JP2666583C - - Google Patents

Description

Description: BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument having a function of giving various effects such as reverberation effects to generated musical sounds. 2. Description of the Related Art An electronic musical instrument having an operator for instructing the application of an effect, and capable of imparting various effects such as a reverberation effect to a generated musical tone by operating the operator. It has been known. For example, Japanese Patent Application Laid-Open No. 64-91193 discloses a technique in which a pedal is provided as an operation element for instructing the application of an effect, and reverberation is gradually added to a musical tone in accordance with the operation amount of the pedal. . By the way, in the above-mentioned conventional electronic musical instrument, when an operator such as a pedal is operated to give an effect imparting instruction, all musical tones currently sounding at that time are operated. Suddenly, a reverberation effect or the like is added, and the performance becomes unnatural.
In addition, there is a problem that the reverberation effect or the like is applied to all musical tones that are sounding, resulting in muddy sound as a whole. The present invention has been made in view of the above-described circumstances, and is an electronic musical instrument that can apply an effect only to a musical tone that starts sounding while an instruction to apply an effect is given by an operator. The purpose is to provide. [0005] The present invention provides a tone generation instruction unit for generating a tone generation instruction for a desired tone, a tone generation unit for generating a tone signal corresponding to the tone generation instruction, and a desired effect. The desired first effect is applied only to an operator for giving an instruction and a first tone signal corresponding to the sounding instruction generated during a period in which an instruction for giving an effect is given by the operator. The second tone signal generated by the tone generating means at the time when an effect is given by the operator is given according to the characteristic according to the operation amount of the operator. And an effect imparting means for imparting a desired second effect to the first and second tone signals in common. According to the above-described configuration, the desired effect is given only to the first tone signal corresponding to the sounding instruction during the period in which the effect is instructed by the operator by the effect imparting means. The first effect is given, while the desired first effect is not given to the second tone signal generated by the tone generator when the effect is given by the operator. In addition, a desired second effect is commonly applied to the first and second tone signals. Embodiments of the present invention will be described below with reference to the drawings. FIG. 1 is a block diagram showing a configuration of an electronic musical instrument according to a first embodiment of the present invention.
In FIG. 1, reference numeral 1 denotes a control unit that controls each unit of the electronic musical instrument, and is realized by, for example, a microprocessor. Reference numeral 2 denotes a key press information generation unit to which a keyboard (not shown) is connected. When any key on this keyboard is depressed, the depressed key is detected by the depressed key information generation unit 2, and the key code KC corresponding to the depressed key is detected by the depressed key information generation unit 2 and the key is being depressed. A key-on signal KON indicating this is output, temporarily taken into the control unit 1 as a key-on event, and supplied to the musical tone generating unit 5 described later. Reference numeral 3 denotes a performance operator realized by, for example, a pedal or the like, which is operated when a predetermined effect is given to a musical sound to be emitted. The performance operator 3 includes a sustain pedal, and its depression state is detected by the control unit 1. The control unit 1 generates a sustain signal SUS corresponding to the amount of depression of the sustain pedal. Reference numeral 4 denotes a timbre / effect parameter supply setting unit, which has a timbre designation switch, an effect designation switch, and the like (both not shown) operated by the player. The control unit 1 captures the state of each of these switches, and sets a tone color parameter WAVEPAR that specifies the tone color of a musical tone.
, A resonance effect parameter RESPAR for controlling the resonance effect applied to the tone signal, an effect parameter EFCPAR for designating the type of effect to be applied to the tone signal, sustain effect control data SUSREV for controlling the application of the sustain effect, etc. Generates various parameters necessary for giving effects. The tone generator 5 is triggered by the key-on signal KON, and generates a tone signal WAVE having a pitch corresponding to the key code KC, a tone specified by the tone parameter WAVEPAR, and a sustain part waveform corresponding to the sustain signal SUS. I do. The tone generator 5 has a plurality of tone channels, and performs tone processing of each tone channel by time-division multiplexing control, and is configured to be able to form an independent tone for each tone channel. ing. As a tone generator based on this type of time-division multiplexing control, a tone generator used in an ordinary multi-tone electronic musical instrument can be used. Reference numeral 6 denotes an effect imparting unit, which is a tone signal WAVE of each sounding channel.
, A predetermined effect based on the effect parameter EFCPAR, the resonance effect parameter RESPAR, and the sustain effect control data SUSREV. FIG. 2 is a block diagram illustrating a configuration example of the effect applying unit 6. The resonance generation unit 61
The resonance signal is generated by giving a resonance effect to each tone signal WAVE formed by each tone generation channel of the tone generation unit 5.
A resonance signal corresponding to each sounding channel is generated. The amount of attenuation applied to the tone signal WAVE of each sounding channel in the generation of the resonance signal is specified by the resonance effect parameter RESPAR. As the resonance generating unit 61, for example, a reverberation / resonance device using a comb-shaped digital filter disclosed in Japanese Patent Application Laid-Open No. 63-267999 using a comb-shaped digital filter having a resonance peak at each pitch to be generated can be used. . The resonance signal of each sounding channel output from the resonance generator 61 is input to the gate circuit 62. The gate circuit 62 is controlled to open and close by the sustain effect control data SUSREV output from the control unit 1, and the sustain effect control data SU
Only when SREV is “1”, the resonance signal is output to one end of the adder 63. As the sustain effect control data SUSREV, the control unit 1 supplies data corresponding to each sounding channel. The adder 63 outputs the tone signal WAVE as it is when the gate circuit 62 is closed, and converts the resonance signal output from the gate circuit 62 into a tone signal WAVE when the gate circuit 62 is open. Add and output. The sound effect imparting section 64 imparts an acoustic effect based on the effect parameter EFCPAR to the output signal corresponding to each sounding channel in the adder 63 and outputs the signal. The channel accumulator 65 accumulates and adds signals corresponding to each sounding channel output from the sound effect applying unit 64, and performs the sound effect applying unit 6 for all sounding channels.
The result of adding the outputs of the four is output as an output signal OUT and sent to a sound system (not shown). Hereinafter, the degree of the electronic musical instrument will be described. When a power supply (not shown) of the electronic musical instrument is turned on, the control section 1 starts execution of a main routine shown in a flow chart of FIG. 3, and first initializes various control registers and flags (see FIG. 3). Step S1). And
Thereafter, the key press sounding processing routine (step S2) and other processing such as volume control (step S3) are repeatedly executed. FIG. 4 is a flowchart illustrating a processing flow of a key press sound generation processing routine executed in step S2 of the main routine. First, in step S11, the control unit 1 scans the key press information generation unit 2 and takes in a new key-on event or a new key-off event, if any. Further, the output state of the performance operator 3 is scanned, and the state of depression of the sustain pedal and the like are captured. Next, the process proceeds to step S12, where it is determined whether or not a new key-on event has been taken in step S11.
If "O", the process proceeds to step S13. No new key-on events are captured,
In step S13, it is determined whether a new key-off event has been captured. If the determination is "YES", the flow proceeds to step S19. If the determination is "NO", the flow returns to the main routine. When the player presses a key, a new key-on event is taken into the control unit 1 (step S11). As a result, when the process proceeds to step S12, the determination result is "YES" and the process proceeds to step S14. Then, it is determined whether or not the sustain pedal is on. If the result of this determination is "YES", the operation proceeds to step S15, where the sustain effect control data SUSREV for the new key-on event fetched in step S11 is determined to be "1". On the other hand, if the decision result in the step S14 is "NO", the process proceeds to a step S18 to determine the sustain effect control data SUSREV for the new key-on event taken in the step S11 to "0". When step S15 or S18 ends, the process proceeds to step S16 to determine a sound channel to be assigned to sound of a new key-on event. Then, the process proceeds to step S17, and the control unit 1 supplies the key code KC and the key-on signal KON of the key-on event to the musical tone generating unit 5 at a timing corresponding to the tone generation channel determined in step S16. The control unit 1 thereafter transmits the sustain effect control data SUSREV corresponding to the key-on event, that is, the sustain effect control data SUSREV determined in the immediately preceding step S15 or S18, at a timing corresponding to the sounding channel. It is supplied to the effect giving unit 6. As a result, in the tone generator 5, the sounding channel determined by the controller 1 is assigned to the key-on event. Then, a tone signal WAVE corresponding to the key code KC of the key-on event is formed using the assigned tone generation channel, and the tone signal WAVE is sent to the effect imparting unit 6 to be given an effect. Then, the process of the control unit 1 returns to the main routine. Here, if the sustain pedal is depressed at the time of key-on, the sustain effect control data SUSREV corresponding to the key-on event is set to “1”.
Is generated and the gate circuit 62 is opened during the sounding channel corresponding to the key-on event. Therefore, in this case, a tone including a resonance tone is generated as a tone corresponding to the key-on event. On the other hand, if the sustain pedal is not depressed at the time of key-on, “0” is generated as the sustain effect control data SUSREV corresponding to the key-on event, and the duration of the sound channel corresponding to the key-on event is
Gate circuit 62 is closed. Therefore, in this case, a musical tone that does not include a resonance tone is generated as a musical tone corresponding to the key-on event. As described above, the resonance sound is added to the tone corresponding to the key-on event during the period when the sustain pedal is depressed, but the resonance sound is not added to the key-on event before that. Next, when the player releases the key being pressed, a key-off event is taken into the control unit 1 (step S11). As a result, when the process proceeds to step S13 via step S12, the determination result is “YES” and the process proceeds to step S19. Then, the control unit 1 searches the tone generation unit 5 for the number of the sounding channel that is currently sounding the tone of the key code corresponding to the key-off event. Next, the process proceeds to step S20, in which the key-off signal is supplied to the tone generator 5 in the sound channel searched in step S19, and the generation of the tone in the sound channel is stopped. In the first embodiment, whether or not the resonance is added is controlled by the sustain effect control data SUSREV for each sounding channel.
The gate circuit 62 may be replaced with a multiplier, and when a key-on event is detected, the sustain signal SUS at that time may be fetched and supplied as a multiplication coefficient during a sounding channel period corresponding to the key-on event. By doing so, it is possible to add, to each musical tone corresponding to each key-on event, a resonance tone having an intensity corresponding to the amount of depression of the sustain pedal at the time of key-on. Next, a second embodiment of the present invention will be described. In the present embodiment, the configuration shown in FIG. 5 is used as the effect imparting unit 6 in the first embodiment. In the case of the present embodiment, the number of channels of the effect imparting unit does not necessarily need to be equal to the number of sounding channels of the musical tone generating unit 5 in the preceding stage. In FIG. 5, when SUSREV = "1" at the time of generation of the key-on signal KON, the channel distribution unit 71 supplies the tone signal WAVE of the sounding channel corresponding to the key-on event to the channel accumulator 72, and outputs the key-on signal KON. If SUSREV = "0" at the time of occurrence, the tone signal WAVE of the sounding channel corresponding to the key-on event is supplied to the channel accumulator 73. A technique for distributing and outputting a tone signal for each sounding channel in this way is disclosed in, for example, Japanese Patent Application Laid-Open No. 58-13694. Each of the channel accumulators 72 and 73 accumulates each tone signal assigned by the channel assignment unit, and accumulates each accumulation result into an effect imparting unit 74.
And 75. The effect imparting unit 74 imparts an effect based on the effect parameter EFCPAR to the output signal of the channel accumulator 72. Also,
The effect imparting unit 75 generates a resonance signal of the output signal of the channel accumulator 73 according to the resonance effect parameter RESPAR. The outputs of the effect applying units 74 and 75 are added by the adder 76, and the effect applying unit 77 outputs the effect parameter E
An effect based on FCTPAR is provided and output. According to such a configuration, different effects can be given to the key-on event when the sustain pedal is on and to the key-on event when the sustain pedal is off. In FIG. 5, the effect imparting units 74 and 77 may be omitted. [Effects of the Invention] As described above, according to the present invention, a sounding instruction means for generating a sounding instruction of a desired musical sound, a musical sound generating means for generating a musical sound signal corresponding to the sounding instruction, An operator for instructing the application of a desired effect, and the first desired tone signal only for a first tone signal corresponding to the sounding instruction generated during a period in which an instruction for the application of the effect by the operator is given. Is applied with a characteristic corresponding to the operation amount of the operator, and the second tone signal generated by the tone generator at the time when an instruction to give the effect by the operator is given. While not providing the desired first effect, the first
And an effect imparting means for imparting a desired second effect to the second tone signal in common, so that the effect can be imparted only to the desired tone as intended by the player. The effect is improved, and the effect that a natural effect can be imparted can be obtained.

BRIEF DESCRIPTION OF THE DRAWINGS FIG. 1 is a block diagram showing a configuration of an electronic musical instrument according to a first embodiment of the present invention. FIG. 2 is a block diagram illustrating a configuration example of an effect imparting unit according to the embodiment. FIG. 3 is a flowchart illustrating the operation of the embodiment. FIG. 4 is a flowchart illustrating the operation of the embodiment. FIG. 5 is a block diagram illustrating a configuration of an effect imparting unit according to a second embodiment of the present invention. [Description of Signs] 1... Control section, 2... Key press information generation section, 3...
6 ... Effect giving section.

Claims (1)

Claims: 1. A sounding instruction means for generating a sounding instruction of a desired musical sound, a musical sound generating means for generating a musical sound signal corresponding to the sounding instruction, and an instruction for giving a desired effect. An operator, and operating the operator to apply the desired first effect only to a first tone signal corresponding to the sounding instruction generated during a period during which an instruction to give an effect is issued by the operator. The desired first effect is applied to the second tone signal generated by the tone generating means at the point in time when an instruction to give the effect is given by the operation element. And an effect imparting means for imparting a desired second effect to the first and second tone signals in common.