JP2666763B2 - Electronic musical instrument - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument provided with two tone signal generating circuits having different tone signal generating systems, and combining tone signals generated by the two tone signal generating circuits.

[0002]

2. Description of the Related Art Two tone signal generation circuits having different tone signal generation systems and having a common pitch corresponding to the same nominal tone selected by a player or the like. Japanese Patent Application Laid-Open No. 58-102296 discloses an electronic musical instrument which generates a tone signal from each of them and combines both tone signals.
No. The first tone signal generating circuit has a memory storing a plurality of cycles of tone waveforms corresponding to various tone colors, and generates a tone signal by reading out a plurality of cycle tone waveforms corresponding to the selected tone color. I do. The second tone signal generation circuit generates a tone signal corresponding to the selected tone by executing a frequency modulation type tone synthesis operation. A tone signal is generated from a first tone signal generation circuit at a rising portion of a sound whose tone waveform changes in a complicated manner, and a tone signal is generated from a second tone signal generation circuit at a subsequent sustain portion. Are combined to synthesize one tone signal.

[0003]

However, in the prior art, the tone signals of the two tone signal generating circuits are simply divided into the rising part and the sustaining part of the sound. It lacked controllability and the performance effect obtained was monotonous. SUMMARY OF THE INVENTION The present invention has been made in view of the above points, and provides an electronic musical instrument that synthesizes a musical tone by combining output musical signals of a plurality of musical signal generating circuits having different musical signal generation methods. The purpose is to make it possible and to enhance the performance effects. More specifically, the present invention produces a tone signal first in one of the first and second tone signal generating means, and thereafter switches to the other to emit a tone signal, and gradually switches the preceding tone signal in the switching period. Provided is an electronic musical instrument in which cross-fade control for attenuating and gradually raising a subsequent tone signal is performed, and the time of a preceding and a subsequent sequence and a switching period are automatically controlled according to a designated tone color. The purpose is to:

[0004]

An electronic musical instrument according to the present invention comprises: a pitch designation unit for designating a pitch of a musical tone to be generated; a tone color designation unit for designating a timbre of a musical tone to be generated;
A first tone signal generating means for generating a tone signal having a pitch corresponding to the pitch specified by the pitch specifying means and having a tone color characteristic corresponding to the tone specified by the tone color specifying means; A tone signal having a pitch corresponding to the pitch specified by the pitch specifying means and having a timbre characteristic corresponding to the timbre specified by the timbre specifying means is converted to a tone different from the first tone signal generating means. A second tone signal generating means for generating a tone signal in accordance with a signal generation method, and a tone signal being generated first by one of the first and second tone signal generating means, and then switched to the other to emit a tone signal, thereby switching. And performing cross-fade control for gradually attenuating the preceding tone signal with time and gradually raising the succeeding tone signal with time in the period. A cross-fade control means for controlling which one of the two tone signal generating means precedes and which one follows, in accordance with the tone specified by the tone specifying means; and hand,
Time control means for variably controlling the time of the switching period.

[0005]

A tone signal corresponding to a common designated pitch is generated from the first and second tone signal generating means with tone color characteristics corresponding to the designated tone color, respectively. Since the first and second tone signal generating means are composed of different tone signal generation systems, even if the designated timbres are nominally the same timbre, the tone quality or the quality depends on the difference in the tone signal generation system. Alternatively, they differ in various aspects such as controllability, and the characteristics of each generated sound have unique characteristics according to the tone signal generation method. Here, under the control of the cross-fade control means, one of the first and second tone signal generating means emits the tone signal first, and then switches to the other to emit the tone signal, so that the tone signal is emitted according to the tone generation stage. A tone signal can be shared, and in this case, cross-fade control is performed in which a preceding tone signal is gradually attenuated and a subsequent tone signal is gradually raised in a switching period. As a result, smooth switching of the tone signal is realized, and the first and second signals are switched.
It is possible to automatically control which one of the musical tone signal generating means precedes and which one succeeds in accordance with the tone color specified by the tone color specifying means. Further, under the control of the time control means, the time of the switching period in the crossfade control, that is, the crossfade time, is set in accordance with the tone specified by the tone specifying means.
It can be variably controlled. Therefore,
2 of different tone signal generation methods depending on the designated timbre
A special performance effect is automatically generated in a form suited to the designated tone color by controlling the cross-fade switching of the sound generation in such a way that one of the musical tone signal generating means of the series precedes and the other follows. Can be realized. Also, the switching period is variably controlled in accordance with the designated tone color. For example, when the switching period is controlled to be short, the switching is performed quickly so that the sound generation stages are simply performed in two series. When the switching period is controlled so as to be long, the impression that the two series of tone signals overlap is strengthened by switching slowly, and the impression that the two series of tone signals are overlapped is strengthened. Thus, it is possible to give a strong impression that the ensemble is being performed, and in this regard, it is also possible to automatically realize a special performance effect in a form suitable for the designated tone color. If not only the time of the switching period but also the delay time from the start of sounding of the preceding tone signal to the start of sounding of the succeeding tone signal is variably controlled, the switching period, that is, the start time of the cross fade period Can be freely controlled, and thereby, various performance effects can be obtained.

[0006]

DESCRIPTION OF THE PREFERRED EMBODIMENTS Embodiments of the present invention will be described below in detail with reference to the accompanying drawings. (Explanation of the Overall Configuration of the Embodiment) In FIG. 1, a keyboard 10 has a plurality of keys for designating the pitch of a musical tone to be generated, and includes a key switch circuit composed of key switches corresponding to each key. . The operation panel unit 11 includes a tone color selector 12 for tone color selection and control, and also includes various operators such as volume setting / control operators, pitch control operators, and effect selection operators. In this embodiment, a key press / key release detection scanning process of each key on the keyboard 10, an ON / OFF operation detection scanning process of each operation element, switch, selector, and the like in the operation panel unit 11, and a sound assignment process of a pressed key, Various processes are executed according to a software program by a microcomputer. The microcomputer section includes a CPU (central processing unit) 13, a program and data ROM (read only memory) 1
4, including a data and working RAM (random access memory) 15.

Various data based on the results of the sound generation assignment processing of the pressed keys and the results of the on / off operation detection processing of the controls, switches, selectors and the like on the operation panel section 11 are provided to the tone generator section 17 via the interface 16. . An example of various data provided to the tone generator unit 17 via the interface 16 is a key code KC indicating a key assigned to each tone generation channel.
, A key-on signal KON indicating whether or not the key is continuously depressed, a key-on pulse KONP corresponding to the rise of the key-on signal KON (at the start of key press), and a fall (key release) of the key-on signal KON. Key-off pulse KOFP corresponding to (time) and various timbre information for realizing the selected timbre.

The tone generator section 17 includes a buffer register 18 for temporarily taking in various data supplied through the interface 16, a timing control circuit 19 for generating timing signals and clock pulses for various operation controls, and a tone generator. Two tone signal generation circuits 20 and 21 having different signal generation systems, a delay key-on and crossfade control circuit 22, an envelope generation unit 23, and multipliers 24 and 25 for providing an envelope.
And an adder 2 for adding the output tone signals of the two tone signal generation circuits 20 and 21 provided via the multipliers 24 and 25.
6 is provided. The output of the adder 26 is digital /
After being subjected to analog conversion by the analog converter 27, it is provided to the sound system 28.

First and second tone signal generating circuits 20, 2
Numeral 1 digitally generates a tone signal having a pitch corresponding to the key code KC given via the buffer register 18 in a tone color corresponding to tone color information. generally,
Each of the tone signal generating circuits 20 and 21 nominally generates a tone signal of a common tone, but the actual tone varies as appropriate depending on the difference in tone signal generation method between the two, and whether or not the tone changes with time. In any case, the sound quality of the generated sound is determined by the two tone signal generation circuit 2.
0 and 21 are appropriately different. The tone signal generating circuits 20 and 21 generate tone signals having a pitch corresponding to a common designated pitch corresponding to the key code KC, respectively. An appropriate pitch shift or pitch or scale shift may be applied accordingly. For example, each tone signal generation circuit 20, 21
The control such as tuning, transposition, vibrato, glide, and pitch control may be independently performed.

As an example, a first tone signal generation circuit 20
The tone signal generation method includes a storage unit in which waveform data of a plurality of tone waveforms corresponding to various tone colors are stored in advance, and reads out waveform data of a tone waveform corresponding to a selected tone color from the storage unit, and reads the read waveform. The tone signal is generated based on the data, and this method is abbreviated as "PCM method" for convenience. The tone signal generation method in the second tone signal generation circuit 21 generates a tone signal by executing a frequency modulation type tone synthesis operation, and this method is abbreviated as "FM method" for convenience.

The delay key-on and cross-fade control circuit 22 performs the "delay key-on" control and the "cross key" control in accordance with the combination mode when performing tone synthesis by combining the tone signals generated by the tone signal generation circuits 20 and 21. This is for performing “fade” control.
"Delay key-on" means that a tone signal corresponding to a designated pitch is converted to first and second tone signal generation circuits 20 and 21.
In the case where the ensemble effect is realized by this, the start of the tone signal generation in one of the first and second tone signal generation circuits 20 and 21 is delayed later than the other to realize the ensemble effect. It is to be.
"Cross-fade" refers to a case where a tone signal is generated first in one of the first and second tone signal generation circuits 20 and 21 and then switched to the other to generate a tone signal.
The control is to gradually attenuate the preceding tone signal and gradually raise the following tone signal during the switching period. By performing the "cross fade" in combination with the "delay key on", that is, performing the "cross fade" after the desired "delay key on", the tone signal can be smoothly switched at an arbitrary tone generation stage. .

When the circuit elements in the delay key-on and cross-fade control circuit 22 are classified by function, the delay time in "delay key-on" and the "cross fade"
Time setting and key for performing key scaling control for setting and controlling the time length of the switching period (referred to as cross-fade time) and variably controlling these times in accordance with the pitch of the generated sound A scaling control unit 29 and a state control unit 30 for controlling states in delay key-on and cross-fade control
And a cross-fade waveform creating unit 31 for creating a weighted waveform for cross-fade. In the embodiment described below, the time setting and key scaling control unit 29
Is realized by partially sharing the hardware in the first tone signal generation circuit 20. Specifically, the hardware circuit for time counting in the time setting and key scaling control unit 29 is shared with the hardware circuit for phase address counting in the first tone signal generation circuit 20.

The envelope generator 23 generates envelope signals PEG and FEG for setting the amplitude envelope of the tone signal output from each tone signal generating circuit 20, 21. The envelope signals PEG and FEG are used to weight a normal envelope signal responding to key depression and key release by a cross-fade weighting waveform generated from the cross-fade waveform generator 31 of the delay key-on and cross-fade control circuit 22. It was done.

(Explanation of Tone Generation Mode) Music Signal Generation Circuit 2
There are, for example, the following five combinations modes, that is, tone generation modes, when performing tone synthesis by combining the tone signals generated at 0 and 21. For easy understanding, FIG. 2 shows a typical example of the envelope signals PEG and FEG of the tone signal generation circuits 20 and 21 in each tone generation mode. The tone signals of both tone signal generating circuits 20 and 21 are mixed at a ratio according to the shapes of the envelope signals PEG and FEG.

1) Simple Mixing Mode (FIG. 2A) In the simple mixing mode, the tone signal generation circuit 20 of the PCM system is used.
This is a mode in which the tone signal is generated almost simultaneously with the tone signal generating circuit 21 of the FM system. A normal ensemble effect is achieved. The abbreviation of this mode is MIX. 2) FM delay key-on mode (FIG. 2b) In the FM delay key-on mode, sound is started first in the tone signal generating circuit 20 of the PCM system, and is started later in the tone signal generating circuit 21 of the FM system, and thereafter. This is a mode that sounds repeatedly. Achieve the delay ensemble effect.
Variable control of the delay time is possible. The abbreviation of this mode is FMD.

3) PCM delay key-on mode (FIG. 2)
c) The PCM delay key-on mode is a mode in which tone generation starts first in the tone signal generation circuit 21 of the FM system, tone generation starts later than that in the tone signal generation circuit 20 of the PCM system, and thereafter, the tone is duplicated. . Achieve the delay ensemble effect. Variable control of the delay time is possible. The abbreviation of this mode is PCMD. 4) FM delay key-on & cross-fade mode (FIG. 2d) In this mode, sound is started first in the tone signal generation circuit 20 of the PCM system, and sound generation is started later in the tone signal generation circuit 21 of the FM system. In addition to the control for gradually raising the tone signal of the succeeding FM tone signal generation circuit 21, the preceding PCM tone signal generation circuit 20 is controlled.
By effecting control to gradually attenuate the tone signal of, the effect of switching sound generation is realized. Variable control of the delay time and variable control of the switching period, that is, the crossfade time, are possible. The abbreviation of this mode is FMDX.

5) PCM delay key-on & cross-fade mode (FIG. 2e) In this mode, the tone generation starts in the tone signal generation circuit 21 of the FM system, and the tone signal generation circuit 20 of the PCM system generates the sound later than that. By starting the control, the tone signal of the succeeding PCM tone signal generating circuit 20 is gradually raised, and the control of the preceding FM tone signal generating circuit 21 is gradually attenuated.
Realize the effect of switching pronunciation. Variable control of the delay time and variable control of the switching period, that is, the crossfade time, are possible. The abbreviation of this mode is PCMDX.

(Description of Tone Color Information) FIG. 3 shows an example of tone color information corresponding to one selected tone color.
Such timbre information is stored, for example, in the data R for each timbre.
The tone stored in the OM 14 and corresponding to one tone selected by the tone selector 12 is read out from the ROM 14 and supplied to the tone generator 17. The data included in the tone color information corresponding to one tone color will be described below. The sound generation mode data is data for specifying a sound generation mode, and includes the five modes MIX to P.
Specify one of CMDX. The delay rate data DRATE sets the delay time in the “delay key-on” control.

Crossfade rate data XRATE
Sets the cross-fade time in the “cross-fade” control. The delay rate key scaling data DKSD is data for specifying a key scaling characteristic when the delay time in the “delay key on” control is variably controlled (key scaling control) according to the pitch. The cross-fade rate key scaling data XKSD is data that specifies key scaling characteristics when performing variable control (key scaling control) of the cross-fade time in “cross-fade” control according to the pitch. As an example, the key scaling property is
Four types of “0%”, “25%”, “50%”, and “100%” are prepared. Key scaling data DKSD and X
The KSD specifies one of them.

As a sound source in the tone signal generating circuit 20 of the PCM system, a waveform memory in which waveform data of a plurality of tone waveforms corresponding to various tone colors are stored in advance is used.
As an example, it is assumed that a plurality of periodic waveforms of a rising portion of a sound and a plurality of periodic waveforms of a sustaining portion are stored at consecutive addresses. In the timbre parameters for the tone signal generation circuit 20 of the PCM system, the start address data SAD is
This is data indicating the first address of the multi-period waveform at the rising edge of the sound. The repetition address data RAD is data indicating the first address of the multi-period waveform of the sustain part. The end address data EAD is data indicating the last address of the multi-period waveform of the sustain part. In the tone signal generating circuit 20 of the PCM system, a plurality of periodic waveforms at a rising portion of a sound starting from a start address are read once, and thereafter, a plurality of periodic waveforms of a sustain portion stored between a repetitive address and an end address are repeatedly read. As a result, a tone signal is generated.

In the timbre parameters for the tone signal generating circuit 21 of the FM system, the algorithm and parameter data FMP include not only the data for specifying the calculation algorithm for the frequency modulation calculation for tone synthesis but also calculation parameter data such as a modulation index. The envelope parameter data PENV and FENV are stored in each tone signal generation circuit 2.
Data for setting the characteristics of the envelope waveform signal at 0 and 21 respectively.

(Explanation of Key Scaling Characteristics) FIG.
Key scaling characteristics of “0%”, “25%”, “50”
% "And" 100% ". The horizontal axis is pitch and the vertical axis is time. The time DL is a time determined by the delay rate data DRATE or the crossfade rate data XRATE itself, that is, a time without scaling.

"0%" indicates that the time is DL for any pitch.
, Ie, indicates that key scaling is not performed. "100%" is a characteristic that results in key scaling of twice or half the time per octave (i.e., one octave increases the time by one time).
/ 2, and the time is doubled when the frequency is lowered by one octave). “50%” is changed to “100
This is a key scaling characteristic indicating a slope of about の of the slope of the key scaling property of “%”. “25%” is changed to “10
This is a key scaling characteristic indicating an inclination of about ４ of the inclination of the key scaling characteristic of “0%”. A predetermined pitch is defined as a reference pitch RKC, and the reference pitch RKC
In any of the key scaling characteristics, the scaling rate is 0, that is, the delay rate data DRATE or the cross-fade rate data X without scaling is applied.
Each key scaling characteristic is determined as shown in the drawing so that the time DL according to RATE is obtained.

FIG. 5 shows a detailed example of the tone signal generation circuit 20 of the PCM system. Note that, for simplification of the description, an example is shown in which the number of sounding channels is one. The PCM system tone signal generating circuit 20 of FIG. 5 employs a pitch synchronization system for synchronizing a pitch of a tone to be generated with a sampling frequency. Here, in order to form a pitch-synchronous tone signal, information "P number" is used as an example. The “P number” is a number indicating the number of sample points in one cycle in a musical tone waveform having a musical tone frequency to be realized.

The P-number memory 32 stores the above-mentioned "P-number" in advance corresponding to twelve note names in a predetermined reference octave. The note code NC indicating the note name among the key codes KC given from the buffer register 18 is given to the P number memory 32, and the P number corresponding to the note code NC is read. The note clock generating circuit 33 receives the P number from the P number memory 32 and performs a dividing operation according to the P number to generate a note clock pulse NCK having a frequency corresponding to the tone name of the musical tone to be generated. Occur. Key code K
An octave code OC indicating an octave of C is input to the decoder 34 and decoded for each octave. The output of the decoder 34 is given to the selection control inputs SA to SD of the selector 35, and the data inputs A to
Octave rate data "1" given to D,
"2", "4", and "8" are selected. The octave rate data is numerical data corresponding to an octave-related frequency ratio, and a larger value corresponds to a higher octave.

The octave rate data ORD output from the selector 35 is input to a gate 36. The gate 36 is enabled when the note clock pulse NCK supplied from the note clock generation circuit 33 is “1” (during pulse generation), and outputs octave rate data ORD. Therefore, the key code KC is output from the gate 36.
Octave rate data ORD having a numerical value corresponding to the octave of the key code KC is repeatedly output in synchronization with the generation timing of the note clock pulse NCK corresponding to the note name of the key code KC. This octave rate data ORD
And the repetition frequency synchronized with the generation timing of the note clock pulse NCK establishes a tone frequency corresponding to the pitch of the key code KC.

The octave rate data ORD output from the gate 36 is supplied to an adder 39 of a counter 38 via an A input of a selector 37. The selector 37 selects the A input when the timing signal T1 is "1", and selects "0"
At time B input is selected. The counter 38 includes an adder 39
, A two-stage shift register 40 shift-controlled by a clock pulse φ, and a gate 41. The output of the adder 39 is provided to the shift register 40, and the output of the shift register 40 is provided to another input of the adder 39 via the gate 41. As shown in FIG.
The clock pulse φ has twice the frequency of the timing signal T1, and the counter 38 performs a time-division operation in two time slots, and performs a double operation as a counter having a different function. That is, in the time slot in which the timing signal T1 is "1", the octave rate data ORD given via the A input of the selector 37 is repeatedly added (accumulated), and functions as a "phase address counter". In this case, from the counter 38,
A phase address signal that changes at a rate corresponding to the pitch of the key code KC is output. On the other hand, in the time slot in which the timing signal T1 is “0”, the time count rate data {RD} supplied through the B input of the selector 37.
Is repeatedly added (accumulated), and the "time counter"
Function as As described later, the function of the counter 38 as a “time counter” is to count the delay time in the “delay key-on” control and “cross-fade”.
Used for counting the crossfade time in control.

The output of the shift register 40 is the latch circuit 4
2 given. The latch circuit 42 outputs the timing signal T1
Is "1", the output of the shift register 40 is latched. Therefore, the phase address signal generated by the counter 38 functioning as a “phase address counter” is latched by the latch circuit 42. The phase address signal latched by the latch circuit 42 is provided to the adder 43 as a relative phase address signal. Start address data SAD and repeated address data RA corresponding to the selected tone color
D is provided to the selector 44. Initially the state signal S
The start address data SAD is changed to the selector 4 by T1.
4 is given to the adder 43. This adder 4
The output of No. 3 is given to the address input of the waveform memory 45.

As described above, the waveform memory 45 previously stores a plurality of waveform data of a plurality of musical tone waveforms corresponding to various timbres. Are stored at successive addresses. First, the relative phase address signal generated by the counter 38 and the start address data SAD are added to sequentially read data of a plurality of periodic waveforms at the rising portion of the sound. The waveform data read from the waveform memory 45 is supplied to the multiplier 24 (FIG. 1) as an output tone signal of the tone signal generating circuit 20 of the PCM system. On the other hand, the address signal AAD supplied from the adder 43 to the address input of the waveform memory 45 is also supplied to the state controller 30 and used to control the read state of the waveform memory 45.

(Control of Waveform Read State) State Control Unit 3
A detailed example of 0 is shown in FIG. In FIG. 7, a flip-flop 46 outputs state signals ST1 and ST2 for controlling the read state of the waveform memory 45. The key-on pulse KONP is applied to the set input S of the flip-flop 46 via the gate 47 and the OR circuit 48.
And its set output Q becomes "1", whereby the state signal ST1 initially becomes "1". Therefore, the selector 44 in FIG. 5 first selects the start address data SAD as described above, and
, A plurality of period waveforms at the rising portion of the sound are read.

Repeated address data RAD and end address data EAD are given to the A and B inputs of the selector 49, respectively. The selector 49 selects the repetitive address data RAD when the state signal ST1 is “1”, and selects the end address data EAD when the state signal ST2 is “1”. Therefore, at first, the repeated address data RAD is output from the selector 49. The output of the selector 49 is input to the comparator 51 via the A input of the selector 50. The selector 50 determines that the timing signal T1 is “1”.
At the time, that is, at the timing when the counter 38 (FIG. 5) is used for phase address counting, the A input is selected,
The repeated address data RAD is input to the comparator 51.

The other input of the comparator 51 includes a selector 52
Is output. The selector 52 inputs the address signal ADD from the adder 43 (FIG. 5) to the A input, and when the timing signal T1 is "1", selects and outputs it. Therefore, when the timing signal T1 is "1", that is, at the timing when the counter 38 (FIG. 5) is used for phase address counting, the comparator 51 compares the current waveform read address with the repeated address data RAD. . When they match, "1" is output as the match signal EQ. The coincidence signal EQ and the timing signal T1 are input to the AND circuit 520, and the output of the AND circuit 520 is supplied to the reset input R of the flip-flop 46.

Therefore, when a plurality of periodic waveforms at the rising portion of the sound are being read, that is, when the state signal ST1 is "1".
At this time, when the waveform read address reaches the address of the repeated address data RAD, the flip-flop 46 is reset, and the state signal ST2 of the reset output is output.
To "1" and the state signal ST1 to "0" (see FIG. 8).

In the selector 44 of FIG. 5, when the state signal ST2 becomes "1", the repeated address data RA
D is selected, and the adder 43 repeatedly adds the address data RAD to the relative phase address signal supplied from the latch circuit 42. On the other hand, the coincidence signal EQ and the timing signal T1 are applied to the AND circuit 53 of FIG. 5, and the output of the AND circuit 53 is inverted by the NOR circuit 54 and supplied to the control input of the gate 41 of the counter 38. Therefore, when the absolute address data added as the offset address data by the adder 43 is repeatedly switched to the address data RAD, the gate 41 is disabled and the previous relative phase address value in the counter 38 is cleared. Thereafter, the counter 38 restarts counting relative phase addresses from zero.

The selector 49 shown in FIG.
The end address data EAD is selected by "1" of T2. Therefore, when the state signal ST2 is "1", the comparator 51 compares the current waveform read address with the end address data EAD at the phase address count timing. When they match, the match signal EQ becomes "1", and the relative phase address count value in the counter 38 of FIG. 5 is cleared to zero. In this way, the waveform read address repeatedly changes from the address corresponding to the repeated address data RAD to the address corresponding to the end address data EAD, and the multiple-period waveform of the sound sustaining portion is repeatedly read (see FIG. 8).

(Delay Key-On and Cross-Fade Time Setting and Key Scaling Control) A detailed example of the time setting and key scaling control unit 29 is shown in FIG.
The control unit 29 originally has a counter for counting time, which is not shown in FIG.
8 is shared. In FIG. 9, the control unit 29 sends the octave rate data ORD ′ output from the gate 36 in FIG. 5 at the timing of the note clock pulse NCK to the adder 56 via the line 55 as pitch data for key scaling. input. The multiplier 57 of the control unit 29 outputs rate data △ RD for time counting. The rate data △ RD is supplied to the B input of the selector 37 in FIG. When T1 is "0", the selector 37
And is given to the counter 38. Therefore, the counter 38 functions as a counter for counting the rate data RTD in the time slot in which the timing signal T1 is "0" and counting the delay time of the delay key-on or the cross-fade time.

The delay rate data DRATE and crossfade rate data XRA corresponding to the selected tone color
TE is input to the selector 58, and the delay rate data DRAT is initially supplied according to the delay state signal DST.
When E is selected and the delay time of “delay key on” ends, the cross-fade rate data XRATE is selected according to the cross-fade state signal XST. Basically, the output of the selector 58 is supplied to the counter 38 (FIG. 5) as the rate data △ RD via the multipliers 59 and 57. However, the multipliers 59 and 57 are provided with coefficient data for key scaling the delay time and the crossfade time, and the output data (DRATE or XRATE) of the selector 58 is scaled by the coefficient data. Is rate data.
RD.

The delay rate key scaling data DKSD and the cross fade rate key scaling data XKSD corresponding to the selected timbre are supplied to the decoders 60 and 6.
1 and are decoded respectively. Decoders 60 and 6
The output of 1 is input to the selector 62, the output of the decoder 60, that is, the data indicating the key scaling characteristic curve for "delay key-on" is selected by the delay state signal DST, and the output of the decoder 61, that is, the data indicating the key scaling characteristic curve for "delay key on" is selected. Data indicating a key scaling characteristic curve for “crossfade” is selected. A signal indicating a key scaling characteristic of “0%” and a signal indicating a key scaling characteristic of “100%” among the four decoded outputs output from the selector 62 are output to the selector 6 via the OR circuit 63.
A signal indicating a key scaling characteristic of “50%” is input to the A selection control input SA of 4, 65, and a signal indicating a key scaling characteristic of “25%” is input to the B selection control input SB of the selectors 64, 65. 64 and 65 C selection control inputs SC, respectively.

The selector 64 selects "0%" or "100
When the key scaling characteristic of “%” is indicated, the numerical value “1” is selected, when “50%”, the numerical value “１ ／” is selected, and when “25%”, the numerical value “１ ／” is selected. Select The selector 65 selects the numerical value “0” when the key scaling characteristic of “0%” or “100%” is instructed, selects the numerical value “1” when the key scaling characteristic is “50%”, and selects “25”.
In the case of "%", the numerical value "3" is selected. The output of the selector 64 is input to the multiplier 59. The output of the selector 65 is input to the adder 56, and is added to the octave rate data ORD 'of the line 55. The output of the adder 56 is provided to the A input of the selector 66. A numerical value “1” is input to the B input of the selector 66. The selector 66 is selectively controlled by a signal indicating a key scaling characteristic of “0%” output from the selector 62. When the signal is “0%”, that is, when the key scaling is not performed, the B input “ "1" is always selected, and in other cases, that is, when key scaling is performed, the output of the A-input adder 56 is selected. The output of the selector 66 is the multiplier 5
7 given.

With the above configuration, the rate data ΔRD for each key scaling characteristic is determined according to the following equation. The basic rate data RATE is DRATE
Or XRATE. In the case of “0%” ΔRD = 1 × 1 × RATE = RATE In the case of “25%” ΔRD = (ORD ′ + 3) × (１ ／) × RATE In the case of “50%” ΔRD = (ORD ′ + 1) × (1/2) × RATE In the case of “100%” ΔRD = ORD ′ × 1 × RATE = ORD ′ × RATE

In the above equation, the octave rate data O
RD ′ has a numerical value corresponding to the octave at the pulse generation timing of the note clock pulse NCK, and is “0” otherwise. In the above equation, it is assumed that the weight of the octave rate data ORD ′ is “1” at a predetermined reference octave. That is, the value of the octave rate data ORD used in the actual phase address count is “1” in the first octave, “2” in the second octave, “4” in the third octave, and “8” in the fourth octave. Even if there is
Octave rate data O used for key scaling
For example, if the reference octave is the second octave, RD ′ is a weight of “１ ／” in the first octave, “1” in the second octave, “2” in the third octave, and “4” in the fourth octave. It is the treatment of.

As an example, it is assumed that a note clock pulse NCK is always generated at the reference pitch at each sampling timing. For example, if the pitch name of the reference pitch is B, the note clock pulse NCK of the pitch name B becomes “1” for each sampling synchronization. In this case, note clock pulses NCK of note names A #, A, G #, G... D, C #, C, which are lower than the note names, are appropriately thinned out.

In the case of a reference pitch, for example, note name B of the second octave, the solution of the above equation is ORD ′ = 1,
In any case of “0%”, “25%”, “50%”, and “100%”, ΔRD = RATE, and the time DL as set by the basic rate data DRATE or XRATE (see FIG. 4) ). For note names other than the note name of the reference pitch, the octave rate data ORD 'is not added in the sampling period of the missing pulse due to the missing pulse of the note clock pulse NCK, and the multiplication coefficient for the rate data RATE is used in the sampling period. However, 3/4 for “25%” and 1 / for “50%”
2, 0 at "100%". In this manner, the rate data ΔRD in the sampling period in which the octave rate data ORD ′ is provided and the sampling period in which the octave rate data ORD ′ is not
And the probability varies depending on the note name, the rate of change of the count value when the rate data ΔRD is integrated and counted differs for each pitch, and key scaling control as shown in FIG. Is achieved.

Rate data Δ after key scaling control
RD is applied to the B input of the selector 37 shown in FIG. The output of the counter 38 is given as time count data CNT to the B input of the selector 52 in FIG. 7, and is selectively output at the timing when the timing signal T1 is "0".
Is input to The other input of the comparator 51 receives the maximum value data of all bits “1” via the B input of the selector 50 when the timing signal T1 is “0”. Therefore, the time count data CNT of the counter 38
Reaches the maximum value, the coincidence signal EQ of the comparator 51 becomes "1". As is apparent, the larger the value of the rate data ΔRD input to the counter 38, the faster the speed at which the count data CNT increases and the shorter the time to reach the maximum value.

The state control of "delay key on" and "cross fade" is performed by a counter 67 in FIG. The counter 67 is reset by the key-on pulse KONP. The decoder 68 decodes the output of the counter 67, and outputs the delay state signal DST when the count value is "0", the cross-fade state signal XST when the count value is "1", and the hold state signal HS when the count value is "2".
Output T. When the hold state signal HST is "0", the AND circuit 69 is enabled, and the output of the AND circuit 70 is supplied to the count input of the counter 67. The match signal EQ and the inverted signal of the timing signal T1 output from the comparator 51 are supplied to the AND circuit 70.

Accordingly, when the key is pressed, the delay state signal DST is initially set to "1", and "delay key on" control is instructed (see FIG. 10). As a result, FIG.
The selectors 58 and 62 have delay rate data DRA
TE and delay rate key scaling data DKSD
Is selected, and the rate data ΔRD for “delay key-on” control is obtained according to the key scaling operation described above.

Rate data for delay key ON ΔRD
When the count value CNT of the counter 38 reaches the maximum value by the repetitive addition of, the coincidence signal EQ is generated as described above. The AND circuit 71 shown in FIG.
When the count value CNT reaches the maximum value in the delay state, the condition of the AND circuit 71 is satisfied, and the delay key-on pulse DKONP is generated (see FIG. 10). ). At the same time, the output of the AND circuit 70 becomes "1", and the counter 67 counts up. At the same time, the output of the AND circuit 72 in FIG. 5 becomes "1", and is applied to the NOR circuit 54 via the OR circuit 73. The output of the NOR circuit 54 becomes "0", and the gate 41 of the counter 38 is disabled. Count value CNT of counter 38
Is cleared. When the count value of the counter 67 becomes “1”, the delay state signal DST becomes “0”.
And the crossfade state signal XST becomes "1" (see FIG. 10).

Thus, the "delay key on" control ends, and the "cross fade" control starts. The time when the delay state signal DST is "1", that is, the time from when the normal key-on pulse KONP is generated to when the delay key-on pulse DKONP is generated is a delay time in the "delay key-on" control. As described above, this delay time is basically set by the delay rate data DRATE, and is key-scaled by the delay rate key scaling data DKSD and the pitch of the generated sound. In the “crossfade” control state,
The cross-fade rate data XRATE and the cross-fade rate key scaling data XKSD are selected by the selectors 58 and 62 in FIG. 9, and the rate data ΔRD for “cross-fade” control is obtained according to the above-described key scaling control.

When the count value CNT of the counter 38 reaches the maximum value by repeated addition of the cross-fade rate data ΔRD, the coincidence signal EQ is generated as described above. As a result, the counter 67 in FIG. 7 counts up, the crossfade state signal XST becomes “0”, and the hold state signal HST becomes “1” (FIG. 1).
0). Thus, the “cross-fade” control ends. The time when the crossfade state signal XST is "1" is the crossfade time. As described above, the cross-fade time is basically set by the cross-fade rate data XRATE, and is key-scaled by the cross-fade key scaling data XKSD and the pitch of the generated sound.

(Creation of Key-On Pulse According to Sounding Mode) In FIG. 7, the state control unit 30 controls the PCM system tone signal generation circuit 20 to start sounding.
It has a function of creating a key-on pulse PKONP and an FM key-on pulse FKONP instructing the start of sound generation in the tone signal generation circuit 21 of the FM system in accordance with the sound generation mode.

A normal key-on pulse KONP generated in response to the start of key pressing is input to the gate 47,
The output of the gate 47 is output as a PCM key-on pulse PKONP via an OR circuit 48 and is also applied to the set input S of the flip-flop 46 described above. The control input of the gate 47 includes a simple mixed mode signal MIX, an FM delay key-on mode signal FMD, or an FM delay key-on & cross-fade mode signal FM.
DX is provided via an OR circuit 74. When these modes are selected as the tone generation modes, the tone signal generation circuit 20 of the PCM system starts tone generation in response to the actual start of key depression (see FIGS. 2A, 2B, and 2D). When any one of the signals MIX, FMD, and FMDX indicating that the mode is selected is "1", the gate 47 is opened, and the key-on pulse KONP is output as it is as the PCM key-on pulse PKONP.

The key-on pulse KONP is applied to the gate 7
5 and the output of the gate 75 is the OR circuit 7
6 and output as an FM key-on pulse FKONP. The control input of the gate 75 includes a simple mixed mode signal MIX or a PCM delay key-on mode signal PC
MD or PCM delay key-on & cross-fade mode signal PCMDX is applied via OR circuit 77. When these modes are selected as the tone generation modes, the FM tone signal generation circuit 21
Because the pronunciation starts in response to the actual start of key press (Fig. 2
c, e), when any of the signals MIX, PCMD, PCMDX indicating that these modes are selected is "1", the gate 75 is opened and the key-on pulse KO
NP is output as FM key-on pulse FKONP as it is.

The delay key-on pulse DKONP output from the AND circuit 71 when the delay time in "delay key-on" has elapsed is input to the gates 78 and 79. A PCM delay key-on mode signal PCMD or a PCM delay key-on & cross-fade mode signal PCMDX is applied to the control input of the gate 78 via the OR circuit 80. The output of the gate 78 is latched by the latch circuit 81 in synchronization with the timing signal T1, and the PCM key-on pulse PKO is output via the OR circuit 48.
Output as NP. In the case of the PCM delay key-on mode or the PCM delay key-on & cross-fade mode, the tone generation in the tone signal generation circuit 20 of the PCM system is started after the delay time has elapsed (see FIGS. 2C and 2E), so these modes are selected. In this case, the delay key-on pulse DKONP (see FIG. 10) is output as the PCM key-on pulse PKONP.

The control input of the gate 79 receives an FM delay key-on mode signal FMD or an FM delay key-on & cross-fade mode signal FMDX.
Given through. The output of the gate 79 is the latch circuit 8
At 3, the signal is latched in synchronization with the timing signal T1, and is output via the OR circuit 76 as an FM key-on pulse FKONP. In the case of the FM delay key-on mode or the FM delay key-on & cross-fade mode, the tone generation in the tone signal generating circuit 21 of the FM system is started after the elapse of the delay time (see FIGS. 2A, 2B, and 2D). The delay key-on pulse DKONP (see FIG. 10) is changed to the FM key-on pulse FKO.
Output as NP. Note that the latch circuits 81 and 83
It is provided to match the timing of each key-on pulse PKONP, FKONP with the channel timing for generating a tone signal.

The PCM key-on pulse PKONP is equal to PC
In order to clear the contents of the counter 38 in the tone signal generating circuit 20 of the M system, it is added to the NOR circuit 54 (FIG. 5), and the gate 41 of the counter 38 is disabled. Also,
The FM key-on pulse FKONP is applied to the tone signal generating circuit 21 of the FM system, and similarly clears the contents of the phase address counter. Also, both key-on pulses PKON
P and FKONP are added to the envelope generator 23 and instruct generation of an envelope signal.

(FM tone signal generating circuit 21) FIG.
1 schematically shows an example of a tone signal generating circuit 21 of the FM system. Note that, for simplification of the description, an example is shown in which the number of sounding channels is one. F number memory 84
Is "F number" which is a numerical value proportional to the frequency of each pitch
Is stored in advance for each pitch, and the F number of the musical tone to be generated is read out according to the key code KC given from the buffer register 18 (FIG. 1). The read F number is given to the adder 86 of the phase address counter 85. The phase address counter 85 includes an adder 86, a one-stage shift register 87 that is shift-controlled by the timing signal T1, and a gate 88. The output of the adder 86 is provided to a shift register 87, and the output of the shift register 87 is provided to another input of the adder 86 via a gate 88. Gate 88
Is controlled by a signal obtained by inverting the FM key-on pulse FKONP.
Clear the contents of 5 once. Thereafter, in the phase address counter 85, the F number is repeatedly added every sampling period, and the phase address signal is output from the counter 85. The FM operation circuit 89 is a circuit that executes a frequency modulation operation for tone synthesis, receives a phase address signal from the counter 85, an algorithm and parameter data FMP, and executes a frequency modulation operation based on these.
The tone signal synthesized by the FM operation circuit 89 is applied to the multiplier 2
5 (FIG. 1) and is multiplied by the envelope signal FEG.

(Sound Generation Control According to Sound Generation Mode) FIG. 12 shows a detailed example of the cross-fade waveform creation unit 31 and an example of the envelope generation unit 23. The cross-fade waveform creating section 31 generates cross-fade waveform data for controlling the tone amplitude in the tone signal generation circuit 20 of the PCM system and the tone amplitude control in the tone signal generation circuit 21 of the FM system in accordance with the selected tone generation mode. And cross-fade waveform data. The cross-fade waveform data for PCM is output from the selector 93 for PCM, and input to the multiplier 97 of the envelope generator 23,
PC generated from envelope generator 95 for PCM
The envelope signal for M is multiplied. The cross-fade waveform data for FM is output from the selector 94 for FM, and is input to the multiplier 98 of the envelope generator 23,
The envelope signal for FM generated by the envelope generator 96 for FM is multiplied. The outputs of the multipliers 97 and 98 are output from the envelope generator 23 as envelope signals PEG and FEG weighted by the cross-fade waveform, and are provided to the multipliers 24 and 25 in FIG.

The envelope generator 95 for PCM includes:
PCM key-on pulse PKONP, envelope parameter PENV for PCM, key-off pulse KOFP, P
CM delay key-on & crossfade mode signal PC
MDX is provided to generate an envelope waveform signal based on these. The envelope generator 96 for FM includes:
An FM key-on pulse FKONP, an envelope parameter FENV for FM, a key-off pulse KOFP, and an FM delay key-on & cross-fade mode signal FMDX are provided, and an envelope waveform signal is generated based on these signals.

In the example of FIG. 12, the cross-fade waveform generator 31 uses the cross-fade time count data CNT of the counter 38 of FIG. 5 as cross-fade waveform data. In the cross-fade control, the characteristic of gradually increasing the tone is created by using the increase curve of the count data CNT as it is, and the characteristic of gradually attenuating the tone is created by inverting the binary value of the count data CNT and converting it to a decrease curve. I do.

The count data CNT output from the counter 38 shown in FIG. The gate 9
0 is released by the cross-fade state signal XST or the hold state signal HST provided through the OR circuit 91. Thereby, the count data CNT for “delay key-on” is blocked by the gate 90, and the count data CNT for “cross-fade” is passed through the gate 90. Count data C output from gate 90
NT is given to the A input of the selector 93 for PCM and to the B input of the selector 94 for FM. Each bit of the count data CNT output from the gate 90 is inverted by an inverting circuit 92, and the output is output from the PCM.
To the B input of the selector 93 for FM and to the A input of the selector 94 for FM. Selectors 93, 9
4, the maximum value, that is, data of all bits "1" is input to the C input, and the minimum value, that is, all bits of "0" is input to the D input.
Is input. Control inputs of the selectors 93 and 94 include signals MIX, PCMD, P indicating a sound generation mode.
CMDX, FMD, FMDX and state signals DST, X
ST and HST are AND circuits 99 to 112 and OR circuit 1
13 through 116.

The cross-fade waveform generation mode and tone control mode according to each tone generation mode are as follows. 1) Simple Mixing Mode (FIG. 2A) When the simple mixing mode is selected, the signal MIX becomes "1", and the selectors 93 and 94 select the C input. As a result, the outputs of the selectors 93 and 94 are always all "1", and the outputs of the envelope generators 95 and 96 are output as they are as the envelope signals PEG and FEG. Therefore, as shown in FIG. 2A, the tone signal generating circuit 20 of the PCM method and the tone signal generating circuit 21 of the FM method are used.
At the same time, a tone generation control for generating a musical tone is performed.

2) FM delay key-on mode (FIG. 2)
b) When the FM delay key-on mode is selected, the signal FMD becomes "1" and the selector 93 always selects the C input. In the selector 94, the delay state signal D
When ST is "1", D input is selected, and when ST is "0", C input is selected. As a result, the output of the selector 93 is always all “1”, and the output of the envelope generator 95 is output as it is as the envelope signal PEG. At this time, the PCM key-on pulse PKONP is generated corresponding to the normal key-on pulse KONP, and the envelope signal PEG rises with the key depression. On the other hand, the selector 94
Then, all “0” is selected during the delay time, and all “1” is selected after the delay time has elapsed. The FM key-on pulse FKONP is generated in response to the delay key-on pulse DKONP, and the envelope signal F is generated at the end of the delay time.
EG stands up. Therefore, as shown in FIG.
M-type tone signal generation circuit 20 starts sound generation first, and FM
In the tone signal generating circuit 21 of the system, the tone generation is started later than that, and the sound is duplicated thereafter.

3) PCM delay key-on mode (FIG. 2)
c) When the PCM delay key-on mode is selected, the signal PCMD becomes "1" and the selector 94 always selects the C input. The selector 93 selects the D input when the delay state signal DST is “1”, and selects the C input when the delay state signal DST is “0”. Thus, the output of the selector 94 is always all "1", and the output of the envelope generator 96 is output as it is as the envelope signal FEG. At this time, the FM key-on pulse FKONP is generated corresponding to the normal key-on pulse KONP, and the envelope signal FEG rises with the key depression. On the other hand, the selector 93 selects all “0” during the delay time, and selects all “1” after the delay time has elapsed. The PCM key-on pulse PKONP is the delay key-on pulse DKO
The envelope signal PEG rises at the end of the delay time. Therefore, as shown in FIG. 2C, the tone generation is started first by the tone signal generation circuit 21 of the FM system, the tone generation is started later than that by the tone signal generation circuit 20 of the PCM system, and thereafter, the control of the repeated sound generation is performed. Done.

4) FM delay key-on & cross-fade mode (FIG. 2D) When the FM delay key-on & cross-fade mode is selected, the signal FMDX becomes "1" and the selector 9
3, when the delay state signal DST is "1", C
When the cross-fade state signal XST is "1", the B input is selected, and the hold state signal H is selected.
When ST is "1", the D input is selected. Thus, the PCM crossfade waveform data output from the selector 93 maintains all “1” during the delay time, and gradually attenuates from all “1” to all “0” during the crossfade time. However, after the end of the crossfade, all “0” s are maintained. Also, PCM key-on pulse PKO
NP is generated in response to a normal key-on pulse KONP, and the envelope signal PEG rises with key depression.

The selector 94 selects the D input when the delay state signal DST is “1”, selects the B input when the crossfade state signal XST is “1”, and selects the B input when the hold state signal HST is “1”. Select C input. As a result, the FM cross-fade waveform data output from the selector 94 maintains all “0” during the delay time and all “0” during the cross-fade time.
And gradually rises toward all “1”, and after crossfading is completed, all “1” is maintained. The FM key-on pulse FKONP is the delay key-on pulse DKO
Occurs in response to NP. In the FM envelope generator 96, when the FM delay key-on & cross-fade mode signal FMDX is "1", the key-on pulse FK
It is assumed that an envelope waveform signal that immediately rises to the maximum level is generated in response to ONP. As a result, the envelope signal FEG output from the multiplier 98 rises with a curve corresponding to the crossfade rising waveform from the selector 94 after the delay time has elapsed. Therefore, as shown in FIG. 2D, the tone generation is started first by the tone signal generation circuit 20 of the PCM system, the tone generation is started later by the tone signal generation circuit 21 of the FM system, and the following F is started.
In addition to the control for gradually raising the tone signal of the M-type tone signal generating circuit 21, the control for gradually attenuating the tone signal of the preceding PCM-type tone signal generating circuit 20 is performed.

5) PCM delay key-on & cross-fade mode (FIG. 2E) When the PCM delay key-on & cross-fade mode is selected, the signal PCMDX becomes "1", and the selector 94 sets the delay state signal DST to "1". , The C input is selected, and the cross-fade state signal XST
Is "1", the A input is selected, and when the hold state signal HST is "1", the D input is selected. This allows
The FM cross-fade waveform data output from the selector 94 maintains all “1” during the delay time, gradually attenuates from all “1” to all “0” during the cross-fade time, and After the fade, all "0" s are maintained. In addition, FM key-on pulse FKON
P is generated corresponding to the normal key-on pulse KONP,
The envelope signal FEG rises with the key depression.

The selector 93 selects the D input when the delay state signal DST is "1", selects the A input when the crossfade state signal XST is "1", and selects the A input when the hold state signal HST is "1". Select C input. Thereby, the PCM output from the selector 93 is output.
Cross-fade waveform data maintains all “0” during the delay time and all “0” during the cross-fade time
And gradually rises toward all “1”, and after crossfading is completed, all “1” is maintained. The PCM key-on pulse PKONP is the delay key-on pulse DK
Occurs in response to ONP. When the PCM delay key-on & cross-fade mode signal PCMDX is "1", the envelope generator 95 for PCM generates an envelope waveform signal which immediately rises to the maximum level in response to the key-on pulse PKONP. Thus, the envelope signal PE output from the multiplier 97
G rises with a curve corresponding to the crossfade rising waveform from the selector 93 after the elapse of the delay time. Therefore, as shown in FIG. 2E, the tone signal generation circuit 21 of the FM system starts sounding first, the tone signal generation circuit 20 of the PCM system starts sounding later than that, and the subsequent tone signal of the PCM system. In addition to the control for gradually raising the tone signal of the generation circuit 20, the control for gradually attenuating the tone signal of the preceding FM tone signal generation circuit 21 is performed.

(Modification) In the above embodiment, the key scaling characteristic of the delay rate or the cross-fade rate is set according to the selected tone color. However, the present invention is not limited to this. The selection means may be arbitrarily selectable. Also,
In the above embodiment, the basic value of the delay rate or the crossfade rate is also set according to the selected tone color. However, the present invention is not limited to this. Is also good.

The sounding mode is also automatically set according to the selected tone color. However, the present invention is not limited to this. The sounding mode may be arbitrarily selected by an appropriate selecting means. The counting of the delay time or the cross-fade time is not limited to the counting of the increment value data, but may be the counting of the variable frequency clock pulse or the counting by the combination of the variable frequency clock pulse and the increment value data. Alternatively, the number of periods of the musical tone waveform may be counted.

In the above embodiment, the key scaling of the delay rate or the crossfade rate is performed for each individual pitch, but this may be performed for each appropriate tone range. In this specification, performing key scaling in accordance with a pitch is an expression including performing key scaling in a predetermined tone range unit. Also,
The key scaling control of the delay time or the cross-fade time is not limited to the variable control of the count rate, but may be the variable control of the target value of the count value according to the pitch. In the above embodiment, the rising cross-fade waveform and the falling cross-fade waveform have the same time length, but may be different. Further, the change between the rising cross-fade waveform and the falling cross-fade waveform is not limited to linear, but may be an exponential or logarithmic characteristic, or may have other characteristics.

First and second tone signal generating circuits 20 and 2
The sound source system or the tone signal generation system in 1 is not limited to the above-described system, but may be any system. For example, the first
The waveform stored in the waveform memory of the tone signal generation circuit 20 is not limited to the waveform of a part of the rising part and the continuation part of the sound, and may be an entire waveform from the rising of the sound to the end of the sound. Also,
The encoding format of the stored data in the waveform memory is PCM
(Differential P)
CM), ADPCM (adaptive differential PCM), DM (delta modulation), ADM (adaptive delta modulation), and the like. Further, any algorithm for the frequency modulation operation in the second tone signal generation circuit 21 may be used. Further, the modulation operation for tone synthesis in the second tone signal generation circuit 21 is not limited to the frequency modulation operation, but may be an appropriate modulation operation such as an amplitude modulation operation or an amplitude modulation operation using a time window function. The second tone signal generation circuit 2
As 1, a tone synthesis method other than the modulation operation type may be used.

The pitches of the generated sounds in the respective tone signal generating circuits need not be completely the same, but may be shifted as appropriate. For example, transposition and pitch adjustment may be performed independently for each tone signal generation circuit, or tone sounds shifted by an appropriate frequency may be generated. The number of tone signal generation circuits is not limited to two, but may be more. Also, the number of sound channels in each tone signal generating circuit is not limited to one, but may be plural.

The present invention and some of its embodiments are summarized and listed as follows. (1) pitch designation means for designating the pitch of a musical tone to be generated;
First tone signal generating means for generating a tone signal having a pitch corresponding to the pitch specified by the pitch specifying means, and a tone signal having a pitch corresponding to the pitch specified by the pitch specifying means; A second tone signal generating means for generating a tone signal according to a tone signal generating method different from that of the first tone signal generating means, and a tone signal being generated first by one of the first and second tone signal generating means, Then, switching to the other side to generate a tone signal, gradually attenuating the preceding tone signal in the switching period and gradually increasing the following tone signal, and cross-fade control means for controlling the time of the switching period. An electronic musical instrument provided with time control means for variably controlling. (2) The time control means independently variably controls the time of the switching period and the delay time from the start of sounding of the preceding tone signal to the start of sounding of the succeeding tone signal. Item 2. The electronic musical instrument according to Item 1. (3) Tone selection means, wherein the first and second tone signal generation means respectively generate tone signals having the tone selected by the tone color selection means in accordance with the respective tone signal generation methods. Item 2. The electronic musical instrument according to Item 1, wherein the time control means controls the time of the switching period in accordance with the timbre selected by the timbre selection means. (4) The electronic musical instrument according to (1), wherein the time control means includes a selection means for arbitrarily selecting a time of the switching period. (5) The time control means includes means for supplying time data for setting the time of the switching period, and the crossfade control means performs a repetitive count in accordance with the time data to perform the switching. Time counting means for setting a switching period, cross-fade envelope providing means for providing an attenuating envelope to the preceding tone signal during the switching period, and providing a rising envelope to the succeeding tone signal. Item 2. The electronic musical instrument according to the above item 1, which includes: (6) The first musical tone signal generating means includes a count circuit for repeatedly counting data corresponding to the designated pitch and generating phase address information, and the time counting means sets the count circuit to a time. 6. The electronic musical instrument according to the above item 5, wherein the electronic musical instrument is divided and used. (7) Tone selection means, wherein the first and second tone signal generation means respectively generate tone signals having the tone selected by the tone color selection means in accordance with the respective tone signal generation methods. 2. The electronic musical instrument according to claim 1, wherein whether or not the control by the crossfade control means is performed is controlled according to the tone color selected by the tone color selection means.

[0074]

As described above, according to the present invention, one of the first and second tone signal generating means having different tone signal generation methods generates a tone signal first, and then switches to the other to generate the tone signal. Is performed, and in the switching period, the preceding tone signal is gradually attenuated, and the subsequent tone signal is gradually raised. In this case, cross-fade control is performed. Which one precedes and which follows is automatically controlled according to the specified tone, and the time of the switching period in the crossfade control, that is, the crossfade time, is set according to the specified tone. , Variable control, according to the specified tone,
The cross-fade switching control of the tone generation is performed in such a manner that one of the two series of tone signal generation means of different tone signal generation methods precedes and the other follows, thereby giving a special performance effect to the specified tone. An excellent effect that it can be realized automatically in a suitable form is achieved. Also, the switching period is variably controlled in accordance with the designated tone color. For example, when the switching period is controlled to be short, the switching is performed quickly so that the sound generation stages are simply performed in two series. When the switching period is controlled so as to be long, the impression that the two series of tone signals overlap is strengthened by switching slowly, and the impression that the two series of tone signals are overlapped is strengthened. Can give a strong impression that the ensemble is being performed, so in this respect too, special performance effects (for example, from the performance effect of giving the impression of simply dividing the pronunciation steps into two sequences, To the performance effect that gives the impression that the ensemble is being performed with two series of tone signals overlapping in the section.
Various performance effects can be obtained) automatically in a form suitable for the designated tone color. Further, not only the time of the switching period but also the delay time from the start of sounding of the preceding tone signal to the start of sounding of the succeeding tone signal is variably controlled, so that the switching period, that is, the cross-fade period The starting point can be freely controlled, and thus, various performance effects can be obtained.

[Brief description of the drawings]

FIG. 1 is a block diagram schematically showing the overall configuration of an embodiment of an electronic musical instrument according to the present invention.

FIG. 2 is an explanatory diagram showing a typical example of selectable sounding modes in the embodiment.

FIG. 3 is an exemplary view exemplifying the content of various tone color information corresponding to one tone color in the embodiment.

FIG. 4 is a graph illustrating a key scaling characteristic of a delay time or a crossfade time in the embodiment.

FIG. 5 shows a first tone signal generation circuit (PC
FIG. 2 is a block diagram showing a detailed example of an M method.

FIG. 6 is a timing chart showing an example of a clock pulse and various operation timings in the embodiment.

FIG. 7 is a block diagram showing a detailed example of a state control unit in FIG. 1;

FIG. 8 is a timing chart illustrating an example of waveform reading control in the first tone signal generation circuit.

FIG. 9 is a block diagram showing a detailed example of a time setting and key scaling control unit in FIG. 1;

FIG. 10 is a timing chart showing an operation example of delay key-on and cross-fade control.

FIG. 11 shows a second tone signal generation circuit (F
FIG. 2 is a block diagram showing an example of an M system.

FIG. 12 is a block diagram showing an example of a cross-fade waveform generator and an envelope generator in FIG. 1;

[Explanation of symbols]

 Reference Signs List 10 keyboard 11 operation panel section 12 tone color selector 17 tone generator section 20 first tone signal generation circuit 21 second tone signal generation circuit 22 delay key-on and cross-fade control circuit 23 envelope generation section 24, 25 multiplier 26 adder 27 Digital / analog converter 29 Time setting and key scaling control unit 30 State control unit 31 Crossfade waveform creation unit

 ──────────────────────────────────────────────────続 き Continuation of front page (72) Inventor Tokio Ogi 10-1 Nakazawa-cho, Hamamatsu-shi, Shizuoka Yamaha Corporation (56) References JP-A-58-95790 (JP, A) JP-A-58- 102296 (JP, A)

Claims (1)

(57) [Claims] 1. A pitch specifying means for specifying a pitch of a musical tone to be generated, a tone color specifying means for specifying a timbre of a musical tone to be generated, and a pitch corresponding to a pitch specified by the pitch specifying means. And the tone specified by the tone specifying means.
First tone signal generating means for generating a tone signal having a timbre characteristic corresponding to the pitch, a pitch corresponding to a pitch specified by the pitch specifying means, and a timbre specified by the timbre specifying means
Tone signal having a tone color characteristic corresponding to a second tone signal generation means for generating according to different tone signal generation system and said first tone signal generation means, said first and second tone signal generation means Meanwhile pronouncing tone signal first in, followed by sound a musical tone signal is switched to the other, launch gradually succeeding tone signals causes gradually attenuating tone signals preceding with time in the switched period cross That perform fade control.
Throat of the first and second tone signal generating means.
The tone specification method to determine which one comes first and
An electronic musical instrument comprising: a crossfade control unit that controls according to a timbre specified by a stage; and a time control unit that variably controls a time of the switching period according to a timbre specified by the timbre specification unit.