JP2007018004A - Electronic keyboard musical instrument - Google Patents

Abstract

<P>PROBLEM TO BE SOLVED: To provide an electronic keyboard musical instrument of which the performance feeling and expression technique can be put closer to those given by an acoustic piano (for example, a grand piano). <P>SOLUTION: After a 2nd SW is turned off, and when a key 1 is further operated in the leaving direction of the key to turn off a 3rd SW, the electronic keyboard musical instrument makes a sound source part start reading musical sound of a 2nd source generated by sampling the musical sound of the acoustic piano generated during damping in key releasing, and instructs the sound source to cross-fade currently generated musical sound, namely, to be cross-faded from the musical sound of the 1st source to that of the 2nd source. Then, the performance feeling when performing the electronic keyboard musical instrument becomes closer to that of an acoustic piano, especially, a grand piano by setting a turning-off position of the 3rd SW to be equivalent to a damper-leaving position in a key stroke of the acoustic piano. <P>COPYRIGHT: (C)2007,JPO&INPIT

Description

  The present invention relates to an electronic keyboard instrument that is made closer to the performance feeling and the expression thereof when an acoustic piano is played.

  Although recent electronic pianos have come very close to the sound generation system of acoustic grand pianos, they are still lacking in reality in the state of musical tone generation when keys are released.

  Therefore, the applicant of the present invention applied to a double sound source (key-on source and key-off source) system that samples a musical tone of an acoustic grand piano generated during dumping and uses it as a key-off sound. Developed.

  However, the above-mentioned conventional electronic keyboard musical instrument does not consider the idea of controlling the musical tone with the position where the string touches the damper material when the key is released as a branch point. The performance sensation was different from that of an acoustic grand piano.

  The present invention has been made paying attention to this point, and an object of the present invention is to provide an electronic keyboard instrument in which the performance sensation and expression method can be made closer to those of an acoustic piano (for example, a grand piano).

  In order to achieve the above object, an electronic keyboard instrument according to claim 1 is driven by a plurality of driving members corresponding to a plurality of keys, and information corresponding to the driving position is provided. A plurality of output members each outputting, a key depression detecting means for detecting that the key is in the final state of the key depression direction during the entire stroke during the key release, based on the information corresponding to the drive position; A sounding means having a sound generation channel, and in response to detection of the final state by the key press detection means, a musical sound corresponding to a key that has been pressed is assigned to an empty channel of the plurality of sound generation channels, An assigning means for generating a musical sound assigned to the sound generation channel by the sound source means, and a key assigned the musical sound to the sound generation channel is re-pressed without straddling a predetermined position shallower than the final state in the key release direction. The When the final state is detected by the key-press detection means, the musical sound corresponding to the key is sequentially assigned to another vacant sounding channel different from the assigned sounding channel, and three or more different sounding channels are cumulatively accumulated. And a control means for controlling the assigning means so that a musical sound corresponding to the key having a different sounding start timing is sounded.

  According to the first aspect of the present invention, the key to which the tone is assigned to the tone generation channel does not straddle the predetermined position shallower than the final state in the key pressing direction during the entire stroke during the key pressing. When the key is again depressed and the final state is detected by the key depression detecting means, the musical sound corresponding to the key is sequentially assigned to another vacant tone generation channel different from the assigned tone generation channel, and cumulatively. All the assigned sounds are generated in response to the fact that the musical tones corresponding to the corresponding keys having different sounding start timings are sounded in three or more different sounding channels, and all of the “0” levels are detected by the level detecting means. Because the sound channel is cleared, that is, all sound channels are open until the key-off is made. It remains depressed, it is possible to obtain a similar musical effects such musical effect as when the barrage. Furthermore, it is possible to press the key without completely returning the key, so that the fast passage portion of the performance song can be quickly handled.

  Hereinafter, embodiments of the present invention will be described in detail with reference to the drawings.

  FIG. 1 is a longitudinal sectional view of an electronic keyboard instrument according to an embodiment of the present invention, showing a non-key-pressed state (a state where the key 1 is at the start position of the key-pressing stroke).

  The electronic keyboard instrument of the present embodiment is mainly composed of a chassis 4, a key 1, and a hammer 2 (mass hammer body) for giving a key press feeling like an acoustic piano by giving an appropriate inertia to a key press operation. Configured. The black key is configured in the same manner as the key 1 and is rotatably supported by the chassis 4. Hereinafter, the player side of the apparatus is referred to as the front.

  The key 1 and the hammer 2 are configured to be rotatable in the vertical direction around the respective rotation axes, that is, the key rotation axis P1 and the hammer rotation axis P2. The key 1 is configured to be able to drive the hammer 2 via a buffer material 13 described later, and the hammer 2 is configured to be able to drive the switch unit 3.

  The key 1 is provided with a convex spherical key fulcrum 1a projecting from the rear end surface. The center is the key rotation axis P1. On the other hand, a key support portion 5 is provided at the rear portion of the chassis horizontal portion 4 a of the chassis 4. A portion of the key support portion 5 facing the key fulcrum portion 1a is provided with a recess corresponding to each key fulcrum portion 1a. The key fulcrum part 1a engages with the concave part of the key support part 5, and the key 1 is rotatable up and down around the key fulcrum part 1a (key rotation axis P1).

  A hammer driving portion 1b is provided at the front portion of the key 1 so as to hang downward. A shock absorbing material 13 made of urethane rubber or the like is attached to the lower end of the hammer driving portion 1b. The cushioning material 13 is inserted between the upper extending portion 2 c and the lower extending portion 2 b of the hammer 2, transmits the key pressing operation of the key 1 to the hammer 2, and transmits the return operation of the hammer 2 to the key 1. To do. It should be noted that the upper end portion of the cushioning material 13 is always in contact with the upper extending portion 2c of the hammer 2 during the key pressing and key pressing return stroke, thereby ensuring the transmission of the operation.

  The chassis 4 is reinforced by connecting the chassis horizontal part 4 a and the front part 4 b of the chassis 4 with ribs 12. A key guide 6 for restricting the rotation in the key arrangement direction (the lateral direction of the key 1) projects from the chassis front portion 4b for each key 1.

  The hammer 2 is provided corresponding to each key 1, and its free end 2 d is rotatable up and down around a hammer support portion 9 a (hammer rotation shaft P <b> 2) of a support member 9 provided on the chassis 4. Is supported by the hammer fulcrum part 2a. A fork-shaped spring 7 is suspended from the vicinity of the hammer fulcrum part 2a to the rear part of the key 1. The spring 7 presses the key 1 against the key support portion 5 and presses the hammer 2 against the hammer support portion 9a of the support member 9 so that the key 1 and the hammer 2 do not easily fall off the chassis 4.

  The hammer 2 always urges the key 1 upward at the lower extending portion 2b by the weight of the mass member 2f. The return force of the key 1 is not applied from the spring 7, but is due to the return force of the hammer 2 itself. The hammer 2 has a switch drive unit 2e for driving the switch unit 3 at the lower part.

  An upper stopper 10 (stopper portion) such as felt and a lower stopper 11 are provided on the rear portion of the chassis horizontal portion 4a and the chassis holding portion 4c of the chassis 4, respectively. The upper stopper 10 abuts against the mass member 2f of the hammer 2 when the key is depressed, and restricts the rotation end position of the key 1 and the hammer 2 (the lower limit position of the front end portion for the key 1 and the upper limit position of the free end portion 2d for the hammer 2). The lower stopper 11 abuts against the mass member 2f of the hammer 2 when the key is not pressed to restrict the upper limit position of the key 1.

  A switch board 8 is attached to the chassis front part 4 b, and the switch part 3 is provided on the switch board 8. The switch unit 3 is provided for each hammer 2 so as to face the switch driving unit 2 e of the hammer 2. The switch unit 3 is a contact time difference type 3-make touch response switch, and detects a key pressing operation of the key 1.

  FIG. 2 is an enlarged cross-sectional view of the switch unit 3 provided on the switch base 8. As shown in the figure, the switch unit 3 includes a first switch (SW) 3a, a second switch (SW) 3b, and A third switch (SW) 3c is used.

  In the present embodiment, a 3-make touch response switch is used as the switch unit 3. However, the present invention is not limited to this, and a 4-make touch response switch may be used as shown in FIG. In addition, a makeup of 5 makeups or more may be employed. Further, not only the switch, but also any device that outputs a signal corresponding to the key pressing state. Specifically, a piezo sensor that detects the pressure applied to the key 1 when the key is pressed or released can be used.

  One feature of the electronic keyboard instrument of the present embodiment is that, as will be described later, when the key 1 is released, the string touches the damper material if it is an acoustic piano (hereinafter referred to as “real piano”). The purpose is to control the musical tone using the position where it will be as a branch point. Therefore, if the performer can recognize this position by touch when the key 1 is released (or pressed), the musical tone control can be used positively. desirable.

  FIG. 4 is a diagram showing a configuration example configured to allow the performer to feel this position, and is an enlarged view of the vicinity of the hammer 2 and the chassis horizontal portion 4a after configuration.

  As shown in FIG. 4, a protrusion 2i is provided on the hammer 2, a leaf spring 15 with a protrusion 151 fixed with a screw N is attached to an end of the chassis horizontal portion 4a, and the protrusion 151 of the leaf spring 15 is pushed. It is configured to come into contact with the protrusion 2i in the middle of the key. As the key 1 is pressed, the projecting portion 2i moves while contacting the surface of the leaf spring 15, and when the projecting portion 2i reaches a position where the projecting portion 151 rides on the ridge 151, the player obtains a rubbing or clicking feeling. be able to. Then, by adjusting the position or shape of the leaf spring 15, this position can be finely adjusted to a position where the string touches the damper material on the actual piano. For this purpose, a long hole corresponding to the screw N is formed in the leaf spring 15. The fine adjustment can also be performed by fine displacement adjustment of the switch member 3, 3 'in the key longitudinal direction position.

  Further, in the present embodiment, the switch unit 3 is configured to be driven by the switch driving unit 2e provided in the hammer 2, but not limited to this, the switch unit 3 is provided in the key 1 as shown in FIG. You may make it drive with the switch drive part 1e.

  FIG. 6 is a block diagram showing a control function configuration of the electronic keyboard instrument of the present embodiment.

  As shown in the figure, the electronic keyboard instrument of the present embodiment includes a keyboard 21 for inputting pitch information, a timbre switch (SW) group 22 composed of a plurality of switches for designating various timbres, Other switch (SW) group 23 composed of a plurality of switches for inputting various information other than timbre, CPU 24 for controlling the entire apparatus, ROM 25 for storing control programs executed by CPU 24, various table data, and the like. A musical sound waveform signal is generated based on the RAM 26 for temporarily storing performance data, various input information, calculation results, and the like, the performance data input from the keyboard 21 and preset performance data, and the like. The sound source unit 27 converts the waveform into sound.

  In the present embodiment, the CPU 24, the ROM 25, and the RAM 26 are configured by a one-chip microcomputer (μcom). However, the present invention is not limited to this, and the CPU 24, the ROM 25, and the RAM 26 are configured independently. It may be.

  FIG. 7 is a block diagram showing a detailed control function configuration of the sound source unit 27.

  As shown in the figure, a first source for outputting a source of a musical tone (first source) generated at the time of key-on is output to a buffer register 31 composed of a plurality of areas for storing various parameters necessary for generating a musical tone signal waveform. A source output unit 32; a first envelope generator (EG) 33 that generates an envelope of the output first source; a second source output unit 35 that outputs a source of a musical sound (second source) generated at the time of key-off; A second envelope generator (EG) 36 that generates the envelope of the output second source is connected. Here, the first source is a sampled and recorded musical tone that is generated while the key is pressed (not including the middle of the key release) from the time the key is pressed on the grand piano, and the second source is the damping when the key is released. This is a sampled and recorded grand piano musical sound.

  The first source output from the first source output unit 32 is multiplied by the envelope output from the first EG 33 via the multiplier 34, supplied to the synthesis unit 38, and output from the second source output unit 35. Similarly, the second source is multiplied by the envelope output from the second EG 36 via the multiplier 37 and supplied to the synthesis unit 38.

  The synthesizer 38 synthesizes the first and second sources output from the multipliers 34 and 37, that is, the first and second sources whose envelopes are controlled, to the channel (CH) accumulator 39. Supply. The peak value of the synthesized wave output from the synthesis unit 38 is always detected at a predetermined timing and stored in a predetermined area of the buffer register 31. Although not shown, the peak value of the first source waveform with an envelope output from the multiplier 34 is also always detected at a predetermined timing and stored in a predetermined area of the buffer register 31. Each peak value stored in this way is used in the processing in the flowchart of FIG. 13 described later (the processing in steps S35 and S33).

  In the present embodiment, each process of the blocks 32 to 38 is performed by a time division process for each sound generation channel. Of course, as long as manufacturing cost is not a problem, the present invention is not limited to this, and one set of blocks 32 to 38 may be provided for each sound generation channel.

  FIG. 8 is a diagram showing an example of a synthesized wave of a certain sounding channel output from the synthesizing unit 38, and shows a musical sound waveform output from key-on to key-off until mute.

  In the figure, during key-on, the musical tone waveform of the first source is output from the first source output unit 32, and the envelope waveform E1 of value 1 is output from the first EG 33, and the second source output unit 35 and the second source output unit 35 Since the 2EG 36 does not output a signal waveform, the synthesis source 38 outputs the first source tone waveform as it is.

  When the key-on state is changed to the key-off state, the first source tone waveform is continuously output from the first source output unit 32, but the level of the envelope waveform E1 output from the first EG 33 is linearly attenuated. Further, the second source musical tone waveform is output from the second source output unit 35, and the envelope waveform E2 output from the second EG 36 increases linearly. A waveform that cross-fades from the source tone waveform to the second source tone waveform is output.

  When the cross fade is completed, the level of the envelope waveform E1 output from the first EG 33 becomes “0”, and the level of the envelope waveform E2 output from the second EG 36 becomes “1”. The musical tone waveform of the second source is output as it is. Since the tone waveform of the second source has a characteristic that its peak value gradually attenuates, even if the level of the envelope waveform E2 output from the second EG 36 remains “1”, a predetermined time later Silence naturally.

  Returning to FIG. 7, the CH accumulator 39 accumulates the synthesized waveform for each sounding channel output from the synthesizing unit 38 over all the sounding channels, and converts the digital musical sound signal waveform after accumulation into the digital signal. This is supplied to a DAC (Digital-to-Analog Converter) 40 that converts it into an analog signal. The analog tone signal waveform output from the DAC 40 is supplied to a sound system 41 including an amplifier, a speaker, and the like, and converted into sound.

  A control process executed by the electronic keyboard instrument configured as described above will be described first with reference to FIG. 9, and then described in detail with reference to FIGS.

  FIG. 9 is a diagram illustrating ON positions (timing) of the first to third SWs 3a to 3c of the switch unit 3 in the key stroke. The figure also shows the ON position of the fourth SW 3d when the 4-make touch response switch shown in FIG. 3 is employed.

  As shown in FIG. 9, in a real piano or electronic keyboard instrument, the key 1 is displaced up to about 10 mm in the vertical direction from the key release position to the deepest key pressing position. Even electronic keyboard instruments are configured according to their specifications. According to the key stroke, first, the third SW 3c is turned on, then the second SW 3b is turned on, and finally the first SW 3a is turned on.

  When the third SW 3c is turned on for the first time after the key depression is started (an ON event of the third SW 3c occurs), a free channel of the sound generation channel is searched and a sound is prepared. Subsequently, when the second SW 3b is turned on (an on event of the second SW 3b is generated), time measurement for defining key-on velocity (key-on time) is started. When the first SW 3a is turned on (the on event of the first SW 3a occurs), the time measurement is stopped, and this time is measured, that is, the time from when the second SW 3b is turned on until the first SW 3a is turned on. Based on this, for example, key-on velocity is determined by searching table data (see FIG. 15). When the key-on velocity is transmitted to the sound source unit 27 together with the key code corresponding to the key-press key, the channel number of the searched empty channel and the key-on data, etc., the sound source unit 27 presses the determined key-on velocity. A musical tone with a pitch corresponding to the key is generated.

  Next, after the key 1 is operated in the key release direction from this state and the second SW 3b is turned off (the off event of the second SW 3b is generated), the third SW 3c is not turned off (the off event of the third SW 3c is not generated). When the second SW 3b and the third SW 3c are turned on again in this order, the key-on velocity is determined again as described above, and a musical tone having a pitch corresponding to the key pressing key is generated from the sound source unit 27. However, in this case, a channel different from the channel assigned immediately before is assigned as a sound generation channel for generating a musical sound. In other words, in this embodiment, all the sound generation channels are opened until key-off is performed. For this reason, it is possible to obtain a musical sound effect similar to a musical sound effect as in the case of continuous striking while the damper pedal is depressed while the actual piano is depressed. Actually, in a real piano, if you press the key repeatedly while depressing the damper pedal, all the strings vibrate at the pitch of the striking pitch, resulting in a spacious musical sound effect. On the other hand, in the electronic keyboard instrument of the present embodiment, a plurality of musical tones having the same pitch are sounded.

  Further, since it is possible to generate a musical tone without completely returning the key 1 to the key-off position, that is, the position where the third SW 3c is turned off in the present embodiment, the fast passage portion of the performance piece can be played quickly (repetitive speed). Key press).

  On the other hand, when the key 1 is further operated in the key release direction after the second SW 3b is turned off and the third SW 3c is turned off, the sound source unit 27 is started to read the tone of the second source (see FIG. 8). And instructing to crossfade from the currently generated musical sound, that is, from the first source musical sound to the second source musical sound. Then, by setting the position where the third SW 3c is turned off to be equivalent to the position where the felt felt for the damper of the keystroke of the actual piano touches the strings, the performance sensation when playing the electronic keyboard instrument of the present embodiment Is closer to the performance of a real piano, especially a grand piano.

  Further, when a 4-make touch response switch is used as the switch unit 3, in addition to the control processing when the 3-make touch response switch is used, the fourth SW 3d is turned on until the third SW 3c is turned on. This section can be changed to a so-called half mute control section in which the harmonics superimposed on the string vibration are changed by changing the degree to which the string touches the damper material during the key release operation on the real piano. Specifically, when the key 1 is operated in the key pressing direction and the third SW 3c is turned on, a predetermined value consisting of a plurality of bits is used as a marker indicating that the on position is one end of the half mute control section. (For example, “11B” (where “B” is a symbol indicating that the preceding number is a binary number and is used for the same meaning hereinafter)), while operating the key 1 in the key release direction, When the fourth SW 3d is turned off, a predetermined value (for example, 00B) consisting of a plurality of bits is assigned as a marker indicating that this off position is the other end of the half mute control section. Then, depending on the case, either 00B or 11B can be obtained, and the degree of half mute, for example, the type of harmonics superimposed on the string vibration can be changed according to the obtained value.

  In addition, by using a switch with a larger number of makeups or using a sensor that outputs a large number of discrete values (or continuous values) according to the operation state of the key 1, half-mute control is performed with higher accuracy. be able to. Of course, this section, that is, a section capable of outputting a value (intermediate value) between predetermined values each consisting of a plurality of bits assigned to both ends may be used for control other than half-mute control. For example, a waveform slicer unit for slicing and outputting the combined waveform output from the combining unit 38 is provided between the combining unit 38 and the channel accumulator 39 in FIG. 7, and the chop degree is output as the intermediate value output. Control may be performed according to the above.

  Further, in this embodiment, since a value consisting of a plurality of bits is assigned as a marker indicating both ends of a predetermined section, if a switch is used, regardless of the number of make-ups, or in the operation state of the key 1 Accordingly, if a sensor that outputs a large number of discrete values (or continuous values) is used, the same sound generation system can be applied regardless of the number of output values. Even if the number of outputs is expanded, it is not necessary to change the sound generation system so much, so that it is possible to continue development by shifting to a more advanced sound generation system while suppressing development costs. In other words, it helps the common system.

  Next, this control process will be described in detail.

  FIGS. 10 and 11 are flowcharts showing the procedure of the key release processing subroutine executed by the electronic keyboard instrument of the present embodiment, particularly the CPU 5. The key press / release key processing subroutine is a process included in the main routine. The main routine may be formed by well-known processing performed by a normal electronic keyboard instrument such as initial setting, tone setting, and other processing in addition to the main-press / release key processing subroutine. Yes.

  FIG. 12 and FIG. 13 are flowcharts showing a procedure of timer interrupt processing executed by the electronic keyboard instrument of the present embodiment, particularly the CPU 5. This timer interruption process is started in response to a timer interruption signal generated every time a timer (not shown) measures, for example, 5 μsec.

In the flowcharts of FIGS. 10 to 13, since the main process is performed when the key event (key on / off event) of the first to third SWs 3a to 3c occurs, the cases are classified as follows. Then, what kind of control processing is performed in each case will be described.
(1) When an on event of the third SW 3c occurs (2) When an on event of the second SW 3b occurs (3) When an on event of the first SW 3a occurs (4) Sound generation process (5) An off event of the first SW 3a When it occurs (6) When an off event of the second SW 3b occurs (7) When an off event of the third SW 3c occurs (8) Silencing processing The numbers (1) to (8) above are shown in FIG. Corresponding to the numbers 1 to 8 described in the flowchart of FIG.

  (1) When an on event of the third SW 3c occurs, the key code KC in which this on event has occurred is not yet registered in the area KCD (see FIG. 14A) of the buffer KEYBUF, so that an empty channel (CH) is assigned. When a search is made and an empty CH is found, the CH number data is temporarily stored in a predetermined area of the RAM 26 (steps S 1 → S 2 → S 3 → S 4 in FIG. 10).

  FIG. 14 is a diagram showing a format of a buffer area and a timer area secured on the RAM 26, and (a) shows a format of a buffer KEYBUF for storing sound generation information and mute information for each channel. (B) shows the format of the buffer TS & S3BUF for storing the touch state TS (k) and the switch S3 (third SW3c) state S3 (k) for each channel, and (c) shows the key-on time for each channel. It is a figure which shows the format of the software counter area | region for measuring.

  In FIG. 14A, the buffer KEYBUF includes an area KCD for storing key code data and a type area for storing key event type data for each of the 16 sound generation channels (0 to 15CH). , An area Von (n) for storing key-on velocity data, and an area EG rate for storing EG rate data.

  The key event type data is data for distinguishing between a key-on event and a key-off event, and is represented by 1-bit data. That is, it indicates 1: on event; 0: off event.

  Returning to FIG. 10, since this ON event is a shallow SW ON event as shown in FIG. 9, the process proceeds from step S5 to S16 (FIG. 11), and the free CH at the time of the current search is designated as the CH of the buffer KEYBUF. In this embodiment, since the third SW 3c is the deepest of the shallow switches (there is only one shallow switch in the first place), the buffer KEYBUF corresponding to the designated empty CH (= n) is used. The key code of the key event and the key event type are written in nCH of the buffer, and the value 11B is stored in the area S3 (n) for storing the state of the switch S3 (third SW3c) of the buffer TS & S3BUF (hereinafter referred to as “S3 (n)”) Write (step S17 → S18).

  In FIG. 14B, the buffer TS & S3BUF includes an area for storing the touch state TS (k) and a switch S3 (third SW3c) state S3 (k) for each of the 16 sound generation channels (0 to 15CH). ) Is stored in the memory area.

The touch state TS (k) takes four values of 00B, 01B, 10B and 11B, as shown in FIG.
TS (k) = 00B: No musical sound is generated TS (k) = 01B: The second SW 3b is on TS (k) = 10B: The third SW 3c is off after the musical sound is generated State TS (k) = 11B: Indicates a state in which the first SW 3a is on.

As shown in FIG. 14B, the switch S3 state S3 (k) takes two values 00B and 11B,
S3 (k) = 00B: State in which the third SW 3c is off. S3 (k) = 11B: State in which the third SW 3c is on.

When a 4-make touch response switch is adopted as the switch unit 3, the switch S3 state S3 (k) is:
S3 (k) = 00B: State in which the fourth SW 3d is off. S3 (k) = 11B: State in which the third SW 3c is on.

  (2) When an on event of the second SW 3b occurs, the key code KC in which this on event has occurred is already registered in the area KCD of the buffer KEYBUF, so that the CH number data is temporarily stored without searching for an empty CH. (Step S1-> S2-> S4). Then, as shown in FIG. 9, since this on-event is a deep SW on-event, the process proceeds from step S5 → S6 → S7, and further from the second SW 3b, the process proceeds from step S7 → S9. For CH (n) when 3SW3c is on, the value 01B is entered in the area TS (n) of the buffer TS & S3BUF (however, this processing is processing when the key is not pressed again, and processing when the key is pressed again) Will be described later). Accordingly, in the flowchart of FIG. 12, the process proceeds from step S21 → S22 → S23 → S24, so that the counter operation in the nCH counter region Ton (n) is started. That is, measurement of the nCH key-on time is started.

  (3) When an on event of the first SW 3a occurs, the same processing as in the case of (2) is performed until step S7. Since this on event is of the first SW 3a, the process proceeds from step S7 to S8. The value 11B is entered in the area TS (n) of the buffer TS & S3BUF.

  (4) Since the sound generation process is when TS (n) is switched to the value 11B, the process proceeds from step S21 → S22 → S23 → S25 (FIG. 13) → S26 → S27 in FIG. The counter area Ton (n) stores the value counted while the value 01B is stored in TS (n). Therefore, after converting the value to TBL1 (see FIG. 15), the area of the buffer KEYBUF Von (n) is input, and the counter area Ton (n) is reset to “0”. In steps S29 and S30, the malfunctioning key depression is excluded, and the process proceeds to step S31 for the standard key depression.

  FIG. 16 is a diagram illustrating state transition of the touch state TS (n) & switch S3 state S3 (n).

  In the figure, the standard key press refers to a key press that causes an on / off event from all of the first to third SWs 3a to 3c, and specifically, a key press from the position P1 to the position P15. In this standard key press, the event two before viewed from the position P14 is an ON event of the third SW 3c. The re-keying means a key pressing that causes an on / off event only from the first and second SWs 3a and 3b, and specifically, a key pressing from the position P15 to the position P21. In this re-keying, the event two before the position P20 is an off event of the second SW 3b. Furthermore, the malfunctioning key pressing refers to a key pressing that causes an on / off event only from the first SW 3a, and specifically, a key pressing from the position P30 to the position P34. In this malfunctioning key depression, the second event from the position P33 is an ON event of the first SW 3a.

  Returning to FIG. 13, in step S31, the same CH as that in the previous event is designated as the CH of the buffer KEYBUF, and in step S32, sound generation processing is performed on the designated CH. Specifically, in the sound generation process, all data of the CH designated by the buffer KEYBUF, that is, Von (n) as CH number, KCD, key-on and initial touch (IT), and EG rate data (= 1) are used as sound sources. To the unit 27.

  (5) When an off event of the first SW 3a occurs and (6) when an off event of the second SW 3b occurs, the key release process is terminated without doing anything substantially.

  (7) When an off event of the third SW 3c occurs, the process proceeds from step S5 to S10 (FIG. 11) to S11 to S12 in FIG. 10, and the same CH as the CH having the same KCD in the buffer KEYBUF is designated, and the EG rate data (<1) is transmitted to the sound source unit 27 to instruct to start reading the key-off waveform (second source waveform) corresponding to CH (step S13), and the cross-fade processing for the key-on waveform and key-off waveform to be read is started. (Step S14), the value 10B is input to TS (n), and 00B is input to S3 (n) (step S15).

  (8) Since the silence process is when TS (n) = 10B and (&) S3 (n) = 00B, steps S21 → S22 → S23 → S25 (FIG. 13) → S33 in FIG. When the peak value of the first source of CH (n) on the sound source unit 27 side continues to be 0 level, stop reading of the key-on waveform is instructed (steps S33 → S34), and the entire sound source CH on the sound source unit 27 side When (n) continues to be at 0 level, all the buffers KEYBUF are cleared (steps S35 → S36).

  Next, when the key is not completely turned off, that is, after the sound generation process of (4) above, the off event of the first SW 3a and the second SW 3b occurs (above (5) and (6)), and then the second time again. The key depression in which the ON events of the 2SW 3b and the first SW 3a are generated in this order (above (2) and (3)) will be described with reference to FIGS. 10 to 13 and FIG.

  The key re-pressing when the key is not completely turned off corresponds to the key pressing from the position P18 to the position P20 in FIG. The operation will be described from the position P10 slightly before the position P18. When the key is pushed from position P10 to position P14, the sound generation process (steps S27 to S32) in the timer interruption process of FIGS. 12 and 13 is executed, and from position P13 to position P14. A key-on velocity musical tone corresponding to the measured key-on time is generated in the searched empty CH. After that, when the position P17 is passed from the position P15, that is, the occurrence of the off event of the second SW 3b is passed and the process proceeds to the position P19, a search is made for a free CH different from the currently sounding CH, and the key is pressed again. When the key-on time is started (step S9) and then the process proceeds to position P20, the key-on velocity musical sound according to the key-on time with respect to the re-keying, which is timed from position P19 to position P20, is searched. It is pronounced with the empty channel that was played.

  Here, in step S9, as shown in FIG. 10, it is determined whether or not the key is re-pressed. If the key is re-pressed, the touch state TS for the newly searched empty CH (n) is determined. (n) is set to the value 01B. That is, the tone is assigned to a new empty CH. This is because, in steps S31 and S32 in FIG. 13, the same CH as the event two previous to the current event is designated and the corresponding musical sound is assigned to be sounded. This is because, as described above, the same musical sound is not sequentially assigned to other CHs every time the key is pressed again. On the other hand, when step S9 is configured as described above, when the key is re-pressed, the tone is assigned to the sound generation to another empty CH, so that it is the same every time the key is repeated. Musical sounds are sequentially assigned to other CHs. Note that the determination as to whether or not the key is re-pressed is similar to the determination in step S29 in FIG. 13. It is determined whether or not the previous event of the same CH is an off event of the second SW 3b. If it is an off event of 2SW3b, it may be determined that the key is pressed again. In FIG. 16, when viewed from the position P20, that is, when the key is pressed again, the second previous event of the same CH, that is, the event of the position P17 is an off event of the second SW 3b.

  Such re-keying does not result in complete key-off, that is, the third SW 3c key-off event does not occur. Therefore, when re-pressing the key from position P19 to position P20, etc., the circle 2 or 3 in FIG. Route processing is performed, and key-off processing from step S12 to step S15 in FIG. 11 is not performed. As a result, the process of step S36 in FIG. 13, that is, the all clear process of the buffer KEYBUF is not performed. In other words, since complete mute processing is not performed, every time a key is pressed again, a musical tone having the same pitch is assigned to different CHs in sequence, and as described above, a plurality of musical sounds having the same pitch are produced. . Therefore, it is possible to obtain a musical sound effect that is similar to a musical sound effect as in the case of continuous striking while the damper pedal is depressed while the actual piano is depressed.

  In the present embodiment, no processing is performed even if an on event occurs in step S17 of the key pressing / releasing process in FIG. 11 that is not the deepest SW among the third to n-th SWs. However, the present invention is not limited to this, step S102 is added, and a predetermined on-event interval is counted (for example, it may be performed during the timer interruption process in FIGS. 12 and 13), and the time is set as initial. You may make it use as another information which determines a touch. As a specific example of other information, preparation information for pronunciation (kabe information) can be considered. In this way, when the initial touch can be determined in consideration of other information, even if the initial touch is the same, the timbre (content of harmonics) is changed or the volume is changed according to the different information. And articulation that is rich in change. This increases the number of music expression methods.

  Further, in the present embodiment, no processing is performed even if an off event of the switch after the fourth SW 3d occurs in step S11 of the key pressing / releasing process of FIG. 11 described above, but the present invention is not limited to this. Step S101 may be added to read out and reproduce the third source musical sound waveform.

  In the present embodiment, when the key-on waveform is changed to the key-off waveform, the cross-fade process is performed. However, the present invention is not limited to this. In addition, a process of rapidly dumping a musical tone being sounded may be performed, and reading of a key-off waveform may be started independently when key-off is instructed. Therefore, in this case, immediately after the key-off, the key-on waveform and the key-off waveform are generated simultaneously. In this case, the peak value levels of the key-on waveform and the key-off waveform at the time of key-off must be the same.

  In this embodiment, when switching from the key-on waveform to the key-off waveform, the switching is performed while performing the cross-fading process. However, the non-key-pressing position of the second information is in the vicinity of the driving start position when the driving member returns. When the output closest to (the third SW3c in FIG. 2 or the fourth SW3d off event in FIG. 3) is output, or the second closest (the third SW3c off event in FIG. 3) is output. At this time, even if the cross-fade is not performed, the key-on waveform is turned off, that is, forcibly attenuated by the EG, and the key-off waveform is turned on. Even by just getting up, you can smoothly control the sound from generation to mute without a sense of incongruity.

  As described above, in this embodiment, the key-on waveform is switched from the key-on waveform to the key-off waveform when the key is released (at the time of key-off). The keystroke position of the acoustic instrument is touched by the damper felt when the key is released. It is desirable to match the position (that is, the key release operation stroke position at which string vibration starts to be stopped).

  In an acoustic instrument (grand piano, etc.), the above position is converted to the key free end position, the full stroke of the key to be released is approximately 10 mm, and the key return position (the state where the key is not operated) is 0 mm. Although about 4 mm from the key return position is standard, it may be slightly different depending on the pacing state. In view of this, in this embodiment, it is desirable to set a key stroke position for switching from a key-on waveform to a key-off waveform when the key is released, in a range of 3 to 6 mm from the key return position. Of course, the key stroke position may be set appropriately by the user.

  FIG. 17 is a diagram showing an example of applying the switch S3 state to key-off waveform control when a switch S3 state composed of a plurality of bits is generated, and a control method thereof.

  As shown in FIG. 5A, the apparatus of the illustrated example is generated by the key-on waveform generated by the key-on waveform generator 52 and the key-off waveform generator 55, as in the electronic keyboard instrument of the present embodiment. The key-off waveform is synthesized by the synthesis unit 53. However, a waveform slicer 56 is provided between the key-off waveform generating unit 55 and the synthesizing unit 53, and the switch S3 state generation indicates the degree of chop when the waveform slicer 56 slices the key-off waveform generated from the key-off waveform generating unit 55. The difference is that the multi-bit switch S3 state generated from the unit 54 is changed according to the state. The switch S3 state also functions as a trigger signal (information) when the key-off waveform generator 55 generates a key-off waveform. For example, any one of the plurality of bits in the switch S3 state may be used as a trigger signal, or the time when the value of the switch S3 state is switched to a predetermined value may be determined as the trigger time.

  For example, assuming that a key-off waveform as shown in FIG. 5B is generated from the key-off waveform generator 55, the waveform slicer 56 slices and outputs this key-off waveform as shown in FIG. . That is, in the waveform slicer 56, the chop degree SL0 is changed according to the value of the switch S3 state (a value consisting of a plurality of bits) generated from the switch S3 state generation unit 54, and the key-off input at this chop degree SL0. The waveform is sliced and output. That is, the harmonic component included in the key-off waveform increases according to the value of the switch S3 state.

  In this way, according to the above-described configuration, the degree of touching the damper material with the string during the half-mute control, that is, the key release operation on the real piano, is changed based on the switch S3 state and superimposed on the string vibration. It becomes possible to perform control to change the harmonics.

  FIG. 4D is a diagram showing another method in which the waveform slicer 56 slices the key-off waveform. For the key-off waveform that attenuates as time advances, slice curves SL1 to SL4 that determine the slice range are also shown. It attenuates as time advances. Then, which of the slice curves SL1 to SL4 is taken and used for the slice processing of the key-off waveform is determined according to the value of the switch S3 state. Also in the method of FIG. 6D, since the harmonic component included in the key-off waveform increases according to the value of the switch S3 state, the half mute control can be performed.

  In this way, if the switch S3 state is composed of a plurality of bits and the values (states) are made to correspond to the chop degree when slicing the key-off waveform, the tone color at the key-off time can be multi-stepped and thus stepless. Can be controlled.

It is a longitudinal cross-sectional view of the electronic keyboard musical instrument which concerns on one embodiment of this invention. It is an expanded sectional view of the switch part provided on the switch base | substrate of FIG. It is an expanded sectional view of a switch part when 4 makeup type touch response switches are adopted. It is a figure which shows an example comprised so that a player might feel the position where a string will touch a damper material if it is a real piano at the time of key release. It is a figure which shows the other example of the drive method which drives a switch part. It is a block diagram which shows the control function structure of the electronic keyboard musical instrument of this Embodiment. It is a block diagram which shows the detailed control function structure of the sound source part of FIG. It is a figure which shows an example of the synthetic | combination wave of a certain sounding channel output from the synthetic | combination part of FIG. It is a figure which shows the ON position (timing) of the 1st-3rd SW of the switch part in a keystroke. It is a flowchart which shows the procedure of the key release process subroutine which the electronic keyboard instrument of FIG. 6, especially CPU performs. FIG. 11 is a flowchart showing a continuation procedure of a key release subroutine of FIG. 10. FIG. It is a flowchart which shows the procedure of the timer interruption process which the electronic keyboard musical instrument of FIG. 6, especially CPU performs. 13 is a flowchart showing a continuation procedure of the timer interrupt process of FIG. It is a figure which shows the format of the buffer area and timer area which were ensured on RAM of FIG. It is a figure which shows an example of the conversion table from key-on time to key-on velocity. It is a figure which shows the state transition of touch state TS (n) & switch S3 state S3 (n). It is a figure which shows an example which applied the switch S3 state to key-off waveform control, and its control method, when the switch S3 state comprised by multiple bits was generated.

Explanation of symbols

DESCRIPTION OF SYMBOLS 1 Key (drive member), 2 Hammer (drive member), 3 Switch part (output member, key press detection means), 24 CPU (control means, key press detection means, allocation means), 26 RAM, 27 Sound source part (sound generation) means)

Claims (1)

A plurality of drive members arranged corresponding to the plurality of keys;
A plurality of output members that are driven by the drive member and output information corresponding to the drive position;
Based on the information corresponding to the drive position, the key press detecting means for detecting that the key is in the final state in the key pressing direction during the entire stroke during the key press and release;
Pronunciation means with multiple pronunciation channels;
In response to detection of the final state by the key-press detection means, a musical tone corresponding to the key that has been pressed is assigned to an empty channel of the plurality of tone generation channels, and is assigned to the tone generation channel by the tone generator means. Assigning means to pronounce a musical tone,
When a key to which a tone is assigned to the tone generation channel is pressed again without straddling a predetermined position shallower than the final state in the key release direction, and the final state is detected by the key press detection means, the key The musical sound corresponding to the key whose sounding start timing is cumulatively generated in three or more different sounding channels is sequentially assigned to the other free sounding channels different from the assigned sounding channel. And an electronic keyboard instrument comprising control means for controlling the assigning means.

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