JP2005300798A - Electronic music device - Google Patents

Abstract

<P>PROBLEM TO BE SOLVED: To provide an electronic music device capable of simulating musical sounds of a stringed instrument having frets, such as a guitar. <P>SOLUTION: The electronic music device has a closed loop means, in which a plurality of delay circuits are connected in a closed loop shape; an exciting means of generating and supplying an excitation signal to the closed loop means; a plurality of terminating means which respectively includes a filter and a multiplying circuit and short-circuits the closed loop to change characteristics of a signal circulating in the closed loop; and an output means of outputting the signal circulating in the closed loop as musical sounds. <P>COPYRIGHT: (C)2006,JPO&NCIPI

Description

  The present invention relates to an electronic music apparatus, and more particularly to an electronic music apparatus using a physical model sound source.

  Conventionally, a so-called physical model sound source device that synthesizes a musical sound by simulating a sound generation mechanism of a natural musical instrument with an electronic circuit is known. In such an apparatus, the sound generation mechanism of a natural musical instrument is simulated by a closed loop circuit that combines a delay circuit, a filter, an adder circuit, a multiplier circuit, and the like. (For example, refer to Patent Documents 1 and 2).

  In addition, in order to simulate the tone of a plucked string instrument such as a guitar, a vibration wave generated by picking is generated and supplied to a closed loop circuit. (For example, refer to Patent Document 3).

JP 63-40199 A Japanese Patent Publication No.58-58679 Japanese Patent No. 2913870

  In the conventional apparatus, the vibration wave generated by the contact of the fret and the string peculiar to a natural musical instrument having a fret such as a guitar has not been considered. For this reason, it has been difficult to simulate musical sounds such as a slide playing method, a glissando playing method, and a tapping playing method in an instrument having frets.

  The objective of this invention is providing the electronic music apparatus which can simulate the musical tone of the stringed instrument which has frets, such as a guitar.

  According to an aspect of the present invention, an electronic music apparatus includes a closed loop unit in which a plurality of delay circuits are connected in a closed loop shape, an excitation unit that generates an excitation signal and supplies the excitation signal to the closed loop unit, and a filter and a multiplication circuit, respectively. A plurality of termination means for short-circuiting the closed loop and changing characteristics of a signal circulating in the closed loop; and an output means for outputting a signal circulating in the closed loop as a musical sound.

  ADVANTAGE OF THE INVENTION According to this invention, the electronic music apparatus which can simulate the musical tone of the stringed instrument which has frets, such as a guitar, can be provided.

  FIG. 1 is a block diagram showing a hardware configuration of an electronic music apparatus 1 according to an embodiment of the present invention.

  The electronic music apparatus 1 includes, for example, a control unit 2, a performance operator 3, a tone generator circuit 4, and a mixer 5.

  The performance operator 3 is an operator that receives a user's performance operation and inputs a signal corresponding to the performance operation to the control unit 2. As the form of the performance operator 3, for example, a stringed instrument type such as a guitar or bass, a keyboard instrument type, a wind instrument type, a percussion instrument type, or the like can be considered. In addition to the form of the musical instrument, any external storage device, personal computer, sequencer, or the like that stores performance data may be used as long as necessary signals (information) can be input to the control unit 2.

  The performance signal input from the performance operator 3 to the control unit 2 includes a sound generation instruction (Key-on), a mute instruction (Key-off), velocity, note number, and the like. sno), fret designation (fret number fno), and performance style designation (normal, tapping, mute, etc.) may be included. It should be noted that string designation (string number sno), fret designation (fret number fno), performance style designation (normal, tapping, mute, etc.) are performed in the control unit 2 by other performance signals (for example, string designation is a note) You may make it determine using (from a number).

  The control unit 2 generates a control parameter based on the performance signal input from the performance operator 3 and inputs the control parameter to the sound source circuit 4. Details of the control parameters will be described later.

  Each of the tone generator circuits (STRING 1 to 6) 4 simulates the vibration of one string and outputs a signal corresponding to the simulated vibration. The configuration of the sound source circuit 4 will be described later with reference to FIG.

  The mixer 5 mixes six signals output from the sound source circuit 4 and outputs them as, for example, two (L, R) musical sound signals.

  FIG. 2 is a circuit diagram showing the configuration of the tone generator circuit 4 according to this embodiment.

  The tone generator circuit (STRINGSno) 4 includes a picking driver (PICKINGDRIVERsno) 10, a tapping driver (TAPPING DRIVE WAVE GENERATORSno) 11, and a closed loop circuit 12.

  The picking driver 10 is a circuit for simulating vibration (picking vibration waveform) given to a string when the guitar string is picked. The picking driver 10 supplies the picking vibration waveform (PICKING) to the closed loop circuit 12 according to the control parameter (PICKINGPARsno) supplied from the control unit 2 of FIG. Examples of the control parameter (PICKINGPARsno) include picking initial speed, initial string position, initial touch, key-on signal, and the like. The configuration of the picking driver 10 is based on a known technique. For example, a pick controller described in paragraphs [0019] to [0023] of Japanese Patent Publication No. 2913870 can be used as the picking driver 10 of this embodiment.

  The tapping driver 11 is a circuit for simulating a vibration wave generated when a string hits a fret when performing a tapping performance. The tapping driver 11 generates a tapping vibration waveform (TAPPING) according to the control parameter (TAPPINGPARsno) supplied from the control unit 2 of FIG. Examples of the control parameter (TAPPINGPARsno) include a tapping key-on instruction and an initial touch.

  Note that the picking vibration waveform (PICKING) and the tapping vibration waveform (TAPPING) are both impulses or waveforms in accordance with impulses, and contain noise components.

  The closed loop circuit 12 includes a plurality of termination circuits TM (TM0 to 22 and TMmute, TMbrg), a connection circuit NUT and a connection circuit BRG, delay circuits (delays) DLP1 to 25 and DLR1 to 25, and an adder circuit AD (ADP, ADR, ADF, ADB, ADN, AD1 to AD22).

  When picking is performed in a state where none of the frets are pressed, first, the picking vibration waveform from the picking driver 10 is input to the adding circuits ADP and ADR. The picking vibration waveform input to the adder circuit ADP is supplied to the adder circuit ADO and the delay circuit DLP23 at the output end.

  The picking vibration waveform input to the delay circuit DLP23 passes through the delay circuits DLP1 to 22 in descending order and is input to the connection circuit NUT and the termination circuit TM0. In the delay circuit 23, a delay time corresponding to the time for transmitting the vibration wave from the picking point to the 22nd fret is set, and in the delay circuits DLP1 to 22, the time for transmitting the vibration wave between the respective frets is set. . Each delay circuit is a combination of a signal propagation memory that functions as a shift register whose number of stages can be set arbitrarily, and a minute delay filter (mainly an all-pass filter or FIR filter) for realizing a minute delay, for example, in series connection. The delay time (propagation time of the string vibration wave) is set by controlling the number of stages of the signal propagation memory and the coefficient of the minute delay filter. If the sampling frequency is sufficiently higher than the musical sound frequency (the delay time amount in one stage of the signal propagation memory is small), the minute delay filter can be omitted.

  The picking vibration waveform input to the connection circuit NUT is supplied as the vibration waveform NUTLEAKOUT to the sound source circuit 4 corresponding to another string. The connection circuit NUT includes a filter FLT and a multiplication circuit GAIN as shown in FIG. 3, and the filter FLT is set so as to simulate a change in sound quality of the nut portion of the guitar. The multiplication circuit GAIN simulates the vibration wave attenuation by the nut. When something touches the string, the string vibration wave is reflected at that point with phase inversion, and therefore, a coefficient set as a positive value is multiplied by “−1”.

  The picking vibration waveform input to the termination circuit TM0 is phase-inverted by the termination circuit TM0 and input to the addition circuit ADN. Similarly to the connection circuit NUT, the termination circuit TM0 is configured to include a filter FLT and a multiplication circuit GAIN as shown in FIG. 3, and the filter FLT is set so as to simulate the sound quality change of the nut portion of the guitar. The multiplication circuit GAIN simulates the vibration wave attenuation by the nut.

  The termination circuits TM1 to TM22 are also configured to include a filter FLT and a multiplication circuit GAIN as shown in FIG. The filters FLT of these termination circuits TM1 to 22 are set so as to simulate changes in the vibration waveform according to the material of the fret (for example, stainless steel). The multiplication circuit GAIN simulates the attenuation of the vibration wave due to the frets. The termination circuits TM1 to 22 short-circuit the closed loop of the closed loop circuit 12, thereby reducing the number of delays through which the signal circulating through the closed loop passes and changing the pitch of the signal. At the same time, the sound quality can be changed.

  Further, the termination circuit TMmute is configured to include a filter FLT and a multiplication circuit GAIN in the same manner as the other termination circuit TM in order to simulate a case where the hand is muted on the bridge side. The multiplication circuit GAIN simulates the attenuation of vibration due to muting. That is, the termination circuit TMmute changes the volume of the signal circulating in the closed loop of the closed loop circuit 12. At the same time, the sound quality can be changed.

  Also, the termination circuit TMbrg is configured to include a filter FLT and a multiplication circuit GAIN as shown in FIG. The filter FLT of the termination circuit TMbrg is set so as to simulate the change in the vibration waveform according to the bridge material (for example, stainless steel). The multiplication circuit GAIN simulates the attenuation of the vibration wave by the bridge.

  In the adder circuit ADN, the vibration waveform input from the termination circuit TM0 and the vibration waveform NUTLEAKOUT supplied from the connection circuit NUT of the tone generator circuit 4 corresponding to other strings are added and supplied to the delay circuit DLR1.

  The vibration waveform supplied to the delay circuit DLR1 is delayed by the circuit, then delayed by the delay circuits DLR2 to 23, and input to the adding circuit ADR and the adding circuit ADF. Similarly to the delay circuits DLP1 to 22, the delay circuits DLR1 to 22 are set to have a time during which the vibration wave is transmitted between the respective frets. The delay time of the delay circuit DLR23 is set similarly to that of the delay circuit DLP23.

  In addition, addition circuits AD1-22 are installed at positions corresponding to the respective frets, and the signals of the termination circuits TM1-22 and the vibration waveform supplied to the delay circuit DLR1 are added. Since the multiplication circuit GAIN of the circuits TM1 to 22 is set to “0”, nothing is substantially added. As will be described later, since the multiplication circuits GAIN 1 to 22 are also set to “0” except when tapping, nothing is substantially added.

  The adder circuit ADR adds the picking vibration waveforms from the picking driver 10 and supplies the added waveform to the adder circuit ADO and the delay circuit DLR24 at the output end.

  The delay circuit DLR24 is set with a delay time from the picking point to the mute point, and the delay circuit DLR25 is set with a delay time corresponding to the time from the mute point to the bridge. The vibration waveform passing through these delay circuits is input to the termination circuit TMbrg and the connection circuit BRG. The vibration waveform whose phase is inverted by the termination circuit TMbrg is input to the addition circuit LDB.

  The vibration waveform input to the connection circuit BRG is supplied as a vibration waveform BRGLEAKOUT to the sound source circuit 4 corresponding to another string.

  In the addition circuit LDB, the vibration waveform BRGLEAKOUT supplied from the sound source circuit 4 corresponding to another string is added and supplied to the delay circuit DLP25.

  The delay circuit DLP25 is set with a delay time from the mute point to the bridge, and the delay circuit DLP24 is set with a delay time corresponding to the time from the picking point to the mute point. The vibration waveform passing through these delay circuits is supplied to the addition circuit ADP and the addition circuit ADF.

  In the adder circuit ADF, the vibration waveforms supplied from the delay circuits DLR 24 and DLP 23 are added and supplied to the picking driver 10 as a reflected waveform.

  In the addition circuit ADP, the vibration waveform supplied from the delay circuit DLR24 and the picking vibration waveform from the picking driver 10 are added and supplied to the addition circuit ADO and the delay circuit DLP23. The vibration waveform supplied to the delay circuit DLP 23 circulates in the closed loop circuit 12 until it is completely damped as described above.

  The adder circuit ADO adds the vibration waveform from the adder circuit ADP and the vibration waveform from the adder circuit ADR, and outputs the result as an output waveform OUTPUTsno of the string number sno.

  In the state where the above-mentioned frets are not pressed (open string state), the multiplication circuit GAIN of the termination circuit TM0 and the termination circuit BRG is set to the sound generation corresponding value, and the multiplication circuits GAIN of the other termination circuits TM are “0”. Is set to Here, the pronunciation corresponding value is usually a value smaller than “1” but very close to “1”.

  For example, when simulating the case where the 21st fret is pressed using this closed loop circuit 12, the termination circuit TM21 corresponding to the 21st fret and the multiplication circuit GAIN of the termination circuit BRG are set to the sounding corresponding values. The multiplication circuit GAIN of the termination circuit TM is set to “0”. By doing so, the closed loop circuit 12 is short-circuited at the position of the end circuit 21, and the vibration waveform transmitted through the closed loop circuit 12 is circulated between the termination circuit TM21 corresponding to the 21st fret and the termination circuit BRG. Thus, the same effects as those obtained when the delay circuits DLP1 to 21 and DLR1 to 21 are substantially eliminated are produced, and the pitch of the vibration waveform (signal) is increased. Therefore, the vibration of the string can be simulated when the 21st fret is pressed.

  The tapping performance method, the mute performance method, and the mute operation will be described later with reference to flowcharts because only the setting values of the multiplication circuit GAIN or the multiplication circuits GAIN 1 to 22 of each termination circuit TM are changed. Further, as the setting values of the multiplication circuit in the present embodiment, a sound generation corresponding value, a mute corresponding value, a tapping corresponding value, and a mute corresponding value are raised. These values have a relationship of 0 <mute correspondence value <mute correspondence value <tapping correspondence value ≦ sound generation correspondence value ≦ 1, and the pronunciation correspondence value is a value close to 1 as much as possible. Any value can be calculated based on the decay time of the musical sound.

  FIG. 4 is a flowchart showing a control process according to this embodiment. The following description will be given with reference to FIGS. The control process is started after the electronic music apparatus 1 is turned on, and is ended when the power is turned off.

  In step SA1, control processing is started. In step SA2, the system is initialized. By initialization of this system, the signal currently flowing on the closed loop circuit 12 is reset, and various parameters, flags, buffers and the like are reset.

  In step SA3, the string number (sno) is set to “1”. Thereafter, in step SA4, a performance operation for STRINGsno (a performance operation for a string corresponding to the string number set in step SA3) is detected. If the performance operator 3 is not a stringed instrument type, the control unit 2 determines the string number (sno) and fret number (fno) of the input performance signal based on the pitch of the performance signal input.

  In step SA5, it is determined whether or not a sounding start instruction event (for example, a key-on event or a fret movement event) is included in the performance operation detected in step SA4. If there is a sound generation start instruction event, the process proceeds to step SA6 indicated by a YES arrow, and if not, the process proceeds to step SA10 indicated by a NO arrow.

  In step SA6, it is determined whether the performance method of the sound generation start instruction event detected in step SA4 is one of normal sound generation (NORM), tapping (TAPP), and mute (MUTE). Judgment of performance style may be determined based on performance performance information input from the performance operator 3 or performance performance instruction information included in performance data read from the recording means or the like. It may be determined. If it is determined that the sound is normal, the process proceeds to step SA7 indicated by the NORM arrow. If it is determined that the sound is muted, the process proceeds to step SA8 indicated by the MUTE arrow. If it is determined that it is tapping, the process proceeds to step SA9 indicated by a TAPP arrow.

  In step SA7, the normal sound generation process shown in FIG. 5 is performed. The normal sound generation process is a process for simulating a normal performance style. Thereafter, the process proceeds to step SA12.

  In step SA8, the mute process shown in FIG. 6 is performed. The mute process is, for example, a process for simulating a so-called mute playing method in which a stringed instrument such as a guitar is picked while lightly touching a string on a fret. Thereafter, the process proceeds to step SA12.

  In step SA9, the tapping process shown in FIG. 7 is performed. The tapping process is, for example, a process for simulating a so-called tapping performance method in which a string is strongly brought into contact with a fret in an instrument having a fret such as a guitar. Thereafter, the process proceeds to step SA12.

  In step SA10, it is determined whether or not a mute instruction event (for example, a key-off event) is included in the performance operation detected in step SA4. If there is a mute instruction event, the process proceeds to step SA11 indicated by a YES arrow, and if not, the process proceeds to step SA12 indicated by a NO arrow.

  In step SA11, the mute process shown in FIG. 8 is performed. In the silencing process, for example, a musical sound is simulated when the string is silenced by lightly touching the string on the bridge side or fret of a string vibrating in a stringed instrument such as a guitar. Thereafter, the process proceeds to step SA12.

  In step SA12, it is determined whether or not the current string number (sno) is “6”. When the current string number (sno) is “6”, that is, the processing for all the strings included in the natural musical instrument (in this embodiment, the 6-string guitar) that the electronic music apparatus is to simulate is performed. If completed, the process returns to step SA3 indicated by the YES arrow and the subsequent processing is repeated. Otherwise, the process proceeds to step SA13 indicated by a NO arrow. It should be noted that by changing the number determined here, it is possible to deal with natural musical instruments with various numbers of strings. For example, the bass sound can be simulated by setting the number here to “4”.

  In step SA13, “1” is added to the current string number (sno) (sno ← sno + 1). Thereafter, the process returns to step SA4 and the subsequent processing is repeated.

  FIG. 5 is a flowchart showing the normal sound generation process performed in step SA7 of FIG.

  In step SB1, normal sound generation processing is started, and in step SB2, it is determined whether or not a sound generation instruction (for example, a key-on event) is issued to STRINGsno (the sound source circuit 4 corresponding to the currently processed string). If it is a pronunciation instruction, the process proceeds to step SB3 indicated by a YES arrow. If it is not a pronunciation instruction, the process proceeds to step SB6 indicated by a NO arrow.

  In step SB3, a fret number (fno) corresponding to the designated pitch (pitch information) is determined. If the performance signal input from the performance operator 3 includes designation of a fret number, it may be used as it is.

  In step SB4, the multiplication circuit GAIN of TERMfno_sno (any one of the termination circuits TM0 to TM22) is set to the pronunciation corresponding value (a value very close to 1), and the multiplication circuit GAIN of the other TERMsno is set to “0”. As a result, the signal flowing in the closed loop circuit 12 is turned back at TERMfno_sno. Therefore, it is possible to simulate a phenomenon in which the vibration wave of the natural instrument string is reflected by the fret of the fret number (fno).

  In step SB5, the parameter (PICKINGPARsno) is transferred to the picking driver 10 and the output of the picking vibration waveform is instructed. As a result, a picking vibration waveform (PICKING) determined by the parameter (PICKINGPARsno) is generated by the picking driver 10 and supplied to the adders ADP and ADR in the closed loop circuit 12. Thereafter, the process proceeds to step SB9, the normal sound generation process is terminated, and the process proceeds to step SA12 in FIG.

  In step SB6, it is determined whether or not a pitch change instruction (for example, fret movement event or pitch bend) is given to STRINGsno (the tone generator circuit 4 corresponding to the currently processed string). If it is a pitch change instruction, the process proceeds to step SB7 indicated by an arrow of YES. In other cases, the process proceeds to step SB9 indicated by a NO arrow, the normal sound generation process is terminated, and the process proceeds to step SA12 in FIG.

  In step SB7, the fret number (fno) corresponding to the pitch after the pitch change is determined. If the performance signal input from the performance operator 3 includes designation of a fret number, it may be used as it is.

  In step SB8, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TM0 to 22fno) is set to the sound generation corresponding value (a value very close to 1), and the multiplication circuit GAIN of the other TERMsno is set to “0”. By performing the processes in steps SB6 to SB8, for example, a slide performance method or a glissando performance method in a guitar can be simulated. Thereafter, the process proceeds to step SB9, the normal sound generation process is terminated, and the process proceeds to step SA12 in FIG.

  FIG. 6 is a flowchart showing the mute process performed in step SA8 of FIG.

  In step SC1, the mute process is started, and in step SC2, it is determined whether or not a mute sounding instruction (for example, a key-on event and a mute performance instruction) for STRINGsno (the tone generator circuit 4 corresponding to the currently processed string) is determined. To do. If it is a sound generation instruction, the process proceeds to step SC3 indicated by a YES arrow. If it is not a mute sounding instruction, the process proceeds to step SC6 indicated by a NO arrow. The instruction for the mute performance method is not limited to the information for instructing the mute performance method. For example, the performance information having a gate time of a predetermined value may be determined as the mute performance method.

  In step SC3, the fret number (fno) corresponding to the mute position is determined. If the performance signal input from the performance operator 3 includes designation of a fret number, it may be used as it is.

  In step SC4, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TMfno) is set to a mute-corresponding value (a value smaller than the sound-corresponding value, for example, a value of about 0.5 to 0.9), and the multiplication circuit GAIN of another TERMsno. Is set to “0”. As a result, the signal flowing in the closed loop circuit 12 is turned back at TERMfno_sno. Therefore, it is possible to simulate a phenomenon in which a vibration wave of a natural instrument string is reflected by a finger or the like on the fret of the fret number (fno).

  In step SC5, the parameter (PICKINGPARsno) is transferred to the picking driver 10 and the output of the picking vibration waveform is instructed. As a result, a picking vibration waveform (PICKING) determined by the parameter (PICKINGPARsno) is generated by the picking driver 10 and supplied to the adders ADP and ADR in the closed loop circuit 12. Thereafter, the process proceeds to step SC9, the mute process is terminated, and the process proceeds to step SA12 in FIG.

  In step SC6, it is determined whether or not a pitch change instruction (for example, fret movement event or pitch bend) is given to STRINGsno (the tone generator circuit 4 corresponding to the currently processed string). In the case of a pitch change instruction, the process proceeds to step SC7 indicated by a YES arrow. In other cases, the process proceeds to Step SC9 indicated by a NO arrow, the mute process is terminated, and the process proceeds to Step SA12 in FIG.

  In step SC7, the fret number (fno) corresponding to the pitch after the pitch change is determined. If the performance signal input from the performance operator 3 includes designation of a fret number, it may be used as it is.

  In step SC8, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TMfno) is set to the mute correspondence value, and the multiplication circuit GAIN of the other TERMsno is set to “0”. By performing the processes of steps SC6 to SC8, for example, it is possible to simulate a musical sound when the muted finger is slid after being muted by lifting the finger on the fret side in the guitar. Thereafter, the process proceeds to step SC9, the mute process is terminated, and the process proceeds to step SA12 in FIG.

  FIG. 7 is a flowchart showing the tapping process performed in step SA9 of FIG.

  In step SD1, tapping processing is started, and in step SD2, it is determined whether or not a tapping sound generation instruction (for example, key-on event and tapping performance instruction) is given to STRINGsno (the tone generator circuit 4 corresponding to the currently processed string). To do. If it is a tapping pronunciation instruction, the process proceeds to step SD3 indicated by a YES arrow. If it is not a tapping sound generation instruction, the process proceeds to step SD12 indicated by a NO arrow to end the tapping process.

  In step SD3, a fret number (fno) corresponding to the designated pitch (tapping position) is determined. If the performance signal input from the performance operator 3 includes designation of a fret number, it may be used as it is.

  In step SD4, it is determined whether or not the string fret corresponding to STRINGsno (the tone generator circuit 4 corresponding to the currently processed string) was pressed immediately before the current sounding instruction. If it has been pressed, the process proceeds to step SD5 indicated by an arrow of YES, and if not, the process proceeds to step SD6 indicated by an arrow of NO.

  In step SD5, it is determined whether or not the fret number (fno) corresponding to the designated pitch (tapping position) determined in step SD3 is equal to or greater than the fret number (f) of the fret that was pressed immediately before. If fno ≧ f, the process proceeds to step SD6 indicated by a YES arrow. Otherwise, the process proceeds to step SD9 indicated by a NO arrow.

  In step SD6, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TMfno) is set to the sound generation corresponding value, and the multiplication circuit GAIN of the other TERMsno is set to “0”. As a result, the signal flowing in the closed loop circuit 12 is turned back at TERMfno_sno. Therefore, it is possible to simulate a phenomenon in which the vibration wave of the natural instrument string is reflected by the fret of the fret number (fno).

  In step SD7, TAPGfno_sno (multiplying circuit GAINfno) is set to a value corresponding to excitation (tapping) (same or almost the same value as the sound generation corresponding value), and the other TAPGsno is set to “0”. As a result, the tapping vibration waveform input from the tapping driver 11 later passes only through the TAPGfno_sno. Therefore, it is possible to simulate tapping in the fret corresponding to the designated pitch.

  In step SD8, the parameter (TAPPINGPARsno) is transferred to the tapping driver 11 and the output of the tapping vibration waveform is instructed. As a result, a tapping drive waveform determined by the parameter (TAPPINGPARsno) is generated by the tapping driver 11 and supplied to the multiplication circuit GAINfno in the closed loop circuit 12. Thereafter, the process proceeds to step SD12, the tapping process is terminated, and the process proceeds to step SA12 in FIG.

  In step SD9, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TMfno) is set to the sound generation corresponding value, and the multiplication circuit GAIN of the other TERMsno is set to “0”. As a result, the signal flowing in the closed loop circuit 12 is turned back at TERMfno_sno. Therefore, it is possible to simulate a phenomenon in which the vibration wave of the natural instrument string is reflected by the fret of the fret number (fno).

  In step SD10, TAPGf_sno (multiplying circuit GAINf) is set to a value corresponding to excitation (tapping), and the other TAPGsno is set to “0”. As a result, the tapping vibration waveform input later from the tapping driver 11 passes only the TAPGf_sno.

  In step SD11, the parameter (TAPPINGPARsno) is transferred to the tapping driver 11 and the output of the tapping vibration waveform is instructed. As a result, a tapping drive waveform determined by the parameter (TAPPINGPARsno) is generated by the tapping driver 11 and supplied to the multiplication circuit GAINf in the closed loop circuit 12. Thereafter, the process proceeds to step SD12, the tapping process is terminated, and the process proceeds to step SA12 in FIG.

  FIG. 8 is a flowchart showing the mute process performed in step SA11 of FIG.

  In step SE1, a silencing process is started. In step SE2, it is determined whether the silencing instruction event detected in step SA10 is a silencing instruction on the bridge side. If the instruction is to mute on the bridge side, the process proceeds to step SE3 indicated by a YES arrow. Otherwise, the process proceeds to step SE4 indicated by a NO arrow.

  In step SE3, the multiplication circuit GAIN of the MUTEsno (termination circuit TMmute) of the closed loop circuit 12 is set to a mute correspondence value (a value smaller than the mute correspondence value).

  In step SE4, it is determined whether the mute instruction event detected in step SA10 is another mute instruction (mute on the fret). If the instruction is to mute on the fret side, the process proceeds to step SE5 indicated by a YES arrow. In other cases, the process proceeds to Step SE8 indicated by a NO arrow, ends the muffling process, and proceeds to Step SA12 in FIG.

  In step SE5, it is determined whether or not the fret number (f) corresponding to the tone being sounded by STRINGsno (the tone generator circuit 4 corresponding to the currently processed string) is equal to or less than the fret number (fno) of the mute instruction. If f ≦ fno, the process proceeds to step SE6 indicated by an arrow “YES”. Otherwise, the process proceeds to step SE7 indicated by an arrow “NO”.

  In step SE6, the multiplication circuit GAIN of the TERMfno_sno (termination circuit TMfno) is set to a mute correspondence value. Thereafter, the process proceeds to step SE8, the mute process is terminated, and the process proceeds to step SA12 in FIG.

  In step SE7, the multiplication circuit GAIN of the TERMf_sno (termination circuit TMfno) is set to a mute correspondence value. Thereafter, the process proceeds to step SE8, the mute process is terminated, and the process proceeds to step SA12 in FIG.

  As described above, according to the embodiment of the present invention, it is possible to simulate the musical tone of a stringed instrument having a fret by providing a termination circuit corresponding to a fret of a natural instrument in a closed loop circuit. That is, the corresponding closed loop circuit is formed by the termination circuit corresponding to the fret, and the signal is controlled by controlling the delay time amount (strictly speaking, the total delay amount of the closed loop circuit) through which the signal propagating in the closed loop circuit passes. The pitch of can be changed. Furthermore, the filter included in the termination circuit can also simulate a change in the sound quality characteristic of the difference in which the vibration wave of the string is reflected by the fret.

  Further, according to the embodiment of the present invention, the mute playing method on the bridge side can be simulated by providing the termination circuit for the mute playing method. The mute termination circuit attenuates the signal flowing in the closed loop and changes the sound quality characteristic of the signal, thereby simulating the musical sound due to mute on the bridge side.

  Furthermore, by setting the gain of the termination circuit corresponding to each fret to a mute-corresponding value, it is possible to simulate a musical sound due to mute on the fret side. In this case, in addition to simulating changes in volume and sound quality due to changes in string vibration caused by lifting a finger, pitch changes can also be simulated by short-circuiting the closed loop.

  A termination circuit (TM1 to TM22) for simulating frets and a termination circuit for muting (TMmute) on the bridge side are described in “Summary of the Invention” in Japanese Patent Application Laid-Open No. 63-40199. It can be replaced with a circuit that controls both the amount of signal progression and the amount of reflection, such as “junction”.

  In the above-described embodiment, only the setting value of the multiplication circuit GAIN of each termination circuit is changed to correspond to each playing style. In addition to this, the setting value of the filter circuit FLT is changed for each playing style. Also good.

  In the above-described embodiment, the mute on the neck side is simulated only on the fret. However, the mute between the frets can be simulated by changing the setting value of the delay circuit. In addition, by changing the setting values of each delay circuit, it is also possible to reproduce a performance method in which the pitch such as so-called choking is continuously changed.

  Further, in the above-described embodiment, the number of frets is described as 22 frets, but it is also possible to simulate the musical tone of a guitar having other frets by appropriately increasing or decreasing the termination circuit TM or the like.

  Further, although the embodiment has been described mainly with respect to the guitar, it is possible to simulate the musical sounds of other stringed instruments having frets by changing the set values of the delay circuit and the filter FLT and the increase / decrease of the sound source circuit. .

  Moreover, there is no restriction | limiting in the number of the assumed strings, It can set and select in the range which can be processed as needed. The musical instrument set as a simulation target is not limited to the guitar, and may be a bass, sitar, banjo, mandolin, etc. that are played in a similar manner.

  In the above-described embodiment, the signal processing circuits shown in FIGS. 1 to 3 are each configured by using hardware, but may be realized by a dedicated DSP or a microprocessor and a program.

  Further, it can be realized by software as a computer application. That is, the program may be executed by a general-purpose computer or the like in which a computer program or the like corresponding to the present embodiment is installed.

  In that case, the computer program corresponding to the present embodiment may be provided to the user in a state in which the computer program is stored in a computer-readable storage medium such as a CD-ROM or a floppy (registered trademark) disk. Good.

  Although the present invention has been described with reference to the embodiments, the present invention is not limited thereto. It will be apparent to those skilled in the art that various modifications, improvements, combinations, and the like can be made.

It is a block diagram showing the hardware constitutions of the electronic music apparatus 1 by the Example of this invention. It is a circuit diagram showing the structure of the sound source circuit 4 by a present Example. It is a circuit diagram which shows the structure of the termination circuit by a present Example. It is a flowchart showing the control processing by a present Example. It is a flowchart showing the normal sound production | generation process performed by step SA7 of FIG. It is a flowchart showing the mute process performed by step SA8 of FIG. It is a flowchart showing the tapping process performed by step SA9 of FIG. It is a flowchart showing the muffling process performed by step SA11 of FIG.

Explanation of symbols

DESCRIPTION OF SYMBOLS 1 ... Electronic music apparatus, 2 ... Control part, 3 ... Performance operator, 4 ... Sound source circuit, 5 ... Mixer, 10 ... Picking driver, 11 ... Tapping driver, 12 ... Closed loop circuit, DL ... Delay circuit, TM ... Termination circuit , AD ... adder circuit, GAIN ... multiplier circuit, FLT ... filter

Claims (4)

Closed loop means in which a plurality of delay circuits are connected in a closed loop;
Excitation means for generating an excitation signal and supplying the closed loop means;
A plurality of termination means each including a filter and a multiplication circuit, and short-circuiting the closed loop to change characteristics of a signal circulating in the closed loop;
An electronic music apparatus comprising output means for outputting a signal circulating in the closed loop as a musical sound. 2. The electronic music apparatus according to claim 1, wherein at least some of the plurality of termination means change the pitch of the circulating signal by reducing the number of delay circuits by short-circuiting the closed loop. The electronic music apparatus according to claim 1, wherein the excitation unit supplies the excitation signal to a position short-circuited by the plurality of termination units. The electronic music apparatus according to any one of claims 1 to 3, wherein one of the plurality of termination means changes a volume of a signal circulating in the closed loop.

Images