JP3087724B2 - Music synthesizer - 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 technique suitable for being applied to an electronic musical instrument which operates by receiving various data by MIDI.

[0002]

2. Description of the Related Art JP-A-59-197090 discloses that
There is disclosed a technique for converting musical tone control information fetched from outside into musical tone control data for controlling the characteristics of musical tones that can be generated by the musical tone generating means. When a tone that cannot be pronounced by the electronic musical instrument is received, the tone is replaced with a certain tone.

[0003]

However, some of the timbres of musical instruments are not suitable to be replaced by replaceable timbres. In the technique disclosed in the above publication, all the timbres are fixedly replaced with predetermined timbres, so that the replaced timbres may not be natural.

SUMMARY OF THE INVENTION It is an object of the present invention to realize a natural tone color replacement by selecting a replacement target based on a past history at the time of tone color replacement in a tone synthesis device which receives a tone color change instruction from outside. I do.

[0005]

In order to achieve this object, the present invention provides a method for combining a plurality of tone specifying parameters.
In musical tone synthesizing apparatus for synthesizing musical tones by the voice tone data that is set by the allowed, the plurality of musical tone designation parameter
A tone table storing a plurality of tone data corresponding to combinations of data, a means for receiving designation of an external tone, and if tone data corresponding to the designated tone does not exist in the tone table, Above multiple musical fingers
Predetermined ease based on the value of a specific parameter
Select the sound designation parameter, and select the selected tone designation parameter.
Set the meter value according to the tone specification parameter.
Replace each stored past history with the referenced value
By Rukoto, the tone color data that is currently set, characterized in that there is a Could unit by replacing the sound color data in the tone color table that have been identified.
Also, tones are combined with the tone of the tone data set respectively.
Tone synthesizer with multiple tone generation sequences
A tone table storing a plurality of tone data,
Specify the tone color from outside corresponding to each tone generation sequence.
Means to accept and specified for each tone generation
The tone data corresponding to the selected tone is stored in the tone table.
If it does not exist, it is currently set to the series
The timbre table whose existence is confirmed by the timbre data
From the multiple tone data in the
Tone data selected according to the past history stored
Means for replacing and producing sound.

[0006]

Embodiments of the present invention will be described below with reference to the drawings.

FIG. 1 shows a block diagram of a tone synthesizer according to an embodiment of the present invention. This musical sound synthesizer has M
IDI interface 1, CPU (central processing unit)
2, a ROM (read only memory) 3, a RAM (random access memory) 4, an operation panel 5, a tone synthesis circuit 6, an effect circuit 7, a sound system 8, and a bus line 9.

[0008] The MIDI interface 1 is a MIDI interface.
(Musical Instrument Digital Interface) This is an interface for transmitting and receiving performance information to and from an external MIDI device according to the standard. The CPU 2 controls the operation of the entire musical sound synthesizer. The ROM 3 contains a CP
The program executed by U2 and various control data are stored. The RAM 4 is provided with working areas such as various registers and flags.

The operation panel 5 includes various operators for the user to operate. The tone synthesis circuit 6 generates a tone signal based on an instruction from the CPU 2. The effect circuit 7 receives the tone signal output from the tone synthesis circuit 6 as an original sound, adds various effects, and outputs the resulting signal. The sound system 8 emits a musical tone in accordance with the musical tone signal to which the effect has been added, which is output from the effect circuit 7. The bus line 9 is a bidirectional bus line connecting these units.

FIG. 2 shows a block configuration of the effect circuit 7. The effect circuit 7 of this embodiment includes a reverb circuit 11, a tremolo circuit 12, a chorus circuit 13, multipliers 21 to 24, and adders 31 to 33. Circuits for applying individual effects, such as the reverb circuit 11 and the tremolo circuit 12, are collectively referred to as effect applying circuits. The effect circuit 7 is provided independently for each MIDI channel, but may be shared by time division processing.

The original tone signal from the tone synthesis circuit 6 is
The signals are input to the four multipliers 21 to 24 and are respectively multiplied by a predetermined multiplier. The multiplier 21 adjusts the volume level of the original sound (dry sound) to which no effect is applied. The multiplier 22 adjusts the volume level of the effect sound to which reverb is applied by the reverb circuit 11. The multiplier 23 adjusts the volume level of the effect sound to which the tremolo is applied by the tremolo circuit 12. The multiplier 24 adjusts the volume level of the effect sound to which the chorus is applied by the chorus circuit 13.

The dry sound and the effect sounds whose volume levels have been adjusted as described above are added by adders 31 to 33 and output to the sound system 8 as a final effected tone signal.

Next, the outline of the operation of the musical sound synthesizer of this embodiment will be described.

In this tone synthesizer, performance information is received from outside via the MIDI interface 1. The received performance information is stored in a predetermined MIDI buffer. CPU 2 scans this MIDI buffer,
If there is data, processing according to the data is performed.

For example, when note data (performance data including pitch data and key-on / off data) is received, the CPU 2 writes the note data into a note buffer, and then sends the note data to the tone synthesis circuit 6. An instruction is given to generate a tone signal according to the data. The tone synthesis circuit 6 generates a tone signal in response to an instruction from the CPU 2.

The multipliers of the multipliers 21 to 24, that is, the volume levels of the dry sound and each effect sound are also determined according to the effect data given from the outside.
That is, when effect data is received from outside, C
The PU 2 sets the volume level of the dry sound and each effect sound in the effect circuit 7 according to the effect data.

Here, among the effect data provided from the outside, there are data for effects which are not provided in the tone synthesizer. For example, the effect circuits 11 to 13, the multipliers 21 to 24, and the adder 31 in FIG.
33, a Celeste circuit 41, a phasor circuit 42, and multipliers 51 and 5, which are still other effect circuits.
2, and other tone synthesizers including adders 61 to 63 may create the effect data.

At this time, the effect data includes
In addition to the effect data for setting (adjusting) the volume level of the celeste or phasor effect sound, the volume level of the dry sound is set on the assumption that the celeste or phasor effect sound is output. .

Therefore, the received effect data (effect data including volume level setting data for the celeste and the phasor) is used as it is, and is used in the effect circuit 7 of the tone synthesizer of the present embodiment which does not include the celeste circuit or the phasor circuit. When the volume levels of the dry sound and the effect sound are set, the volume level of the dry sound becomes lower, and the effect balance as a whole is lost.

Therefore, in the musical sound synthesizer of this embodiment,
Even if effect data including volume level setting data for the celeste or phasor that the player does not have is received, set the volume level as follows so that an appropriate effect balance can be obtained. I have.

As effect data, "BnH + 5
When “AH + Vd” is received “BnH” is a control change code, and can control each part of the tone synthesizer in accordance with the subsequent 2 bytes of data. MIDI channel numbers from "0" to "F" can be designated as "n". H indicates hexadecimal notation. Thus, the following effects can be specified for each MIDI channel. Therefore, it is assumed that each register is prepared for each MIDI channel.

"5AH" is a code indicating that the subsequent data is at the dry send level Vd. The default value of the dry send level Vd is 7FH. However, the range of the level value is 00H to 7FH. "5AH
When “+ Vd” is received, the CPU 2 corrects the dry send level Vd according to the level of another effect sound set at that time, and sets the volume level of the dry sound according to the corrected value. .

Specifically, the dry send level Vd is
The reverb, tremolo, chorus, celeste, and phasor are added together with the corresponding volume of the send level of the effect having no receiving ability (celeste and phasor in this embodiment). That is, assuming that the send level of any effect having no receiving ability is Ve, the total dry send level is calculated by the following equation.

[0024] ^{L = 20log {(Vd 4 +} ΣVe 4/16) 1/2 / 127 2} ... (1)

Here, L is the total dry volume level (dB), and ΔVe ⁴ is the sum of the fourth power of each of the send levels of the effects having no reception capability (ie, not equipped). This dry level L
To the effect circuit 7, and the multiplier 2
Set a multiplier of 1.

However, if the total volume exceeds 0 dB, it is assumed that the total volume is 0 dB. Also, (Vd ⁴ + ΣVe ⁴ /
16) When ^1/2 = 0, L = -∞ (volume is zero). For a sound volume equal to or lower than the lower limit of the dynamic range of the dry send amount, the lower limit is substituted.

As effect data, “BnH + 5
When “BH + V” is received “5BH” is a code indicating that the subsequent data is the reverb send level V. When this effect data is received, the CPU 2 calculates the reverb level L by the following equation, sends the reverb level L to the effect circuit 7, and sets the multiplier of the multiplier 22 according to this value.

[0028] ^{L = 20log (V 2/127} 2) ... (2)

Effects other than reverb, that is, tremolo, chorus, celeste, and phasor are set at the level calculated by the equation (2) in the same manner as described above. However, code “5BH” is “5C
H, 5DH, 5EH, and 5FH.

It should be noted that when effect data for an effect that is not equipped is received as described above, the send level V of the received effect is only stored (storage for use as Ve), and No settings are made to the effect circuit.

In the above and above, when V = 0, L = -∞ (volume is zero). The volume level of the return sound of each effect is set so that when the send level value is the maximum, the volume level of the dry sound is approximately -12 dB. For the volume below the lower limit of the dynamic range of the send amount, the lower limit is substituted.

The default value of the send level V for each effect is such that the reverb is 40H and the other effects are 00H.

Next, the operation of the tone synthesizer of this embodiment will be described in detail with reference to the flowcharts of FIGS.

FIG. 3 shows a main routine of the musical sound synthesizer. When the power of the tone synthesizer is turned on, first, in step S1, initialization is performed. Next, in step S2, a MIDI interface process is performed.
In step S3, a sound generation process is performed, a panel process is performed in step S4, and other processes are performed in step S5. Thereafter, the process returns to step S2, and the subsequent processing is repeated.

FIG. 4 shows a MIDI interface processing routine of step S2 in FIG. First, step S
In step 11, the MIDI buffer is scanned. The received data is stored in a MIDI buffer. At step 12, it is determined whether or not event data is stored in the MIDI buffer. If no event data is stored, the process returns.

If the event data is stored in the MIDI buffer in step S12, the corresponding event processing shown in FIG. 5 and subsequent steps is executed in step S13 according to the event. After executing each event-corresponding process, the processed event data is deleted from the MIDI buffer in step S14, and the process returns to step S11 to perform the processes in steps S11 to S14 as long as the event data remains in the MIDI buffer. repeat.

FIG. 5 shows an effect processing routine called from step S13 in FIG. In the following routine, processing is performed independently for each MIDI channel. First, in step S21, it is determined whether or not the effect data in the MIDI buffer is data instructing the setting of the dry level (in the above case). If the data is for instructing the setting of the dry level, a dry level setting process is performed in step S22 and the process returns.

If it is not the data instructing the setting of the dry level in step S21, it is determined in step S23 whether or not the effect data is the data instructing the setting of the reverb level (in the above case). If the data is for instructing reverb level setting, reverb setting processing is performed in step S24, and the process returns.

If the data is not data instructing the setting of the reverb level in step S23, it is determined in step S25 whether the data is data instructing the setting of the tremolo level.
If the data indicates the setting of the tremolo level,
A tremolo setting process is performed in step S26, and the process returns.

If the data is not data instructing the setting of the tremolo level in step S25, it is determined in step S27 whether the data is data instructing the setting of the chorus level.
If the data indicates chorus level setting,
In step S28, a chorus setting process is performed, and the process returns.

If the data does not indicate the setting of the chorus level in step S27, it is determined in step S29 whether the data indicates the setting of the celeste level.
If the data indicates the setting of the celeste level,
A celeste setting process is performed in step S30, and the process returns.

If the data is not data instructing the setting of the celeste level in step S29, it is determined in step S31 whether the data is data instructing the setting of the phasor level.
If the data indicates the setting of the phasor level,
In step S32, a phasor setting process is performed, and the process returns. If it is not the data instructing the setting of the phasor level in step 31, other effect processing is performed in step S33, and the process returns.

FIG. 6 shows a dry level setting processing routine of step S22 in FIG. First, step S41
Then, it is checked whether or not the effect circuit 7 of the own device is equipped with reverb, tremolo, chorus, celeste, and phasor. Next, in step S42, the received dry send level data is set in the register Vd.

In step S43, the level of the effect not provided is set in the register Vei.
In this embodiment, since the celeste and the phasor are not provided, the celeste level and the phasor level at the present time are set in the register Ve1 and the register Ve2, respectively.

Next, in step S44, L = 20log {(Vd 4 + ΣVei 4/16) 1/2 / 1
Calculate 27 ² ｝. This is the calculation of the above equation (1). In this embodiment, ΣVei ⁴ is Ve1 ⁴ + Ve2 ⁴ .
If the total volume exceeds 0 dB, the volume is set to 0 dB.

Next, in step S45, the above L is set as a dry level and sent to the effect circuit 7. As a result, the multiplier of the multiplier 21 is set according to the dry level L. After step S45, the process returns.

FIG. 7 shows a reverb setting processing routine of step S24 in FIG. First, in step S51, the received reverb send level data is set in the register V. Next, in step S52, the send level V
Is stored as a reverb level in a predetermined register. Here, the reason why the reverb level is stored is that if the reverb is not provided in the effect circuit of the own device, it is used as the level of the effect not provided in step S43 of FIG.

Next, in step S53, it is determined whether or not the effect circuit 7 of the own device is equipped with a reverb. If no reverb is equipped, return as is. When reverberation is equipped computes ^{L = 20log (V 2/127} 2) in step S54.
This is the calculation of the above equation (2).

Then, in step S54, the calculation result L is sent to the effect circuit 7 as a reverb level. As a result, the multiplier of the multiplier 22 is set according to the reverb level L. After step S55, the process returns.

The tremolo setting process of step S26 in FIG. 5, the chorus setting process of step S28, step S3
The celeste setting process of 0 and the phasor setting process of step S32 are similar to the reverb setting process of FIG. 7 described above. That is, the send level of each received effect is set in the register V, stored and held in a predetermined register, and it is determined whether or not the own device is equipped with each effect such as a tremolo. As in steps S54 and S55, the level L is calculated by the equation (2) and sent to the effect circuit 7 as the level of each effect.

In this embodiment, since the celeste and the phasor are not provided, the processes corresponding to steps S54 and S55 are not executed in the celeste setting process in step S30 and the phasor setting process in step S32.

Next, other processing routines called from step S13 in FIG. 4 will be described with reference to FIGS. 8 to 12. Prior to that, registers used in those processing routines will be described.

(1) BSL [i]: A register for storing the LSB of the bank select for each MIDI channel. The argument i indicates the MIDI channel. (2) BSM [i]: A register for storing the MSB of the bank select for each MIDI channel. Argument i
Indicates a MIDI channel. (3) KC: a register for storing a key code. (4) KEV: a register for storing a key event (key on or key off).

(5) KV: a register for storing key velocity. (6) LSD [i]: Temporary storage register of bank select LSB for each MIDI channel. The argument i indicates the MIDI channel. (7) M: a register for storing master tuning data. (8) MCH: A register for storing a MIDI channel number. (9) MSD [i]: Temporary storage register of bank select MSB for each MIDI channel. The argument i indicates the MIDI channel.

(10) mtun: a register for storing the final calculated value of master tuning. (11) mvol: a register for storing the final calculated value of the master volume. (12) PC [i]: a register for storing a program change number for each MIDI channel. Argument i
Indicates a MIDI channel. (13) PD [i]: a temporary storage register of a program change number for each MIDI channel. Argument i
Indicates a MIDI channel. (14) TCH: a register for storing an empty channel number.

(15) VD [i]: A temporary storage register for vibrato data for each MIDI channel. The argument i indicates the MIDI channel. (16) VDE: a register for storing a final calculated value of vibrato data for each MIDI channel. (17) VMin: a register for storing the minimum modulation depth of vibrato for each tone color. (18) VSens: a register for storing vibrato sensitivity for each tone color.

(19) LBSL [i]: A register for storing the LSB of the bank select that could be sounded at the last bank select MSB = 00H for each MIDI channel. The argument i indicates the MIDI channel. (20) LPC [i]: A register for storing a program change number which can be sounded at the last bank select MSB = 7FH for each MIDI channel. The argument i indicates the MIDI channel. (21) USER: MSB = 00H as melody tone
Indicates whether the tone is prepared for the musical instrument when a value other than is selected.

Note that these registers are all initialized to 0 at the time of initialization.

FIG. 8 shows an exclusive processing routine called from step S13 in FIG. The exclusive processing routine is executed when an exclusive message is received from the MIDI interface.

First, in step S61, it is determined whether or not the exclusive data in the MIDI buffer is data instructing the setting of master tuning. If the data is a command for setting the master tuning, the received master tuning data is set in the register M in step S62. However, the data range is 00
H to FFH. The default value is 7FH.

Next, in step S63, the final calculated value mtun of the master tuning is calculated based on the value of the register M. mtun takes a value of about -100 when the data of the register M is 00H and about 100 when the data of the register M is 7FH, and interprets this as a cent value, thereby setting the master tuning in the range of the first half and the second half around the standard pitch. It can be performed.

Further, in step S64, the value of the register mtun is output to the tone synthesis circuit. Thereafter, the process returns to step 14 in FIG. In the tone synthesis circuit, mtu
The master tuning may be changed when the value of n is received, or the master tuning may be changed based on a newly received sound.

If it is not the data instructing the setting of the master tuning in step S61, in step S65,
It is determined whether or not the data instructs the setting of the master volume. If it is data instructing the setting of the master volume, the data of the received master volume is set in the register mvol in step S66. However, the range of data is 00H to 7FH.

Next, in step S67, the value of the register mvol is output to the tone synthesis circuit. Since the master volume is data to be processed in real time, the volume of each channel changes when it is sent to the tone synthesis circuit. Thereafter, the process returns to step 14 in FIG.

If the data is not data instructing the setting of the master volume in step S65, it is determined in step S68 whether the data is data instructing the initialization of the system. If the data indicates the initialization of the system, in step S69, various settings other than the master tuning are initialized.

Here, when performing an ensemble performance with a general natural musical instrument or a natural musical instrument that receives a MIDI signal, it is necessary for the player to finally perform tuning between the musical instruments. Generally, these tunings take time, but once adjusted, there is no need to readjust for some time. On the other hand, the system initialization is used relatively frequently, for example, to prevent unnecessary settings from remaining before sending new data at a transition between songs. Therefore, initialization is not performed here only for master tuning data. In the initialization, the following information is set.

・ Dry send level ← 7FH ・ Effect level ← 00H ・ Master tuning ← 7FH ・ Master volume ← 7FH ・ Program change ← 00H ・ Bank select MSB ← 00H ・ Bank select MSB ← 7FH (MIDI 10ch only) ・ Bank select LSB ← 00H ・ Vibrato data ← 00H

Thereafter, the flow returns to step S14 in FIG.

If it is determined in step S68 that the data is not data for instructing initialization, other exclusive processing is performed in step S70, and then step S14 in FIG.
Return to

FIG. 9 shows a bank select processing routine called from step S13 in FIG. The bank select processing routine is executed when a bank select signal is received from the MIDI interface. The bank select has an MSB and an LSB. The bank select MSB is used to switch between a melody tone, a rhythm tone, and a user tone. Bank select LSB is
Represents the extension of the melody tone and the user area.

First, in step S81, the MIDI channel number of the received bank select is set in the register MCH. In step S82, it is determined whether or not the received bank select signal is data on the MSB side. If the data is on the MSB side, step S83
Then, the received bank select data is stored in the temporary storage register MSD of the MSB of the bank select data provided for each MIDI channel. Then, return.

At step S82, the received bank select signal is not data on the MSB side (ie, LSB
If it is determined that the bank select data has been received, the received bank select data is stored in the register LSD in step S84. Then, return.

Here, the actual bank selection is performed when a program change signal described later is received. For this purpose, each bank select data is stored in the temporary storage registers MSD and LSD.

FIG. 10 shows a program change processing routine called from step S13 in FIG. The program change processing routine is executed when program change data is received from the MIDI interface.

First, in step S91, the MIDI channel number of the received program change is stored in the register MC.
H, and the program change number itself is set in the program change data temporary storage register PD [MCH]. In step S92, the received bank select data and program change data are temporarily stored in each of the registers BSM [MCH] and BSL [MC
H], PC [MCH].

Then, in a step S93, it is determined whether or not the bank select MSB assigned to the MIDI channel is 7FH. If it is 7FH, it indicates that a rhythm tone is assigned to the MIDI channel. As described below, the interpretation of the program change and bank select signals differs depending on the rhythm tone and the melody tone.

If the melody tone is assigned to the MIDI MCH channel, in step S94,
According to the bank select MSB, bank select LSB and program change PD of the MCH channel,
Refer to the melody tone table. In the melody tone color table, addresses of storage areas of actual tone data are written, and it can be determined whether or not a tone exists based on the addresses.

At step S95, bank select MS
It is determined whether or not B is 00H. If 00H, the designated timbre is one of the timbre sets common to all models.
Therefore, the timbre replacement process from step S96 is performed.

Even for musical instruments that use common timbres between models, not all timbres are prepared due to differences in performance. When using a common tone set between models,
The timbre is selected by a program change, and the timbre variation is selected by the LSB of the bank select. Therefore, in high-performance models, LS
Although there are many types of variations due to the expansion of B, it is conceivable that an inexpensive model has only one tone color set.

However, even in such a case, if the timbre according to the same program change number is generated, the timbre is generated with a tone that is not so uncomfortable. Therefore,
If the designated timbre is one of the timbre sets common to all models, the timbre set of the bank select LSB confirmed last is generated as described below.

In step S96, it is determined whether or not there is a corresponding tone based on the determination in step S94. If there is a tone, a tone can be generated based on each information set in step S92, so that no change is made, and in step S97, BSL is set as the number of the bank select LSB finally confirmed. Register LBSL
Set to. Then, return.

If it is determined in step S96 that there is no tone color, the process proceeds to step S98, and the bank select LSB of the information set in step S92 is replaced with LBSL set in step S97. Then, return. Thus, bank select M
When SB is 00H, the timbre set is replaced by the bank select LSB.

If the bank select MSB is not 00H in step S95, it means that a tone color set unique to the model has been selected instead of a tone color set common to the models.
In this case, the timbre cannot be replaced like a common timbre between models. Therefore, if there is a tone, the tone is generated by the tone, and if there is no tone, at least the tone is not emitted. Further, the assignment of the sounding channel itself may not be performed in order to prevent waste of the sounding channel.

In step S99, the register USER is set according to the result of the determination in step S94. The register USER is used in a tone generation process (FIG. 13) described later. When USER = 0, the assignment of tone generation channels is not performed.

Returning to step S93, if it is determined that the MSD is 7FH, the process proceeds to step S100, where M
In accordance with the register BSM for storing the bank select LSB of the IDI MCH channel and the register PD for temporarily storing the program change number, it is checked whether or not a corresponding musical tone exists in the rhythm tone color table.

As for the rhythm tone, a variation can be selected by a program change like the melody tone bank select LSB.

If it is determined in step S101 that there is a tone, a tone is generated in accordance with the program change number PC set in step S92, but the tone is set in step S102 to replace the tone. Saved PC in LPC. When it is determined that there is no timbre, in step S103, the program change number set in step S92 is
Replace with the program change number LPC confirmed to be pronounced. Then, return.

As described above, the bank select MSB is
Makes the most global selections, such as switching between melody and rhythm sounds and switching between special tone sets for each model. In particular, the bank select MSB = 00H indicates a common timbre between the models, and the others indicate model-specific timbres. Therefore, in the case of a common tone between models, the tone is surely replaced by selecting the bank whose tone has been confirmed immediately before it, and in the case of a model-specific tone, the tone is not replaced and no tone is replaced. By doing so, inappropriate tone color switching can be prevented. Since the bank select LSB is a variation in the same system of tone colors, even if it is changed, it does not cause much inconvenience.

The rhythm tone (bank select MSB)
= 7FH), the tone color is selected by the program change and the key code without using the selection by the bank select LSB. Here, in the program change of the rhythm timbre, the timbre is replaced similarly to the melody timbre bank select LSB.

FIG. 11 shows a vibrato processing routine called from step S13 in FIG. The vibrato processing routine is executed when vibrato data is received from the MIDI interface.

In the vibrato processing routine, step S
At 111, the MIDI channel number of the received program change is set in the register MCH, the vibrato data is set in the register VD [MCH], and the process returns to step S14 in FIG.

In this example, the received vibrato data is only stored in the register at the time of reception, and is actually referred to as vibrato information only when the sound of the corresponding MIDI channel is received. It is. However, the vibrato information may be sent to the tone synthesis circuit in the vibrato processing so that the vibrato processing can be performed in real time.

FIG. 12 shows a note event processing routine called from step S13 in FIG. The note event processing routine is executed when note event data is received from the MIDI interface.

First, in step S121, the MIDI channel number of the received program change is set in the register MCH, and the key code, velocity, and key event information are respectively stored in the registers KC, KV, KE.
Set to V. A key-on KON or a key-off KOFF is entered in the KEV. Subsequently, in step S122,
The set information is stored in the note buffer, and the process returns to step S14 in FIG.

As described above with reference to FIGS. 5 to 12, data input to the MIDI interface is processed in accordance with the contents by the MIDI interface processing routine of FIG. When there is no more data to be processed in the MIDI buffer, the process returns to step S3 in FIG. 3 to perform sound generation processing.

FIG. 13 shows a tone generation processing routine called from step S3 in FIG. In the sound processing routine, first, in step S131, each data written in step S122 of FIG. 12 is read from the note buffer.

Next, in step S132, it is determined whether the read event is a KON event. K
If it is determined that the event is an ON event, step S1
At 33, it is determined whether or not USER is 1. USER is 1
If not (ie, USER = 0), the tone is not prepared for the musical instrument, and the process proceeds to step S143 so that the MIDI channel is not assigned. If USER is 1, the process proceeds to step S134.

In step S134, a sounding free channel for sounding the key-on event is secured. Here, the reserved channel number is stored in the register T
Set to CH. In step S135, it is determined whether a rhythm timbre is specified for the MIDI channel specified for sound generation (BSM = 7FH). B
When SM is other than 7FH, it indicates that a melody tone is assigned to the specified MIDI channel. In this case, the process proceeds to step S136.

In step S136, tone data is read from the melody tone color list according to each bank select data and program change data. The tone data read out here includes the storage address of the waveform of each tone, envelope information, vibrato information, effect information, and volume balance information.

Next, in step S137, the read vibrato sensitivity is set in the register Vsens, and the minimum modulation depth is set in the register VMin. In step S138, VDE is calculated as an actual vibrato value based on these values, and step S139
Outputs vibrato information to the tone synthesis circuit. After step S139, the process proceeds to step S141.

In step S135, BSM is set to 7FH.
If it is determined that the rhythm timbre is assigned, the rhythm timbre is assigned. In this case, in step S140,
Music tone data is read from the rhythm tone color list according to the program change data and the key code, and the flow advances to step S141.

The read musical tone data is output to the musical tone synthesizing circuit in step S141. Thus, generation of a musical tone starts.

Returning to step S133, if the event is not the key-on event KON, that is, if the event is key-off, the process proceeds to step S142, where a key-off signal is sent to the corresponding tone generation channel. Then, step S143
Proceed to.

In steps S143 and S144, the processed note buffer data is cleared, and if data still remains in the note buffer, the flow returns to step S131 to continue the processing.

[0105]

As described above, according to the present invention, a non-fixed tone is replaced when an external designation of a tone is received. The replacement does not cause the tone to become a natural tone, and a natural tone can be replaced. That is, when the designated tone does not exist,
Rather than keep decide to which tone in advance,
Since tone synthesis is performed from multiple tones in the tone table that have been confirmed to exist in accordance with the past history, a tone that is usable and can be replaced with the optimal tone can be used. Replacement can be realized. Also, when replacing a timbre, the timbre is replaced according to the past history, so that, for example, a favorite timbre designated by the player in the past can be preferentially used, which is suitable for the player. You can replace a variety of sounds.

[Brief description of the drawings]

FIG. 1 is a block diagram of a musical sound synthesizer according to an embodiment of the present invention.

FIG. 2 is a block diagram of an effect circuit.

FIG. 3 is a flowchart showing a main routine of the musical sound synthesizer of the embodiment.

FIG. 4 is a flowchart of a MIDI interface processing routine.

FIG. 5 is a flowchart of an effect processing routine.

FIG. 6 is a flowchart of a dry level setting processing routine;

FIG. 7 is a flowchart of a reverb setting processing routine;

FIG. 8 is a flowchart showing an exclusive processing routine;

FIG. 9 is a flowchart of a bank select processing routine.

FIG. 10 is a flowchart of a program change processing routine.

FIG. 11 is a flowchart of a vibrato processing routine.

FIG. 12 is a flowchart of a note event processing routine.

FIG. 13 is a flowchart of a sound generation processing routine.

[Explanation of symbols]

1 MIDI interface, 2 CPU (central processing unit), 3 ROM (read only memory), 4 R
AM (random access memory), 5 ... operation panel, 6
... tone synthesis circuit, 7 ... effect circuit, 8 ... sound system, 9 ... bus line, 11 ... reverb circuit, 12 ...
Tremolo circuit, 13 chorus circuit, 21 to 24 multiplier, 31 to 33 adder, 41 celeste circuit, 42
Phasor circuits, 51, 52 ... multipliers, 61 to 63 ... adders.

────────────────────────────────────────────────── ─── Continuation of the front page (56) References JP-A-62-38497 (JP, A) JP-A-6-75564 (JP, A) Patent 2715677 (JP, B2) Patent 2604259 (JP, B2) Patent 2866439 (JP, B2) Patent 2819999 (JP, B2) Patent 3055525 (JP, B2) JP 4-7519 (JP, B2) (58) Fields investigated (Int. Cl. ⁷ , DB name) G10H 1/24 G10H 1/00

Claims (2)

(57) [Claims] 1. A combination of a plurality of tone specifying parameters.
Thus, in a tone synthesizer for synthesizing a tone with the tone of the tone data set, a tone table storing a plurality of tone data corresponding to a combination of the plurality of tone designation parameters, and a means for receiving an external tone designation. If the tone data corresponding to the designated tone does not exist in the tone table, the plurality of tone designation parameters are set.
Prescribe specified tone based on the value of a specific meter
Select a parameter and select the selected tone
Values corresponding to the tone specification parameters.
Replacing the remembered past history with the referenced value
Accordingly, the tone color data that is currently set, musical tone synthesizing apparatus characterized by comprising a Could unit by replacing the sound color data in the tone color table exists is confirmed. 2. A musical tone of the tone data set respectively.
Tone synthesizer having a plurality of tone generation sequences for synthesizing sounds
At A tone table storing a plurality of tone data, Specify the tone color from outside corresponding to each of the above tone generation sequences.
Means to accept each, Corresponds to the tone specified for each of the above tone generation sequences
When the timbre data does not exist in the timbre table
Indicates that the tone data currently set for the
A plurality of tone data in the tone table where
From the past stored in each of the above tone generation sequences.
Replace with selected tone data according to history and pronounce
And a means for synthesizing a musical tone.