JP3329245B2 - Audio signal or musical tone signal processing apparatus and computer readable recording medium recording audio signal or musical tone signal processing program - Google Patents

Abstract

PROBLEM TO BE SOLVED: To provide a vocal signal or instrumental sound signal processor by which a user can optionally select a performance with changing pitch identified by the pitch of a sound name and a performance with changing pitch following the pitch when instrumental sound signals in which the pitch is controlled are formed based on pitches of input vocal signals or input instrumental sound signals. SOLUTION: A pitch control part 6 is provided with an identification part which identifies a vocal pitch to a pitch rotation based on the output of a pitch detection pat 4, and a pitch bend processing part to carry out pitch bend processing in accordance with the difference of the vocal pitch and the pitch of the pitch rotation to be identified, and controls the pitch of the instrumental sound signal to be output from a sound source part 8. The performance method is changed by switching the processing mode of the pitch control part 6.

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an audio signal or a tone signal processing apparatus for generating a second tone signal whose pitch is controlled based on the pitch of the audio signal or the first tone signal, and an audio signal. The present invention also relates to a computer-readable recording medium on which a program for realizing a tone signal processing function is recorded.

[0002]

2. Description of the Related Art Conventionally, there has been disclosed a musical tone signal processing apparatus which detects a user's voice pitch, forms key data, sequentially stores the key data, sequentially reads out the stored key data, and performs the performance. It is known in gazettes and the like. The user simply sings without playing the keyboard. However, the pitch of the detected input audio signal is rounded to the pitch corresponding to the musical note name, and the musical tone is output. For this reason, a step is generated in the pitch, which is suitable for playing musical sounds with the pitch divided like a keyboard instrument. But when people sing,
In some cases, the pitch of the voice is continuously changed. In this case, it is necessary to generate a musical tone whose pitch changes continuously according to the pitch of the continuously changing voice. If the captured key data is edited and corrected, it is not impossible to make a continuous change in the pitch of the musical tone partially with respect to the musical tone in which the pitch is divided. However, the processing is troublesome.

On the other hand, a method of generating only note information or a method of generating note information and pitch bend information when converting the pitch of an input sound into performance information is known in Japanese Patent Application Laid-Open No. 4-242290. I have. However, this does not mean that the method of performance information conversion is appropriately switched as needed.

[0004]

SUMMARY OF THE INVENTION The present invention has been made to solve the above-mentioned problems, and a second tone signal whose pitch is controlled based on the pitch of an audio signal or a first tone signal. When generating a sound, the user arbitrarily selects a performance identified by the pitch of the note name and changing the pitch, and a performance whose pitch changes following the pitch of the voice signal or the first tone signal. It is an object of the present invention to provide an audio signal or tone signal processing device capable of performing the above-described processing. It is another object of the present invention to provide an audio signal or tone signal processing device for generating a second tone signal whose pitch and intensity are controlled based on the pitch and intensity of the audio signal or the first tone signal. is there. It is another object of the present invention to provide a computer-readable recording medium on which a program for realizing a function of processing a sound signal or a musical sound signal is recorded.

[0005]

According to a first aspect of the present invention, there is provided an audio signal or musical tone signal processing apparatus, comprising: a pitch detecting means for detecting a pitch of an audio signal or a signal which is a first musical tone signal; A tone signal generating means for generating a tone signal of No. 2 based on an output of the pitch detecting means, identifying a pitch of the signal as a pitch name, and determining the pitch of the tone name by the tone signal generating means. A first processing mode for controlling a pitch of the second tone signal to be generated, and the tone signal generating means generating the tone signal so as to change following the pitch of the signal based on an output of the pitch detecting means. Pitch control means having a second processing mode for controlling the pitch of the second tone signal, and switching means for switching between the first and second processing modes. . Therefore, when the second tone signal whose pitch is controlled based on the pitch of the voice signal or the first tone signal is generated, the user can arbitrarily use the first and second processing modes by using the switching means. You can choose to do it.

According to a second aspect of the present invention, in the audio signal or tone signal processing apparatus according to the first aspect, the switching means performs the first and second processing while the pitch control means is operating. The mode can be switched. Therefore, switching can be performed in real time.

[0007] In the invention of claim 3, claim
In the audio signal or tone signal processing device described in 1.
Te, intensity detecting means for detecting the intensity of the signal, your and,
Those having a power control means for controlling the intensity of said second tone signal generated by the tone signal generation means based on the output of the intensity detecting means. Therefore, it is possible to generate the second tone signal whose pitch and intensity are controlled based on the pitch and intensity of the voice signal or the first tone signal.

[0008] In the invention according to claim 4, the compi-
A computer-readable recording medium on which a program for realizing a processing function of an audio signal or a tone signal is recorded .
A processing function for detecting a pitch of an audio signal or a signal that is a first tone signal, a tone signal generating function for generating a second tone signal, and a pitch of the signal based on an output of the pitch detecting function. To control the pitch of the second tone signal generated by the tone signal generation function so as to be the pitch of the identified tone name.
And a second process for controlling the pitch of the second tone signal generated by the tone signal generation function so as to change following the pitch of the signal based on the output of the pitch detection function. It has a pitch control function having a mode and a switching function for switching between the first and second processing modes. Therefore, the same operation as the first aspect can be realized by the program.

According to the invention described in claim 5, the computer
In computer-readable recording medium storing a program according to claim 4 for realizing the processing functions of the audio signal or tone signal in Yuta, intensity detection function for detecting the intensity of the previous SL signal, your and, the intensity It has an intensity control function for controlling the intensity of the second tone signal generated by the tone signal generation function based on the output of the detection function . Therefore, the same operation as the third aspect can be realized by the program.

[0010]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS FIG. 1 is a functional block diagram of an embodiment of an audio signal or musical signal processing apparatus according to the present invention. In the figure, 1 is a microphone, 2 is an effect imparting unit, 3
a and 3b are pitch converters, 4 is a pitch detector, 5 is a keyboard, 6 is a pitch controller, 7a and 7b are effect imparters, 8 is a sound source, 9 is an effect imparter, 10 is a signal output controller, 11 Denotes an operation panel, 12 denotes a function control unit, 13 denotes a pan control unit, 1
Reference numeral 4 denotes an amplifier, and reference numerals 15 and 16 denote speakers.

First, the overall configuration will be described. The output of the microphone 1, which is a voice input unit, is input to an effect imparting unit 2, pitch conversion units 3a and 3b, and a pitch detection unit 4 that detects the pitch of the voice input (hereinafter referred to as "vocal pitch"). Outputs of the pitch detection unit 4 and the keyboard 5 are input to a pitch control unit 6. A first output of the pitch control unit 6 is input to the pitch conversion units 3a and 3b. The outputs of the pitch converters 3a and 3b and the second
Is input to the effect imparting units 7a and 7b. The third output of the pitch control unit 6 is input to the sound source 8 to control the pitch of the musical sound, and the output of the sound source 8 is input to the effect imparting unit 9.

The output of the effect imparting section 2 is a lead sound signal, the outputs of the effect imparting sections 7a and 7b are first and second harmony sound signals, and the output of the effect imparting section 9 is a tone signal. These signals are input to the signal output control unit 10. The output of the operation panel 11 is output via the function control unit 12
Pitch control unit 6, sound source 8, effect imparting units 2, 7a, 7b,
9, each function of the signal output control unit 10 and the pan control unit 13 is controlled. The signal output control unit 10 controls the output balance of each channel of the lead sound, the harmony sound, and the musical sound. For example, the mixing ratio is changed, or only one or more specific channels are output. The pan control unit 13 determines the localization of a plurality of channels, for example, the first and second harmony sounds. The output signal of the signal output control unit 10 is supplied to the speaker 1 via the stereo amplifier 14.
5 and 16 are output.

With the above-described configuration, the lead sound, which is an audio signal input from the microphone 1, the first and second harmony sounds generated based on the pitch of the input audio, and the musical sound are at least as desired. One is selected, mixed and emitted. The pitch of the voice can be detected by using a technique known in the field of voice analysis, such as a zero-cross method. The effects to be given are:
Gender (type and depth of voice quality such as male voice and female voice), vibrato (rate of change in depth and period, delay time until vibrato starts), tremolo, volume, pan (localization), detune (other than detune harmony mode described later) Detune of the harmony sound in the mode of
There is reverb (reverberation).

In FIG. 1, effects are imparted in the effect imparting units 2, 7a, 7b, 9 for easy understanding in terms of function. Pitch converter 3
a, 3b can be performed simultaneously with the pitch conversion. In addition, the signal output control unit 1 controls the volume and pan.
0. Gender effect control
Performed by formant shift.

FIG. 4 is an explanatory diagram of pitch-to-note. FIG. 4A is an explanatory diagram of the first processing mode, and FIG. 4B is an explanatory diagram of the second processing mode. It is to be noted that since this is an explanatory diagram, it does not always match the actual vocal pitch characteristics. In this pitch-to-note, a tone of an arbitrary tone is output using the pitch of the input audio signal.

Referring to FIG. 4, the pitch-to-note signal processing will be described based on the functional block diagram of FIG. In one embodiment of the present invention, note-on, note-off, pitch bend,
It generates portamento control information and generates a tone signal of the specified tone color. The pitch control unit 6 is based on the output of the pitch detection unit 4 and is a pitch name identification unit that identifies the vocal pitch shown in FIGS. 4A and 4B as the pitch name, and the pitch of the pitch name identified as the vocal pitch. And a pitch bend processing unit for performing pitch bend processing in accordance with the difference between the tone signal and the tone signal.

In the first processing mode shown in FIG. 4A, a pitch difference between a vocal pitch and a pitch of a plurality of musical names predetermined in music is detected, and the pitch of the musical tone signal is determined by a specific musical name. Identify the pitch. More specifically, the vocal pitch is identified as the closest pitch name among a plurality of pitch names of music defined in units of semitones (100 cents) by a method such as rounding processing, and the pitch of this pitch name is determined. The pitch of the tone signal. This processing is also described in the flowchart of FIG. 15 described later. This pitch is associated with the note number. This pitch coincides with the pitch of the vocal note shown in FIG.

In the second processing mode shown in FIG. 4 (b), a pitch that changes based on the vocal pitch is set as the pitch of the tone signal. As the pitch of the tone signal, a vocal pitch in which the pitch is not determined as shown in the figure or a vocal pitch obtained by averaging for a short period of time such that slight fluctuation of the vocal pitch disappears is used. In any case, the pitch of the musical tone signal is made continuously variable, instead of taking discrete pitches of 100 cents unit such as the pitch specified in the pitch name.

The first and second processing modes are switched according to the user's preference before the start of pitch-to-note processing. Alternatively, it is more preferable that the pitch control unit 6 is switched by one operation switch during the pitch-to-note processing operation. In this way, selection can be made easily among the songs sung. If such a changeover switch is provided on the grip of the microphone 1, the operability is further improved for the user.

The note-on timing of the musical tone to be generated is the time when the pitch of the audio signal can be detected by the pitch detection unit 4, and the note-off timing is the time when the pitch of the audio signal can no longer be detected by the pitch detection unit 4. And Since the pitch detection unit 4 cannot detect the level of the voice input until it reaches a predetermined level or more, the timing of note-on and note-off substantially depends on the strength of the input voice.

A block for detecting the intensity of the input audio signal is provided independently of the pitch detection unit 4, so that when the intensity of the audio input becomes equal to or higher than a first predetermined level, note-on is performed, and The note-off may be made when the intensity falls below the second predetermined level.
The first and second predetermined levels may be the same level.

Further, it is also possible to determine the note-on and note-off time points by the on-off timing using a separate switch means. Also, if the pitch-to-note signal processing can be performed only when the operator keeps pressing the key of the keyboard 5 or the push button switch, noise generated when no sound is input is generated. A malfunction such as generation of a musical tone can be prevented.

The tone signal generated by the tone generator 8 is input to the signal output control unit 10 via the effect imparting unit 9, but only the tone signal based on pitch to note is output from the signal output control unit 10. You may make it. Also, the MID is provided via a MIDIOUT terminal provided in the apparatus.
It is also possible to output the I data to an external MIDI device.

The second processing mode of pitch-to-note will be described with reference to FIGS. The pitch identification unit, when the difference between the pitch of the identified pitch and the vocal pitch changes continuously exceeds a predetermined range, while re-identifying the pitch of the tone signal to a new pitch, The sound source 8 is controlled so as to generate a tone signal having an amplitude envelope without an attack portion.

At time t1 in FIG. 4B, the pitch detection unit 4 starts outputting the vocal pitch, determines the pitch name closest to the vocal pitch value to be E4, and sets the reference pitch name to E4. Decide and output note-on. Alternatively, the note name of the pitch closest to the value of the vocal pitch at the time t1 of the note-on when the above-described block for detecting the intensity of the input audio signal recognizes the start of the sound or the note-on from the switch is described as E4. Is determined, and the reference note name is determined. When the vocal pitch becomes the pitch of the pitch name E4 immediately after the time point t1, the pitch detection unit 4 may output the note-on of the pitch name E4.

The pitch controller 6 outputs the note number of the note name E4 corresponding to the vocal pitch to the sound source 8 and causes the sound source 8 to execute a note-on process. Thereafter, when the vocal pitch fluctuates, pitch vent processing is performed in accordance with the difference between the vocal pitch and the pitch of the identified note name. That is, the pitch of the musical tone signal is made to follow by the pitch bend process with the pitch of the pitch name E4 as the central pitch so that the musical tone changes continuously. However, in the illustrated example, the pitch bend range (range) is set to a range of ± 100 cents of the pitch of each pitch name. Therefore, it is not possible to generate a musical tone whose pitch continuously changes without interruption and exceeds the pitch bend range only by the pitch bend processing.

Therefore, when the detection of the vocal pitch changes continuously without interruption, and it is necessary to generate a pitch exceeding the pitch bend range, the sound identified at time t2 in FIG. When the difference from the pitch of the name E4 exceeds this pitch bend range, a re-sounding control signal is output to the sound source 8 to mute the second tone signal of the original tone name and newly identify it again. The tone signal is re-produced with the given note name. That is, the note of note name E4, which is turned on at t1, is turned off at time t2, the vocal pitch is re-identified to a new note name F4, and the sound source 8 newly generates a tone of note name F4. To control. After the vocal pitch becomes the pitch of note name F4, the same applies to ± 1.
In the fluctuation range of 00 cents, the pitch of the musical sound signal is made to follow the vocal pitch by the pitch bend process using the pitch of the pitch name F4 as the center pitch. That is, the note of the central pitch, which is the base point of the pitch bend, is changed, and the connection is processed by the pitch bend. In this manner, the pitch of the musical tone signal can be changed in a substantially similar manner by following the vocal pitch.

If the detected vocal pitch changes continuously and it is necessary to generate a pitch exceeding the pitch bend range, portamento control specified by the XG format is used for the above-described processing. The musical sound having the musical name F4 can be output from the sound source 8 as having an amplitude envelope without an attack portion.
The amplitude envelope is usually divided into attack, decay, sustain, and release portions. The attack portion delays the rise of the amplitude envelope and causes overshoot.

Therefore, it is desirable to eliminate the attack portion when connecting musical tones. As a result, regarding the amplitude envelope, since the magnitude of the amplitude envelope of the tone signal matches before and after re-generation, it is easy to directly connect the note of note name E4 to the note of note name F4,
Repronunciation can be made inconspicuous. The decay portion of the previous tone E4 is inconspicuous, but if it is, it is desirable to eliminate it. Even if the amplitude envelope has an attack portion, the amplitude envelope of the tone signal can be made to substantially match before and after re-sounding by cross-fading with the decay portion of the previous tone E4. Therefore, amplitude envelopes before and after re-sounding can be connected.

When the pitch bend range is set to 0, the pitch bend operation is not substantially performed, and an output result corrected in semitone units, that is, only new key-on data is output. Therefore, if the pitch bend range is set to 0, the first processing mode will be performed. Therefore, even when the pitch control unit 6 is operating, the first and second processing modes can be easily switched only by changing the setting of the pitch bend range. At that time, the amplitude envelope when the vocal pitch changes continuously and the note name is re-identified and re-produced,
Switching can be performed in conjunction with switching between the first and second processing modes.

As described above, in the pitch-to-note processing, when a musical tone whose pitch is controlled based on the pitch of the input voice is generated, the pitch is identified as the pitch of the note name and the pitch changes stepwise. The user can arbitrarily select a performance to be performed and a performance in which the pitch changes smoothly without a step following the pitch of the input voice. While singing, you can switch the way the pitch of the music changes in real time. Even after the singing voice is not taken into the recording / reproducing device, the user can change his own voice and try singing again until the desired tone signal pitch is obtained.

It should be noted that the intensity of the tone signal is
, So it was constant during the performance. For this reason, a monotonous sound such as a loss of power may occur. That is, although a preset envelope is provided for each key-on, the generated musical tone becomes monotonous. Therefore, a means for detecting the strength of the input voice signal and a means for controlling the strength of the tone signal based on the detected strength of the input voice signal, for example, with a strength proportional to the strength are added. The pitch and intensity of the tone signal can be controlled based on the vocal pitch and intensity of the input audio signal. In this way, it is possible to perform a powerful performance with a change for each key-on, and to reflect the emotion of the user singing by the intensity of the musical tone signal. The tone signal is output with an amplitude envelope of a predetermined shape, and the strength of the amplitude envelope (a coefficient multiplied by the amplitude envelope) is determined based on the sounding strength of the input audio signal. Also, when MIDI data is output to an external device, it can be output as note-on velocity data.

Next, the functional operation of each component shown in FIG. 1 in the vocal harmony mode will be described. The musical sound signal processing device having the above-described configuration generates a vocal harmony sound signal based on the input sound, and adds the vocal harmony sound signal to the lead sound, which is the input sound, and outputs it. At the same time, gender control can be performed on the lead sound signal and the harmony sound signal. The vocal harmony mode is set by the operation panel 11. Unique vocal harmony such as male, female, mixed chorus, country, jazz, acapella chorus, bass chorus, etc. are summarized as a harmony kit, and by selecting this harmony kit by the operation panel 11, a large number of parameters are obtained by the function control unit 12. Can be set collectively.

The vocal pitch of the user's voice input from the microphone 1 is detected by the pitch detecting means 4. The pitch control unit 6 receives the output of the pitch detection unit 4 and the pitch designation by the keyboard 5 as control inputs, and outputs the pitch conversion units 3a,
3b is controlled. The pitch converters 3a and 3b receive the signal of the user's voice and convert the pitch of the signal of the user's voice into a desired pitch. Subsequently, the effect imparting unit 7
The effects are given at a and 7b to generate first and second harmony sound signals. The harmony sound signal is not limited to two voices, and may be one voice or three or more voices.

The operation panel 11 and the function control unit 12
The effect given to the user's voice signal and the effect given to the first and second harmony sound signals can be set independently. Therefore, the user sets the effect imparting unit 7a,
7b, an effect different from the effect imparted by the effect imparting unit 2;
For example, the effect can be provided by changing the type of the effect and / or changing the degree of the effect. For example, random panning is performed on the harmony sound signal without increasing the depth of the effect of the harmony sound signal on the lead sound signal or changing the localization position of the sound image on the lead sound signal. In the default setting state, the effect is always different from the effect imparting unit 2 in the effect imparting units 7a and 7b by the function control unit 12. In this way, a clear harmony sound can be generated for the voice of the original user.

The pitch control unit 6 includes an effect imparting unit 7
a, 7b to change the type of effect given to the harmony sound signal in accordance with the pitch difference before and after the pitch conversion, ie, the pitch difference between the vocal pitch and the pitch-converted harmony sound signal, and / or It has a function to change the degree of effect. As a result, the harmony sound signal is given a variety of effects to the user's voice signal, and the harmony sound signal is automatically given an appropriate effect in accordance with the pitch difference from the user's voice. Can be done.

Note that, in this functional block diagram, since no distinction is made between analog signal processing and digital signal processing, the description of the A / D converter and the D / A converter is omitted. As an example, an analog signal of the microphone 1 is converted into a digital signal through an A / D converter, and then output to the effect imparting unit 2 or the like. The signal output control unit 10 weights the outputs of the effect imparting units 2, 7a, 7b, and 9 and then digitally adds the outputs to the amplifier 14 through the D / A converter.

FIG. 2 is an explanatory diagram of a specific example of the vocal harmony mode. FIG. 2A shows the relationship between the audio signals in the vocoder harmony mode. When the user inputs a voice from the microphone 1 and plays the keyboard 5 at the same time, a harmony note having a pitch (key-on note) corresponding to the pitch corresponding to the played key is added to the lead voice as the original voice. Make them pronounce. The timbre of the harmony sound signal is the “own voice” of the operator, and it is as if a musical instrument of this timbre is being played on the keyboard 5. The sounding period of the harmony sound is controlled by depressing a key on the keyboard 5. By setting the pronunciation mode on the operation panel 11,
For example, similar to an organ having a sustain period, a continuous sound can be generated from key-on to key-off, or an attenuated sound can be generated from key-on for a predetermined period like a piano.

By selecting the type of vocoder on the operation panel 11, the harmony note to be generated can be transposed from the pitch of the note (key-on note) specified on the keyboard 5. In the automatic setting, the shift amount can be set so that the pitch falls within ± 6 semitones around the vocal note. The pitch control unit 6
When the vocal pitch exceeds a semitone above or below the previously calculated note, the note with the closest pitch in the wavelength comparison is set as the vocal note.

FIG. 2B shows the relationship between the audio signals in the cordal harmony mode. The user inputs a voice from the microphone 1 and simultaneously plays a chord (chord) on the keyboard 5
Is specified. The pitch control unit 6 recognizes the type of the chord, and adds a harmony sound corresponding to the note name constituting the chord to the lead sound for sound generation. In other words, a harmony sound that matches the chord specified on the keyboard 5 is added simply by inputting a voice by the user. For example, when the chord is C major, the harmony sound is any of the constituent sounds C, E, and G. If the setting of the operation panel 11 is such that the sound immediately above is sounded (duet above), when the pitch of the input voice is C, the harmony sound will sound at the harmony note of E. In the chordal harmony mode, once a chord is determined, the harmony of the constituent sound is always added just by inputting a voice without pressing the keyboard 5. The chord can be changed by using the keyboard 5 in accordance with the progress of the music.

FIG. 2C shows the relationship between the audio signals in the detune harmony mode and the chromatic harmony mode. In the detune harmony mode, a vocal pitch or a vocal note is slightly shifted (a so-called chorus effect). The detune amount is changed from about ± several cents to ± 20 cents by switching the detune type.
In the chromatic harmony mode, a sound shifted by a fixed pitch from the vocal pitch or vocal note is played. The pitch shift amount is ± 1 from the same pitch (unison)
I change it to about an octave.

FIG. 3 is an explanatory diagram of a control mode of the effect imparting section by the pitch control section. The parameter value of the effect applied to the harmony sound signal is changed according to the pitch difference between the vocal pitch of the user's voice and the pitch (harmony note) of the harmony sound after the pitch conversion. The vocal pitch may be the pitch of a rounded vocal note.
FIG. 3A shows an example in which a certain amount of effect represented by the parameter value Ps is given when the absolute value of the pitch difference exceeds a certain threshold value d1. The values of d1 and Ps can be variably set by the operation panel 11 and the operation control unit 12. FIG. 3B shows that the effect starts to be applied when the pitch difference exceeds a certain threshold value d1 (in this example, the pitch difference is set to d1), and thereafter, the parameter value increases in proportion to the absolute value of the pitch difference. , The parameter value becomes Ps and saturates. FIG. 3 (c) shows that after the effect starts to be applied,
After that, the increase rate increases with respect to the absolute value of the pitch difference,
An example in which the parameter value becomes Ps and saturates is shown. FIG.
(D) shows a case where the threshold value d1 is set on the negative side. In this case, the parameter value in a region where the absolute value of the pitch difference is negative is not used.

FIG. 3E shows different types of effects when the pitch difference is positive or negative. If the pitch of the harmony sound is specified one octave higher by a key one octave higher than the keyboard 5 with respect to the pitch of the lower octave sung by a male, the voice quality of the harmony sound is left as male. Due to discomfort, gender control is applied to the female voice. Conversely, when the pitch of the harmony sound is designated one octave lower by a key one octave lower on the keyboard 5 with respect to the pitch of the higher octave sung by a woman, gender control is performed and a male voice is produced.

In FIG. 3E, for example, based on the vocal pitch or the pitch of the vocal note,
When the harmony note is higher than this and exceeds the threshold d1, gender control is performed so as to be a female voice as the parameter A, and when the harmony note is lower than this and less than the threshold d2, the male voice is used as the parameter B. Gender control as follows. At the same time, the parameter value is increased according to the pitch difference to deepen the gender control.

In the illustrated example, only the parameter value increases according to the pitch difference. However, the parameter value may decrease or increase or decrease. A plurality of effects can be simultaneously applied to the harmony sound, and a look-up table indicating the correspondence between the pitch difference and the effect parameter and / or a threshold d1,
The values of d2 and the saturation value Ps may be appropriately selected. As a result, it is possible to change the type and / or degree of the effect to be applied according to the difference between the vocal pitch of the voice signal or the pitch of the vocal note of the operator and the pitch of the harmony sound signal. Instead of the lookup table, a function of the parameter value with respect to the pitch difference may be stored, and the parameter value of the effect may be calculated by calculation.

By controlling the effect on the harmony sound signal by the pitch difference, it is possible to make the type and the degree of the effect different from the effect applied to the lead sound signal. Further, by operating the keyboard 5 as the music progresses, not only the pitch of the harmony sound signal but also the effect on the harmony sound signal can be changed every moment.

In the second processing mode shown in FIG. 4B, a plurality of musical tones are executed by changing the note number by executing portamento control in order to make the pitch of the musical tone signal change continuously. It is re-pronounced continuously. That is, the pitch at the first note-on becomes note-off and at the same time the next pitch becomes note-on, and the pitch is continuously and simultaneously changed while continuously generating new notes. . On the other hand, there is a so-called delay effect in which the effect is started to be applied to a musical sound signal after a predetermined delay time has elapsed from the start of generation of the musical sound signal, and examples thereof include a delay vibrato and a delay tremolo.

FIG. 5 is an explanatory diagram of a case where a delay effect is added to a tone signal to be continuously generated. FIG. 5 (a)
FIG. 5 is an operation explanatory view of an embodiment of the present invention, and FIG. 5B is an operation explanatory view of a conventional delay effect imparting as a comparative example. An example in which a delay vibrato is applied is shown. However, since this is an explanatory diagram, the period and depth of the vibrato are different from actual ones.

Referring to FIG. 5B, a case will be described in which a plurality of tone signals are continuously generated in order to continuously change the pitch. At the same time as the tone signal is turned off, the tone signal is turned on. The same applies to the tone signal ~. When trying to add delay vibrato to such a continuous tone signal ~
After the effect is started to be applied to the first musical tone after a predetermined time has elapsed from the note-on, the application of the effect is terminated when the musical tone ends. In the same manner, the application of the effect to the successive musical tones is completed at the end of each musical tone. As a result, the effect on the continuous musical tone which should become one sound which is substantially continuous in performance is interrupted, and there is a sense of incongruity.

With reference to FIG. 5 (a), a case where delay vibrato is applied when musical tones are continuously generated will be described. After the effect is started to be given after a lapse of a predetermined time from the first tempo after one tempo, the effect continues to be applied even if the tone ends. And
The effect is not newly started by the generation of successive musical tones. As a result, the effect on a continuous musical tone which should become a substantially continuous one sound in performance is a series of ones even if the musical tone signals are switched on the way.
By considering it as one sound, the delay vibrato will be applied continuously without being cut off in the middle,
It is possible to generate a musical sound to which a natural delay vibrato is applied to a continuous sound without a sense of incongruity.

In FIG. 1, in order to achieve the above-described effects, the effect imparting means 9 sets the first effect signal while the pitch control section 6 continuously generates the tone signal from the first tone signal. The effect started by the generation of the musical tone signal of the second is maintained as it is, and the second
The start-up due to the generation of the tone signal after the first one is prevented.

In the above description, the effect imparting means 9 imparts a delay effect to start applying the effect with a delay of a predetermined time from the start of generation of the musical tone signal. However, as the predetermined time elapses, the type of the effect is changed, and even if the effect is the same type, the degree of the effect changes. Since the effect is continuously provided without being cut off in the middle, a natural effect can be provided.
In the above description, a case where a plurality of musical tones are successively generated without overlapping is described. However, a similar effect can be obtained when a delay effect is applied to a sound that is recognized as a series of continuous sounds. is there. Consecutive musical tones may have a partly overlapping sounding period or may be sounded slightly apart.

Also, in the above description, pitch-to-
The note mode has been described. However, the normal performance mode of the electronic musical instrument may be used. The portamento effect in the normal performance mode is that the pitch of the musical tone generated by the note-on when the keyboard 5 is newly pressed is changed from the pitch of the musical tone generated by the previous note-on to the designation of the newly pressed keyboard. This is an effect of continuously shifting to the pitch. If the portamento effect is set before the performance, the portamento effect is always applied during the performance. Key-on the next key during performance before key-off
In some cases, a portamento effect is applied by performing a so-called legato playing technique. As one type of the portamento effect described above, when the pitch of the musical tone is shifted in semitone or whole tone units instead of continuously shifting the pitch, there is also a case called the glissando effect. Even when the "delay effect" is applied when the performance control of the portamento effect is performed, the same operation and the same operation and effect can be obtained.

FIG. 6 is an external view of an embodiment of a voice signal or tone signal processing apparatus according to the present invention. In the figure, FIG.
The same parts as those described above are denoted by the same reference numerals and description thereof will be omitted. 21
Is an electronic musical instrument main body, 22 is an operator group, 23 is a display unit, 24
Is a connection code. The electronic musical instrument main body 21 has a keyboard 5 and left and right speakers 15 and 16, and is capable of playing by itself. The operation panel 11 is provided with an operator group 22 including a plurality of operators and a display unit 23.
The display unit 23 displays a parameter setting state using various operators, displays a harmony kit, and the like. The connection cord 24 is a cord that connects the electronic musical instrument main body 21 and the microphone 1. Although not shown, the electronic musical instrument main body 21 has a MIDI (Musical Instrument).
ent Digital Interface) terminal so that it can be connected to an external MIDI device such as a sequencer. Further, a pitch bend wheel or a modulation wheel may be provided.

Referring to FIG. 6, pan controller 1 shown in FIG.
3 will now be described. The pan control determines the localization of the sound image, and includes the L channel of the amplifier 14 for driving the two left and right speakers 15 and 16,
The localization position of the sound image is controlled by controlling the volume ratio of the R channel. Pan control is performed by individual effect imparting units 2 and 7
Although shown separately from a, 7b, and 9, pan control is also a kind of effect addition. In the figure, the numbers shown on the right side of are the volume ratio of the signals of the L channel and the R channel, that is,
This is a number having a value proportional to the volume of the L channel / (volume of the L channel + volume of the R channel), and indicates the localization position of the sound image in the left and right width directions. In the example shown in the figure, the values are set in the range of 0 to 127, where 0 represents the leftmost localization position and 127 represents the rightmost localization position. At 0, the sound is localized to the L channel side and no sound is heard on the R side.
In addition, when it is 127, it is localized to the R channel side and L
The side does not sound.

Conventionally, as a kind of acoustic effect, there has been a case where a random pan is performed in which a tone signal is localized at random. For example, there is a case where a musical tone signal played by the user is heard from right to left and then from left to right every time a key is pressed. However, when trying to localize the sound images of a plurality of tone signals at random, sometimes the sound images of the plurality of tone signals are localized at the same position. In this case, there is a problem that the tone signal is gathered at one point and the tone width range is suddenly felt narrow. When a plurality of sound images were localized in the center, they felt narrower.

In the tone signal processing apparatus shown in FIG.
The pan control unit 13 randomly controls the sound image localization of the first and second harmony sound signals with time. 1st, 2nd
The regions 0 to 127 shown as the regions for localizing the sound image of the harmony sound signal of
71 to 127, or 0 to 35, 46 to 8 shown in
It is divided into a plurality of divided areas, such as 1, 92 to 127. The pan control unit 13 includes: a localization position determining unit that randomly determines a localization position of a plurality of tone signals within a predetermined area for each predetermined period; and a plurality of tone signals already determined by the localization position determination unit. It has a storage unit for storing information on the localization position, for example, the number representing the above-described localization position, or a number specifying the divided area to which the localization position belongs, and the localization position determination unit stores the localization position stored in the storage unit. Based on this information, all divided areas not including the determined localization position are set as the above-described predetermined areas. In this way, by determining the localization positions of the first and second harmony sound signals so that the localization positions of the first and second harmony sound signals do not concentrate, a stable random pan effect is always provided. Can be.

For example, the regions where the sound images of the first and second harmony sound signals are localized are shown in FIG.
It is an area of 1 to 127. At a certain point in time, the localization position of the first harmony sound signal is randomly selected in the range of 0 to 57 and 71 to 127, for example, at the position of 40. For the localization position of the second harmony sound signal, a numerical value is randomly selected in a range of 71 to 127 divided areas excluding the 0 to 57 divided areas including the position of 40, for example, 100
Position.

That is, the first and second
Of the harmony sound signals of the harmony sound signals is determined at random, and the position where the other harmony sound signal is localized is determined in all regions except the divided area where the former harmony sound signal is localized. Determined at random. Even when the number of tone signals increases, the position where a plurality of tone signals are localized is randomly determined in all the other divided areas except for the divided area where other tone signals for which the localized positions have already been determined are located. This is sequentially repeated for a plurality of tone signals, so that the plurality of tone signals do not localize in the same divided area so that the positions where the plurality of tone sounds are localized do not concentrate. More specific processing steps of the program will be described with reference to FIG. Note that the above-described predetermined period may be set to a fixed time or may be a period from key-on to key-off of one note.

At this time, the areas where the sound images of the first and second harmony sound signals are localized are set so that the two divided areas are adjacent to each other by a predetermined distance as shown in FIG. Even if two musical sounds localized in the divided area happen to be localized at a position close to each other, they can be separated only by a predetermined distance, and the pan effect can be enhanced. As shown in the above, if the center portion is left open and localized in two directions left and right, the localization position of the lead sound signal is fixed at the center, and a pan effect is applied to the first and second harmony sound signals, The first and second harmony sound signals stand out from the lead sound signal.

When the localization position of the first harmony sound signal is set at random and then the localization position of the second harmony sound signal is set at random, the localization position of the first harmony sound signal is The second harmony sound signal may be set at random on condition that the second harmony sound signal is located at a position separated by a certain distance or more. In such a case, the range of the second divided area may be determined after the first localization position is determined without necessarily separating the divided areas. For example, if the range of the localization position of the first and second harmony sound signals is defined as two divided areas of 0 to 63 and 64 to 127, and if the localization position of the first harmony sound signal is determined to be 60, The range of the position where the second harmony sound signal is localized is 74 which is separated from 60 by 14
To 127, and a localization position is randomly selected within this range.

In the above description, the random panning effect is applied to the first and second harmony sound signals.
The number of sounds to be localized and the types of sounds including the lead sound signal and the musical sound signal are not limited. It is sufficient that the divided area is equal to or larger than the number of sounds to be localized.

FIG. 7 is a diagram showing a hardware configuration of an embodiment of the audio signal or tone signal processing apparatus according to the present invention. In the figure, the same parts as those in FIGS. 1 and 6 are denoted by the same reference numerals, and description thereof will be omitted. 31 is CPU bus, 32 is RO
M and 33 are RAM, 34 is a CPU, 35 is an external storage device, 36 is a MIDI interface, 37 is an ADC,
Reference numeral 38 denotes a sound source unit, 39 denotes a DSP, and 40 denotes a DAC.

A plurality of hardware such as a CPU 34 are connected to the CPU bus 31. The operator group 22 is a setting operator for setting performance operators such as a pitch bend wheel and a modulation wheel and musical tone parameters such as a tone color. The display unit 23 displays an operation state of various operators, and the like. The ROM 32 stores preset data, preset tone color data, a conversion table, and the like, in addition to the audio signal or tone signal processing program of the present invention that is executed using the CPU 34. The RAM 33 has C
A working area of the PU 34, a tone color editing buffer, and the like are provided.

The external storage device 35 is a flexible magnetic disk drive (FDD), a hard disk drive (HDD), or the like. The external storage device 35 stores tone color data and music data, and installs the voice signal or tone signal processing program of the present invention in the RAM.
33 and can be executed. The MIDI interface 36 transfers MIDI data between a sequencer and a personal computer.

The ADC 37 is an A / D converter that converts an input audio signal from the microphone 1 into a digital signal and outputs the digital signal to the CPU bus 31. The tone generator 38 does not necessarily correspond to the functional blocks of the tone generator 8 shown in FIG. 1, but generates tone signals by inputting tone parameters from the CPU bus 31 and outputs them to the DSP 39. The function of the sound source 38 may be realized by a computer program of the CPU 34 in some cases. The DSP 39 performs signal processing under the control of the CPU 34, performs pitch detection and pitch conversion of the input audio signal, and gives effects to the input audio signal, the pitch conversion signal, and the output signal of the sound source unit 8. Note that the DSP 39 described above can be divided into functions. First DSP related to pitch detection and pitch conversion of input voice signal
And two of the second DSPs with the effect, and the ADC 37
May be input to the first DSP, and the second DSP may receive the output of the sound source unit 8 and the output of the first DSP. D
The AC 40 is an A / D converter that converts an output signal of the DSP 39 into an analog signal, and outputs the analog signal to the speakers 15 and 16 via the stereo amplifier 14.

The CPU 34 receives an input voice signal from the microphone 1, operation information from the keyboard 5 and the operator group 22,
The performance information input via the IDI interface 36 is processed by using the RAM 33 to display the values of various setting parameters on the display unit 23 and to control the tone generator 38 based on the processed performance information. Or MID
The I data is output to the outside via the MIDI interface 36. The DAC 41 may also be connected to the CPU bus 31 and controlled by the CPU 34 to perform a mixing process or the like. Note that the lead sound signal, harmony sound signal,
The tone signal and the composite output signal thereof may be stored in the external storage device 35.

FIGS. 8 to 16 are flow charts for explaining one example of processing steps for explaining the operation of the audio signal or tone signal processing apparatus according to the present invention. FIG. 8 is a main flowchart and a flowchart of interrupt processing. In S51, the device is initialized, and in S52
In, various settings such as tone parameters are performed by a plurality of operator groups 22 on the operation panel 11. In S53, control such as giving effects to the input voice is performed. A description of the control of the input voice itself using a flowchart is omitted. In S54, a harmony sound or a musical sound is performed based on various settings. When the processing in S54 ends, the process returns to S52 again, and S52 to S54 are repeatedly executed. In the middle of this repetition loop, S55
And the interrupt processing related to the output of the voice and musical sound and the application of the pan effect shown in S56.

FIG. 9 is a flowchart relating to the operation panel setting. In S61, it is determined whether or not the harmony mode is selected. If yes, the process proceeds to S62, and the harmony setting is performed. If not, the process proceeds to S63. Similarly, S63, S66, S6
In each of the steps 8, it is determined whether or not there is a selection of a gender control, a selection of a pitch to note, and a selection of a pan setting mode, and the process proceeds to the selected setting step.

In S64, gender control is set as an effect to be applied to the lead sound, which is the original input voice. In S65, gender voice quality, that is, male voice or female voice is set. Note that the harmony sound is described in reference to FIG.
A male voice or a female voice is automatically set according to the pitch difference. However, it is also possible to set the gender control for the harmony sound by using the operator similarly to the lead sound. In S69, the type of pan, that is, normal pan or random pan, is set, and in the next S70, the timing interval for moving the sound image localization in random pan is set as the designated length (int) of pan. Although not shown in the figure, the setting for randomly moving the sound image localization at each key-on (note-on) is also performed here.

FIG. 10 is a flowchart of the step S62 "set harmony" in FIG. In S81, the harmony mode is canceled, and in S82, it is determined whether or not the vocoder harmony mode is selected.
When the vocoder harmony mode is selected, S8
The process proceeds to S3, and if another mode is selected, the process proceeds to S86. Similarly, S86, S8
In steps S8 and S91, it is determined whether or not chordal harmony, detune harmony, and chromatic harmony are selected, and the selected mode is set.

In S83, the vocoder harmony mode is set, and in the next S84, the effect corresponding to the pitch difference is set as required. That is, the setting for changing the effect given to the harmony sound signal in accordance with the pitch difference from the vocal pitch described with reference to FIG. 3 is performed. If the effect corresponding to the pitch difference is not set, the process is returned as it is.
85, the type of effect for setting the pitch difference,
For example, settings such as gender control, vibrato, reverberation (reverb), and tremolo are performed. The change rate characteristic can be set using, for example, a look-up table. In S90, the detune amount is set by the pitch difference, and in S93, the shift amount is set by the note difference.

FIG. 11 is a flowchart of the step S71 "other designated processing" in FIG. S101
In, it is determined whether or not the mode is the tone color setting mode. If the mode is the tone color setting mode, the process proceeds to S102. If the mode is not the tone color setting mode, the process proceeds to S103. S10
In 2, the tone color used in the pitch-to-note mode and the normal performance mode of the electronic musical instrument is set. In S103, it is determined whether or not the mode is the effect setting mode. If the mode is the effect setting mode, the process proceeds to S104; if not, the process proceeds to S108.

In steps S104 to S107, a plurality of types of effects are set for each "sound part" determined according to the mode and the like, and the timing at which the effects are applied is set. In S104, a mode or the like is selected, and a sounding part to be given an effect is selected, and the process proceeds to S105. That is, the harmony mode is selected to select a lead sound part or one or a plurality of harmony sound parts. In the case of performing gender control, input sound for gender control or one or a plurality of harmony sound parts is selected. In pitch-to-note mode,
Select the part of the musical tone whose pitch is specified by the input voice. In the normal performance mode, a musical tone part specified by a keyboard is selected.

In S105, the effect type is selected, and the process proceeds to S106. That is, the type and degree (depth) of effects such as gender control, vibrato, tremolo, addition of a delay signal (delay), and reverberation (reverb) are set for the processing channel of the part selected in S104. In S106,
A setting method is selected, and the process proceeds to S107. That is, in S106, it is selected and set whether the effect is always added to the processing channel of the part selected in S104, or whether the effect is added when a predetermined condition is satisfied based on the situation. As an example of the latter, a preset effect giving start time [utim
e) may be given an effect at the timing of
Specifically, there is a “delay effect” such as delay vibrato.

In the latter case, an effect change table indicating the presence or absence of the effect of changing over time or the degree of the effect of changing over time is provided as a look-up table, and this table can be selected and / or the above-described effect can be selected. The calculation is performed by inputting values of parameters such as the giving start time [utime]. When these selections and inputs are performed by the operator, the display is switched to an input screen.
In S107, it is determined by the operation of the operation element whether or not the setting is to be ended. If the setting is to be ended, the process returns. If not, the process returns to S104. A plurality of types of effects can be set for one part. In this case, after returning to the process, the same part may be selected again to set another effect.

In S108, it is determined whether the mode is the pitch determination mode. When the mode is the pitch determination mode, the process proceeds to S109, and when the mode is not the pitch determination mode, the process proceeds to other processes of S110. This step
This is set when the pitch-to-note described with reference to FIGS. 1 and 4 is executed. In S109, a first processing mode in which the pitch of the input voice is rounded and a note value representing the pitch of the tone signal is selected, or a second processing mode in which the pitch of the input voice is directly used as the pitch of the tone signal is selected. Note that, as a function of the effect imparting unit 2 for the input voice itself, a lead sound can be generated by correcting the pitch of the input voice and converting the pitch to the pitch corresponding to the musical note name. Step S109 can be changed so that the settings for the above-described functions can be performed.

FIG. 12 is a flowchart of the "performance" step S53 of FIG. FIG. 13 is a flow chart showing S122 of FIG.
"Generate voice and tone signals corresponding to key-on events"
It is a flowchart of a step. In S121 of FIG. 12, it is determined whether or not a key-on event has occurred. If there is a key-on event, the process proceeds to S122, and if there is no key-on event, the process proceeds to S128. Note that occurrence of note-on in pitch-to-note is processed as a key-on event, and occurrence of note-off is processed as a key-off event. S1
At 22, a voice and tone signal corresponding to the key-on event is generated. The processing in S122 will be described first with reference to FIG.

In S141 of FIG. 13, it is determined whether or not the harmony mode is set. If the harmony mode is set, the process proceeds to S142; otherwise, the process proceeds to S143. In S142, a harmony sound is generated, and the process proceeds to S143. The processing of S142 is the same as that of FIG.
4 will be described later. In S143, the pitch
It is determined whether or not there is a to-note setting. If there is such a setting, the process proceeds to S144.
The process proceeds to 45. In S144, a tone signal is generated with a pitch according to the pitch detected from the input voice and the set timbre, and the process proceeds to S145. S145
In, it is determined whether or not there is a setting of the normal performance mode. If there is such a setting, the process proceeds to S146; otherwise, the process returns. In S146, a tone signal is generated with the set tone color based on the note number of the processing key-on, and the routine returns.

Returning to FIG. 12, the processing in the "performance" step will be described again. In S123, it is determined whether or not there is an effect setting.
The process proceeds to S124, and if not, the process proceeds to S127. Note that the effects referred to here are S103 to S103 in FIG.
This is the effect set in S107. In S124, it is determined whether or not the “delay effect” is set. If the setting is made, the process proceeds to S126. If not, the process proceeds to S125. In S126, it is determined whether or not the performance mode in the pitch-to-note and normal musical performance modes is a performance mode in which portamento control is performed or a legato playing mode in which portamento control is performed. If so, the process proceeds to S125; otherwise, the process proceeds to S127.

That is, when the "delay effect" is set, the effect is not immediately applied to the generated voice or tone signal depending on the key-on event (note-on), but in a performance mode in which portamento or legato control is performed, The effect given to the tone corresponding to the first note is continued. In S127, the generated voice and tone signal are output to the processing channel, and the process proceeds to S130.

On the other hand, in S128, it is determined whether or not there is a key-off event. If so, the process proceeds to S129; otherwise, the process proceeds to S130. S1
In S29, the generation of the voice and tone signals corresponding to the key-off event is stopped, and the process proceeds to S130. S1
In step 30, it is determined whether or not there is a processing channel (n) that is outputting a voice or a musical tone.
If not, the process returns. Although not shown in this figure, in steps S131 to S136, the audio and video signals excluding the processing channel of the lead sound part are excluded.
The processing steps are executed for all the processing channels in the tone signal. In S131, the “delay effect”
It is determined whether or not there is a setting, and if there is a setting, S1
The process proceeds to step S32, and if not, the process returns.

In S132, the time [time (n)] is added by +1 for each channel (n), and the process proceeds to S133. In S133, the time [time]
(N)] determines whether or not the effect giving start time [utime] set in S106 of FIG. 11 has been reached,
If not reached, the process proceeds to S134, and if reached, returns. In S134, the time [time (n)] until the effect is applied is initialized to 0 again, and the process proceeds to S135. In step S135, a "delay effect" is added to the voice or tone signal, and in step S136, the voice or tone signal to which the "delay effect" is added is output to the corresponding processing channel (n).

FIG. 14 is a flowchart of the step S142 "Generate Harmony Sound" in FIG. S161
In, it is determined whether or not there is a setting of the vocoder harmony mode. If this setting is present, the process proceeds to S162. If not, the process proceeds to S163.
In, it is determined whether or not there is a setting for the chordal harmony. If the setting is present, the process proceeds to S164. If not, the process proceeds to S165. In S165, whether the detune harmony is set. It is determined whether or not this setting is made.
If not, the process proceeds to S167. In S167, it is determined whether or not there is a setting of chromatic harmony, and if there is this setting, the process proceeds to S168,
If not, the process proceeds to S169. The processing in each harmony mode is as described with reference to FIGS.

In S169, it is determined whether or not an effect corresponding to the pitch difference has been set. If the setting has been made, the process proceeds to S170; otherwise, the process returns. S
At 170, the value obtained by subtracting the vocal pitch from the key-on note pitch is used as the pitch difference. At S172, the parameters of the effect are set from the selected lookup table according to the pitch difference, and the routine returns.

FIG. 15 shows "interrupt processing for pitch detection".
It is a flowchart of FIG. Activated by timer interrupt. In S181, the pitch of the input voice is detected, and the process proceeds to S182. In S182, it is determined whether or not there is a pitch-to-note setting. If the setting is present, the process proceeds to S183; otherwise, the process returns. In S183, it is determined whether or not the processing mode is the first processing mode described with reference to FIG. 4A, and if the processing mode is the first processing mode, the process proceeds to S184, and FIG. In the case of the second processing mode described above, the process proceeds to S186.

In S184, it is determined whether or not the difference between the currently detected pitch and the previously determined pitch corresponding to the note number determined by the previously detected pitch exceeds ± 100 cents (semitone). Is S185
If not, the process proceeds to S187. The process also proceeds to S185 when a pitch is detected for the first time. In step S185, the pitch closest to the current detected pitch is selected from the pitches in semitone units corresponding to the plurality of pitch names of the music using the conversion table (look-up table), and the note number of this pitch name is determined. I do. The note number corresponding to this pitch name becomes the previously determined pitch in the next interrupt processing.

On the other hand, in S186, processing for setting the detected pitch itself to the pitch of a musical tone is performed, and in S1
The process proceeds to 87. Specifically, as described above with reference to FIG. 4B, the pitch bend process and the portamento control are performed in combination. In S187, the note number detected in S185, or
The pitch of the musical tone is designated by the pitch bend data designated in S186 and the note number of the central pitch, and the routine returns.

FIG. 16 is a flowchart of the "interrupt processing relating to voice and musical sound output and pan effect". Activated by timer interrupt. In S191, the number (rdn) of processing channels for which random pan is set in the currently sounding channel is determined. In this interruption processing, the processing channel of the lead sound part is also included. In the next S192, it is determined whether or not rdn = 0, and if it is 0, the process proceeds to S202. If it is not 0, the process proceeds to S193 and the time [t
In step S194, it is determined whether or not the time [time] has exceeded the designated length [int] of the random pan. If the time has exceeded the time, the process proceeds to step S195. If not, the process proceeds to step S202. Advance. S1
At 95, the time [time] is reset.

The following steps S196 to S202 are processing steps as a specific example of the random pan described with reference to FIG. In S196, the localization positions of voices and musical sounds are randomly determined in all the divided areas. In the next step S197, a numerical value is set to a pan parameter according to the determined random position in the sounding channel to which the first random pan is set. In the next step S198, it is searched whether or not there is another processing channel for which random pan has been set.
The process proceeds to step S202 if not. In S202, a localization position is determined at a predetermined position such as the center of a processing channel for which random pan has not been set.

In S199, the not-yet-selected sub-area is determined at random, and the localization position is randomly determined in the sub-area determined in S200. In the next step S201, a numerical value of a pan parameter is set in the processing channel in which the random pan is searched first in step S198 according to the position determined in step S200.
The process returns to S198. In S202, each processing channel controls the output of the sound and the tone signal to which the pan state is given, and returns.

In the above description, the harmony sound and the musical sound are generated based on the user's voice input from the microphone 1. However, the underlying voice or musical sound
The sound is not limited to human voices and musical sounds, and may be any type of sound as long as the pitch can be detected, such as an animal voice.
Further, the tone signal which gives the pan effect may be a tone signal which cannot be detected in pitch, such as a noise signal. Sounds for which pitch cannot be detected are also commonly used as electronic musical instrument timbres.

According to the present invention, although it is suitable for inputting a singing voice in real time, it is also possible to reproduce a voice in which a user's voice is recorded in advance and to process the voice. As the pitch specifying means for controlling the pitch of the harmony sound, the pitch of the harmony sound can be specified by MIDI data in the music data file instead of using the keyboard 5.

In the above description, the sound of the user, which is not converted in pitch, is mixed as a lead sound signal with the harmony sound signal and emitted from the speakers 15 and 16. However, even a device that emits only a harmony sound signal can perform. Also, the user's voice itself can be emitted from another audio amplifier.

[0095]

According to the present invention, as is apparent from the above description, the pitch of the generated musical tone is identified as the pitch of the musical note name in the pitch of the input voice signal or the input musical tone signal, and the pitch of the musical tone is stepped. The user can arbitrarily select a performance in which the height changes and a performance in which the pitch of the generated musical tone changes smoothly without any step in the pitch following the pitch of the input voice signal or the input musical tone signal. effective. As a result, the way of changing the pitch of the tone signal can be switched in real time while singing. Even after the singing voice is not taken into the recording / reproducing device, the user can change his own voice and try singing again until the desired tone signal pitch is obtained.

Further, by controlling the intensity of the tone signal based on the intensity of the input voice signal or the input tone signal, there is an effect that a powerful performance with change can be performed. As a result, the emotion when the user is singing can be reflected by the intensity of the tone signal.

[Brief description of the drawings]

FIG. 1 is a functional block diagram of an embodiment of an audio signal or tone signal processing device according to the present invention.

FIG. 2 is an explanatory diagram of a specific example of the vocal harmony mode.

FIG. 3 is an explanatory diagram of a control mode of an effect imparting unit by a pitch control unit.

FIG. 4 is an explanatory diagram of pitch-to-note.

FIG. 5 is an explanatory diagram of a case where a delay effect is added to continuously generated tone signals.

FIG. 6 is an external view of one embodiment of the audio signal or musical sound signal processing device of the present invention.

FIG. 7 is a diagram showing a hardware configuration of an embodiment of an audio signal or tone signal processing apparatus according to the present invention.

FIG. 8 is a main flowchart of processing steps and a flowchart of interrupt processing for explaining the operation of the embodiment of the audio signal or tone signal processing apparatus of the present invention.

FIG. 9 is a flowchart relating to “operation panel setting”.

FIG. 10 is a flowchart of step S62 “set harmony” in FIG. 9;

FIG. 11 S71 “Other designated processing” in FIG. 9;
It is a flowchart of a step.

FIG. 12 is a flowchart of a “play” step of S53 of FIG. 8;

FIG. 13 is a flowchart of step S122 “generate voice and tone signals corresponding to key-on events” in FIG. 12;

FIG. 14: S142 “Generation of harmony sound” in FIG. 13
It is a flowchart of a step.

FIG. 15 is a flowchart of “pitch detection interrupt processing”.

FIG. 16 is a flowchart of “interrupt processing related to voice and musical sound output and pan effect”.

[Explanation of symbols]

1 microphone, 2 effect imparting unit, 3a, 3b, 7
a, 7b, 9 pitch converter, 4 pitch detector, 5
Keyboard, 6 pitch control unit, 8 sound sources, 10 signal output control unit, 11 operation panel, 12 function control unit, 13 pan control unit, 14 amplifier, 15, 16 speaker

Continuation of the front page (56) References JP-A-63-129400 (JP, A) JP-A-6-161481 (JP, A) JP-A-4-242290 (JP, A) JP-A-6-1022893 (JP JP-A-11-95780 (JP, A) JP-A-61-101800 (JP, U) JP-B4-51838 (JP, B2) (58) Fields investigated (Int. Cl. ⁷ , DB) Name) G10H 1/00 G10K 15/04 G10L 11/04 G10L 15/00

Claims (5)

(57) [Claims] A pitch detection unit for detecting a pitch of a signal which is an audio signal or a first tone signal; a tone signal generation unit for generating a second tone signal; A first processing mode in which a pitch is identified as a pitch name, and a pitch of the second tone signal generated by the tone signal generating means is controlled to be the pitch of the identified pitch name; and the pitch detection Pitch control means having a second processing mode for controlling the pitch of the second tone signal generated by the tone signal generation means so as to change following the pitch of the signal based on the output of the means; and An apparatus for processing an audio signal or a musical tone signal, comprising a switching means for switching between the first and second processing modes. 2. The audio signal or tone signal according to claim 1, wherein the switching means is capable of switching between the first and second processing modes while the pitch control means is operating. Processing equipment. Wherein intensity detecting means for detecting the intensity of the previous SL signals, you and the intensity control for controlling the intensity of said second tone signal is the tone signal generation means for generating on the basis of an output of the intensity detecting means 2. The apparatus for processing an audio signal or a musical tone signal according to claim 1, further comprising means. 4. A computer, comprising: a pitch detection function for detecting a pitch of an audio signal or a signal that is a first tone signal; a tone signal generation function for generating a second tone signal; and an output based on the output of the pitch detection function. A first processing mode in which the pitch of the signal is identified as a pitch, and the pitch of the second tone signal generated by the tone signal generation function is controlled to be the pitch of the identified pitch; and A pitch control function having a second processing mode for controlling the pitch of the second tone signal generated by the tone signal generation function so as to change following the pitch of the signal based on the output of the pitch detection function; And a program for realizing a processing function of an audio signal or a tone signal, which has a switching function of switching between the first and second processing modes. Recording a computer-readable recording medium. 5. A computer intensity detection function for detecting the intensity of the previous SL signals, you and the second tone signal the tone signal generation function <br/> is generated based on the output of the intensity detection function 5. A computer-readable recording medium storing a program for realizing a function of processing an audio signal or a tone signal according to claim 4, further comprising an intensity control function for controlling the intensity of the sound signal.