JP2715795B2 - Musical sound synthesizer having pronunciation assigning means - 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 and, more particularly, to a musical tone synthesizer having a tone assigning means for a plurality of tone channels.

[0002]

2. Description of the Related Art In a keyboard-type musical instrument, a large number of musical tones can be generated simultaneously. In the case of an electronic musical instrument, if a musical tone synthesizing circuit is provided as many as the number of keys on the keyboard, which can be specified simultaneously, the cost of the electronic musical instrument increases.

[0003] Usually, the number of musical tones that can be specified simultaneously by one player is extremely limited. Therefore, a method is generally adopted in which a limited number of sounding channels are prepared and a free sounding channel is assigned when a tone synthesis instruction is given.
In this way, a desired musical tone can be synthesized with a significantly smaller number of sound channels than the number of keys on the keyboard.

However, musical tones have a lingering sound. For example, in the case of a piano, the musical tones continue even after a key is released. In an electronic musical instrument with a limited number of simultaneous sounds, all sound channels may become full depending on fast performance or the like, and new sounds may not be accepted. However, if the played musical tone is not generated, the musical tone becomes extremely unnatural.

In an electronic musical instrument having a limited number of simultaneous sounds,
As a method of efficiently assigning pronunciations, a truncation is known in which a pronunciation with low importance is deleted and a new tone is assigned to the channel. As a form of truncation,
There are a method of truncating the oldest sound and a method of truncating the tone with the lowest sounding level.

By the way, when truncating the previous sound, if the previous sound is immediately stopped and a new sound is started, discontinuity occurs in the musical tone waveform, and noise is generated. On the other hand, if the user waits until the envelope of the previous sound attenuates to 0, the rise of the next sound is delayed.

Therefore, a forcing dump is performed in which the previous sound generation is not simply terminated but is forcibly and rapidly attenuated so that discontinuous noise does not occur. In the forcing dump, the previous sound is rapidly attenuated, a new sound is made to stand by, and after the previous sound is sufficiently attenuated, the next sound is started.

Japanese Patent Application Laid-Open No. Hei 2-189596 discloses a technique in which the waiting time until the next musical tone is started in a forcing dump is not fixed, but is changed according to the current sounding level. . The current pronunciation level is not directly measured from the pronunciation channel, but is estimated by calculation according to the timbre and the touch intensity.

[0009]

In recent electronic musical instruments,
It is common for one electronic musical instrument to generate a plurality of musical tones. Among these tones, there are tones with a sharp rise, such as musical tones of pianos and percussion instruments, and relatively slowly rising tones, such as tones of pipe organs and stringed instruments. In a tone with a sharp rise, even a slight click at the rising portion is inconspicuous, but in a tone with a slow rise, even a slight click is noticeable.

In a conventional forcing dump, a waiting time is set such that the sound level of the preceding sound falls below a certain level, and after that time, the sound of the succeeding sound is started. If the sound generation level for judging the end of the previous sound is selected so as not to cause a problem in the sense of hearing even in a tone such as a pipe organ or a stringed musical instrument with a slow rise, the rise of the next tone will be delayed.

SUMMARY OF THE INVENTION It is an object of the present invention to provide a tone synthesizer capable of performing a truncation process with good sounding timing without generating harsh noise.

[0012]

Means for Solving the Problems] tone synthesizing apparatus of the present invention, the means for receiving a request for tone synthesis, it different timbre
A plurality of tone synthesizing circuits each capable of synthesizing a single tone, detecting means for detecting that all of the plurality of tone synthesizing circuits are synthesizing a tone, The detecting means detects that all the tone synthesis circuits are in the process of tone synthesis, and when a new tone synthesis request is received from the tone synthesis request receiving means, the tone synthesis of one of the tone synthesis circuits is terminated. instructs, means for assigning a new tone synthesis, in response to said termination instruction tone synthesis, examine the timbre of a musical tone to be newly synthesized,
Means for terminating tone synthesis in a truncated form that varies according to the tone color and starting a new assigned tone synthesis. Another tone synthesizer of the present invention is a
For accepting the demands of different speeds
Sounds can be synthesized continuously, each of which produces one musical tone
A plurality of tone synthesis circuits capable of synthesis;
Detection to detect that all paths are synthesizing music
Means, all of the tone synthesis circuits are
Music synthesis request, and
When a request for new tone synthesis is received from the
An instruction to terminate the music synthesis of the music synthesis circuit is given,
Means for allocating a new tone synthesis, an end finger of said tone synthesis
The rising speed of the tone to be newly synthesized
B, a truncated type that changes depending on the rising speed
Completes the tone synthesis in a new state and assigns a new tone synthesis
And means for starting.

[0013]

When the musical tone to be generated next is a tone with a sharp rise like a piano or guitar sound, the timing of sound generation is important, and a delayed sounding timing gives an inappropriate impression. However, in such a musical tone, even if there is a slight click at the rising portion, it is not noticeable.

On the other hand, in the case of a tone with a slowly rising tone, such as a pipe organ or a stringed instrument, even a slight click at the rising edge of the tone becomes noticeable.
However, a slight deviation in timing does not cause much problem.

By changing the form of the end of the previous sound in accordance with the tone color of the musical tone to be generated next, it is possible to realize an optimum truncation corresponding to the tone color of the musical tone to be generated next.

[0016]

FIG. 1 schematically shows the basic concept of the present invention.
Assume a tone TC1 with a fast rising tone envelope and a tone TC2 with a slow rising tone envelope.

FIG. 1A shows a case where a preceding sound is truncated, and a succeeding sound to be generated next is a fast-rising musical tone. It is assumed that the tone envelope EV1 (TC1) of the preceding tone is a tone color TC1 with a fast rising tone envelope, and the tone envelope EV2 (TC1) of the succeeding tone is also a tone color TC1 with a fast rising tone envelope.

The tone envelope EV1 (TC1) of the preceding sound
Starts sounding at the key-on 1st KON of the previous sound, passes through an attack portion where the musical tone envelope rises sharply, then a decay portion where the musical tone attenuates, and continues sounding at a sustain portion that attenuates slowly during key depression. . Thereafter, there may be a release that shows faster decay with key release.

The tone envelope EV1 (TC1) of the preceding sound
It is assumed that there is a key-on 2ndKON of the back sound while is still maintaining a certain level. At this point, if there is no empty channel in the sound generation channel, a truncation instruction is issued to one of the channels. Musical envelope EV1
A truncation instruction is issued to (TC1), and a dump request D is issued.
Assume that a PREQ has been issued. Then, the musical tone envelope EV1 (TC1) of the preceding sound is forcibly dumped by forcing, and the envelope rapidly attenuates.

If the timbre of the subsequent sound to be generated next is the rising timbre TC1, a certain click does not matter to the auditory sense. Therefore, the tone envelope EV1 of the previous sound
When (TC1) reaches a predetermined threshold value TH (TC1), the musical tone envelope EV1 (TC1) of the preceding sound immediately drops to 0, and the musical tone envelope EV2 (TC1) of the succeeding sound.
To start. At this time, the dump waiting time DW until the tone envelope EV2 (TC1) actually starts after the key-on 2ndKON of the subsequent sound is as shown in the figure.

FIG. 1B shows a timbre TC2 having a slow rise after the previous sound is truncated and then the next sound to be generated next is generated.
Is shown. The musical tone envelope EV1 (T
C1) is a key-on 1stK as in the case of FIG.
It is assumed that the sound is being produced through an attack portion that rises quickly after being turned on, a decay portion that attenuates, and a sustain portion that attenuates slowly. At this time, it is assumed that the key-on 2nd KON of the subsequent sound is performed, and the dump request DPREQ is issued to the sound channel of the previous sound.

The tone envelope EV1 (TC1) of the preceding sound
Starts to decay rapidly in response to the dump request DPREQ. The tone color TC2 of the second tone to be generated next is a tone with a slow rise, and is noticeable even if there is a slight click at the tone rise portion. Therefore, for the tone TC2 having a slow rise, the threshold value TH (TC2) for determining the end of the previous sound is a sufficiently low value (0 in the figure).
Is set to

After the front music sound envelope EV1 (TC1) reaches the threshold TH (TC2), the rear sound music envelope EV2 (TC2) starts rising. In this case, the dump waiting time DW from the key-on 2nd KON of the subsequent sound to the rise of the musical tone envelope is as shown in the figure.

If the tone of the succeeding tone to be generated next after the truncation is a tone whose tone envelope gradually rises, the dump tone is delayed after the tone envelope of the preceding tone is sufficiently attenuated before the trailing tone is started. (TC2)
Is longer than the dump waiting time DW (TC1) when the tone of the subsequent sound is a fast rising tone.

In the case of FIG. 1A, since the front sound is cut off at a certain level and the rear sound is started, a musical tone with a fast response can be generated. Although a slight click occurs when the musical sound is switched, this click does not matter because the rising of the back sound is fast.

In the case of FIG. 1 (B), after the front sound has sufficiently attenuated, the rear sound rises, so that a click does not occur at the rising portion and a good tone can be generated. Although the generation timing of the back sound is delayed, since the tone is originally a slowly rising tone, there is no concern about the timing shift.

As described above, when the preceding sound is truncated and the succeeding sound is started, the preceding sound is terminated in a form corresponding to the sound color of the succeeding sound.
Sound generation can be assigned under an optimal relationship between the generated noise and the time to rise.

The criterion for truncating the previous sound and terminating it may be to measure the envelope of the tone signal actually generated, but it is calculated based on the initial touch, tone, pitch and the like at the start of the previous sound. You can also ask for In particular, when the tone envelope is to be damped at a constant rate regardless of the tone after the dump request, the dump request DPREQ
The tone envelope at the time when the tone is emitted is calculated by tone, initial touch, etc., and then the time until the tone envelope attenuates below a predetermined level by forcing dump is calculated by simple calculation, and the timing of generation of the back sound is determined. Is also good.

FIG. 2 schematically shows the variation of the normalized damping waiting time DW0 with respect to the standardized tone envelope level due to the timbre, which should be waited until the subsequent sound is generated when a forcing dump is performed.

Percussion instruments such as cymbals and timpani are originally musical tones containing abundant noise components, and start up quickly, but are hardly anxious to click when musical tones are generated. For such a tone, the standardized damping waiting time DW0
Can be set to very small values.

In the case of a guitar or a piano, a musical tone generated as much as a percussion instrument does not have a noise component, but the rise is quick and a slight click at the time of musical tone generation is not bothersome. In a stringed instrument such as a violin, the tone envelope rises relatively slowly, and becomes noticeable when a click is made at the time of the rise. Further, in the case of pipe organs, strings, pipe organs with slow attack, etc., the tone rises more slowly, and when the tone rises, it becomes noticeable even with a slight click.

By the way, for these characteristic tones,
The normalized damping waiting time DW0 at the time of truncation is set to be short for a tone with a fast rise and long for a tone with a slow rise according to the tone.

FIG. 3 is a block diagram showing a system configuration of the electronic musical instrument according to the embodiment of the present invention. The keyboard 2 is a keyboard capable of performing a so-called key split performance in which a large number of keys 1 are divided into two key ranges 1a and 1b, and different tone colors TC1 and TC2 are assigned to the respective ranges. Area 1
The boundary between a and 1b is defined as a split point SP. Key-on / key-off, key code, touch information, and the like from the keyboard 2 are sent to the bus 6 via the keyboard interface 4.

The operation panel 8 includes operators for setting a key split mode, specifying a tone color to be set in each of the key ranges 1a and 1b, and the like. A signal from the operation panel 8 is sent to the bus 6 via the panel interface 10.

The central processing unit CPU 12 performs a tone synthesis operation using a primary storage register or the like in a random access memory RAM 16 in accordance with a program stored in a read-only memory ROM 14, and sends a tone synthesis parameter to the tone synthesis circuit 20. Supply. Note that the ROM 14
Stores a normalized damping waiting time DW0 for each tone. These CPU 12, ROM 14, RAM 1
6. The tone synthesis circuit 20 is connected to the bus 6.

The tone synthesis circuit 20 has a plurality of tone channels, for example, 8, 16, 32, etc., and sends tone signals formed by the tone channels to the sound system 22 and outputs them as analog tone signals to the speaker. Start to sound from 24.

When a key split performance is performed, for example, the tone color TC of the low range key range 1a is used as a standard pattern.
1, a string is assigned, and a piano sound is assigned as the timbre TC2 of the high key range 1b. Also, when another tone is assigned to each key range that is key-split on the operation panel 8, a tone signal of the tone assigned to each key range is generated. The timbre is maintained as is or a standard timbre is set.

The key-split performance designating operator on the operation panel 8 sets the contents of the key-split mode register MODE to 1 by repeatedly operating, for example.
It is sequentially inverted like 0,1. When the key split performance is set, for example, MODE = 1, and the LED display on the operation panel lights up to indicate that the key split performance mode is set.

FIG. 4 is a flowchart of a main flow for the overall processing of the electronic musical instrument. When the processing is started, initialization processing of the entire system is performed in step M1, and each register and the like are set to a predetermined initial state.

Next, the process proceeds to step M2, where a key scan is performed, and key events such as key press and key release are detected. In step M3, it is determined whether a key event is detected by the key scan.

If there is a key event, the flow advances to step M4 according to the arrow of YES, and the key event is determined to be a key press / key release (KON
/ KOFF) is stored in the key event register KEV, the key code of the corresponding key is stored in the register KC, and the key pressing speed detected as the initial touch is stored in the register KV.

Next, in step M5, it is determined whether or not the key event is a key press based on whether or not the content of the register KEV is KON. If the key event is a key press, the flow advances to step M6 according to the YES arrow, and the key press K
Perform ON processing. If the key event is a key release, the determination is N
The result is O, the process proceeds to Step M7, and a key release KOFF process is performed.

Thereafter, the flow advances to step M8 to perform an envelope detection process. In the envelope detection process,
The envelope levels of all tone generation channels are detected by calculation in a pseudo manner, and the envelope state of the musical tone envelope is managed. With pseudo envelope detection, since the tone envelope is almost determined by the set tone and the touch of the key event, it is assumed that a predetermined tone release is set at the same time when the key is released by setting the tone envelope which is inferred by key depression. This is a process for estimating the musical tone envelope at that time by advancing the timer counter at the same time as key depression and key release.

By looking at the actual envelope level in the sound source circuit 20, an accurate envelope value can be detected.
It simulates a pseudo envelope in U.

After the envelope detection processing, step M9
To perform operation panel processing. The operation panel process performs, for example, a process of setting or canceling the key split mode, setting a tone color of each key range, and the like. If there is no key event in step M3, steps M4 to M7 are bypassed, and the process immediately proceeds to step M8. When the operation panel process M9 is completed, the process returns to the key scan of step M2.

FIG. 5 is a flowchart of the key-on KON process performed in step M6 of FIG. When the process starts, it is determined in step N1 whether or not the content of a register MODE indicating the key split mode is 1.
MODE is 1 when a key split is set, and is 0 when all keys are set to a single tone (key split is not set).

When key split is set, M
ODE = 1, and step N2 is performed according to the YES arrow.
To determine whether the key code KC of the key having the key event is larger than the split point SP separating the upper key area and the lower key area. When the key code KC is larger than the split point SP, the tone upper set in the upper key range according to the arrow of YES tone is stored in the tone color register TC. It is to be noted that MODE is set in step N1.
Is not 1 (it is 0), the process proceeds to step N3, and the tone set in the upper key range, for example, the piano tone is stored in the tone register TC.

When the key code KC is not larger than the split point SP in step N2, it is a key event in the lower key range, and the flow advances to step N according to the arrow NO.
Go to Step 4 and set the tone lower in the lower key range. ton
e is stored in the timbre register TC.

After steps N3 and N4, the process proceeds to step N5, where channels are allocated, and if necessary, truncation processing is performed. That is, when there is no free channel, a tone generation channel having the lowest tone envelope is searched for, and a new tone generation is designated using that channel as a free channel.

Next, the process proceeds to step N6, where 1 is set in the status register ST [ACH] of the channel to which the sound is assigned, and it is displayed that the channel ACH is sounding in response to the key depression.

The channel ACH to which a new tone generation is assigned is a channel which has been made an empty channel by the truncation processing when the truncation processing is performed. Is a channel selected from among the channels and assigned to generate a musical tone.

Then, the process proceeds to a step N7, where the key code KC corresponding to the depressed key is stored in the register AKC (ACH) for storing the key code to be emitted of the channel ACH to which the tone is assigned.

Then, the process proceeds to a step N8, where the key code KC, the key speed KV, the tone color TC and the key-on information KON are outputted to the ACH-th sounding channel to which a new tone generation is assigned, and a tone signal is generated from the sounding channel. Let it. Thereafter, the process returns.

FIG. 6 shows a flow of the key-off KOFF process performed in step M7 in the main flow of FIG. When the process starts, the process proceeds to step F1, where it is determined whether a tone corresponding to the released key is being sounded. This determination is made, for example, by the key code K of the released key.
This is performed by comparing C with the key code of the musical tone being sounded in each sounding channel.

If a musical tone corresponding to the released key is being produced, the flow advances to step F2 according to the YES arrow to store the channel number of the currently producing channel in the register CH. Next, the process proceeds to step F3, where 2 representing the key release is stored in the register ST [CH] indicating the state of the channel CH of the released key.

That is, in step N6 of FIG.
When sounding is started in response to key depression, the status register ST of the channel is set to 1, and when the key is released, the contents of the register are changed to 2.

Next, the process proceeds to step F4, in which a key-off signal KOFF is output to the CH channel which is a sound channel corresponding to the released key, and the musical tone is attenuated in accordance with the key release operation.

In step F1, when there is no generated musical tone corresponding to the released key, steps F2 to F4 are bypassed according to a NO arrow. Thereafter, the process returns.

FIG. 7 shows a flow of the operation panel processing performed in step M9 of the main flow shown in FIG. When the process starts, a panel switch is scanned in step P1 to detect a panel switch event.

In step P2, it is determined whether or not there is an ON event of a MODE key for setting a key split. When there is a MODE key on event,
Proceeding to step P3 according to the arrow of YES,
Invert the ODE bit. That is, if the key split mode has been used so far, the key split release state is set. If the key split mode has not been set, the key split mode is newly set.

Next, the process proceeds to Step P4, where the register MOD
The display is changed according to the contents of E. For example, when a key split is newly set, the corresponding LED lamp is turned on to set the key split mode. If there is no ON event of the mode key, steps P3 and P4 are bypassed from step P2 according to the arrow of NO.

Next, proceeding to step P5, the tone color switch
It is determined whether or not there is a vent. Tone switch event
If there is, go to step P6 according to the arrow of YES.
Go to the lower key range tone according to the operated tone switch.
Register to store lower tone, upper key range tone
Upper to store Update the contents of the tone. Stay
In P5, when there is no tone switch event,
Step P6 is bypassed according to the arrow of NO.

Thereafter, the flow advances to step P7 to process other events of the panel switch. Thereafter, the process returns. The order of the panel switch processing in the operation panel is arbitrary.

FIG. 8 shows a flow of the truncation process of step N5 performed in the key-on process of FIG.
When the process starts, it is determined in step T1 whether there is an empty channel.

In the envelope detection process performed in step M8 of the main flow shown in FIG. 4, a key is released, and a tone envelope of a channel for which ST = 2 is set in the status register of the tone generation channel is detected, and the tone envelope is detected. When the value falls below a predetermined threshold value, 0 is set in the status register ST, and the sound generation register is set as an empty channel. The detection of an empty channel in step T1 is performed by detecting whether or not there is a channel of ST = 0 in the sound generation channel.

If there is a free channel, the flow advances to step T2 according to the arrow of YES, and the detected free channel is stored in the register TCH for displaying the channel. Then, the process proceeds to step T8, where the contents of the register TCH are stored in an allocation channel register ACH for storing a channel to which a new tone synthesis is to be allocated.

If no vacant channel is detected in step T1, step T1 is performed according to the NO arrow.
Proceeding to 3, the tone state of the tone envelope whose envelope state is other than the attack state is detected and stored in the register TCH.

That is, in order to end the sounding of the sounding channel having the smallest tone envelope and having the least effect even if the sound is muted, the channel is detected and designated as a truncation channel. If the current envelope level is in the attack state even if the envelope level is low, the envelope will be increased from now on, so that it is excluded from the target of truncation.

Next, at step T4, the standardized dump waiting time DW0 [TC] set for the tone color TC of the musical tone to be generated next is stored in the register DW1. Subsequently, in step T5, based on the current musical tone envelope level of the channel to be truncated and the standardized dumping waiting time DW1, a dump waiting time to wait until the next sound is generated is set and stored in the register DW2. I do.

For example, if the current envelope level is 50% of the standardized level, the dump waiting time DW2
Is the half of the normalized dump waiting time DW1, DW2 = DW
Set to 1/2.

Note that the dump waiting time DW2 set in step T5 is a time required for the envelope to attenuate below a predetermined level when the envelope is attenuated from the current envelope level at the forcing dump attenuation rate.

Next, in step T6, a dump request DPREQ is output to the TCH channel to be truncated, and the envelope level is rapidly attenuated at the forcing dump attenuation rate.

In step T7, the dump request DP
It is determined whether or not the dump waiting time DW2 after the occurrence of REQ has elapsed. If the dump waiting time DW2 has not elapsed, step T7 is repeated according to the NO arrow.

When the dump waiting time DW2 has elapsed, it can be determined that the envelope level of the sounding channel performing the forcing dump has fallen below the predetermined threshold value. Therefore, the process proceeds to step T8, where the number TCH of the truncated channel is determined. It is stored in the register ACH as the channel number ACH for designating the new tone generation. In this way, a tone corresponding to a new key depression is started.

The standardized damping waiting time DW0 used in step T4 is stored in the ROM 14, for example. The form of the forcing dump can be variously set, but the simplest form of the forcing dump is to linearly decrease the envelope level.

In this case, when the envelope level is at the standard value, the waiting time in the forcing dump is set to the standardized dump waiting time DW0, and when truncating, the current envelope level is set to the standard envelope level. On the other hand, the ratio is detected, and the standardized dump waiting time DW0 is multiplied by the coefficient to obtain the dump waiting time DW2.

The case where the judgment for truncating the preceding sound and starting the generation of the succeeding sound is determined based on the set dump waiting time has been described. However, the timing for ending the preceding sound is determined by the envelope level of the preceding sound. Can also be determined by In this case, it is easy to take various forms other than linear attenuation as the form of the forcing dump.

In detecting the envelope level, the actual envelope level of the tone synthesis circuit may be detected, or the current envelope level may be calculated in the CPU.

In the case where the rise of the rear sound is managed by the envelope level, for example, it is easy to start the next musical sound at the moment when the envelope level falls to 0, which is very efficient. However, during this time, it is necessary to constantly monitor the envelope level, and the amount of work increases.

In the method according to the above-described embodiment for managing the timing of generating the succeeding sound based on the set waiting time, the monitoring of the envelope level need only be performed once after the generation of the dump request. Subsequent management can be performed simply by monitoring the dump waiting time set based on the envelope level, thereby simplifying the processing.

Although the case where the dump waiting time is changed according to the tone color has been described, the dump waiting time may be further scaled according to the pitch. In a violin, a pipe organ, or the like, it is possible to cope with a phenomenon in which the higher the pitch, the quicker the rise.

The present invention has been described in connection with the preferred embodiments.
The present invention is not limited to these. For example,
It will be apparent to those skilled in the art that various modifications, improvements, combinations, and the like can be made.

[0083]

As described above, according to the present invention,
When a front sound is truncated and a rear sound is generated, an optimum rear sound start-up can be performed according to the tone color of the rear sound.

The timing of a tone with a clear rising edge is important, and in this case, the subsequent tone can be activated with a shorter waiting time. It is important to prevent a click sound from being a gentle tone. In this case, after the front sound sufficiently falls, the rear sound is started to prevent the click sound.

[Brief description of the drawings]

FIG. 1 shows the basic concept of the present invention. FIG. 1A is a graph showing a truncation in a case where the rear sound has a fast rising tone, and FIG. 1B is a graph showing a truncation in a case where the rear sound has a slow rising rising tone.

FIG. 2 shows an example of a dump waiting time that changes depending on a timbre.

FIG. 3 is a block diagram illustrating a system configuration of the electronic musical instrument.

FIG. 4 is a flowchart of a main flow according to the embodiment of the present invention.

FIG. 5 is a flowchart of a key-on process performed in a main flow.

FIG. 6 is a flowchart of a key-off process performed in a main flow.

FIG. 7 is a flowchart of an operation panel process performed in the main flow.

FIG. 8 is a flowchart of a truncation process performed in the key-on process.

[Explanation of symbols]

1 key, 1a lower key range, 1b upper key range, 2 keys, 4 keys interface, 6 bus, 8
Operation panel, 10 panel interface, 12
CPU, 14 ROM, 16 RAM, 20 tone synthesis circuit, 22 sound system, 24 speakers, EV envelope, TC tone, DW dump waiting time, ST sounding channel status register, M
ODE key split mode display register, SP
Split point, ACH assigned channel, AKC assigned key code, TCH truncated channel.

Claims (2)

(57) [Claims] 1. A means for receiving a request for tone synthesis, a plurality of tone synthesis circuits capable of continuously synthesizing tone of different timbres, each of which can synthesize one tone, and all of the plurality of tone synthesis circuits. Detecting means for synthesizing a tone, and detecting that all tone synthesis circuits are synthesizing a tone by the detecting means, and further requesting a new tone synthesis from the tone synthesis request receiving means. when the received, issues an instruction to terminate the tone synthesis of any of the musical tone synthesizing circuit, means for assigning a new tone synthesis, in response to said termination instruction tone synthesis, examine the timbre of a musical tone to be newly synthesized Means for terminating the tone synthesis in a truncated form that varies according to the tone color , and starting a new assigned tone synthesis. 2. A means for receiving a request for music synthesis. It is possible to continuously synthesize musical sounds with different rising speeds.
A plurality of tone synthesis circuits each of which can synthesize one tone.
Road, All of the plurality of tone synthesis circuits are synthesizing a tone.
Detecting means for detecting All tone synthesis circuits are in the process of tone synthesis by the detection means.
Is detected, and the musical tone synthesis request receiving means is received.
When a request for a new tone synthesis is received from
An instruction to terminate the tone synthesis of the tone synthesis circuit is issued, and a new
Means for assigning tone synthesis, In response to the end instruction of the tone synthesis, the tone to be newly synthesized is
Examine the speed of the rise of the sound, and change according to the speed of the rise.
Terminates tone synthesis in a truncated form and assigns it
Means for initiating a new synthesized tone synthesis
Equipment.