JP2689828B2 - Electronic musical instrument - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION [Industrial applications]

The present invention relates to an electronic musical instrument capable of accurately simulating a piano sound of a natural musical instrument, for example.

[0002]

2. Description of the Related Art In recent years, various methods have been developed for synthesizing a natural musical instrument sound by operating a model simulating the sounding mechanism of a natural musical instrument. For example, models of natural musical instruments that form attenuating musical sounds such as plucked string instruments such as guitars and plucked string instruments such as pianos include delay circuits that simulate propagation delay of vibrations in strings and low-pass filters that simulate acoustic loss of strings. It is realized by a closed loop circuit consisting of.

When a drive signal corresponding to the impact of plucking or striking a string is input to the closed loop circuit, the drive signal circulates in the closed loop circuit to cause resonance. Then, the signal circulating in the closed loop is gradually attenuated by the low-pass filter. In this way, the reciprocating vibration of the strings of the stringed instrument is simulated, and by extracting the signal circulating in the closed loop circuit, a musical tone signal corresponding to the vibration of the string is formed. A technique of this kind is disclosed in, for example, Japanese Patent Laid-Open No. 63-40199.

[0004]

By the way, in a piano of a natural musical instrument, a hammer strikes a string in response to a key depression operation, and based on this, vibration is excited in the string. It is known that, as the vibration component propagating through the strings, there are normal transverse vibration waves and longitudinal vibration waves in a direction orthogonal to the normal transverse vibration waves. Longitudinal vibration waves generally have a higher propagation speed than transverse vibration waves,
Moreover, it can be independent of the behavior of the transverse vibration wave.

Considering the fact that the transverse vibration wave and the longitudinal vibration wave contribute to the musical tone formation in the piano of the natural musical instrument, the longitudinal vibration wave may have a great influence on the attack waveform which is a rising edge when the musical tone is generated. I know.
In the piano, the strings are stretched between the "piece" and the "capodastro", which is the fixed end facing the "piece", and the transverse vibration waves propagating here mainly pass through the "piece". It was also found that the sound waves were emitted as sound from the soundboard, while the longitudinal vibration waves were mainly emitted from the frame through the "capodastro." Due to such behavior, musical sounds peculiar to the piano are formed.

By the way, in the technique disclosed in Japanese Patent Laid-Open No. 63-40199, only the behavior of lateral vibration excited in the strings is taken into consideration, and the sounding mechanism of the piano is not always accurately simulated. It wasn't something. Therefore, the present invention has been made in view of the above circumstances, and an object thereof is to provide an electronic musical instrument that simulates an accurate sounding mechanism in consideration of not only lateral vibration of strings but also behavior based on longitudinal vibration. There is.

[0007]

SUMMARY OF THE INVENTION The present invention comprises first excitation means for generating a first excitation signal corresponding to performance information,
At least the first excitation signal is delayed for a predetermined time and repeatedly circulated to generate a lateral vibration signal corresponding to the lateral vibration of the strings, and a second excitation signal is generated according to the lateral vibration signal. A second excitation means for generating, a longitudinal vibration generation means for delaying at least the second excitation signal for a predetermined time and repeatedly circulating it, and generating a longitudinal vibration signal corresponding to the longitudinal vibration of the string, and the lateral vibration signal. And a means for repeatedly circulating the longitudinal vibration signal, wherein the transverse vibration signal and the longitudinal vibration signal are subjected to at least a delay process and an attenuation process to simulate a propagation operation of the lateral vibration and the longitudinal vibration, A resonance unit that generates a first resonance signal that represents the resonance of the vibration signal and a second resonance signal that represents the resonance of the longitudinal vibration signal, and the first and second resonance signals are combined to facilitate the operation. Characterized by comprising a synthesizing means for forming a waveform.

[0008]

According to the above construction, the first exciting means generates the first exciting signal corresponding to the performance information, and the lateral vibration generating means, based on the first exciting signal, generates the lateral vibration corresponding to the lateral vibration of the string. Generates a vibration signal. The second excitation means generates a second excitation signal that excites the longitudinal vibration of the string in response to the lateral vibration signal, and the longitudinal vibration generation means generates the longitudinal vibration signal based on the second excitation signal. Then, the resonance means generates a first resonance signal representing the resonance of the lateral vibration signal and a second resonance signal representing the resonance of the longitudinal vibration signal, and the combining means combines the first and second resonance signals. Form a musical tone waveform. As a result, it is possible to accurately simulate the sounding mechanism in consideration of not only the lateral vibration of the strings but also the behavior based on the longitudinal vibration.

[0009]

Embodiments of the present invention will be described below with reference to the drawings. A. Overall Configuration of Embodiment FIG. 1 is a block diagram showing the overall configuration of an electronic piano that is an embodiment of the present invention. In this figure, 1 is a keyboard. The keyboard 1 has a mechanism for detecting the key pressing / release of each key and detecting the key pressing speed and the key releasing speed.
A signal corresponding to the key release and the key release speed is generated.
Reference numeral 1a denotes a keyboard interface, which generates information relating to a pitch, a key pressing speed signal, and a key releasing speed signal based on various signals supplied from the keyboard 1. A CPU 2 controls each part of the electronic piano.

A ROM 3 stores various control programs loaded into the CPU 2 and various data used in these programs. Reference numeral 4 denotes a RAM for temporarily storing various operation results of the CPU 2 and register values. 5
Is a pedal provided on this electronic piano. The pedal 5 provides a soft effect, which will be described later, corresponding to a soft pedal and a damper pedal in an actual piano, or a damper effect for controlling attenuation of a musical sound. For example, when the soft pedal is operated, the entire string striking mechanism is shifted to the left or right, and one of the two strings stretched is striking. The pedal 5 is provided with a mechanism for detecting the operation speed, similarly to the keyboard 1, and generates a signal corresponding to the operation amount and a signal indicating the operation speed. 5a is a pedal interface, and based on various signals supplied from the pedal 5,
Generates a digital signal corresponding to pedal operation.

Reference numeral 6 synthesizes a musical tone on the basis of various signals supplied via the bus, and a musical tone signal W formed by this synthesis.
Is a musical sound synthesizing circuit which outputs the following. 7 is a sound system. The sound system 7 performs various types of filtering on the musical tone signal W, removes unnecessary noise, performs sound effect processing, and the like, and then amplifies the sound and outputs it from the speaker SP.

B. Schematic Configuration of Musical Sound Synthesis Circuit 6 Next, FIG. 2 is a block diagram showing the configuration of the musical sound synthesis circuit 6. Note that the tone synthesis circuit 6 shown in this figure has a circuit configuration that produces a single tone by using a two-string model, but it is also possible to produce multiple tones at the same time by operating this in a time-division manner. As shown in FIG. 2, this tone synthesis circuit 6
Is roughly divided into an interface section 8, a lateral vibration simulating section 9, a vertical vibration simulating section 10, and an excitation signal forming section 11 shown in FIG.

First, the interface section 8 supplies the performance information supplied from the CPU 2 via the bus to the above-mentioned components 9 to 11 as operation parameters. The operation parameters are resonance system parameters K1 to K4 used when simulating resonance operation, and string system parameters S1 to S4 used when simulating string vibration.
It is formed from an excitation parameter EP used when simulating a string striking operation, and the meaning thereof will be described later.

The lateral vibration simulating section 9 simulates a lateral vibration propagating operation excited in a string stretched between a "piece" and a "capodastro" in an actual piano, and at the same time, the lateral vibration is simulated. It also simulates resonant behavior. The resonance motion here means the resonance of the soundboard based on the lateral vibration transmitted from the "piece" side to the soundboard, the resonance of the frame based on the lateral vibration transmitted from the "capodastro" side to the frame, and the resonance through this frame. It is formed by the resonance of the soundboard based on the vibration transmitted to the board side. On the other hand, the vertical vibration simulating unit 10 simulates a propagation operation of a vertical vibration generated corresponding to the horizontal vibration excited by the simulating unit 9 and each resonance operation performed according to the vertical vibration. To do.

C. Configuration of Transverse Vibration Simulation Unit 9 Next, the configuration of the transverse vibration simulation unit 9 will be described with reference to FIGS. First, in FIG. 2, 12 is the first
It is a string transverse vibration generator, which simulates the propagation of transverse vibration in the first string of the two-string model. Reference numeral 13 is a second string lateral vibration generator having the same configuration as this generator 12,
Simulate the propagation of transverse vibration of the second string. These first
Hammer signals HS1 and HS2 are supplied from the excitation signal forming unit 11 to the string and second string lateral vibration generators 12 and 13, respectively. As will be described later, the hammer signals HS1 and HS2 correspond to the striking strength of a hammer in an actual piano, and the hammer signals HS1 and HS2 are injected into the vibration generating sections 12 and 13, respectively, so that lateral vibration of the strings is generated. Is excited. Further, the vibration generators 12 and 13 respectively generate vibration velocity signals V1 and V corresponding to the velocity of the excited string vibration.
2 is generated, and its configuration will be described later.

Reference numeral 14 is a resonance system A for simulating the resonance operation of a frame in an actual piano. A signal corresponding to the vibration propagated through the "capodastro" is supplied to this resonance system A14. Reference numeral 15 is a resonance system B for simulating the resonance operation of the soundboard in an actual piano. A signal corresponding to the vibration propagated through the "piece" is supplied to the resonance system B. These resonance systems A1
4 and the resonance system B15 will be described later.

Next, FIG. 3 is a block diagram showing the configuration of the first string lateral vibration generating section 12. In the figure, 30, 31
Are subtractors, which correspond to the fixed ends of the first string.
That is, the subtractor 30 corresponds to the "capodastro" side of the string, while the subtractor 31 corresponds to the "piece" side. 32,
Reference numeral 33 denotes an adder, which corresponds to the string striking position of a hammer in an actual piano, and lateral vibration is excited by injecting a hammer signal corresponding to the string striking strength into both of them.

Reference numerals 34 to 37 denote delay circuits for delaying the input signals by a predetermined time and outputting the delayed signals, which are composed of shift registers having a predetermined number of stages. Reference numerals 38 and 39 are low-pass filters (LPFs) that simulate the transfer frequency characteristics of the lateral vibration propagating in the strings. Reference numeral 40 denotes an adder, which adds a signal corresponding to the lateral vibration reflected at the "capodastro" end and progressing to the "piece" side, and a signal corresponding to lateral vibration proceeding in the opposite direction, and adding The result is output as the vibration velocity signal V1. Reference numeral 41 denotes a coefficient multiplier, which multiplies the hammer signal HS1 by a multiplication coefficient 1/2 and outputs the result.

According to such a configuration, the constituent elements 30-
Reference numeral 39 forms a loop circuit, and the signal excited by the hammer signal HS1 circulates in the loop circuit, thereby simulating the reciprocating motion of the lateral vibration in the first string.
Further, the second string lateral vibration generating unit 13 has the same configuration as the above-described first string lateral vibration generating unit 12, and the reciprocating motion of the lateral vibration in the second string is simulated. The hammer signal HS2 is supplied to the second string lateral vibration generator 13, and the vibration velocity signal V2 is formed based on the hammer signal HS2.

By the way, the first string and the second string transverse vibration generators 12 and 13 have the above-mentioned string system parameters S1 and S1, respectively.
S2 is supplied to each of the delay circuits 34-
The delay time of 37 and the transfer characteristics of the LPFs 38 and 39 are controlled. By doing this, the vibration characteristics of the string to be simulated change according to the performance information,
As a result, a musical tone corresponding to the performance information is formed.

Next, FIG. 4 is a block diagram showing the configuration of a waveguide network forming the above-mentioned resonance system A14 and resonance system B15. In the figure, J _{1 to} Jn are junctions, and L, ..., L are these junctions J.
It is a network that connects _{1 to} Jn. The lines connecting the junction J ₁ and the junction J ₂ to each other shown in this figure respectively correspond to the first string and second string lateral vibration generators 12 and 13 described above.

As shown in FIG. 5A, these networks L form a loop circuit for bidirectionally transmitting signals,
It is composed of subtractors 50a and 50b, delay circuits 50c and 50d, and low-pass filters (LPF) 50e and 50f. Here, the delay circuits 50c and 50d simulate the propagation delay of vibration, and the LPFs 50e and 50f simulate the transfer characteristic of vibration. Also,
Each of the junctions J _{1 to} Jn interconnected by such a network L has a configuration shown in FIG. That is, the junction J ₁ given as an example
Are coefficient multipliers 60a to 60d for multiplying the input signals by coefficients α _{1 to} α ₄ , respectively, and these coefficient multipliers 60a to 60d.
It is composed of an adder that adds and outputs the outputs of 60d. It should be noted that these multiplication coefficients are impedances that represent the propagation rate of vibration in the coupling portion, and the sum of the coefficients α _{1 to} α ₄ at each of the junctions J _{1 to} Jn is “2”.
Becomes

Here, the meaning of each of the junctions J _{1 to} Jn will be described. First, the junction J ₁ represents the connecting point between the string and the “capodastro”, and the junction J ₂ represents the connecting point between the string and the “piece”. Further, the junction J ₃ represents the connecting point between the “capodastro” and the frame, and the junction J ₄ represents the connecting point between the “piece” and the soundboard. Each junction J ₅ ~Jn connected to the junction J ₄ is connected in a lattice to simulate the resonance characteristics of the sound board.

According to the above construction, the lateral vibration excited in the first string or the second string is supplied to the resonance system A14 and the resonance system B15 via the "capodastro" side and the "piece" side, whereby , The resonance operation in the frame and the soundboard, and the transverse vibration propagation between the coupling points described above are simulated.

D. Configuration of Vibration Conversion Circuit 16 By the way, from the lateral vibration simulation unit 9 described above, the vibration velocity signal V is generated according to the hammer signals HS1 and HS2.
1, V2 are generated, and the signals V1, V2 are supplied to the vibration conversion circuits 16, 16 (see FIG. 2). The vibration conversion circuits 16 and 16 convert the vibration velocity signal V1 (or V2) into a displacement signal H1 (or H2) and output the displacement signal H1 (or H2), and the configuration thereof is shown in FIG.

In FIG. 6, 16a is an adder, and 16b is a delay circuit which delays the output of the adder 16a by one sampling period and outputs the delayed signal. That is, this adder 16
The a and the delay circuit 16b form an integrating circuit, which integrates the input vibration velocity signal V1 (V2) by one order to form a signal y corresponding to the displacement amount of the vibration. Reference numeral 16c is a multiplier that squares its own input signal and outputs it. The multiplier 16c squares the signal y (y ² ) and outputs it as a displacement signal H1 (H2).

E. Configuration of Vertical Vibration Simulation Unit 10 Next, the configuration of the vertical vibration simulation unit 10 will be described with reference to FIG. 2 again. In this figure, reference numeral 17 denotes a first string longitudinal vibration generator, which simulates a propagation operation of longitudinal vibration excited in response to the displacement signal H1. Reference numeral 18 is a second string transverse vibration generator having the same configuration as that of the generator 17, and simulates a propagation operation of longitudinal vibration excited in response to the displacement signal H2. These vibration generating units 17 and 18,
The above-described generating units 12 and 13 have basically the same configuration, but have different delay times when simulating vibration propagation characteristics.

That is, since the horizontal vibration and the vertical vibration propagating in the strings have different propagation velocities, the delay times in the vibration generators 17 and 18 are set to correspond to the propagation speeds of the vibration generators 12 and 13 described above. It is shorter than the one. This is realized, for example, by making the operation clock different when the delay circuit that gives the delay time is composed of the shift registers having the same number of stages. Further, when operating under the same operation clock, shift registers having different numbers of stages may be used to make the delay time substantially different.

F. Configuration of Excitation Signal Forming Unit 11 Next, FIG. 7 is a block diagram showing a configuration of the excitation signal forming unit 11 that forms the hammer signals HS1 and HS2 described above. In the figure, reference numeral 70 denotes a hammer signal generation circuit, which is based on an initial signal INIT supplied from the interface section 8 and which corresponds to the hammer signal H corresponding to the actual striking strength of the piano.
Form S1. Here, the initial signal INIT is one of the excitation parameters EP described above, and is a signal generated in response to an initial touch when a key is pressed. Reference numeral 71 denotes a gate circuit, which receives the hammer signal HS when the signal SOFT generated by the operation of the soft pedal is supplied.
2 is output.

Next, the configuration of the hammer signal generating circuit 70 described above will be described with reference to FIGS. In the figure, 72 is a multiplier, which multiplies the output of the adder 40 (see FIG. 3) described above by a coefficient K ₂ and outputs the result. The output of the adder 40 is a vibration velocity signal V1 (V2) corresponding to the velocity of lateral vibration excited in the string. Also, the multiplication coefficient K2
Is a value corresponding to the energy transfer efficiency from the string to the hammer. Therefore, the output of the multiplier 72 corresponds to a signal corresponding to the velocity of the string.

Reference numeral 73 is an integrating circuit composed of an adder 73a and a one-sample period delay circuit 73b, which integrates an input signal to generate a string displacement signal x corresponding to a string displacement. A subtracter 74 subtracts a string displacement signal x from a hammer displacement signal h described later, and outputs a relative displacement signal (h-x) representing a relative displacement between the string and the hammer. 75 is RO
It is a non-linear function A formed by a recorded data table such as M, and its input / output characteristics are shown in FIG. Reference numeral 76 is a non-linear function B formed by a recorded data table such as a ROM, and its input / output characteristic is shown in FIG. Here, the non-linear function A75 represents the elastic component of the hammer with respect to the relative displacement between the string and the hammer, while
The non-linear function B76 represents the viscous component of the hammer with respect to the relative displacement between the string and the hammer.

Reference numeral 77 is a difference circuit composed of a subtractor 77a and a one-sample period delay circuit 77b. From the difference circuit 77, 1 of the relative displacement signal (h-x) described above is output.
The difference signal Δ (h−x) corresponding to the change from the value before the sampling period is output. A multiplier 78 multiplies the output of the non-linear function B76 and the output of the difference circuit 77.
Reference numeral 79 denotes a multiplier that multiplies the input signal by the viscosity coefficient R of the hammer, and outputs a signal corresponding to a component due to the viscosity of the hammer in the repulsive force acting between the string and the hammer. 8
Reference numeral 0 is an adder that adds the output of the non-linear function A75 and the output of the multiplier 79. Here, in the signal output from the adder 80, the elastic component and the viscous component of the hammer are added together to form a hammer signal HS1 (HS2) representing the striking strength.

The hammer signal HS1 is supplied to the multiplier 8
At 1, the product is multiplied by the reciprocal (-1 / M) of the inertial mass M of the hammer. Therefore, the multiplier 81 outputs a signal corresponding to the acceleration of the hammer. 82
Is an integrating circuit composed of an adder 82a and a one-sample period delay circuit 82b. The integrating circuit 82 integrates a signal corresponding to the acceleration of the hammer, and generates a signal corresponding to the resulting hammer speed. 83 is an adder 8
3a and a one-sample period delay circuit 83b. The integrator circuit 83 receives the initial excitation signal INIT supplied from the interface unit 8 described above,
The above-mentioned hammer displacement signal h obtained by adding the output of the integrating circuit 82 and integrating this is generated. The initial excitation signal INIT is generated based on the initial touch when any key on the keyboard 1 is pressed.

The hammer signal HS output from the adder 80
1 is supplied to the aforementioned adder 73a via the multiplier 84 and the 1-sample cycle delay circuit 85. In the multiplier 84, the transmission efficiency of the energy transmitted from the hammer to the string is multiplied as a multiplication coefficient K ₁ , and thereby a signal corresponding to the speed change given to the string by the hammer is generated. Therefore, in the adder 73a, the signal corresponding to this speed change and the signal corresponding to the speed of the lateral vibration excited in the strings are added.

When the initial excitation signal INIT is supplied to the hammer signal generating circuit 70 having the above structure, first,
By integrating this, the hammer displacement signal h corresponding to the displacement of the hammer gradually increases. Then, of the repulsive force between the hammer and the strings, a component due to the elasticity of the hammer and a component due to the viscosity are generated, and these are added in the adder 80. As a result, a hammer signal HS1 representing the striking strength of the hammer on the string is formed.

H. Operation of the Embodiment Next, the operation of the embodiment having the above-described configuration will be described. In addition, here, when the first string and the second string are both struck, and the soft pedal described above is operated,
The operation when only the first string is hit will be described. Operation when both the first string and the second string are struck First, when a key is pressed on the keyboard 1, performance information (for example, key-on Kon, key code KC, initials) corresponding to the key press is made from the keyboard interface 1a. Touch IT)
Is generated. Then, this performance information is taken in by the CPU 2, converted into various operation parameters, and then supplied from the interface section 8 to each section of the musical sound synthesis circuit 6 via the bus.

In such parameter setting, the initial excitation signal INI generated according to the initial touch IT
T is supplied to the hammer signal generation circuit 11, and the hammer signals HS1 and HS2 are thereby generated. Further, the string system parameters S1 to S4 generated according to the key code KC.
And the resonance system parameters K1 to K4 are supplied to the lateral vibration simulating unit 9 and the vertical vibration simulating unit 10.
Here, the string parameters S1 to S4 are the vibration generation unit 1
It defines the delay time of string vibration and the transfer characteristics at 2, 13, 17, and 18. This determines the string length of the string to be simulated. On the other hand, the resonance system parameters K1 to K4 are
It is supplied to the resonance system A14 and the resonance system B15, the delay time when the vibration propagates and the transfer characteristic are defined, and the resonance characteristic is defined.

When the initial settings are made in this manner, the hammer signals HS1 and HS2 are supplied to the first and second string lateral vibration generators 12 and 13, respectively, to excite lateral vibration in each string. As described above, the lateral vibrations excited by the vibration generators 12 and 13 propagate through the waveguide network shown in FIG. 4, and the resonance operation between the “frame” and the “soundboard” and each of the junctions J ₁ to J ₁ . Transverse vibration propagation between Jn is simulated. Then, the lateral vibrations respectively excited in these vibration generating units 12 and 13 are extracted as vibration velocity signals V1 and V2, and the signals V1 and V2 are extracted.
2 are displacement signals H1 and 1 in the vibration conversion circuit 16, respectively.
Converted to H2.

The reason why the displacement signals H1 and H2 excite longitudinal vibration will be described with reference to FIG. FIG. 10 is a diagram simulating the moment of the string being vibrated, and represents the state in which the vibration displacement of the string is approximated by a triangle. That is, if the chord length is represented by the hypotenuse d of this triangle, d
= (X ² + y ² ) ^1/2 . Then, if this expression is Taylor-expanded under the condition of x >> y and the first-order term is taken, d = x
It becomes + (y ² / 2x). Therefore, since x in this expansion formula is a constant, vibration in the length direction d (longitudinal vibration)
Is excited by the square of the displacement y of the lateral vibration.

The longitudinal vibration thus excited is similar to the transverse vibration simulating section 9 and the longitudinal vibration simulating section 1
At 0, the frame resonates with the soundboard. Then, the respective signals output from the horizontal vibration simulating unit 9 and the vertical vibration simulating unit 10 are added by the adder 19 and supplied to the next stage as a musical tone signal W. This tone signal W is
It also takes into account the longitudinal vibration that is excited in response to the square of the lateral vibration displacement, and is a musical sound more peculiar to the actual piano than the conventional one.

Operation when only the first string is struck This operation is realized by operating the above-mentioned soft pedal. That is, when the soft pedal is operated, the signal SOFT is supplied from the interface section 8 as "1", whereby the gate circuit 71 (see FIG. 7).
Is disabled. As a result, the hammer signal HS1
Is supplied to the first string lateral vibration generating circuit 12, and the lateral vibration is excited only in the first string.

By the way, the lateral vibration excited on the first string is transmitted to the second string via the above-mentioned waveguide network.
It will also propagate to the strings. This simulates a soft effect in an actual piano that "when one string is struck, vibration is transmitted to the other string and the generated musical sound is softly pronounced". Then, the lateral vibrations excited in the first string and the lateral vibrations of the second string excited by the propagation of the vibrations excited in the first string are introduced into the vertical vibration simulating unit 10 and Propagation and resonance operations related to vibration are performed.

As described above, in this embodiment, the sounding behavior of the longitudinal vibration excited in response to the square of the displacement of the lateral vibration is different from the conventional one that simulates only the sounding behavior related to the lateral vibration. Since it also takes into consideration, it means that a more accurate pronunciation mechanism is simulated. Further, in the above embodiment, the soft pedal is provided in conformity with the actual piano, so that the soft effect described above can be reproduced.

I. First Modification In the above-described embodiment, as shown in FIG. 2, the musical sound synthesis circuit 6 is divided into a horizontal vibration generating portion and a vertical vibration generating portion, and the respective vibration propagations are simulated. Instead of this, the first modification shown in FIG. 11 may be used. That is, in the first modification shown in FIG. 11, the vertical vibration simulating section 10 described above is omitted, and a square circuit 90 for integrating and squaring the lateral vibration displacement is provided, and the output of the circuit 90 is directly used for the longitudinal vibration resonance. The configuration is such that it is input to the system 90. Even with this configuration, it is possible to sufficiently reproduce the musical sound formation process based on the longitudinal vibration.

J. Second Modified Example Next, FIGS. 12 to 13 are block diagrams showing the configuration of the musical sound synthesis circuit 100 according to the second modified example. In FIG. 12, the same components as those of the musical sound synthesis circuit 6 shown in FIG. 2 are designated by the same reference numerals, and the description thereof will be omitted. The tone synthesis circuit 100 shown in FIG. 12 corresponds to the tone synthesis circuit 6 (see FIG.
The difference from the above is that the lateral vibration simulating unit 9 and the vertical vibration simulating unit are independently configured. That is, in the second modification, the lateral vibration simulating unit 9 excites lateral vibration in the strings by the hammer signals HS1 and HS2 supplied from the excitation signal forming unit 11, as in the above-described embodiment. On the other hand, the longitudinal vibration simulating unit 10 has a configuration in which the excitation and resonance of the longitudinal vibration are simulated by the drive waveform generating circuit 101, and the transverse vibration and the longitudinal vibration are individually excited.

Here, the configuration of the drive waveform generating circuit 101 will be described with reference to FIG. In this figure, 1
An address generation circuit 02 generates a read address head value AD in response to an initial touch IT and a key-on Kon which are generated in response to a key depression operation. When the initial touch IT is applied, the address generation circuit 102 generates the waveform data read address head value AD and increments the address head value AD when the key-on Kon is supplied.

Reference numeral 103 denotes a drive waveform memory, which stores waveform data corresponding to vertical vibration in an actual piano. When the read address start value AD is supplied to the memory 103, the attack waveform is sequentially read from the start value and output. A filter 104 is key-scaled by the key code KC. Filter 10
No. 4 has a filter characteristic controlled by a key code KC corresponding to a key depression operation.
The waveform data (longitudinal vibration waveform) supplied to 04 is output as a displacement signal H1 after being subjected to predetermined filtering.

The displacement signal H1 output from the drive waveform generating circuit 101 having the above-described configuration is supplied to the first string longitudinal vibration generating section 17 and also to the gate circuit 71 as in the above-described embodiment. When it is supplied to the gate circuit 71, it becomes the displacement signal H2 to which the soft pedal effect is added, and is supplied to the second string longitudinal vibration generating section 18. As described above, in the second modification, the horizontal vibration generating portion and the vertical vibration generating portion are separated, and in particular, the vertical vibration waveform is generated based on the waveform memory reading method. Even in such a mode, it is possible to simulate an accurate sounding mechanism in consideration of not only the lateral vibration of the strings but also the behavior based on the longitudinal vibration, as in the above-described embodiment.

In the above-described embodiment, the case of simulating a piano which is a percussion instrument has been described, but the present invention is not limited to this, and is applicable to a plucked instrument such as a guitar and other percussion instruments such as cymbals and triangles. It is effective even if applied. In short, the present invention can be applied to any musical instrument in which lateral vibration and longitudinal vibration are involved when a musical sound is generated, and it is possible to accurately simulate a musical sound peculiar to the musical instrument.

[0050]

As described above, according to the present invention, the first excitation means generates the first excitation signal corresponding to the performance information, and the lateral vibration generation means is based on the first excitation signal. A transverse vibration signal corresponding to the transverse vibration excited in the string is generated. The second excitation means generates a second excitation signal that excites the longitudinal vibration of the string in response to the lateral vibration signal, and the longitudinal vibration generation means converts the longitudinal vibration excited by the string into the longitudinal vibration based on the second excitation signal. Generates a corresponding longitudinal vibration signal. Then, the resonance means generates a first resonance signal representing the resonance of the lateral vibration signal and a second resonance signal representing the resonance of the longitudinal vibration signal, and the combining means combines the first and second resonance signals. Since a musical tone waveform is formed by this, it is possible to simulate an accurate sounding mechanism in consideration of not only the lateral vibration of the strings but also the behavior based on the longitudinal vibration.

[Brief description of the drawings]

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

FIG. 2 is a block diagram showing the configuration of a musical sound synthesizer 6 in the embodiment.

FIG. 3 is a block diagram showing a configuration of a first string lateral vibration generator 12 in the embodiment.

FIG. 4 is a diagram showing a waveguide network forming a resonance system A14 and a resonance system B15 in the embodiment.

FIG. 5 is a block diagram showing a configuration of a network L and a junction that constitute a waveguide network.

FIG. 6 is a block diagram showing the configuration of a vibration conversion circuit 16 in the same embodiment.

FIG. 7 is a block diagram showing a configuration of an excitation signal forming unit 11 in the embodiment.

FIG. 8 is a block diagram showing the configuration of a hammer signal generation circuit 70 in the same embodiment.

9 is a diagram showing input / output characteristics of a non-linear function A75 and a non-linear function B76 in the hammer signal generation circuit 70. FIG.

FIG. 10 is a view for explaining the principle of the vibration conversion circuit 16 in the same embodiment.

FIG. 11 is a block diagram showing a first modified example.

FIG. 12 is a block diagram showing the configuration of a musical sound synthesis circuit 100 in a second modified example.

FIG. 13 is a drive waveform generation circuit 10 according to a second modification.
2 is a block diagram showing the configuration of FIG.

[Explanation of symbols]

6 ... Tone synthesis circuit, 9 ... Transverse vibration simulation unit, 10 ...
Longitudinal vibration simulating unit, 11 ... Excitation signal forming unit, 14 ...
Resonance system A, 15 ... Resonance system B, 16 ... Vibration conversion circuit, 19
... adders.

Claims (1)

(57) [Claims] 1. A first excitation means for generating a first excitation signal corresponding to performance information, and at least the first excitation signal being delayed for a predetermined time and repeatedly circulated, which corresponds to lateral vibration of a string. A lateral vibration generating means for generating a lateral vibration signal, and a second vibration signal generating a second excitation signal in response to the lateral vibration signal.
And at least the second excitation signal is delayed for a predetermined time and repeatedly circulated to generate a longitudinal vibration signal corresponding to the longitudinal vibration of the string, and the lateral vibration signal and the longitudinal vibration signal. A means for repeatedly circulating the transverse vibration signal and the longitudinal vibration signal, at least delaying and attenuating the simulated vibration signal to simulate the propagation operation of the transverse vibration and the longitudinal vibration, and to resonate the transverse vibration signal. A resonance means for generating a first resonance signal that represents the resonance of the longitudinal vibration signal, and a combination means that combines the first and second resonance signals to form a musical tone waveform. An electronic musical instrument comprising: