JP2638264B2 - Electronic musical instrument controller - Google Patents

Description

Description: BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument, and more particularly, to a controller for an electronic musical instrument for playing and operating an electronic musical instrument.

[Prior Art] As a sound source circuit of an electronic musical instrument, a physical model sound source has been proposed together with an FM sound source, a waveform memory type sound source and the like.

In a physical model sound source, for example, when simulating a stringed instrument, a closed loop circuit simulates a string of the stringed instrument, and the characteristics of the circuit are controlled by tone parameters such as bow speed, bow pressure, pitch, and timbre. In such a physical model sound source that electrically simulates the musical sound generation operation of a musical instrument, musical tone parameters equivalent to those for controlling musical sounds in a natural musical instrument are required.

Examples of such a performance input device for a physical sound source include a device for giving a bow speed and a bow pressure for a bowed instrument, and a device for giving an embouchure and breath pressure for a wind instrument.

Since the tone generation in the electronic musical instrument is performed electrically, the performance input means only needs to be capable of forming an electric signal. Therefore, when generating a musical tone of a stringed instrument, the pitch of the musical tone may be generated using the keys of the keyboard. However, it is desirable that a person who is proficient in playing a stringed instrument can play an electronic musical instrument by operating like a stringed instrument.

In addition, since electronic musical instruments can generate various musical sounds, the performance input corresponding to one kind of natural musical instrument can be used.
It is also desirable to be able to generate musical sounds corresponding to other types of musical instruments.

[Problems to be Solved by the Invention] In a bowed natural musical instrument, the pitch of the musical tone is determined by the finger pressing position on the fingerboard, and the musical tone mainly depends on the bow pressure, bow speed, and bow position of the operation of rubbing the string with the bow. Etc. In a conventional electronic musical instrument, a keyboard is mainly used as a performance input means. However, when a keyboard is used, it is extremely difficult to arbitrarily generate musical tone parameters of these bowed musical instruments.

SUMMARY OF THE INVENTION It is an object of the present invention to provide a controller for an electronic musical instrument capable of easily controlling musical sound parameters of a physical model sound source suitable for generating musical sounds such as a bowed musical instrument.

[Means for Solving the Problems] A controller for an electronic musical instrument according to the present invention includes a bar member and hair similar to a bow of a naturally bowed musical instrument, and is a bow member for engaging the hair with a string equivalent member to play. A bow member provided with a strain detecting means at an engagement portion between the hair and the rod member; and a strain detecting circuit for extracting an electric signal from the strain detecting means, and using an output of the strain detecting circuit as a musical tone parameter. Suitable for

[Operation] By using a bow member having hairs equivalent to the bow of a natural bowed instrument, those skilled in playing the natural bowed instrument can easily operate the controller.

By using the strain detecting means at the engagement portion between the bristle of the bow member and the rod member, it is possible to easily generate bow pressure as an electric signal.

Embodiment FIG. 1 shows the overall configuration of an electronic musical instrument according to an embodiment of the present invention.

The electronic musical instrument includes a performance information input unit 1, a musical tone parameter processing unit 2, and a physical model sound source 3.

The performance information input unit 1 includes a fingerboard equivalent part 4, a main body having a string equivalent member 6 of the bowed part, and a bow 5 provided with a detection member, corresponding to a natural bowed musical instrument.

In this embodiment, since the fingerboard equivalent portion 4 and the string equivalent member 6 are formed of a single member, the pedal 7 for switching the pitch range in accordance with the switching of the strings of the natural bowed instrument. Is provided.

The tone parameter processing unit 2 converts a tone parameter,
This section performs correction, recording, reproduction, editing, and the like, and is formed by, for example, a microcomputer, a personal computer, or the like. The electric signal generated by the performance information input unit 1 is processed to generate musical tone parameters.

The physical model sound source unit 3 has a closed loop circuit including a non-linear circuit 8 for simulating the operation of the rubbing unit and delay circuits 9a and 9b for simulating the vibration of a string having a controlled length. A tone signal of a bowed instrument is generated in response to speed, bow pressure, pitch, and the like.

By converting the musical tone parameters, it is also possible to generate musical tones such as wind instruments with the same configuration. In the case of wind instruments, embouchure is used instead of bow speed, and breath pressure is used instead of bow pressure.

Hereinafter, each part of the electronic musical instrument shown in FIG. 1 will be described in more detail.

2A and 2B show a fingerboard equivalent part of the performance information input unit. FIG. 2A shows the configuration. The fingerboard equivalent portion 4 is provided on the surface of the rod portion of the instrument main body having the same outer shape as a bowed musical instrument of a natural instrument, for example, and extends in the length direction of the fingerboard as shown on the right side in the figure. The controller includes a controller 11 and a contact conductor 12 arranged in parallel with the ribbon controller and capable of contacting at an arbitrary position. The ribbon controller 11 is, for example, about 50 cm long,
It is formed by a resistance band having a resistance value of about 5 KΩ. Also, contact conductor
Reference numeral 12 is formed of a good conductor such as a conductive wire arranged in the ribbon controller 11 in a wrong manner. The contact conductor 12 is, for example, approximately
Grounded through a 1KΩ protection resistor 13. Further, the terminal on the piece side of the ribbon controller 11 is connected to, for example, a power supply of 5V, and the terminal on the thread winding side is opened. With such a configuration, for example, when the contact conductor 12 contacts the ribbon controller 11 at two places, the contact point closer to the inner piece of the two contact points is effective as in a natural musical instrument. The power supply voltage is divided by the resistor on the bridge side from the contact point of the ribbon controller 11 and the protection resistor 13, and the divided voltage is supplied to the output terminal 14.

FIG. 2 (B) shows the relationship between the voltage of the electric signal obtained from the fingerboard equivalent portion as shown in FIG. 2 (A) and the finger pressing position. The horizontal axis represents the finger pressing position, and the distance from the thread winding side is x. The vertical axis represents the output voltage Eout. It is assumed that a power supply voltage of +5 V is connected to the piece side terminal of the ribbon controller 11.

As described above, by pressing the fingerboard equivalent portion 4 with a finger, an electric signal corresponding to the finger pressing position is generated. Due to the arrangement of the ribbon controller 11, the presence of the protection resistor 13, and the like, the obtained voltage signal is not linearly proportional to the finger pressing position, and as shown in the figure, the increase increases as the value of x increases. By processing this electric signal, the pitch of the generated musical tone can be controlled.

FIGS. 3A and 3B show a bow pressure detecting section of the bow 5 of the performance information input section 1. FIG. 3 (A) shows the configuration of the bow hair attachment. The bow 5 is furnished with hair 16 like the bow of a natural musical instrument. An end 17 of the bristle 16 is connected to a hand-side mounting portion 20 of the bow 5 via a metal plate 18. A pair of strain gauges 19a and 19b are attached to the front and back surfaces of the metal plate 18.

When the bristle 16 of the bow 5 is pressed against the string equivalent, the bristle 16 is displaced toward the xylem side of the bow according to the pressing force. At this time,
A force acts on a metal plate 18 connected to the bristles 16. The metal plate 18 is deformed by this force, and the strain gauges 19a and 19b generate electric signals.

FIG. 3B shows an example of a strain detection circuit using a strain gauge. The detection circuit forms a resistance bridge circuit, and the resistances 19a and 19b of the strain gauge form one voltage division circuit, and the reference resistances 21a and 21b form the other voltage division circuit. When the constant voltage E is applied to the voltage supply terminals 22a and 22b, the operational amplifier OP1 detects a difference signal between the voltages generated at the two voltage division terminals 23a and 23b. When no force is applied to the strain gauges 19a, 19b, the two voltage dividing terminals 23a, 23b generate exactly the same voltage, and the output voltage is "0". When the bow 5 is pressed against the chord equivalent portion and the strain gauges 19a and 19b are deformed, a signal corresponding to the bending is detected. Note that the bridge circuit shown in FIG.
When a and 19b show exactly the same change, no output voltage is generated. With such a circuit configuration, only bending is detected, ignoring extension of the strain gauge.

For example, a metal plate having a thickness of about 1.5 mm is used as the metal plate 18, and the output voltage of the bow pressure detecting circuit 25 is, for example,-
Generate a voltage in the range of 5V to + 5V. In this way, a bow pressure signal is obtained.

4 (A1), (A2), (B1) and (B2) show the bow position detecting section of the bow 5 of the performance information input section 1. FIG. Fig. 4 (A1)
Indicates the side of the hand of the bow.

As described with reference to FIG. 3A, the metal plate 18 on which the strain gauge 19 is mounted is attached to the hand-side mounting portion 20 of the bow 5.
Hair 16 is attached via. End 17 of this hair 16
A resistance wire 27 is attached via a metal plate 28, a rubber member 29, and a fixture 25a.

As shown in FIG. 4 (A2), the other end of the resistance wire 27 is attached to the tip of the bow 5 via an attachment 25b. That is, the resistance wire 27 is connected between the metal plate 28 and the fixture 25b, and the metal plate 28 is held via the rubber member 29.

FIGS. 4 (B1) and (B2) are bottom views of the bow 5 as viewed from the bottom side. The resistance wire 27 is stretched on the upper side of the hair 16 in the figure in parallel with the hair, and a constant voltage is applied between both ends.
When actually playing a stringed instrument, the bow of the bow is closer to the pole,
Use it with the lower hair lying slightly near the piece. For this reason, as shown in the figure, by arranging the resistance wire 27 slightly apart from the hair portion 16 of the bow, the resistance wire 27 comes into contact with the string before the hair 16 of the bow. The arrangement of the resistance wire shown is to place the instrument body on the floor,
In the case of a bow such as a cello or a bass, it is preferable to lift the main body of the instrument, and in the case of a violin or a viola, to stretch the bow on the opposite side. The distance between the resistance wire and the bow hair is on the order of a few millimeters.
The reason why the rubber member 29 is used on one side of the resistance wire 27 is to prevent the resistance wire 27 from extending and loosening during the performance.

FIG. 5 shows a bow position detecting mechanism when a performance operation is performed by using a bow as shown in FIG. The string equivalent member 6 of the main body of the musical instrument is formed of a conductor such as a metal rod, and its electric resistance can be ignored. A resistance wire 27 is provided on the bow 5 in parallel with the hair 16, and a constant voltage is applied between both ends. When the bow 5 is operated and brought into contact with the string-equivalent member 6, the resistance wire 27 contacts the string-equivalent member 6, and the divided voltage at that position extracts the voltage as a signal. This voltage signal is the operational amplifier OP
Take out via two. Since the voltage signal changes according to the position of the resistance line 27, the bow position representing the leading bow, the leading bow, and the like can be known from the output voltage. The string equivalent member 6
Is connected to a negative voltage source -V divided by resistors R1 and R2. Therefore, when the bow 5 is not in contact with the string equivalent member 6, a negative voltage is generated as an output voltage. Resistance wire
27 is, for example, diameter about 0.12mm, length about 50cm, resistance value about 50Ω
It can be formed with a resistance line of the order. For example, a voltage of about 0 to 5 V is generated as an output voltage.

For example, in a violin of a natural musical instrument, four strings are stretched, but in this electronic musical instrument, a string equivalent member 6 is provided.
Is a single member. For this reason, when changing the pitch of the musical tone generated by switching the strings, the pedal 7 is depressed to select a string according to the amount of depression. For example, a signal of 128 levels from 0 to 127 is generated according to the amount of depression, and this area is divided corresponding to four strings to generate a pitch corresponding to the strings. A mechanism for giving a click feeling to the switching position of the fourth string may be provided. Four switches may be used.

In this way, tone parameters such as pitch, bow position, bow pressure, etc. are generated, but the manner in which these tone parameters are changed by the performance operation is different from the manner in which similar parameters are changed in natural musical instruments. Often. For example, the relationship between the finger pressing position and the output voltage in the fingerboard equivalent portion is non-linear as shown in FIG. 2 (B).

In order to generate an accurate pitch signal using such non-linear characteristics, first, the detected output voltage Eout is converted into an amount that changes linearly with respect to the finger pressing position x, and the piece is moved from the piece to the finger pressing. The chord length to the position is calculated, and a key code corresponding to the chord length is generated to form a pitch signal. These processes are
The calculation may be performed by using a mathematical expression or a table. Further, at the time of pitch processing, vibrato and portamento can be expressed based on another control signal. Also, conversion by another method may be used.

The signal obtained from the bow pressure detector shown in FIG. 3 also needs to be corrected.

FIG. 6 shows the characteristics of the bow pressure detector. As shown in the upper part of the figure, the strain gauge 19 is provided on the hand side of the bow 5.
Therefore, the amount of deformation generated in the strain gauge 19 changes depending on which part of the resistance wire 27 comes into contact with the chord equivalent part. Sixth
The graph in the figure shows a change in the value of the bow pressure signal depending on the position of the bow to which a certain force of 500 g weight is applied to the resistance line 27. In the figure, the horizontal axis indicates the bow position, and the vertical axis indicates the bow pressure output. As shown in the figure, when the bow position is the hand (original bow), the output signal is large, and the output signal decreases as the position of the bow changes. A bow pressure signal having such a characteristic is corrected using a first-order regression line, so that a constant bow pressure output signal is generated for a constant bow pressure regardless of the bow position. In one example, the correlation coefficient was set to 0.
992.

Since the bow position is detected by the mechanical contact between the resistance wire and the conductor, contact noise may occur. In particular, noise is likely to occur at the moment when the bow and the string equivalent member come into contact with or separate from each other. In order to reduce such noise, a filter or the like can be used.

FIG. 7 shows a filter circuit for correcting the bow position signal.

Raw data a _t bow position is supplied to the 3-point median filter F1. The three-point median filter F1 is a filter that employs the median of the measured values at three consecutive points. For example, of the three consecutive inputs, the first one is the largest, the next one is the smallest, and if the last one is in the middle, the last signal is output as the output signal. In this way, the 3-point median filter F1 takes the value of the inner center of the three measurements for consecutive as the output m _t at that time. The output of the point median filter F1 is supplied to a three-point averaging circuit F2.
The three-point averaging circuit F2 takes three consecutive inputs and outputs the average value. In this way, the correction value A _t is formed, is used as the correction data bow position.

By using the three-point median filter F1, exceptional values are excluded. Further, by using the average value filter, the influence of a sudden change can be reduced.

A physical model sound source often uses a differential value as a parameter. For example, when considering the interaction between a bow and a string equivalent member, the bow position is also a musical tone parameter, but the bow speed is a more important musical tone parameter. Therefore, it is desirable to convert the bow position to the bow speed. The velocity can be obtained by differentiating the position with time. In such a case, if the differential operation is usually performed by taking the difference, the accuracy of the speed tends to be extremely poor,
In many cases, satisfactory tone parameters cannot be obtained.

FIG. 8 shows a circuit for converting a bow position into a bow speed. First, the correction data A _t bow position is supplied to the differential circuit DF. Differential circuit DF takes the difference between the input signal a continuous, generates a differential Example V _t. The difference sequence obtained in this way is 3
It is supplied to the point averaging circuit F3, the average value V _t of three consecutive 'is taken. This average value is further supplied to the primary of the IIR low-pass filter F4, the values obtained this time and the value outputted last time were mixed in a certain ratio to obtain the bow velocity data V _t as an output signal. For example, 0.3 as the coefficient b of the low-pass filter
Is used.

By using such a circuit, bow speed data that can be used can be provided based on bow position data including noise.

As described above, the converted and corrected performance information can be directly sent as parameters to the physical model sound source of the bowed instrument. Also, in the case of a physical model sound source other than the bowed instrument, the physical model sound source can be driven by converting the physical model sound source into parameters suitable for the sound source.

Also, the performance information can be recorded and reproduced as needed. Further, it is possible to compress the amount of information by recording parameters as compared with the case of recording the sound itself. In addition, by editing the performance information once recorded, mistakes and the like that cannot be avoided in live performance can be corrected. It is also possible to synthesize a performance that is not possible in reality.

 FIG. 9 is a circuit showing a main part of a physical model sound source.

This tone generator circuit is supplied with a bow speed signal, a pitch signal, a bow position signal, a bow pressure signal, and the like, which are tone parameters formed as described above. The bow speed signal is input to the adding circuit 52. In the case of a wind instrument, embouchure indicating breath pressure or lip attitude corresponds to the speed signal. This speed signal is a start signal, and is supplied to the non-linear circuit 55 via the addition circuit 53 and the division circuit 54. The non-linear circuit 55 is a circuit having a non-linear characteristic representing a non-linear characteristic of a violin string.

The non-linear characteristics of the non-linear circuit 55 include two parts: a substantially linear region from the origin to a certain range, and a region outside the region where the characteristics have changed. When a bow of a bowed instrument such as a violin is rubbed with a bow, the displacement of the string is substantially equal to the bow displacement while the bow speed is low, and the movement of the string can be represented by the coefficient of static friction. In this case, a substantially linear characteristic appears. When the relative speed of the bow to the string exceeds a certain value, the speed of the bow and the speed of displacement of the string are not the same. That is,
Instead of the static friction coefficient, the dynamic friction coefficient becomes dominant in the motion. Switching from the static friction coefficient to the dynamic friction coefficient causes a non-linear characteristic.

In FIG. 9, the output of the non-linear circuit 55 having such non-linear characteristics is passed through the multiplication circuit 56 to the two addition circuits 4.
Supplied to 4, 45.

Input-side division circuit 54 of nonlinear circuit 55, output multiplication circuit
56 receives the bow pressure signal and changes the characteristics of the nonlinear circuit 55. The bow pressure signal corresponds to embouchure or breath pressure in the case of a wind instrument. The division circuit 54 on the input side changes the input signal to a small value by dividing the input signal. When the divider 54 is provided, even if a large input is received, an output is provided as if a small input was received. Output side multiplication circuit 56
Serves to increase the output of the nonlinear circuit 55. The characteristic 63a formed by the division circuit 54 and the non-linear circuit 55 is increased to the output side. Note that receiving the same bow pressure signal, first dividing the input and then multiplying the output,
Divide by the coefficient Co in the division circuit 54, and use the same coefficient in the multiplication circuit 56.
Co represents multiplication. In this case, the overall characteristic is formed by multiplying the characteristic of only the nonlinear circuit 55 by the horizontal axis and the vertical axis by Co. Note that a different shape may be created by changing the coefficient of the multiplication circuit differently from the coefficient of the division circuit. Non-linear characteristics are modified in response to the bow position signal. It may be further changed depending on the direction of the bow movement.

The adders 44 and 45 are provided in the semicircular signal paths 31a and 31b. A circular signal path 31 combining two semi-circular signal paths
Constitutes a closed loop that circulates the tone signal corresponding to the strings of the bowed instrument. That is, in the string, the vibration is reflected at both ends and reciprocates. In a wind instrument, vibration reciprocates in a resonator. This is approximated by a closed loop in which the signal circulates. In this circulating signal path, two delay circuits 32, 3
3, two LPFs (low-pass filters) 34 and 35, two attenuation circuits 38 and 39, and two multiplication circuits 42 and 43 are included. Delay circuit 3
Reference numerals 2 and 33 denote pitch signals representing pitches and coefficients α to (1-
α), and a predetermined delay time is given.

The basic pitch of the musical tone is determined by the total delay time until the signal circulates through the circulating signal paths 31a and 31b and returns to the original position. The basic pitch is determined mainly by the sum of the delay times of the two delay circuits 32 and 33, pitch × [α + (1−α)] = pitch. One delay circuit corresponds to the distance from the position where the bow contacts the string to the piece, and the other delay circuit corresponds to the distance from the position where the bow contacts the string to the finger pressing position.

Although the pitch is substantially determined by the delay circuits 32 and 33, other elements included in this circulating signal path, for example, LP
F34, 35, attenuation controls 38, 39, etc. also cause delays. Strictly speaking, it is the sum of all the delay times included in these loops that determines the pitch of the generated musical tone.

The LPFs 34 and 35 simulate the vibration characteristics of various strings by changing the transfer characteristics of the circulating waveform signal. A timbre signal is generated by selecting a timbre switch on the main body of the musical instrument, and supplied to the LPFs 34 and 35 to switch its characteristics to simulate a desired tone of a bowed musical instrument.

As the vibration propagates down the string, the vibration gradually decays. The damping controls 38 and 39 simulate the amount of damping of the vibration transmitted through the string.

The multipliers 42 and 43 multiply the reflection coefficient by -1 corresponding to the reflection of the vibration at the fixed string end. That is, the amplitude of the string is changed to the opposite phase assuming reflection at the fixed end without attenuation. A factor of -1 indicates this anti-phase reflection. The attenuation of the amplitude in the reflection is incorporated into the attenuation of the attenuation controls 38,39.

In this manner, the movement of the strings of the bowed instrument is simulated by the vibration circulating on the circulation signal paths 31a and 31b corresponding to the strings.

Further, the movement of the strings of the bowed musical instrument has a hysteresis characteristic. To simulate this, the output of the multiplication circuit 56 is
The signal is fed back to the input side of the nonlinear circuit 55 via the LPF 58 and the multiplication circuit 59. The LPF 58 is for preventing oscillation of the feedback loop.

Now, if the input from the addition circuit 52 to the addition circuit 53 is u, the input from the feedback path to the addition circuit 53 is v, and the amplification factor of the division circuit 54, the non-linear circuit 55, and the multiplication circuit 56 is A, The output w of the multiplication circuit 56 is (u + v) A = w
It is represented by Assuming that the gain of the negative feedback circuit including the LPF 58 and the multiplier 59 is B (negative value), the feedback amount v is v = wB
It is represented by Rearranging these two equations gives (u + w
B) A = w, ∴w = uA / (1-AB)

Without feedback, ie, when B = 0, w
= UA, and the input u is simply multiplied by the coefficient A and output. To obtain the same output when negative feedback of gain B is applied, B
(1-AB) times the input when B = 0 (B is negative) must be applied.

If the input once exceeds the threshold and then decreases again, the output w is small and the feedback amount v =
Bw is also small. That is, even if the magnitude of the signal input to the non-linear circuit 55 is the same, the negative feedback amount is smaller in the dynamic friction coefficient region than in the static friction coefficient region, so that the input from the addition circuit 52 to the addition circuit 53 is small. u has a small value.

Considering the magnitude of the input u from the adding circuit 52 when the input of the non-linear circuit 55 becomes a threshold, the static friction coefficient is dominant when the input is increased, and a strong negative feedback is received in response to a large output. This switching occurs at the input, but when the input is reduced, the dynamic friction coefficient is dominant, and the amount of negative feedback is small corresponding to the small output, so the switching occurs at a smaller value of the input u. The magnitude of the hysteresis is controlled by the gain of the multiplication circuit 59.

In this way, according to the tone signal forming circuit shown in FIG. 9, the movement of the strings of the bowed instrument can be simulated, and the basic waveform of the tone can be created.

As shown in FIG. 9, the output is taken from any point of the circulating signal path 31, and the output signal is supplied to the sound system via a formant filter 61 which simulates the characteristics of the body of the bowed instrument. The formant filter 61 can also receive the timbre signal and change its characteristics. In this way, a desired tone signal can be generated.

Although the present invention has been described with reference to the embodiments, the present invention is not limited thereto. For example, fingerboard equivalent part,
Although the case where a single member is used as the string equivalent member has been described, four or more fingerboard equivalent parts or string equivalent members can be used in accordance with the natural musical instrument. The finger pressing position may be detected by means other than resistance. It will be apparent to those skilled in the art that various other modifications, improvements, combinations, and the like can be made.

[Effects of the Invention] As described above, according to the present invention, a performance operation can be performed using a natural musical instrument and a bow member equivalent to a bow, so that a performance similar to a natural musical instrument can be performed.

A person who has mastered the playing technique of the bowed musical instrument can immediately play the electronic musical instrument.

[Brief description of the drawings]

FIG. 1 is a schematic diagram showing the overall configuration of an electronic musical instrument according to an embodiment of the present invention. FIGS. 2A and 2B show a fingerboard equivalent portion of a performance information input section. A) is a schematic diagram showing the configuration, FIG. 2 (B) is a graph showing characteristics, and FIGS. 3 (A) and (B) show a bow pressure detecting section of the bow of the performance information input section. (A) is a side view showing the configuration of the bristle attaching portion, FIG. 3 (B) is a circuit diagram of the detection circuit, and FIGS. 4 (A1), (A2), (B1) and (B2) are performance information input. FIG. 4 (A1) is a side view showing the side of the hand, FIG. 4 (A2) is a side view showing the tip side, and FIG. 4 (B1) is the hand. Bottom view showing the bottom of the part, fourth
FIG. (B2) is a bottom view showing the bottom surface of the tip, FIG. 5 is a schematic diagram showing a bow position detecting mechanism, FIG. 6 is a graph showing characteristics of a bow pressure detecting unit, and FIG. FIG. 8 is a circuit diagram showing conversion from a bow position to a bow speed, and FIG. 9 is a circuit diagram showing a main part of a physical model sound source. In the figure, 1 ... performance information input section 2 ... tone parameter processing section 3 ... physical model sound source section 4 ... fingerboard equivalent section 5 ... bow 6 ... string equivalent member 7 ... pedal 16 ... hair 18 …… Metal plate 19 …… Strain gauge 27 …… Resistance wire 29 …… Rubber member

Claims (3)

(57) [Claims] 1. A bow member having a bar member and hair similar to a bow of a natural bowed string instrument, wherein the hair member is engaged with a string-equivalent member to play the music. A controller for an electronic musical instrument, comprising: a bow member provided with a distortion detecting means; and a distortion detecting circuit for extracting an electric signal from the distortion detecting means, and suitable for using an output of the distortion detecting circuit as a musical tone parameter. 2. The electronic musical instrument controller according to claim 1, further comprising a correction circuit for correcting an output signal of said distortion detection circuit in accordance with a position of a bow engaged with a string equivalent member. 3. The bow member further includes an electric resistance member arranged substantially in parallel with the bristles, and a string-like member having conductivity is engaged with the electric resistance member to correspond to the engagement position. 3. The controller for an electronic musical instrument according to claim 1, further comprising a bow position detecting means for generating a bow position signal.