JP3346143B2 - Music control device - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to musical tones at the time of performance in response to the operation of an operator such as a foot pedal used in combination with a musical instrument such as a guitar which can walk and move while playing. The present invention relates to a musical tone control device for controlling a tone.

[0002]

2. Description of the Related Art Conventionally, there is a sustain function as a function that does not silence a tone being generated. This is to hold the sustain segment of the envelope by depressing the sustain pedal. Even if there is a mute operation, the sound is retained while the sustain pedal is depressed, and when the sustain pedal is released. This is to mute the tone that is being held. The Sustain function retains the sound that was instructed after the sustain pedal was depressed when it enters the sustain segment, so while the sustain pedal is depressed, including the newly played sound The pronunciation of all musical tones was retained. As described above, the sustain function cannot meet the demands of the player who wants to keep only the sound being produced at the moment of stepping on the sound. In contrast, piano pedals
Some pedals support the sostenuto function. The sostenuto function retains the sound of the currently sounding sound when the pedal is depressed. Even if there is a new sounding instruction while the sostenuto pedal is depressed, the sound is sounded as usual. Was performed, and the mute was performed as usual in response to the mute instruction.

[0003]

However, musical instruments such as guitars are often not always located at a place where a pedal can be operated, because a player moves on a stage during a performance. Therefore, a so-called sostenuto pedal that needs to be continuously pressed is a foot pedal that is used in combination with a performance instrument such as a guitar that can walk and move while playing to prevent the player from moving. Was not preferred. Further, there is a type in which a guitar is provided with a split point in order to change the timbre, and the timbre is variously changed during performance in accordance with the split point. There are a fret split method and a string split method as split methods for guitars. In the fret split system, different tones are set for each region with a nut side as a first region and a bridge side as a second region with respect to a reference fret at a predetermined fret position. The string split method changes the timbre based on a predetermined string, and includes a lower string including the reference string as a second area and a higher string than the reference string as a first area. Different tone colors are set for each. Therefore, the timbre can be easily changed only by playing the sound in the first area or the second area set by such a split method. However, when the timbres are to be exchanged between the respective areas, conventionally, the timbre setting change operation has to be performed one by one, and there has been a problem that it takes time and effort.

SUMMARY OF THE INVENTION The present invention has been made in view of the above points, and has been made in view of the above points, and is provided with a control device such as a foot pedal used in combination with a musical instrument such as a guitar which a player can walk and move while playing. It is a first object of the present invention to provide a tone control device which can easily realize a sostenuto function. A second object of the present invention is to provide a musical tone control device capable of easily exchanging tone colors respectively set in the respective regions divided by the split method only by operating the operation element.

[0005]

According to a first aspect of the present invention, there is provided a musical tone control device comprising: a musical tone generation instruction unit for instructing the generation of a musical tone; a hold instruction unit for instructing a hold of a musical tone being produced; Control means for muting the tone being sounded in the hold state up to that time, and instructing the tone being sounded in the non-hold state as a tone to be newly controlled in the hold state in response to the hold instruction from Things. The musical sound generation instructing means outputs data relating to note on / off, velocity and pitch based on an electric signal corresponding to the vibration of a string detected by a pickup or the like provided independently for each string of the electric guitar, and generates a musical sound. And mute. Accordingly, the sound source emits or silences a musical tone in accordance with the tone generation instruction and the mute instruction from the musical tone generation instruction means. The hold instructing means instructs to keep the tone of the tone currently being emitted in response to the operation of the player. However, since some of the tones being produced by the sound source are produced in the hold state and others are produced in the non-hold state, the control means issues a hold instruction from the hold instruction means. When receiving the tone, it instructs to mute the tone being sounded in the hold state at that time, and to newly sound the tone being sounded in the non-hold state. As a result, the currently sounding sound (excluding the sound in the hold state) is newly held and sounded according to the operation of the hold instruction means,
Even if there is a new sounding instruction after that, there is an effect that musical sound control such as a sostenuto function can be performed, in which sound is normally sounded or muted.

A musical sound control device according to a second aspect of the present invention provides a musical performance control for outputting musical information according to an operation location, and a split point for dividing the operation location of the performance operation control into a plurality of areas. A split setting means for setting the position at an arbitrary position of the operator, assigning a characteristic relating to a musical tone to each area divided by the split point, and instructing the characteristic, the musical tone information and the split setting from the performance operator; Means for generating a tone based on the characteristics of the tone from the means, hold instructing means for instructing hold of the tone being produced, and hold until the hold instruction from the hold instructing means. As a tone to mute the tone that is sounding in the state and to control the tone that is sounding in the non-hold state anew in the hold state , Control means for giving an instruction while maintaining the split point set by the split point setting means. The second invention is
The split setting means is newly added to the first invention. When the performance operator is an electric guitar or the like, the split setting means sets the split point by a fret split method of setting a split point at a fret position or a string split method of setting a split point at a string number. Tones divided by the split points are assigned, for example, different timbres for each region as characteristics relating to musical sounds. Even when the split point is set by the split setting means, the control means emits sound in the hold state and the non-hold state while maintaining the split point. Thus, even when the split point is set, it is possible to perform tone control such as the sostenuto function while maintaining the split point.

[0007]

[0008]

An embodiment of the present invention will be described below with reference to the accompanying drawings. FIG. 1 is a diagram showing an example of a tone control device which converts a tone signal from an electric guitar into MIDI data and generates a tone based on the tone data. In the figure, an electric guitar 1 has a pickup for detecting the sound of each string, converts the vibration of each string into an electric signal by the electromagnetic action of the pickup, and converts the electric signal as a tone signal to a pitch detection unit 2. And output to the envelope detector 3. The pitch detector 2 receives a tone signal from the electric guitar 1, detects a pitch based on the tone signal, and outputs a note number having a pitch closest to the pitch to the controller 4. The pitch detection unit 2 includes an autocorrelation method, a zero-crossing method, a fast Fourier transform method, and a linear predictive analysis method (Linear Predictive Codin).
g: LPC), line spectrum pair analysis (Line Sp)
electron Pair: LSP), composite sinusoidal model analysis method (Composite Sinsonoidal)
The pitch is detected by using a well-known technique in the field of sound / voice analysis such as model (CSM).

The envelope detector 3 compares the threshold level signal Th with the amplitude value of the tone signal from the electric guitar 1 and, when the amplitude value of the tone signal reaches the threshold level signal Th, controls the note-on signal KON. And detects the maximum value of the envelope waveform of the tone signal, and outputs it to the control unit 4 as velocity data. The pitch detector 2 and the envelope detector 3 are provided independently for the six strings of the electric guitar 1. An operator 5 is an increment / decrement switch for setting a split point,
It has various switches such as a tone color selection switch for designating a tone color, that is, a program number (panel memory number), and a setting change switch for changing the settings of the panel memory. This tone control device has 128 panel memories as shown in FIG. The panel memory includes a program number (tone) area, a split point area, a second memory number area, a first memory location area,
It is composed of a memory location area, a first hold memory number area, a second hold memory number area, and the like. The contents of the data stored in each area will be described in accordance with an operation example described later, and a description thereof will be omitted. The hold pedal 6 is a foot pedal for realizing a hold function in playing a guitar. Here, the hold function is a sostenuto function of the piano that processes only the currently sounding sound when the hold pedal is operated and keeps on sounding, and if there is a new sounding instruction after that, it processes it according to the normal sounding instruction and mute instruction. It is similar. In this embodiment, both the case where the sound being generated is maintained as it is when the hold pedal is operated and the case where the sound is reproduced again are called a hold function. The control unit 4 performs MIDI based on the note number detected by the pitch detection unit 2, the note-on signal and velocity data from the envelope detection unit 3, a switch event from the control unit 5, a pedal event from the hold pedal 6, and the like. Data is created, and the created MIDI data is edited in various ways and output to the sound source 7.

The tone generator 7 receives the MIDI data from the control unit 4 and generates a tone signal whose pitch and volume are controlled in accordance with the MIDI data. The tone signal generation method in the tone generator circuit 7 may be of any type. For example, a memory reading method for sequentially reading out musical tone waveform sample value data stored in a waveform memory according to address data that changes in accordance with the pitch of a musical tone to be generated, or a method in which the address data is used as phase angle parameter data at a predetermined frequency F for obtaining tone waveform sample value data by executing modulation operation
A known method such as the M method or the AM method of performing predetermined amplitude modulation operation using the address data as phase angle parameter data to obtain musical tone waveform sample value data may be appropriately employed. The tone signal generated by the sound source 7 is output from a speaker via an amplifier (not shown).

Next, an operation example of the control unit 4 (control unit operation 1)
Will be described based on the flowchart of FIG. Hereinafter, the processing of the control unit operation 1 will be described in the order of steps. Step 21: It is determined whether there is a program change, that is, whether the tone selection switch of the operation element 5 has been operated. If there is a program change (YES), the process proceeds to the next step 22, and if there is no program change (NO), the process proceeds to step 22. Jump to 23. Step 22: The program number specified in step 21 is transmitted as a program change to the MIDI channels ch1 to ch7. As a result, the MIDI channels ch1 to ch7 are all produced with the same tone. Step 23: It is determined whether or not note-on is detected by the envelope detector 3, and note-on is present (YES)
If so, the process proceeds to the next step 24, and if not, the process jumps to step 25. Step 24: M corresponding to the note-on detected string
The note-on signal KON is sent to the sound source 7 on the IDI channel. That is, when the note-on detected string is the first string, the MIDI channel ch1 is used.
DI channel ch2, MIDI string ch3 for the third string, MIDI channel c for the fourth string
h4, for the fifth string, MIDI channel ch5,
In the case of the sixth string, a note-on signal KON is sent on the MIDI channel ch6.

Step 25: It is determined whether or not note-off is detected by the envelope detector 3. If note-off is present (YES), the process proceeds to the next step 26; otherwise, the process jumps to step 27. Step 26: M corresponding to the note-off detected string
The note-off signal KOF is sent to the sound source 7 on the IDI channel. As a result, the sound being produced is changed to the note-off signal KOF
The sound is muted according to. Step 27: It is determined whether there is a hold pedal ON event, that is, whether the hold pedal 6 has been operated. If there is an event (YES), the process proceeds to the next step 28, otherwise returns to the step 21. In this embodiment, each time the hold pedal 6 is operated, the sound being emitted in the non-hold state is emitted in the hold state, and the sound being emitted in the hold state is muted. Therefore, the processing is performed in steps 28 and 29. Step 28: All currently sounding sounds on the MIDI channel ch7, that is, sounds that are sounding in the hold state, are muted. Step 29: Reproduce the currently sounding sound in the MIDI channels ch1 to ch6, that is, the sound currently sounding in the non-hold state, on the MIDI channel ch7. That is, when the hold pedal 6 is operated, the MI
The sound being generated on the DI channels ch1 to ch6 (the sound being generated in the non-halt state) is reproduced again in the same manner as the string is operated again on the channel ch7, and thereafter the hold pedal 6 is operated again. Until the sound is muted.
Note that the sound being generated on the MIDI channels ch1 to ch6 is muted in response to the input of the key-off signal KOF from the envelope detector 3. After re-sounding, the sustain (or release) level is maintained.

The operation 1 of the control unit shown in FIG. 2 has been described in connection with the case where when the hold pedal 6 is operated, the sound being produced in the non-hold state is reproduced again in the same manner as when the string is operated again. An operation example in which the sound is not reproduced again will be described. FIG. 3 is a flowchart illustrating an operation example (control unit operation 2) of the control unit 4 when sound is not reproduced. Hereinafter, the processing of the control unit operation 2 will be described in the order of steps. Step 31: Whether the panel memory number has been changed,
That is, it is determined whether or not the tone selection switch of the operation element 5 has been operated. If the operation has been performed, the process proceeds to the next step 32, and if not (NO), the process jumps to step 33. Here, a case where a program change is performed by changing the number of the panel memory will be described. That is, since the tone control device has 128 panel memories as described above, when any one of them is selected, a program change is performed based on the program number of the selected panel memory. . Step 32: The program number of the panel memory changed in step 31 is set as a program change
It transmits to DI channels ch1 to ch12. As a result, all the MIDI channels ch1 to ch12 are sounded with the same tone. Step 33: It is determined whether or not note-on is detected by the envelope detector 3, and note-on is present (YES)
If so, the process proceeds to the next step 34, and if not, the process jumps to step 37. Step 34: It is determined whether or not the hold flag Hold-Flag is “0”. If “0” (YES), the process proceeds to step 35, and if “1” (NO), the process proceeds to step 3.
Proceed to 6. Hold flag Hold-Flag is MID
I channel ch1 to ch6 or MIDI channel c
This indicates which of the groups h7 to ch12 is in the hold state and is sounding.
When the I channels ch7 to ch12 are “1”, the MI
This indicates that the DI channels ch1 to ch6 are sounding in the hold state.

Step 35: Hold flag Hold-
Flag of "0" means MIDI channel c
Since the hold state is sounded at h7 to ch12, the note-on signal KON is output to the sound source 7 at the MIDI channels ch1 to ch6 corresponding to the string at which the note-on is detected.
Send to Step 36: The fact that the hold flag Hold-Flag is "1" means that the MIDI channels ch1 to ch
Since the sound is generated in the hold state at 6, the note-on signal KON is sent to the sound source 7 on the MIDI channels ch7 to ch12 corresponding to the string number of the string at which the note-on is detected, plus 6. That is, when the note-on detected string is the first string, the MIDI channel ch7
In the case of the second string, MIDI channel ch8 and the third string
MIDI string ch9 for the string, MIDI channel ch10 for the fourth string, and MIDI channel ch10 for the fifth string
The note-on signal KON is sent on the DI channel ch11 and the MIDI channel ch12 for the sixth string in the case of the sixth string.

Step 37: It is determined whether or not note-off is detected by the envelope detector 3. If note-off is present (YES), the process proceeds to the next step 38; otherwise, the process jumps to step 3B. Step 38: It is determined whether or not the hold flag Hold-Flag is “0”. If “0” (YES), the process proceeds to step 39; if “1” (NO), the process proceeds to step 3
Go to A. Step 39: The fact that the hold flag Hold-Flag is "0" means that the MIDI channels ch7 to ch
Since the sound in the hold state is generated at the MIDI channel ch1, the MIDI channel ch1 corresponding to the string for which the note-off is detected.
The note-off signal KOF is sent to the sound source 7 through ch6. Step 3A: The fact that the hold flag Hold-Flag is “1” means that the MIDI channels ch1 to ch
6, the note is sounded in the hold state, so that MIDI channels ch7 to ch7 to
The channel 12 sends a note-off signal KOF to the sound source 7.

Step 3B: It is determined whether or not there is a hold pedal on event, that is, whether or not the hold pedal 6 has been operated. If there is an event (YES), the process proceeds to the next step 3C;
Return to 1. Step 3C: It is determined whether or not the hold flag Hold-Flag is “0”. If “0” (YES), the process proceeds to step 3D. If “1” (NO), the process proceeds to step 3D.
Go to E. Step 3D: The fact that the hold flag Hold-Flag is “0” means that the MIDI channels ch7 to ch
12 means that sound is being held in the hold state, so that instructions are given to mute the sound being sounded on the MIDI channels ch7 to ch12. Step 3E: The fact that the hold flag Hold-Flag is “1” means that the MIDI channels ch1 to ch
6, since the sound in the hold state is being performed, an instruction is made to mute the sound being generated on the MIDI channels ch1 to ch6. Step 3F: Invert the hold flag Hold-Flag, and swap the MIDI channel groups that are generating sound in the hold state.

In the above-described embodiment, the case where a guitar or the like is played normally has been described. However, as shown in FIG. 5, a split point for changing the tone color is provided on the guitar, and the tone color of the musical tone at the time of performance is variously changed accordingly. The case of changing will be described. In the case of a guitar, a split point setting method includes a fret split method and a string split method. The fret split method changes the timbre based on a predetermined fret position. That is, FIG.
As shown in (B), the fret group from the fret where the fret split FS is set to the nut side is the first area, and the program number (tone) of the panel memory is assigned to the first area. Conversely, the fret group from the fret where the fret split FS is set to the bridge side becomes a second area, to which a program number (tone) designated by the second memory number of the panel memory is assigned. That is, the data corresponding to the fret position is stored in the split point area of the panel memory, and the program number (that is, another panel memory) that specifies the tone of the second area divided by the split point is stored in the second memory number area. (Program number) is stored. In this way, different timbres (program numbers) are assigned to the first and second areas, respectively.
In the case of the string split method, the tone is changed based on a predetermined string as shown in FIG. 5D. Therefore, similar to the fret split method, the string split SS is set as a split point in the panel memory of FIG. (String number) is stored. The lower string including the string corresponding to the string split SS is the second area, and the higher area than the string corresponding to the string split SS is the first area. By setting in this way, it is possible to handle the same as in the case of the fret split described above.

An example of the operation of the control unit 4 (control unit operation 3) when the above-described split point is set will be described with reference to the flowchart of FIG. Step 61: Whether the panel memory number has been changed,
That is, it is determined whether or not the tone color selection switch of the operating element 5 has been operated. If the operation has been performed, the process proceeds to the next step 62, and if not (NO), the process jumps to step 63. Step 62: The program number of the panel memory changed in step 61 is set as a program change
MIDI channels ch7 to ch12 are assigned to the DI channels ch1 to ch6 by using a program number designated by the second memory number of the panel memory as a program change.
In the MIDI channel ch, the program number specified by the first hold memory number is used as a program change.
13, the program number specified by the second hold memory number is transmitted as a program change to the MIDI channel ch14. The first hold number of the panel memory stores a program number (tone) for generating a MIDI channel ch1 to ch6, that is, a tone corresponding to the first area in a hold state, and the second hold number stores a MIDI channel. The program numbers (tone colors) when the musical tones corresponding to ch7 to ch12, that is, the second area are generated in the hold state are stored. Therefore, if the program number in the panel memory is the same as the first hold memory number and the second memory number and the second hold memory number in the panel memory are the same, the tone color of the musical tone in the hold state and the non-hold state And the tone of the musical tone at the same time.

Step 63: It is determined whether or not note-on is detected by the envelope detector 3. If note-on exists (YES), the process proceeds to the next step 64, and if not, the process jumps to step 65. Step 64: MIDI channel ch1 to ch6 or ch7 corresponding to the note-on detected string and its area
The note-on signal KON is transmitted to the sound source 7 through ch12. In other words, when the note-on detected string is in the first area, the MIDI channels ch1 to ch6 are set according to the string.
In the case of the second area, MIDI channels ch7 to c
A note-on signal KON is sent to h12. Step 65: It is determined whether or not note-off is detected by the envelope detection unit 3, and note-off is present (YES)
If so, go to the next step 66; otherwise, jump to step 67. Step 66: MIDI channel ch1 to ch6 or ch7 corresponding to the note-off detected string and its area
A note-off signal KOF is sent to the sound source 7 through ch12.

Step 67: It is determined whether or not there is a hold pedal on event, that is, whether or not the hold pedal 6 has been operated. If there is an event (YES), the flow proceeds to the next step 68;
Return to 1. Step 68: MIDI channel ch13 and MID
An instruction is issued to mute all sounds being sounded on the I channel ch14. Step 69: Reproduce the currently sounding sound among the MIDI channels ch1 to ch6 on the MIDI channel ch13. Step 6A: Reproduce the currently sounding sound among MIDI channels ch7 to ch12 on MIDI channel ch14. That is, when the hold pedal 6 is operated, the sound being generated on the MIDI channels ch1 to ch6 is channel ch13 and the MIDI channel c is output.
The sound being produced on h7-ch12 is on channel ch14.
The sound is reproduced again in the same manner as when the string is operated again, and thereafter the sound is not muted until the hold pedal 6 is operated again. The MIDI channels ch1 to ch12
Thus, the sound being generated is appropriately muted in response to the input of the key-off signal KOF from the envelope detector 3. In the embodiment of FIG. 6, the case of the fret split type shown in FIG. 5 has been described, but it goes without saying that the present invention can be similarly applied to the case of a string split. Further, International Application No. PCT / EP94 / 03917 (WO95 /
16984), it is also possible to adopt a split by a picking position. That is, since this international application discloses a technique capable of detecting the picking position of a guitar, a split point is set at a predetermined position using this technique, and the picking position is set closer to the nut than the split point. Alternatively, the timbre may be changed depending on whether it is on the bridge side. Further, when there are three types of split schemes as described above, the split point value is set to “1 to 24” as the fret split, and “31 to 3”.
By setting "6" as a string split and "41-48" as a picking split, the split system can be easily recognized.

FIG. 7 is a flowchart showing an example of a panel setting process corresponding to the operation of the operation element 5. Here, a case where the setting of the panel memory is changed by the setting change switch of the operation element 5 will be described in detail, and other processing will be omitted. Step 71: It is determined whether or not the number of the panel memory has been changed by operating the setting change switch of the operation element 5. If there is a change (YES), the process proceeds to the next step 72, and if there is no change (NO), the process proceeds to the step 72. Jump to 73. Step 72: Read the contents of the panel memory corresponding to the changed panel memory number. Step 73: It is determined whether or not there is an instruction to change the location by the setting change switch of the operation element 5,
When there is a change instruction (YES), the process proceeds to the next step 74, and when there is no change instruction (NO), the process jumps to step 76. Step 74: Since it is determined in step 73 that there is a location change instruction, the contents of the first memory location and the contents of the second memory location are exchanged. Step 75: Transmit the program number of the panel memory as a program change to the MIDI channel belonging to the area specified by the first memory location in order to change the respective timbres according to the exchange of the first memory location and the second memory location. At the same time, the second memory number (program number) of the panel memory is transmitted as a program change to the MIDI channel belonging to the area specified by the second memory location. The timbre of the first area and the timbre of the second area are switched by the processing of steps 74 and 75 described above. That is, as shown in FIG.
When the area and the second area are set, the timbre between the areas is switched, as if the first area and the second area were switched as shown in FIG. 5C.

Step 76: It is determined whether or not the split point of the panel memory has been changed by operating the setting change switch of the operating element 5. If the split point has been changed (YES), the flow advances to the next step 76, where the change has not been made ( N
O) In case of, jump to step 79. Step 77: Since it is determined in step 76 that the value of the split point has been changed (YES), here, the areas belonging to the first memory location and the second memory location, respectively, according to the changed value of the split point To change. Step 78: Since the split method may be changed by changing the value of the split point, the tone color of each area is also changed in such a case. MID belonging to the area specified by the first memory location with the program number of the panel memory as a program change
While transmitting to the I channel, the second memory number (program number) of the panel memory is set as a program change and belongs to the area specified by the second memory location.
Transmit to the IDI channel. Step 79: It is determined whether or not the second memory number (program number) in the panel memory is changed by operating the setting change switch of the operation element 5, and the changed (YE)
In the case of S), the process proceeds to the next step 7A, and in the case of not being changed (NO), the process jumps to step 7B. Step 7A: Transmit the changed second memory number (program number) as a program change to the MIDI channel belonging to the area specified by the second memory location. Step 7B: Perform a process according to the operation of the other operator 5 and return to step 71.

FIG. 8 is a diagram showing an example of an event process executed by the control unit 4 according to the panel memory changed in the panel setting process of FIG. Step 81: It is determined whether or not note-on is detected by the envelope detector 3, and note-on is present (YES)
If so, the process proceeds to the next step 82; otherwise, the process jumps to step 87. Step 82: It is determined whether the split system is a string split, a fret split, or a picking position split according to the value of the split point in the panel memory, and the process branches to a process according to the result of the determination. That is, if the split method is the string split, the process proceeds to step 83; if the split method is the fret split, the process proceeds to step 84; if the splitting method is the picking position split, the process proceeds to step 85.

Step 83: Since the split system is the string split, the note-on signal KON is sent to the tone generator 7 on the MIDI channel corresponding to the note-on detected string where the key-on was detected. In other words, when the note-on detected string is the first string, the MIDI channel ch1
In the case of the second string, the MIDI channel ch2
MIDI string ch3 for string, MIDI channel ch4 for fourth string, MID for fifth string
The note-on signal KON is sent to the I channel ch5 and to the MIDI channel ch6 in the case of the sixth string. Step 84: Since the split method is the fret split method, the pitch PC of the string where the key is detected is compared with the pitch PS corresponding to the split point of the string, and the played string is in the first and second regions. It determines which one it belongs to, and instructs sounding on the MIDI channel obtained based on it. In other words, when the detected pitch PC of the string is lower than the pitch PS of the split point, it is the first area, and therefore the M corresponding to the played string number is the first area.
If the sound is instructed on the IDI channels 1 to 6, and if the sound is high, the MID corresponding to the played string number is in the second area.
A sound is instructed on I channels 7-12.

Step 85: Since the split method is the picking position split method, the detected picking position PP is compared with the split point position SPP.
It is obtained whether the picking position belongs to the first area or the second area. Step 86: Instruct sounding on a MIDI channel determined by the string number played and the area obtained in step 85. That is, when the picking position PP is on the nut side of the split point position SPP, since the first region, the MIDI channels 1 to 1 corresponding to the played string number are used.
In the case of the bridge side, sounding is instructed on MIDI channels 7 to 12 corresponding to the played string number. Step 87: It is determined whether or not there is another event. If yes (YES), the process proceeds to the next step 88,
If no (NO), return. Step 88: In the same manner as in the note-on processing in steps 81 to 86, a MIDI channel having the event is found, and a MIDI code corresponding to the event is transmitted on the MIDI channel.

Although the above embodiment has been described with reference to an example of a musical tone control device for controlling the sound of an electric guitar, the present invention can be similarly applied to other musical instruments which can be moved by a player simultaneously with the performance. Needless to say.
In the above-described embodiment, a case has been described in which the timbres of the first area and the second area are exchanged by operating the operation element. However, this operation element is constituted by a foot pedal or the like, and the timbre can be freely switched during the performance. May be made. In the above-described embodiment, the case where the timbre is changed by the split point has been described. However, various characteristics relating to musical tones other than the timbre may be changed and controlled at the split point. In the above-described embodiment, an example has been described in which a musical instrument such as a guitar that can be walked and moved while performing by a player is used as an example. However, it is needless to say that the present invention may be applied to a musical instrument that cannot be moved such as a piano. Nor.

[0027]

According to the first aspect of the present invention, the sostenuto function can be easily performed by an operator such as a foot pedal which is used in combination with a musical instrument such as a guitar which a player can walk and move while playing. There is an effect that can be realized. According to the second invention, while maintaining it even if you set the split point, the effect there Ru that can perform tone control such as sostenuto functions.

[Brief description of the drawings]

[Fig. 1] MI sound signal from electric guitar
The figure which shows an example of the tone control apparatus which converts into DI data and produces | generates a tone based on it.

FIG. 2 is a flowchart showing a control unit operation 1 performed by the control unit in FIG. 1;

FIG. 3 is a view showing a flowchart of a control unit operation 2 performed by the control unit in FIG. 1 when sound is not reproduced again.

FIG. 4 is a diagram showing a data configuration example of a panel memory.

FIG. 5 is a view showing the concept of a method of setting a split point for changing a timbre of a guitar.

FIG. 6 is a view showing a flowchart of a control unit operation 3 performed by the control unit in FIG. 1 when a split point is set.

FIG. 7 is a flowchart illustrating an example of a panel setting process corresponding to an operation of an operator.

FIG. 8 is a diagram showing an example of an event process executed by the control unit in FIG. 1 according to the panel memory changed in the panel setting process in FIG. 7;

[Explanation of symbols]

DESCRIPTION OF SYMBOLS 1 ... Electric guitar, 2 ... Pitch detection part, 3 ... Envelope detection part, 4 ... Control part, 5 ... Operator, 6 ... Hold pedal, 7 ... Sound source

──────────────────────────────────────────────────続 き Continued on the front page (58) Field surveyed (Int.Cl. ⁷ , DB name) G10H 1/00 G10H 1/053 G10H 1/18

Claims (2)

(57) [Claims] 1. A musical sound generation instructing means for instructing generation of a musical sound, a hold instructing means for instructing a hold of a musical sound being produced, and a hold state in response to the hold instruction from the hold instructing means. A tone control apparatus comprising: a control unit that silences a tone that is being sounded , and instructs a tone that is being sounded in a non-hold state as a tone to be newly controlled in a hold state. 2. A performance operator for outputting musical tone information corresponding to an operation location, and a split point for dividing the operation location of the performance operator into a plurality of regions is set at an arbitrary position of the performance operator. Split setting means for allocating and instructing a characteristic relating to a musical tone to each area divided by the split point, based on the musical tone information from the performance operator and the characteristic relating to the musical tone from the split setting means. Musical tone generating means for generating musical tones, hold instructing means for instructing hold of musical tones being produced, and, in response to the hold instruction from the hold instructing means, muting the musical tones being produced in the hold state until then. , a musical tone being sounded in the non-hold state as the musical tone to tone generation control with new hold state, the split point setting hand In while maintaining the set split point, the musical tone control apparatus and a control means for instructing.