rdMode is selected, FIG.
The determination in l101 is YES, and channel determination 1 in 31105 is executed, and in FIG.
Only when the determination of 03 is No and the MIDI channel is equal to the fixed channel, the determination of S1205 is YES.
31106 in Fig. 11, that is, No. 31106 in Fig. 14.
Proceed to te on10ff processing. In FIG. 14, in the case of the third performance mode, the determinations in S1401 and S1402 are NO, and the process advances to S1403. If the command is a Note on command, the process advances to S1414, but since this determination is No, the process advances to S1404. Here, the empty module of the sound source 9 in FIG. 1 which is not currently producing sound is instructed to start producing sound. Note that in this case, unlike the case of the above-mentioned Key Board Mode, distribution to the left and right channels is not performed.

On the other hand, if the command is a Note off command,
Proceeding to S1403→S1405, the sounds currently being produced by the sound source 9 and having the same note number (hereinafter referred to as Note No.) are muted.

Next, when the Pitch Bender and Tone Change commands are input in the third performance mode, the operations are the same as in the first performance mode.

If the After Touch command is input in the third performance mode, the command 511 in Fig. 11 is input as in the first performance mode.
03-S 1109-S 1110, but the first
In Figure 6, after the determination of 51601 becomes No, S 160
The determination in step 2 is YES. The process then proceeds to S1604, where aftertouch processing unique to wind instruments is performed. Specifically, the input aftertouch data is converted to R in Figure 1.
Based on a conversion curve or conversion algorithm suitable for the wind instrument stored in the OM 7, the volume and timbre parameters of musical tones are converted, and the parameters are transferred to the sound source 9 to change the characteristics of the sound source. As a result, in a control mode unique to wind instruments in which the volume and the like are controlled by aftertouch, it is possible to naturally cope with the operation in which the aftertouch data always becomes small (becomes small) at the beginning of the sound.

In contrast to the above NORMAL MODE, in the fourth performance mode, COMBINATION MODE, two tones are sounded at the same time, and the number of Po1y in each tone is four. , the same processing as in each of the first to third performance modes of NORMAL MODE is performed. However, the key
When the Note on10f command is input in BoardMode, the determination in S1415 becomes NO after the determination in 31414 in FIG. Performs pronunciation processing. Also, COMBINAT-1ON MO
If the Note on10f command is input in GUILarMode of DE, each tone will have 4 notes P for 6 strings.
Since it operates in o1y, the sound generation control is performed while the oldest sound data is muted by the later inputted note-on.

Finally, the fifth performance mode is MtlLTl, POLY.
The operation when MODE is selected will be explained.

In this case, the operation is exactly the same as in the first performance mode, except that each process is executed only for sounds in the sound generation area to which a channel equal to the MIDI channel is assigned. In this case, the sound generation areas are, for example, the first sound generation area has channel number 1 and 2 sounds Po1y, the second sound generation area has channel number 2 and 3 sound Po1y, and the third sound generation area has channel number 3 and 3 sound Po1y. As in,
This refers to an area allocated to each MIDI channel so that it behaves as an independent musical instrument.

When the Note on10ff command is input in the 5th performance mode, the process proceeds from 51101 to 51105 in Figure 11.
The determination in FIG. 12 31201 is YES, and S 120
By executing the determination process in step 2, the determination becomes YES only when the Po1y number of the sound generation area to which the MIDI channel is assigned is not O, and the result is 5l1 in FIG.
The process proceeds to the Note on10ff process of 06, ie, FIG.

Here, the determination in S1401 is YES, and the MID
S1403 to S1405 of the first performance mode are applied only to the sound generation area to which the I channel is assigned.
Processes 3 1406 to 3140B corresponding to the process 1406 to 3140B are executed.

When the Pitch Bender command is input in the 5th performance mode, S 1101 → 51102 → 5 in Figure 11
1107, the same channel judgment l as in the case of the Note on10ff command is executed, and the 11th
The process proceeds to the Pitch Bender process in FIG. 31108, that is, FIG. Here, the determination of S1501 is YE.
3150 in the first performance mode only for the sound generation area to which the MIDI channel is assigned.
The process of S1505 corresponding to the process of 3 is executed.

When the After Touch command is input in the 5th performance mode, 51101 → 51102 → 311 in Figure 11
03→51109, and channel determination 2 in FIG. 13 is executed in exactly the same manner as in the first performance mode. In other words, the determination in S1301 is Y only when the MIDI channel and one of the fixed channels of each sound generation area are equal.
ES, and After Tou in Figure 11 5IIIO
The process proceeds to channel processing, that is, to FIG. Here, 5160
1 is YES, and the process of S1605 corresponding to the process of 31603 of the first performance mode is executed only for the sound generation area to which the MIDI channel is assigned.

When a tone change command is input in the 5th performance mode, S 1101 → 51102 → 31103-3 in Figure 11
1104-31111 and the After Tou
ch:1? Channel judgment 2 is exactly the same as in the case of
is executed, and the process proceeds to the tone color change process 31112 of FIG. 11, that is, FIG. 17. Here, the determination in 51701 is YES, and only the sound generation area to which the MIDI channel is assigned is 51701 in the first performance mode.
S1705~corresponding to the processing of 702~S1704
The process of S1707 is executed.

As described above, NORMAL MODE, CO
MBINATIONMODE or MULTl, POLY
Each performance mode of MODE is selected, and the Key
Board ModeSGuitar Mode or W
By selecting the ind Mode, it becomes possible to control the production of tones optimally for each device, depending on whether the externally connected electronic musical instrument is, for example, a keyboard, an electronic guitar, or an electronic wind instrument. In particular, in this example, NORM
In the case of AL MODE and Key Board Mode, a major feature is that a sound generation process is performed in which musical tones are distributed to the left and right stereo channels depending on whether the note number is an even number or an odd number. In this case, the MID in Figure 1
If the electronic musical instrument connected to the outside of the sound source module in the figure via the circuit 5 is, for example, a keyboard instrument, the note number will be an even number or an odd number depending on whether the pressed key is an even numbered key or an odd numbered key. , an effect can be obtained in which the localization of musical tones changes between the left and right channels depending on the key pressed.

The operation of the controller when a control change command is input from an external device via the old DI circuit 5 of FIG. 1 at the end of the operation will be explained along the operation flowchart of FIG. 20.

The operation flowchart in FIG. 20 is similar to the switch state capture operation in FIG.
This is executed in priority to the general operation flowchart shown in the figure. Therefore, when a control change command is input, it is processed in units of the above-mentioned fixed period.

First, if a control change command is input,
As already explained, the operation flowchart in FIG. 3 is executed based on the interrupt from the MIDI circuit 5, and the [D
The MIDI command received by the I circuit 5 is captured in the RAM 8. This state is shown in FIG. 20 at 520.
0MID detected in the discrimination process of 01 and S 2002
If no I command has been input or if the M command has been input
If the IDI command is not a control change command, the determination of 32001 and/or S 2002 is NO.
Therefore, the process proceeds to S2004. This will be discussed later.

When a control change command is detected, first
Only when the MIDI channel (MIDI channel specified in the same input command) is equal to the fixed channel, the determination in S2003 becomes YES, and the process proceeds to control data change processing in S32004. Here, the control corresponding to the control change data input based on the operation of the modulation wheel, foot volume, master volume, foot switch, portamento time change switch, voltamento 0N10FF switch, etc. on an external device is shown in Figure 1. This is done for sound source 9. Furthermore, as explained in the MIDI IN processing section, the G
uitar Mode (NORMAL MODE or C
In OMBINATION MODE), the above command is accepted only when the MIDI channel is equal to the fixed channel corresponding to the lowest string, and the actual control is performed simultaneously from the fixed channel to the channel corresponding to the 6th string up to the channel + 5 channels. .

Furthermore, in M[ILT1, POLY MODE, control is performed only for the corresponding sound generation area when it is equal to one of the fixed channels corresponding to each sound generation area.

In addition to the control change command input as a MIDI command as described above, in S2005, the controller 17 shown in FIG. 1 is operated, and it is determined whether or not its state has changed since the previous determination.

As explained in section 1, "Configuration of this Embodiment," this process is executed when this embodiment is realized as a part of a keyboard instrument and has a controller 17, and the operation of its own controller also produces musical sounds. In order to reflect the change in the sound generation control, the change in the state of the controller is determined in S2005.

Then, when a controller operation is performed, S
In 2006, the corresponding control data is changed. This process is similar to the process in S2004 above. Note that if this embodiment is implemented as a sound source module type electronic musical instrument that does not have the controller 17, it is not necessary to execute the processes of S2005 and S2006.

In the next step 32007, data calculations are performed to realize LFO vibrato. What is LFO vibrato?
This is an effect that causes the pitch of a musical tone to vary periodically at a low frequency by the output of a FO (low frequency oscillator).
This is achieved by creating pitch change data corresponding to l and transmitting it to the sound source 9. Note that data calculation processing is also performed here when the LFO vibrato is modulated by the control data calculated in S 2004 or S 2006 based on the MIDI command or the operation of the controller 17 in FIG. .

In step <32008, an instruction is given to the sound source 9 in FIG. 1 to actually change the pitch of the musical tone based on the LFO vibrato data calculated in the above processing.

In 52009, data calculation is performed to realize LFO) L/-1-1:+(growl). this is,
This is an effect in which the volume and timbre of musical tones are periodically varied at a low frequency by the output of the LFO, and is achieved by the CPU 1 in FIG. 1 creating corresponding volume or timbre change data and transmitting it to the sound source 9. Here, data calculation is performed when the LF○ tremolo (growl) is modulated by the control data calculated in S 2004 or S 2006 based on the MIDI command or the operation of the controller 17 in FIG. Processing is also done.

In the continuation <32010, based on the LFO tremolo (growl) data calculated in the above process, the sound source 9 in FIG.
The user instructs the user to actually change the volume and timbre of the musical tone.

Then, in step 52011, arithmetic processing is performed on data to generate a panning effect. The panning effect here refers to the panning effect generator 11 as described above.
This is an effect that is added to the stereo analog musical tone signal from the D/A converter 10 to change the localization of the left and right channels either uniformly or randomly.

The actual panning effect is performed at step 32101 in the operation flowchart of FIG. 21, which is executed by a timer interrupt at regular intervals, which is different from the operation flowchart of FIG. 20.
In the processing operation, CPtJl shown in FIG. 1 is generated and added by outputting a control signal to the panning effect generator 9 via the bus 2.

Relaxation a In the above example, the Key
In the case of BoardMode, the distribution of musical tones was controlled so that they were distributed to the left and right depending on whether the note number was an even number or an odd number, but the distribution was not determined based on the left and right localization, but instead, for example, distributed to the left and center or right and center. may be controlled, or furthermore, the degree of mixing to the left and right may be controlled to change continuously. In this case, the panning effect generator 11 performs panning control.

On the other hand, musical tones were distributed to the left and right channels by dividing the eight modules of the sound source 9 in FIG. 1 into four each on the left and right channels, as shown in FIG. In the step of making the module sound, only the left and right flags may be set for each module, and in the final accumulation step, the signals may be distributed to the left and right channels based on the flags.

Further, in the embodiment described above, the performance mode was changed using the switches shown in FIG. 7 in the switch section 3 shown in FIG. 1, but it may be possible to change the performance mode using MIDI commands from an external device.

Furthermore, although the maximum number of sounds that can be produced simultaneously by the sound source 9 in FIG. 1 is eight, it is not limited to this;
The number may be increased to 2 tones, etc. In addition, Guitar M
Although the possible order in the case of ode is set to 6 strings, it may be larger than that.

In addition, in COMBINATION MODE, more than two sound areas are provided, so that one Not
It is also possible to increase the number of tones of different tones to be sounded simultaneously with e on to 3 or more, and furthermore, it is possible to increase the number of musical tones with different tones to 3 or more.
It may be possible to switch to 4.8, etc. In that case, the Po1y number of simultaneous sounds will change.

Furthermore, Key B in MULTl and POLY MODE
Although only the oard Mode was set fixedly, the GUI
It may also be possible to set tar Mode or Wtnd Mode.

[Effects of the Invention] According to the present invention, the localization of musical tones produced from the sound source means can be varied depending on whether the note number of note-on information input based on a performance operation is an even number or an odd number. As a result, the performer can use, for example, a built-in keyboard instrument or the like connected externally via MIDI, etc.
When a performance is performed by repeatedly pressing a key on a keyboard or the like, the localization of musical tones generated from a sound source means can be changed alternately between, for example, left and right channels depending on whether the pressed key number is an even number or an odd number. That is, the performer can change the localization of the musical tones to be produced by selecting the key number from even-numbered keys and odd-numbered keys. Furthermore, by playing chords spanning even-numbered keys and odd-numbered keys, for example, it is possible to produce a musical sound with a wide localization in the left and right channels, and it is possible to obtain a stereo effect based on the performer's intention.

In this case, if the polyphonic number of musical tones in one localization becomes full, for example, by distributing them to the other localization, appropriate control can be performed and the sound source can be used efficiently. becomes.

Furthermore, if the polyphonic number of tones in both stereo locations is full, by giving priority to the last tones, it is possible to use the sound source efficiently and obtain an appropriate stereo effect. becomes.

[Brief explanation of drawings]

FIG. 1 is a configuration diagram of an electronic musical instrument according to the present invention, and FIG.
Figure 3 is an operation flowchart for capturing the switch status.
5 is a general operation flowchart, FIG. 6 is a sound generation mode table, FIG. 7 is a configuration diagram of the sound generation mode setting key switch, and FIGS. 9 is an operation flowchart of switch change processing; FIGS. 10(a) to 10(C) are configuration diagrams of sound generation mode memory;
11 is an operation flowchart of MIDI IN processing, FIG. 12 is an operation flowchart of channel determination 1, FIG. 13 is an operation flowchart of channel determination 2, FIG. 14 is an operation flowchart of Note an10ff processing, and 15. Figure 16 is an operation flowchart of pitch bender processing, Figure 16 is an operation flowchart of aftertouch processing, Figure 17 is an operation flowchart of tone switching processing, Figure 18 is an operation flowchart of sound generation processing for left and right distribution, FIG. 19 is a configuration diagram of the sound source, FIG. 20 is an operational flowchart of control data change processing, and FIG. 21 is an operational flowchart of PAN control processing. 1... Central control unit (CPU), 2... Bus, 5... MIDI circuit, 7... ROM. 8...RAM. 9...Sound source,

Claims (1)

[Scope of Claims] 1) sound source means for independently producing a musical tone signal in each of two localizations; An electronic musical instrument comprising: localization control means for generating musical tones based on note-on information. 2) The electronic musical instrument according to claim 1, wherein the sound source means independently generates a musical tone signal with a predetermined polyphonic number in each of the two localization positions. 3) When the localization control means determines a predetermined localization each time the note-on information is input, if musical tones of the predetermined polyphonic number are being produced at the predetermined localization in the sound source means, the localization control means determines the predetermined localization. 3. The electronic musical instrument according to claim 2, wherein the control means causes the sound source means to generate musical tones based on the note-on information at a localization other than the predetermined localization. 4) When the localization control means determines a predetermined localization each time the note-on information is input, the predetermined polyphonic number of musical tones are being produced in both of the two localizations in the sound source means; 3. The localization control means is characterized in that the sound source means mutes the musical tone that was started earliest among the musical tones being produced at the predetermined localization, and generates a musical tone based on the note-on information. Electronic musical instruments listed.