JP2950086B2 - BGM editing device and BGM music composition recording system - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

The present invention relates to a BGM (Back Ground Muscle).
ic) Regarding an editing device and a BGM music composition recording system,
Specifically, the composition data of the music desired by the user is reconstructed (edited) so that the playing time is as specified by the user.
BGM editing device, and the output of this BGM editing device
Convert to an actual music performance with an IDI (Musical Instrument Digital Interface) sound source, dubbing on video software (complete packet tape), etc. that has been edited, or simultaneous recording while dubbing on other video tapes, BGM
The present invention relates to a music composition recording system.

[0002]

2. Description of the Related Art After editing video software such as a videotape recording a scenery or the like and computer graphics or the like to create a complete packet tape, music software such as BGM is dubbed (After Recording) or the like. The work of simultaneously recording BGM etc. while dubbing the video signal to another video tape using the packaging tape as a parent tape is a MA.
(Multi Audio), a task that required a high level of skill.

[0003] The reason for this is that, for example, when recording a theme song, the method of recording the theme song once on an audio tape and then dubbing it is difficult to locate and timing (synchronize) and requires a plurality of operators. Sometimes I did. Also, when adding a sound effect, it is also difficult to insert the sound effect at a timing that reliably matches the operation displayed on the screen, and it is common to repeat the operation many times. Further, since it is not easy to replace the sound effect once recorded with another tone, it is necessary to start over again, which is a very troublesome work.

[0004] As another MA working method, audio is recorded by a multi-track audio tape recorder, a time code is added to the video tape on which a video signal is recorded, and both are operated while being synchronized by a synchronizing device called a synchronizer. If this is done, recording can be performed in a timely manner, but there is a disadvantage that the system becomes large and the purchase cost of the synchronization device is high. What is most difficult is the work of cutting and pasting an audio tape in order to match the music to the length of the video scene, and the work of cutting and pasting the music without breaking down is exactly a craftsmanship.

Therefore, a BGM editing apparatus (MIDI sequencer) using a cheaper and more compact system and allowing any person, not only a skilled person, to perform MA work, has recently been developed and sold by a domestic manufacturer. ing. This device uses a floppy disk instead of a magnetic tape as a recording medium, and records control signals for driving an electronic musical instrument such as a synthesizer as digital data without directly recording BGM or sound effects. ing. And, in addition to the synthesizer, a group of MIDI devices such as a sampler, a sequencer, and an HD (Hard Disc) recorder,
While controlling video equipment such as a video deck with this apparatus, it is possible to record BGM, sound effects, and the like at desired recording locations of video signals with good timing.

That is, the BGM editing apparatus uses an SMPTE (Society of Motion Picture) recorded on a video tape.
and TV Egineers), enter the time code of the start point and the end point using the keys provided on the operation surface.
Matching with BGM can be obtained even at the end point. Similarly, the location where the sound effect is to be recorded can be easily and reliably adjusted by inputting a time code.

[0007] As is well known, MIDI is a standard in which performance information such as pitch, length, intensity, timbre, and sounding timing is converted into a digital signal and transmitted through a single cable. In addition, time information is also required to save as performance data, and each company has its own format, but a standard format called "Standard MIDI File" has been agreed.

[0008]

By the way, when BGM is recorded on a video tape on which scenery or the like is recorded, a series of songs are synchronously recorded while at least one video scene is recorded. It is desirable to switch to a different song on the way, which is unnatural and exciting.
Therefore, adjusting the playing time of the music to the length to be recorded is one of the important tasks of the MA work. Conventionally, a method of cutting and pasting a recorded tape is also used. In such a case, the tape must be cut and pasted at a portion where the sound is not continuous and at a portion where the sound is not continuous, and not musically unnatural. In addition, thousands of songs suitable for various video scenes must be collected in advance in such a manner that time can be easily set.

As described above, audio editing differs from video editing in the content of work, and requires different types of techniques and equipment than video editing. In addition, this tape cutting and pasting work,
The method of using a personal computer's hard disk is also becoming popular. As a result, the music can be cut and pasted while the original audio data remains, but the essence of the MA work has not changed, and specialized technology is still required.

[0010] By the way, in the case of a song that is hardly known as a BGM or a song that can be reconstructed relatively freely, such as interactive music that has recently been receiving attention, the tempo (performance speed) is considerably increased. Even if it changes, it does not give the viewer an unnatural feeling, but if you use a song that is known to a certain extent, the more you change the tempo, the more the original image of the song will be damaged, so the tempo change It is desirable to keep as low as possible and to keep it within the range of at most 5%. Also, even for lesser known songs, a major tempo change can ruin the song,
It is desirable to keep it within the range of at most 20%. If it is too fast or too slow, the original image (song idea) of the song will change and will not match the visual image of the video software, and the recording (or post-recording) work will have to be redone.

In the case of the above-mentioned conventional BGM editing apparatus, since a MA engineer with specialized skills is targeted, a MA engineer prepares a music piece having a length close to the length of a video scene. It is designed based on the technical idea of fine-tuning the length of a song by adjusting the tempo. Therefore, the technology of MA is required to make full use of such a conventional BGM editing apparatus. Therefore, a music composition recording system using such an apparatus cannot be said to be a system that anyone can easily use.

[0012]

According to the present invention, there is provided a BGM editing apparatus for playing predetermined music information at a desired time in order to solve the above-mentioned problems. A plurality of blocks of a predetermined unit to which
The music file is configured as at least a music file including tempo information set up and down from the number of beats corresponding to each block and the standard tempo of the music, and information indicating a priority to be played in each block. Input means for setting a desired playing time; converting means for converting the input playing time into beats based on a standard tempo of the music; and performing the conversion and playing the block of the music. Calculating means for calculating a performance tempo from the number of beats; determining means for determining whether the calculated performance tempo is within an allowable range of the set tempo information; Is outside the permissible range, there is provided a BGM editing apparatus characterized by selecting means for selecting a block to be played based on information indicating the priority of the block to be played.

Further, the present invention provides such a BGM editing device,
Sound reproducing means for monitoring an audio signal from a MIDI sound source as a music file output from the BGM editing device; a video tape player for reproducing video software for recording the audio signal from the MIDI sound source as BGM; A BGM music at least a recording means for recording an audio signal from the MIDI sound source in a place where the video software is desired to be recorded as a BGM in synchronization with an output of the BGM editing apparatus and a reproduction signal of a video tape player. A configuration recording system is provided.

[0014]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS An embodiment of a BGM editing apparatus of the present invention and a BGM music composition recording system using the same will be described with reference to FIG. FIG. 1 is a block diagram of a BGM music composition recording system according to the present invention. As shown in the drawing, the system of the present invention is roughly divided into a BGM editing device 1, a video device group 2, and an audio device group 3.

The video equipment group 2 includes a video tape player 5 for playing back a video tape 8 whose video has been edited, a video tape recorder (VTR) 6 for recording on a video tape 9 for recording, and a video tape A video monitor (for example, a CRT) 7 for monitoring a reproduced video signal of the player 5. Video tape 9
Instead of recording video and audio signals on the video tape, the video tape player 5 is
Although it is easy to record an audio signal from the audio mixer 28 constituting the audio equipment group 3 on the audio track, it is configured as shown in the following description.

The audio equipment group 3 may use an electronic musical instrument such as a MIDI sound source 27 (synthesizer).
, An audio mixer 28 and an audio amplifier 29
And left and right speakers Sp1 and Sp2. Although the audio signal is 2ch (channel) in the present embodiment, it can be easily configured with a monaural signal. In the case of 2 channels as shown in the figure, the distribution of audio signals is realized by adding well-known sound image localization information to the audio signal generated by the MIDI sound source 27. If the audio signal is not recorded on the video tape 8 or the recorded audio signal does not need to be dubbed, the audio mixer 28 is omitted and the output of the MIDI sound source 27 is output to the VTR 6 and the audio amplifier. It can also be configured to supply directly to 29.

Next, a detailed configuration, functions, and the like of the BGM editing apparatus 1, which is a main part of the BGM music composition recording system, will be described. Reference numeral 11 denotes an FD (for example, a 3.5-inch floppy disk) on which a plurality of music data are recorded. The data of each song is well-known MIDI song data (for example, the standard MIDI file format 0 for playing with a MIDI sound source).
Format data), music composition data and allowable tempo data. The music composition data is performance time data of each part constituting the music, such as an introduction part, a theme part, a development part, and the like, in units of beats. The allowable tempo data is data of the minimum value and the maximum value of the tempo that can hold the musical idea of the music. Reference numeral 12 denotes an FDD (Floppy Disk Drive) which reads out music data from the FD 11 and records music data reconstructed by the present system on the FD 11.

Reference numeral 13 denotes a key input unit for instructing and operating various operations in the BGM editing apparatus 1 such as selection of a music piece, and comprises various buttons described later. Also, 1
Reference numeral 4 denotes a performance time counter, which is provided when frame information (for example, the number of vertical synchronization signals, VISS, VASS, etc.) is supplied from the video tape player 5 via the interface 15.
The performance time is calculated based on this. The interface 15 uses, for example, a known RS-422 standard,
The video tape player 5 has a remote control function (for searching for a video scene to be played) and a function for supplying frame information to the playing time counter 14 (for playing time counting).

Reference numeral 16 denotes a MIDI interface, which converts a performance command issued from a CPU (Central Processing Unit) 19 into a MIDI standard signal and outputs it to the MIDI tone generator 27, where it is converted into an audio signal. I have. LCD (liquid crystal)
The panel 18 displays a menu screen for performing various settings described later, and is driven by the LCD driver 17. In addition, instead of the LCD panel 18, an LED
The display unit may be configured using a panel such as a fluorescent display tube or the like.

Further, reference numeral 20 denotes a memory unit, which is a MIDI unit.
Song data memory 21, song configuration data memory 22, allowable tempo memory 23 (the above data is read from FD), tempo determination memory 24 (tempo data calculated according to playing time), and configuration determination memory 25 (Composition data of the music calculated according to the playing time). Finally, the CPU 19 determines whether the memory section 20 or the FDD 1
2, performance time counter 14, MIDI interface 1
Data exchange with 6, etc., data management, various calculations,
And operation control of the LCD driver 17 and the like.

Here, a specific example of the appearance of the BGM editing apparatus 1 is shown in FIG. 2 as a perspective view. In FIG. 2, BG
The LCD panel 18 is provided substantially at the center of the upper surface of the M editing device 1, a joystick 32 for adjusting the playing time is provided on the right side, and a power switch 33 is provided on the upper left. Reference numeral 31 denotes an insertion slot of the FD, in which F
DD (both not shown) are provided. 34 is a menu button, 35 is an item move button, 36 is a pause button, 37 is a stop button, 38 is a play button, 3
Reference numeral 9 denotes a set button, and reference numeral 40 denotes a reset button. These constitute the key input unit 13.

Further, reference numeral 41 denotes the MIDI interface (1)
From 6), a cable for outputting a MIDI signal to the MIDI tone generator 27, and 42, a cable for transmitting a remote control signal. 43 is a well-known GPI (General Purpose Interface)
This is a pulse receiving cable, and this cable 43 is used, for example, when the start and end operations are controlled using the SMPTE time code.

The arrangement of the buttons and the LCD panel 1
Needless to say, the position, size, and the like of 8 are not limited to the example shown in the figure. Further, a configuration is employed in which a touch panel is used for the LCD panel 18 to display all the buttons on the LCD panel 18. It is also possible to integrate the unit 13 with the unit 13. Further, the length of the performance time to be recorded is measured by using a stopwatch with 1/10 second and watching the video monitor 7 instead of using the frame information from the video tape player 5. You may measure it. The devices in the video device group 2 and the audio device group 3 can be conventionally known devices, so that their specific appearance is omitted.

Here, in describing the method of using the system of the present invention (particularly, the BGM editing apparatus 1), FIG. 5 will be described first for convenience of explanation. FIG. 5 is a one-column table showing an example of the music composition data. The music composition data is previously composed (composed) by the composer and recorded in the FD 11. Note that F
D is already on the market, but the FD containing MIDI music data with music composition data used in the present invention is also new.

As shown in FIG. 5, there are three types of music composition data per music: performance data of the music (standard composition S), allowable tempo data T (3), and composition data of the music (all others). Data. M and n in parentheses are arbitrary natural numbers (m = 1 to 3 and n = 11 in this example).
(ro), A, B, E (Ending), etc. means that the block is composed of blocks of a predetermined unit (minimum unit) having 11 types of musical regularity. Note that START and END are block codes for convenience indicating the start and end of the music, and do not have the number of beats played.

Everything else has a beat of an integral multiple of 4 (or 2). Therefore, when the song has 4 beats, blocks I,
Needless to say, I 'is 2 measures, and blocks A, A', B are 4 measures, etc. It should be noted that the number of beats in each block is a multiple of 3 when the song has three beats, and is a multiple of 6 when the song has six beats. The numbers 1 to 3 of the number of sources M (n) are the numbers of blocks that can be connected immediately before each block described on the two lines, and the names of the blocks that can be connected are listed as source names on the next line. I have.

Therefore, in this example, once B 'is played,
Returning to START means that the source (block) I can be played again (see the column of the standard configuration S). FIG. 6 illustrates the connection algorithm example of FIG. 5 in a Shannon diagram style. Also, in the column of mandatory block in the next line, the location of L (n) = 1 means a block that must be used,
Others are selected by being weighted by the priorities 1 to 7 of the next row. The upper limit of the allowable tempo is 130 in the example of FIG.
(Beat / min), the lower limit is 110, which means that 120 is the standard tempo.

As described above, the composition data of the music includes data B (m, n) indicating the relationship between an arbitrary block and another block, in addition to the specific configuration block data A (n) of the music. It includes data such as performance priority data K (n), and according to the performance time inputted by the user, the block to be repeatedly played or the performance once even by the performance configuration algorithm stored in the memory unit 20. The CPU 19 automatically selects a block not to be used, and finally fine-tunes the tempo in the manner described above.

The tone color designation data can be set in the same manner as required, but is omitted in FIG. In this manner, the music data adjusted to the length of the video scene can be stored in the FD 11 by the above operation based on the user's judgment. It should be noted that only the performance data of the above three types of data can be stored. That is, the length of the music can be changed only by the original music data provided by the composer.

Next, the input procedure of the composition data of the music will be described. The composition data of the music together with the performance data of the music and the permissible tempo data are inputted by the composer using a predetermined personal computer and software (program).
Recorded in D11. The input procedure is as follows. Enter the name of the song (title), the number of blocks that make up the song, and the required block number. The performance priority of each block is input. this is,
In order to correspond to the performance time specified by the user, the information is used to specify a block not to be played.

For each block, a block that can be connected and played to that block is input. This is information necessary for obtaining a musically natural connection when a block as a deletion candidate is deleted in addition to the above specification. Information on blocks that can be repeatedly played is also obtained from this data. Enter the number of beats for each block. Song performance data includes
For each piece of data, the time since the previous data was executed is given on a time scale with the resolution of a quarter note as a unit (one beat). However, since the data of the break of each block to be played is not given, it is included in the composition data of the music. Enter the standard performance order (S) for the song.

The above is the work of the composer. The FD 11 in which such various data are recorded for each music is used by
Attached to the FDD 12 in the M editing device 1 and played back, the BGM
The editing work is performed, and the specific work content will be described with reference to all the drawings. Figure 3 is an LCD
FIG. 4 is a flowchart illustrating an example of an editing operation.
It is assumed that each device of the video device group 2 and the audio device group 3 has been input in advance. The FD 11 may be attached before or after the BGM editing apparatus 1 receives power.

When the power switch 33 shown in FIG. 2 is closed (ON), the CPU 19 starts up and starts operating according to the program stored in the memory unit 20. Specifically, CP
U19 first drives the LCD driver 17 to cause the LCD panel 18 to display a title screen 51 as shown in FIG. After a few seconds, the main menu screen 52 is automatically switched and displayed, and the operation menu selection waiting state is set. Then, the user presses the item move button 35 (35b) in FIG. 2 (in the case of the SONG PLAY mode), selects a desired work mode, and presses the set button 39 to determine (input the work mode).

In the main menu screen 52 of FIG.
The SONG PLAY mode is a mode in which the music data specified by the user among the music data stored in the FD 11 is converted into an actual sound by a MIDI sound source, and the performance is output from a speaker.
In the ONG STRUCTURE mode, the user only specifies one of the music data recorded on the FD11 and the playing time, and the BGM
This is a mode in which the editing device 1 automatically reconstructs (edits) the music by automatically calculating the tempo and configuring the music.
The TRUCTURE mode is a mode in which the user manually composes the music {in this case, the BGM editing device 1 automatically sets only the tempo within an allowable range}.

When the user selects the SONG PLAY mode, the LCD panel 18 displays the performance menu screen 53 shown in FIG.
Is displayed. This is a display of each song data name recorded on the FD 11 (hereinafter sometimes abbreviated as “song name”) and its standard playing time (unit: minutes: seconds). Cursor. The cursor is moved with the joystick 32 (or the item move button 35). When the user presses the set button 39 after setting this cursor to a desired music, the No. (number) is displayed in the order of pressing in the left side of the music title. The total playing time of the selected music is calculated by the CPU 19 and displayed at the bottom of the screen 53 as shown.

When the play button 38 is pressed in this state, MIDI data is transmitted through the CPU 19 and the MIDI interface 16.
The signal is output, MIDI sound source 27, audio mixer 2
The music is output from the left and right speakers Sp1 and Sp2 through the audio amplifier 29 and the audio amplifier 29 without interruption. In this case, the video equipment group 2 is not operated (that is, no recording is performed), and the audio equipment group 3 alone is operated to listen to the music. If you want to listen to all the songs recorded on the FD 11, the performance menu screen 53
Is displayed, the play button 38 is pressed before the music selection operation is performed. Then, if the user memorizes the idea of each song, the AUTOSONG STRUCTU
It will be useful for music selection work in RE mode and MANUAL SONG STRUCTURE mode.

When the user wants to stop the performance in the middle, he presses the stop button 37, and when he wants to interrupt (pause), he presses the pause button 36 to give an instruction. Also, the selection of the selected music is canceled by the reset button 40, and the cursor is moved to the title of the music to be canceled.
Press to exit SONG PLAY mode and return to the main menu screen.

Next, when the user selects the AUTO SONG STRUCTURE mode, the LCD panel 18 displays the automatic configuration menu screen 54 shown in FIG. In the LOAD FILE column in the figure, each song data name displayed on the performance menu screen 53 is shown one by one, so the user tilts the joystick 32 downward (or upward) while watching it (or The music data is sequentially displayed, and when a desired music is displayed, the set button 39 is pressed to determine the selection. This
MIDI music data, music composition data, and allowable tempo data are stored in a MIDI music data memory 21, a music composition data memory 22, and an allowable tempo memory 23 in the memory unit 20, respectively. This operation is the reading of the configuration data of the steps in the flowchart of FIG. 4, and the PLAY TIME column on the next line includes
As in the lowermost stage of the performance menu screen 53, the performance time in the standard configuration is displayed.

After the completion of the work of selecting the music composition data, the user presses the item move button 35 (35b) to input the next work item, ie, the recording time (performance time to be recorded) (FIG. 4).
Step). That is, when the item move button 35 is pressed, the PLAY TIME column is switched from the display of the performance time to the input reception mode of the recording time. Then, when the recording time is input, the CPU 19 calculates the number of beats B = (recording time) / (standard tempo) (step), calculates the number of played beats Bm of the selected music composition data (step),
And tempo adjustment {step, (16)} and reconstruction according to the work procedure to be described later, to create music composition data having a length corresponding to the designated recording time.

As a specific input method of the recording time, for example, it is programmed so that a predetermined time (for example, 30 seconds) is automatically displayed at the time of switching to the input receiving mode, and starting from that time. The time is increased or decreased by tilting the joystick 32 upward or downward so as to match the desired recording time with an accuracy of, for example, 1/10 second or one frame. In that case, minutes and seconds (plus 1
(/ 10 seconds or the number of frames) can be switched by tilting the joystick 32 leftward or rightward to change lines.

Alternatively, the recording time may be calculated by the CPU 19 by inputting the time code at the recording start time and the time code at the end time using the time code displayed at the upper right of the video monitor 7, for example. Good (step). Further, as another input method, for example, a numeric keypad (not shown) may be provided on the upper surface of the BGM editing apparatus 1, and the various numerical values described above may be input by pressing it.

When the recording time is set in this way, C
PU 19 sets the recording time to standard tempo data {FIG.
The number of beats B to be played is calculated immediately by dividing by T (3) = 120 ° (step). This is a conversion of the recording time to the number of beats at a standard tempo. Subsequently, the beat data B (m) is calculated by adding the beat data H (n) shown in FIG. 5 (step). The number of played beats Bm is the number of played beats when the standard configuration S (II '... EE') of FIG. 5 is played once {the added value of the number of beats shown in the column of beat data H (n)}. If the number of beats Bm is fortunately equal to the number of played beats B, the composition of the tune is determined (step,) and stored in the configuration determination memory 25 (step ').

Normally, the set recording time and the standard performance time (the time when the standard configuration S is played only once at the standard tempo) are hardly equal, so the performance tempo is set in accordance with the difference between the two times. Faster or slower ｛step,
(16)} so that the standard performance time matches the recording time. If the (fine) adjusted performance tempo is within the range of the allowable tempo specified in advance, {step, (17)} the configuration is determined (step) and stored in the configuration determination memory 25 in the same manner as described above.

If the performance tempo matched with the above recording time is beyond the allowable range, {step, (18)} according to the priority shown in the column of K (n) in FIG. Delete low blocks one by one (step (11)) or add high priority blocks (step (2)
0)｝ Reconstruct song data ｛Steps (13), (2)
1)}, recalculate the number of beats Bm of the reconstructed music data (step), and adjust the tempo within the allowable tempo range to determine the composition of the music if the recording time matches the above recording time (step).

This operation will be described in more detail with reference to the data shown in FIG. 5. First, when Bm> B, the tempo when the playing time of the standard configuration S is exactly the same as the recording time is within the allowable range of 130. (Beats / sec), delete the block E ', which has the lowest priority, {step (1)
1)｝. Then, the process moves directly from E to END. However, since it is understood that such a connection is possible from the column of B (m, n), the music from which E 'is deleted is reconstructed and set, and {step (12)} , (13)} The beat number Bm is calculated again (step). If connection after deletion is impossible, the block (I ') having the next lowest priority is deleted instead of E', and the same check is performed.

If there are no more blocks that can be deleted,
The CPU 19 determines that the configuration is not possible, {step (14)} “Ch
song change message such as "ange Music!"
(Step (15)). Then, the user presses the item move button 35a twice to return to the LOAD FILE work mode, redo the music selection work (step), and then redo the work after the step. If the steps are programmed so that the order of the steps is reversed, the performance time needs to be input only once. It should be noted that the performance time can be changed by moving the item move button 35a
The operation can be easily performed by switching to the above-described recording time input receiving mode by the above operation. Thereafter, when the configuration is determined, it is stored in the configuration determination memory 25 in the same manner as described above.

If Bm <B, that is, the tempo when the performance is performed so as to match the recording time is slower than the allowable range 110 (beats / second), the above-mentioned priority and the connection algorithm shown in FIG. 6 are checked. Add and insert blocks according to
Set reconstruction data {steps (18) to (21)}. Specifically, of the standard configuration S, in the example of FIG.
It is clear from FIG. 6 that B 'can be inserted. If the beat is still not enough, ABB 'instead of BB' and A
Blocks are added and connected in the order of A'BB ',.

After the configuration is determined as described above,
When the user presses the item move button 35 (35b) to enter the PLAY mode, the CPU 19 reads out the music composition data stored in the composition determination memory 25 and performs the performance according to the same operating principle as the music performance in the performance menu mode. . Also in this case, it is needless to say that the audio device group 3 can be operated without the video device group 2 being operated, so that a trial listening can be performed.

Further, when the user operates the item move button 35a to select the SAVE mode and presses the set button 39, the FD 11 enters the music composition data recording mode. This causes the LCD panel 18 to switch to the file save menu screen 56 of FIG. In this work menu, a title of the composed music is given, and re-editing is permitted or not. “Unable to re-edit” means that the FD1
1 means that it is prohibited to read out and reconfigure the music once recorded, and it is defined by inputting “x” after giving the title name during the SAVE work,
“Re-editable” may be specified by inputting “O”.

When English characters are used as characters for the title name, 26 English character keys may be provided on the upper surface of the BGM editing apparatus 1. For example, as shown in FIG. A program is displayed so that characters A to Z are displayed on the character display portion 56a on the right side, the joystick 32 is tilted downward or upward, the cursor is moved, and the set button 39 is pressed at a desired character to select it. With this configuration, the hardware can be simplified as compared with the case where an English character key is provided, and the design of the editing apparatus 1 can be reduced. When it is desired to use numbers, the joystick 32 is tilted to the right or left to display the numbers 0 to 9 on the character display section 56a, and the numbers are selected by moving the cursor and operating the set button 39 as described above. I do.

Further, by tilting the joystick 32 to the left or right, the above-mentioned "O" and "X" are displayed on the character display section 56a, and one of them is selected to make the data re-editable or non-editable. Then, when the set button 39 is pressed after the title name is determined, the CPU 19 checks the presence or absence of the above-mentioned ○ and ×, and
It is convenient if the program is configured to display a message such as "Rename filename!" On the message display unit 56b if there is, and a message such as "Are you sure?"

When the set button 39 is pressed after the message "Are you sure?"
The music composition data stored in the music composition data memory 22 or the like is recorded in a predetermined location of the FD 11. Recording (writing)
Is completed, the screen automatically returns to the original screen, that is, the automatic configuration menu screen 54. If the original screen is the manual configuration menu screen 55, the screen automatically returns to the screen. The manual configuration menu screen 55 is displayed on the main menu screen 52.
Is displayed by selecting and determining the MANUAL SONG STRUCTURE mode by operating the item move button 35 and the set button 39 when is displayed.

The MANUAL SONG STRUCTURE mode is a mode in which the user manually composes the music. Among the operations, the contents similar to the operations in the AUTO SONG STRUCTURE mode are omitted, and the differences are described. Only, Figure 3
This will be described with reference to FIGS. The main differences between the manual configuration and the automatic configuration are that the user selects the blocks that make up the music and specifies the performance tempo. When the user increases or decreases the performance tempo and specifies a performance block, the CPU 1
9 calculates the playing time and displays it on the LCD panel 18 (see the manual configuration menu screen 55). Even if there is no limit on the recording time, it is convenient to select this MANUAL SONG STRUCTURE mode and work.

By the way, in the PLAY mode of the BGM editing apparatus 1, the MIDI tone generator 27 converts the tune composed as described above into an actual musical tone and outputs it to the audio mixer 28 as described above. When not only the video signal but also the audio signal is recorded on the video tape 8 as the master tape, the video signal is reproduced by the video tape player 5 and then mixed by the audio mixer 28.
That is, the VTR 6 simultaneously records the video. that time,
It goes without saying that the image and the sound are monitored by the video monitor 7 and the speakers Sp1 and Sp2, respectively.

Since the BGM editing apparatus 1 (and the video tape player 5) of the present invention is equipped with a time code reader, a synchronous operation with the video tape 8 with the time code becomes possible, and the performance (recording) start time And the error of the end time is further reduced. This is specifically realized by inputting a remote control signal from the video tape player 5 via the interface 15. In addition, by making the BGM editing device 1 compatible with a standard MIDI file format disk, it is possible to play a standard MIDI file song disk sold by another company.

Further, by installing a MIDI auto fader in the BGM editing apparatus 1, it is possible to easily perform a fade-out process even on a song of a standard MIDI file currently on the market, and a general CD (Compact D)
BG that is easier to use than a BGM recording system that uses isc)
An M music composition recording system can be configured. Furthermore, by adopting the MIDI ducker function in the BGM editing apparatus 1, it is possible to automatically lower the volume of the MIDI sound at the narration recorded in advance on the video tape 8.

In the above description, the BGM editing device 1
Although the music reconstructed (including the composition) is described as BGM, the application is not limited to the BGM of the video software, and it can be used independently. Also, an example was described in which BGM music was recorded simultaneously with the video signal from the complete packet tape while dubbing it to another video tape, but the present invention is not limited to this. In addition, the video software is not limited to video software imaged by a video camera, but can be used not only for video software produced by computers such as personal computers, but also in the multimedia field where future development is promising. It can also be applied to

[0058]

The BGM editing apparatus and BGM music composition recording system of the present invention are constructed as described above.
When only the editing device is used, automatically reconstruct (edit) a song desired by the user from a plurality of song configuration data recorded on the FD so that the playing time is as specified. Can be. Further, when the BGM music composition recording system is used, BGM music can be reconstructed by freely selecting from the plurality of pieces of music composition data that matches the atmosphere of the video scene, and moreover, the video scene can be temporally reproduced. It is said that anyone can easily and easily complete the difficult MA work, which was previously a professional task, that is, BGM recording (or post-recording) of a video work. There are excellent features.

[Brief description of the drawings]

FIG. 1 is a block diagram showing an embodiment of a music composition recording system according to the present invention.

FIG. 2 is an external perspective view of a BGM editing device of the present invention, which is a main part of the system.

FIG. 3 is a view showing various display screens displayed on an LCD panel of the BGM editing device.

FIG. 4 is a flowchart for explaining an example of the operation of the BGM editing device of the present invention.

FIG. 5 is a one-column table showing a specific example of music composition data.

FIG. 6 is a principle diagram showing an example of a connection algorithm in an automatic configuration in a Shannon diagram style.

[Explanation of symbols]

DESCRIPTION OF SYMBOLS 1 ... BGM editing device, 2 ... Video equipment group, 3 ... Audio equipment group, 5 ... Video tape player, 6 ... VTR, 7
... video monitor, 8, 9 ... video tape, 11 ... FD, 1
2 FDD, 13 key input unit, 14 performance time counter, 15 interface, 16 MIDI interface, 17 LCD driver, 18 LCD panel, 1
9 CPU, 20 memory part, 21 MIDI music data memory, 22 music composition data memory, 23 allowable tempo memory, 24 tempo determination memory, 25 configuration memory,
27: MIDI sound source, 28: Audio mixer, 29: Audio amplifier, 31: FD insertion slot, 32: Joystick, 33: Power switch, 34: Menu button,
35 ... item move button, 36 ... pause button, 37 ... stop button, 38 ... play button, 39 ... set button, 40 ... reset button, 41-43 ... cable, 5
1 ... Title screen, 52 ... Main menu screen, 53 ...
Performance menu screen, 54... Automatic configuration menu screen, 55
... Manual configuration menu screen, 56 ... File saving menu screen, Sp1, Sp2 ... Speaker.

──────────────────────────────────────────────────続 き Continued on the front page (58) Field surveyed (Int.Cl. ⁶ , DB name) G10H 1/00-1/46 G11B 27/032

Claims (4)

(57) [Claims] 1. A BGM editing apparatus for playing predetermined music information at a desired time, wherein the music includes a plurality of blocks of a predetermined unit each having a predetermined identification symbol,
The music file is configured as at least a music file including tempo information set up and down from the number of beats corresponding to each block and the standard tempo of the music, and information indicating a priority to be played in each block. Input means for setting a desired playing time; converting means for converting the inputted playing time into beats based on a standard tempo of the music; and performing the conversion and playing the block of the music. Calculating means for calculating a performance tempo from the number of beats; determining means for determining whether or not the calculated performance tempo is within an allowable range of the set tempo information; BGM editing apparatus comprising: selecting means for selecting a block to be played based on information indicating a priority order of the block to be played when the block does not fall within the allowable range. 2. The method according to claim 1, wherein the selecting means selects and deletes a block which can be deleted from each block according to the priority when the tempo of the music does not fall within the allowable range. If the tempo is too slow to fit,
2. The BGM editing apparatus according to claim 1, wherein mutually connectable blocks among the respective blocks are selectively added. 3. The block deleted by the selecting means,
3. The BGM according to claim 2, wherein the remaining music is a block that does not impair the musical continuity, and the added block maintains musical continuity with the selected block. Editing device. 4. The BGM editing device according to claim 1, wherein the BG
MI as a music file output from the M editing device
Sound reproduction means for monitoring an audio signal from the DI sound source;
Reproduction means for reproducing video software for recording an audio signal from the MIDI sound source as BGM, and for synchronizing the output of the BGM editing apparatus with the reproduction signal of the reproduction means at a position where the video software is to be recorded as BGM. The above MIDI
A BGM music composition recording system comprising at least recording means for recording an audio signal from a sound source.