JP3977524B2 - Effect imparting device - Google Patents

Description

[0001]
BACKGROUND OF THE INVENTION
The present invention relates to an effect imparting device that imparts an effect to a musical sound, and more particularly, to an effect imparting device that can simultaneously impart multiple types of effects to a musical sound.
[0002]
[Prior art]
2. Description of the Related Art Conventionally, an effect imparting device that can simultaneously impart multiple types of effects to a musical sound is known. In the case of an effect applying device capable of simultaneously applying a plurality of types of effects, the user is configured to set for each effect whether or not to apply the effect to the musical sound.
[0003]
Here, in the effect imparting device, a plurality of modes, for example, the degree of application of the effect, etc., can be adjusted even for one effect. Therefore, in such an effect imparting device, a mode for adjusting the mode of each effect is required.
[0004]
[Problems to be solved by the invention]
When an effect applying apparatus as described above is used and an aspect of an effect is adjusted, there is a case where it is desired to confirm the effect by listening to a musical tone to which an effect according to the adjusted aspect is applied.
[0005]
In such a case, if other effects are also given to the musical sound at the same time, a musical sound in which these multiple effects are applied at the same time is generated, and even if it is heard by ear, it is difficult to distinguish only the effect being adjusted, There is a case where it is difficult to determine whether or not the current mode of the effect being adjusted is appropriate. In such a case, even in the conventional effect imparting device, if all the effects other than the effect being adjusted are turned off, it is possible to confirm the degree of the effect being adjusted, etc. There is a problem that it is necessary to turn off all of them one by one, which complicates complicated operations.
[0006]
In view of the above circumstances, the present invention provides an effect imparting device that is easy to operate and that can output a musical tone that is easy to sensiblely determine the degree of effect being adjusted when listening with the ear. The purpose is to do.
[0007]
[Means for Solving the Problems]
The effect imparting device of the present invention that achieves the above object is as follows.
In an effect applying device capable of simultaneously applying a plurality of effects to a musical sound,
Mode switching means for switching to a mode adjustment mode for changing a mode of predetermined adjustment; and
While the mode switching unit is switched to the mode adjustment mode, an effect imparting control unit for prohibiting the application of at least one effect excluding the predetermined effect to the musical sound is provided.
[0008]
Here, the adjustment of the mode of the effect referred to in the present invention does not include switching that the effect is imparted to the musical sound (ON) or not imparted (OFF). A finer adjustment. For example,
As for the chorus effect, it means adjustment of chorus rate (chorus cycle), adjustment of chorus depth (how chorus is applied), adjustment of chorus level (chorus volume), etc.
Regarding the overdrive effect, it refers to adjustment of drive (distortion), level (level of original sound and overdrive), etc.
For the tremolo effect, adjustment of modulation wave (how to change the shaking), adjustment of modulation rate (frequency of shaking), adjustment of modulation depth (depth of shaking), etc.
For the equalizer, low frequency (low frequency reference frequency) adjustment, low gain (low frequency gain) adjustment, high frequency (high frequency reference frequency) adjustment, high gain (high frequency gain) Refers to adjustment. The same applies to other various effects.
[0009]
The effect imparting device of the present invention has a configuration in which at least one effect other than the effect other than the effect is prohibited from being applied to the musical sound while the mode is changed to a mode for adjusting a mode of an effect. Yes, without the user turning off other effects one by one, prohibiting the addition of effects that interfere with the confirmation of the effect during aspect adjustment, and outputting a tone that makes it easy to judge the effect of the effect being adjusted by listening with the ear be able to.
[0010]
Here, in the effect imparting device of the present invention, all the effects other than the predetermined effect on the musical sound while the effect imparting control means is switched to the mode adjustment mode by the mode switching means. It is also a preferred form that prohibits the provision of.
[0011]
By prohibiting the application of all effects other than the effect being adjusted, it is possible to obtain a musical sound with only the effect being adjusted without being disturbed by other effects, and to accurately determine the degree of application of the effect. Can be judged.
[0012]
Further, in the effect applying device of the present invention, the effect applying control unit prohibits the application of the effect determined for the predetermined effect while the mode switching unit is switched to the mode adjustment mode. It is also a preferable form.
[0013]
Only the effects that interfere with the confirmation of the effect of a certain effect during mode adjustment are forbidden, and the effects that do not interfere with the confirmation of the effect are given as they are, so that the actual tone output It is possible to accurately confirm the degree of effect being adjusted, etc. under conditions that are sometimes approximated as much as possible.
[0014]
Furthermore, in the effect imparting device of the present invention, when the effect imparting control means is switched to the normal mode in which adjustment of any aspect of the effect is prohibited by the mode switching means, the mode is the previous normal mode. It is preferable that each effect is returned to a musical sound and returned to a non-granted state that is the same as a non-granted state.
[0015]
When returning from the mode adjustment mode and returning to the normal mode, the user can return to the normal mode by following the settings for adding or not applying each effect to the musical sound in the previous normal mode. However, it is not necessary to reset the application and non-application of each effect, saving the user's trouble, and realizing an effect providing device that is more convenient to use.
[0016]
DETAILED DESCRIPTION OF THE INVENTION
Hereinafter, embodiments of the present invention will be described.
[0017]
FIG. 1 is an internal configuration diagram of an electronic musical instrument in which an embodiment of the present invention is included.
[0018]
The electronic musical instrument 10 includes a keyboard 11 for performing performance operations, a CPU 12 for executing various programs, data referred to by a program executed by the CPU 12, a RAM 13 used as a work area for the program, and various programs. Based on stored ROM 14, pedal operator 15 that realizes various functions according to settings, damper petal 16 with fixed functions, panel 17 having various operation switches and display LEDs, and received musical sound data A sound source 18 for generating musical sounds and an effect applying unit 19 for applying effects to the musical sounds generated by the sound source 18 are provided. These units 11 to 19 are connected to each other by a bus 20.
[0019]
The musical sound output from the effect applying unit 19 is emitted as an actual sound from the speaker 30 to the space through an amplifier, an equalizer, etc. (not shown).
[0020]
The panel 17 shown in FIG. 1 includes a split switch 171, eight timbre switches 172 to 179, a chorus switch 180, a reverb switch 181, and a function switch 182. Each of these switches 171 to 182 is provided. Correspondingly, LEDs 271 to 282 for display are provided.
[0021]
The split switch 171 includes a split mode (referred to as “split ON”) in which different tones are assigned to the upper side and the lower side of the keyboard 11, and a normal mode in which the same tone is assigned to the entire keyboard 11 (“ This switch is called “split OFF”. In split OFF, one tone color is assigned to the entire area of the keyboard 11 (referred to as dual OFF), or two tone colors are allocated to the entire range (referred to as dual ON). The fact that two timbres are assigned to the entire area of the keyboard 11 means that musical tones of two timbres are generated when any key on the keyboard 11 is pressed. In any case, the effect imparting unit 19 imparts an effect to all the musical sounds generated simultaneously.
[0022]
Each tone color is associated with the tone color switches 172 to 179 in advance, and when these tone color switches 172 to 179 are pressed, tone sounds corresponding to the pressed tone color switch are generated when the keyboard 11 is played. Is done. This will be described in detail later.
[0023]
In addition, the chorus switch 180 and the reverb switch 181 are switches for switching whether or not the chorus effect and the reverb effect are applied to the musical sound in the effect applying unit 19, respectively. The chorus switch 180 and the reverb switch 181 define a change in the chorus effect, that is, a change in the chorus type that defines the degree of the chorus effect, and a change in the aspect of the reverb effect, that is, the degree of the barb effect. Also used when changing the reverb type. The effect imparting unit 17 can also provide a resonance effect. The resonance effect is a piano resonance effect imparted when the damper petal 16 is stepped on. The mode (resonance type) of the resonance effect including whether or not to provide the resonance effect is changed by simultaneously pressing both the chorus switch 180 and the reverb switch 181. Details will be described later.
[0024]
The function switch 182 is used to set the volume (volume) balance between the upper side and the lower side, and is used to determine the action of the pedal operator 15. The pedal operator 15 can be assigned a function of one of a soft pedal, a sostenuto pedal, and an expression pedal. The function switch 182 is also used to switch whether or not the pedal operation is applied to the lower side tone, or to shift the pitch of the lower side tone by one octave. Is done.
[0025]
Each of the LEDs 271 to 282 is composed of a combination of two colors of red and green LEDs. In addition to red and green, an orange color can also be expressed by lighting both of them simultaneously.
[0026]
FIG. 2 is a diagram illustrating a table and a register configured in the RAM 13.
[0027]
FIG. 2A is a correspondence table of timbre (upper timbre), lower timbre, chorus, reverb, and resonance types. A table as an initial value is stored in the ROM 14 and transferred to the RAM 13 in the initialization operation. The table 4 in the RAM 13 can be rewritten by subsequent operations. In the present embodiment, this table is a table composed of eight timbres Piano 1 to Strings, and each of the eight timbres is associated with each of the eight timbre switches 172 to 179 shown in FIG.
[0028]
FIG. 2B shows a register in which the upper tone color and the lower tone color are set. Prior to the actual performance operation using the keyboard 11, a predetermined upper tone color used for performance is set in this register, and a lower tone corresponding to the predetermined upper tone color is read from the table of FIG. Is set. When the split is ON, the upper tone and the lower tone set here are assigned to the upper side and the lower side of the keyboard 11, respectively, and when the split is OFF, depending on whether "Dual OFF" or "Dual ON" Only the timbre set in the upper timbre portion is assigned to the entire area of the keyboard 11, or two timbres of the upper timbre and the lower timbre are assigned.
[0029]
The tone set in the register of FIG. 2B is referred to each time each key on the keyboard 11 is operated, and musical tone data corresponding to the tone is generated and sent to the sound source 18. A musical tone having a timbre corresponding to the timbre data included in the transmitted musical tone data is generated.
[0030]
FIG. 2C is a register in which a chorus type, a reverb type, and a resonance type are set. From the table of FIG. 2A, a chorus type corresponding to a tone (upper tone) used for performance and a reverb are shown. The type and resonance type are read out and set here. When the chorus, reverb, and resonance types are read from the table of FIG. 2A, the read types are directly set in the effect applying unit 19 as well. Therefore, the register of FIG. 2C is a register for display on the LED of the panel 17. The display method will be described later. For the chorus effect and the reverb effect, only those types are set in the effect applying unit 20 first, and the chorus effect is given (referred to as “chorus effect ON”) or the chorus effect is not given (“chorus effect OFF”). The reverb effect is applied (referred to as “Reverb effect ON”) or the reverb effect is not applied (referred to as “Reverb effect OFF”). The operations of the chorus switch 180 and the reverb switch 181 shown in FIG. It is decided by.
[0031]
On the other hand, regarding the resonance effect, the resonance type including the resonance effect OFF, which means that the resonance effect is not applied, is set in the register shown in FIG. 2C and also set in the effect imparting unit 20, and thereafter, the resonance effect is set. When a resonance type other than the effect OFF is set, a resonance effect corresponding to the set resonance type is applied by stepping on the damper petal 16 shown in FIG. 1 during the performance operation.
[0032]
FIG. 3 is a transition diagram between various modes of the electronic musical instrument described here.
[0033]
The normal setting mode is a mode in which the timbre switches 172 to 179 shown in FIG. 1 are used for timbre setting. This normal setting mode includes both split ON and split OFF modes.
[0034]
When the split switch 171 is pressed (split switch ON) while in the normal setting mode, the mode shifts to the split setting mode. In this split setting mode, the timbre switches 172 to 179 exit from the split setting mode and press the timbre switches 172 to 179 without distinguishing the eight timbre switches 172 to 179, and the normal setting mode. Used to return to This split setting mode is a transitional mode. When the timer started when the split switch starts to be pressed with the split switch held down, the split switch can be turned on even when the timer is up or before the time is up. When one of the eight timbre switches 172 to 179 is pressed while being pressed, or when the finger is released from the split switch itself (split switch OFF), the normal setting mode is restored.
[0035]
Further, when the chorus switch 180 is pressed (chorus switch ON) in the normal setting mode, the chorus setting mode is entered, and the chorus switch 180 is activated before the timer started at the timing when the chorus switch 180 is pressed. Release your finger (chorus switch OFF) to return to the normal setting mode. This chorus setting mode is also a transition mode, and when the time is up with the chorus switch ON, the chorus type setting mode is entered. In the chorus setting mode, the timbre switches 172 to 179 are used as switches for shifting to the chorus type setting mode, and when in the chorus setting mode, that is, in a state where the time has not been timed up while the chorus switch 180 is pressed. When any one of the switches 172 to 179 is pressed, the process shifts to the chorus type setting mode without waiting for time up. In this chorus type setting mode, the timbre switches 172 to 179 are used to select a chorus type. The chorus type setting mode is a mode that is stopped only while the chorus switch 180 is kept pressed. When the chorus switch 180 is released (chorus switch OFF), the mode changes to the normal setting mode.
[0036]
Also, the reverb setting mode and the reverb type setting mode are positioned similarly to the chorus effect setting mode and the chorus type setting mode.
[0037]
That is, when the reverb switch 181 is pressed (the reverb switch is ON) in the normal setting mode, the mode changes to the reverb setting mode, and the reverb switch 181 is activated before the timer started at the timing when the reverb switch 181 is pressed. Release the button (Reverb switch OFF) to return to the normal setting mode. This reverb setting mode is also a transitional mode. When the time is up with the reverb switch ON, the mode changes to the reverb type setting mode. In the reverb setting mode, the timbre switches 172 to 179 are used as switches for shifting to the reverb type setting mode. In the reverb setting mode, that is, the timbre is not timed up while the reverb switch 181 is pressed. When any one of the switches 172 to 179 is pressed, the process shifts to the reverb type setting mode without waiting for the time up. In this reverb type setting mode, the timbre switches 172 to 179 are used to select a reverb type. This reverb type setting mode is a mode that is stopped only while the reverb switch 181 is kept pressed. When the finger is released from the reverb switch 181 (the reverb switch is OFF), the mode changes to the normal setting mode.
[0038]
In the normal setting mode, when both the chorus switch 180 and the reverb switch 181 are simultaneously turned on, the mode shifts to the resonance type setting mode. In this resonance type setting mode, the timbre switches 172 to 179 are used to select a resonance type.
[0039]
This resonance type setting mode is a mode that stops only while both the chorus switch 180 and the reverb switch 181 continue to be in the ON state, and when one of the chorus switch 180 or the reverb switch 181 is turned OFF. Transition to normal setting mode.
[0040]
Based on the above description, a flowchart of a program executed by the CPU 12 of FIG. 1 will be described below.
[0041]
FIG. 4 is a flowchart of a split switch ON routine that is activated in response to the split switch 171 being pressed.
[0042]
When the split switch 171 is pressed, a timer is first started (step 4_1). This timer is a timer that expires when a predetermined time (for example, 2 seconds) elapses with the split switch 171 being pressed.
[0043]
Next, in step 4_2, it is determined whether or not the split is on. When the split is ON, the split status is set to OFF (step 4_3), the mode is shifted to the split setting mode (step 4_8), and this routine is exited.
[0044]
Here, the split status is a work flag that is referred to when a finger is released from the split switch 171, that is, in a split switch OFF routine shown in FIG. 5 described later, and the split mode is actually set or released. It is not a flag for The state of transition to the split setting mode also means that the flag corresponding to that mode is turned on. Further, whether or not the split is ON in step 4_2 is also determined by determining a flag indicating split ON or OFF.
[0045]
If it is determined in step 4_2 that the split is not ON, the process proceeds to step 4_4, the split status is turned ON, the split LED 271 corresponding to the split switch 171 is lit in orange in step 4_5, and the tone color switches 172 to 172 in step 4_6. Among the timbre LEDs 272 to 279 corresponding to 179, the LED corresponding to the upper timbre is turned on, and the upper timbre setting mode is set in step 4_7, and the process proceeds to the split setting mode in step 4_8.
[0046]
Here, in the register shown in FIG. 2B, for example, an upper tone and a lower tone set as initial values or set by a previous operation are set. As described above, each tone is assigned to each tone switch. In step 4_6, the timbre LED corresponding to the timbre switch corresponding to the upper timbre stored in the register shown in FIG. Here, in step 4_2, it is determined whether the split is ON or OFF, and the process proceeds to step 4_6 when it is determined in step 4_2 that the split is OFF. As described above, the split OFF is illustrated in FIG. ) Is the mode in which the same tone color as the upper tone color is assigned to the entire area of the keyboard 11, and therefore the upper tone color LED is originally lit at the stage of proceeding to Step 4_6. This step 4_6 is not a step of turning on the upper tone color LED anew. Until then, the split tone is OFF and the dual tone is ON (both the upper tone and the lower tone stored in the register of FIG. This means that the LED corresponding to the lower timbre is turned off and only the LED corresponding to the upper timbre is lit when in the (assigned mode) state.
[0047]
In step 4_5, it has been described that the split LED 271 lights in orange. However, it is determined in step 4_2 whether or not the split LED is ON. The process proceeds to step 4_5 when the split LED is OFF. That is, when the split is ON, the split LED is originally lit in orange. Therefore, when the split switch ON routine is executed, the split LED 271 is lit regardless of whether the split switch has been split ON or split OFF until then. Become.
[0048]
Further, in step 4_7, an upper tone color setting mode is set, which is a mode that does not appear directly in the mode transition diagram of FIG. 3, and is a mode in which the tone color switches 171 to 179 are used for tone color setting. Belongs to the normal setting mode. However, here, the upper tone color setting mode is set in the split switch ON routine.
[0049]
FIG. 5 is a flowchart of a split switch OFF routine that is activated in response to the release of the finger from the split switch 171.
[0050]
When this split switch OFF routine is started, the timer started in the split switch ON routine step 4_1 in FIG. 4 is first stopped (step 5_1). However, as will be described later, the timer may have already been stopped by another routine.
[0051]
Next, it is determined whether the split status is ON or OFF (step 5_2). This split status is set in steps 4_3 and 4_4 in FIG. Alternatively, it may be set in a routine described later.
[0052]
When the split status is OFF, the process proceeds to step 5_3, the process proceeds to split OFF, that is, the mode in which the same timbre is actually assigned to the entire area of the keyboard 11, and the split LED 271 is turned off (step 5_4). The upper tone color is assigned to the upper tone color (step 5_5), the upper tone color setting mode is set (step 5_6), the upper tone color LED is turned on (step 5_7), and the mode shifts to the normal setting mode (step 5_8).
[0053]
Here, in step 5_5, the timbre set as the lower timbre in the register shown in FIG. 2B is the timbre set as the upper timbre in FIG. 2B of the table shown in FIG. Is set as the lower tone in the column of. That is, here, the correspondence relationship between the timbre (upper timbre) and the lower timbre in the table shown in FIG. 2A is changed.
[0054]
Further, although it has been described that the upper tone color setting mode is set in step 5_6, when the split is OFF, the tone color set as the upper tone color in the register of FIG. The terminology is not familiar, but here it is called the upper tone color setting mode for convenience. The same applies to the upper tone color LED in step 5_6.
[0055]
If it is determined in step 5_2 that the split status is ON, the process proceeds to step 5_8, where split ON, that is, the upper tone and the lower tone of the register shown in FIG. It becomes a state.
[0056]
In step 5_9, the table shown in FIG. 2A in the RAM 13 is referred to, and the lower timbre in the same timbre column as the upper timbre of the register in FIG. ) Of the lower tone color of the register. The reason why this step 5_9 is necessary is as follows. Until then, split OFF, that is, the same timbre was assigned to the entire keyboard 11, and in the case of split OFF and dual ON, if one of the timbre switches 171 to 179 is pressed to switch the timbre, The corresponding timbre is directly stored in the register of FIG. 2 (B). Therefore, at the stage where the split ON state is entered in step 5_8, the lower timbre not corresponding to the upper timbre is set in the register of FIG. 2 (B). There is a possibility. Therefore, in step 5_9, the lower timbre for the upper timbre is stored in the register of FIG.
[0057]
After step 5_9, the process proceeds to step 5_7 to shift to the normal setting mode.
[0058]
Referring to the split switch ON routine of FIG. 4 and the split switch OFF routine of FIG. 5, when the split switch 171 is pressed for a short time that the timer does not time up, the split switch is alternately switched to ON and split OFF each time it is pressed. I understand that.
[0059]
FIG. 6 is a flowchart of the split time up routine. This split time-up routine is started when the timer started in step 4_1 of the split switch ON routine of FIG. 4 has timed up. When the split switch is turned off after the split switch is turned on, the split switch off routine of FIG. 5 is started and the timer is stopped at step 5_1. Therefore, the split time up routine shown in FIG. The split switch ON routine shown is executed, and is executed when the time is up while the split switch ON is continued.
[0060]
When the split time-up routine shown in FIG. 6 is started by the time-up of the timer, first, the timer that caused the start-up is stopped (step 6_1), and the split status regardless of the split ON / OFF until then. Is turned on (step 6_2), and if it has been in the upper tone setting mode until then, it shifts to the lower tone setting mode, or if it has been in the lower tone setting mode until then, it shifts to the upper tone setting mode (step 6_3). . Operations in the upper tone color setting mode and the lower tone color setting mode will be described later.
[0061]
In step 6_4, it is determined whether the timbre setting mode inverted in step 6_3 is the upper timbre setting mode or the lower timbre setting mode. If the timbre setting mode is the upper timbre setting mode, the process proceeds to step 6_5, and the upper timbre setting mode is selected. The split LED 271 is lit orange to indicate that it is present, and the timbre LED corresponding to the upper timbre set in the register of FIG. 2B is lit (step 6_6), and the mode shifts to the normal setting mode (step 6_7). ).
[0062]
On the other hand, when the timbre setting mode after being inverted in step 6_3 in step 6_4 is the lower timbre setting mode, the process proceeds to step 6_8, and the split LED is lit in green to indicate that it is the lower timbre setting mode. The timbre LED corresponding to the lower timbre set in the register (B) is turned on (step 6_9), and the mode shifts to the normal setting mode (step 6_7).
[0063]
Referring to the routines of FIGS. 4 to 6 as well, when the split switch is pressed and released until the time is up in the split OFF state, when the finger is released, the split ON is set and the lower tone setting mode is set, and the split switch is set to the time again. If you keep pressing it until you release it and release your finger, it will stay in the split-on state, and this time it will move to the upper tone setting mode, and if you keep pressing and releasing your finger until the split switch times up again, it will remain in the split-on state Shifts to the lower tone setting mode. That is, the split switch 171 is repeatedly pressed until the time is up, so that the upper tone color setting mode and the lower tone color setting mode are alternately set while remaining in the split ON state.
[0064]
FIG. 7 is a flowchart of a routine that is executed when the timbre switch is pressed in the split setting mode.
[0065]
The split setting mode is entered in step 4_8 of the split switch ON routine shown in FIG. In step 5_7 of the split switch OFF routine shown in FIG. 5, the split setting mode is exited and the normal setting mode is entered (see FIG. 3). In step 6_7 of the split time-up routine shown in FIG. 6, the split setting mode is exited and the normal setting mode is entered. That is, the split setting mode means a state where the split switch is kept pressed and before the time is up. When the timbre switch is pressed while in the split setting mode, the routine shown in FIG. 7 is started.
[0066]
Steps 7_1 to 7_9 of the routine shown in FIG. 7 are the same as 6_1 to 6_9 of the time-up routine shown in FIG.
[0067]
That is, pressing the split switch and pressing any one of the timbre switches 171 to 179 without waiting for the time-up will keep the same effect as pressing the split switch until the time is up. Will be made. As a result, if it is difficult to wait until the time is up, the user can proceed to the next operation by pressing the timbre switch.
[0068]
The description of each step in FIG. 7 is omitted because it overlaps with the description in FIG.
[0069]
FIG. 8 shows a normal setting mode, that is, a mode in which the timbre switches 171 to 179 are used for timbre setting, and split timbres, that is, different timbres are assigned to the upper side and the lower side of the keyboard 11. 5 is a flowchart of a routine that is started when a timbre switch is pressed in the selected mode.
[0070]
Here, it is first determined whether the upper tone color setting mode or the lower tone color setting mode is selected. When the upper tone color setting mode is selected, the tone color corresponding to the operated tone color switch is stored in the register shown in FIG. Is set as the upper tone color (step 8_2). Further, the chorus, reverb, and resonance types in the same column of the table of FIG. 2A are read out, and each type is set in the register shown in FIG. Is also set (step 8_3). Further, in step 8_4, the corresponding upper tone LED is turned on.
[0071]
On the other hand, if it is determined in step 8_1 that the mode is the lower tone color setting mode, the process proceeds to step 8_5, and the tone color corresponding to the operated tone color switch is set as the lower tone color in the register shown in FIG.
[0072]
Further, the process proceeds to step 8_4, and the lower tone color LED is turned on.
[0073]
FIG. 9 shows a timbre in a normal setting mode, that is, a mode in which the timbre switches 171 to 179 are used for timbre setting, and in the mode in which the same timbre is assigned to the entire keyboard 11 in the split OFF state. It is a flowchart of the routine started when a switch is pushed.
[0074]
Here, it is first determined whether or not another timbre switch has been pressed (step 9_1). In this routine, it is assumed that any one of the eight timbre switches 171 to 179 is pressed and when any two timbre switches are pressed at the same time. It is a step to distinguish.
[0075]
When only one tone color switch is pressed, the process proceeds to step 9_2 via step 9_1, and dual OFF is performed. This dual OFF means that a flag representing dual ON or OFF is set on the side representing dual OFF. In the case of dual OFF, one of the two timbres set in the register shown in FIG. Only the upper tone is valid information. In step 9_3, the timbre corresponding to the currently operated timbre switch is set in the upper timbre portion of the register of FIG. However, the upper timbre is a timbre assigned to the entire keyboard 11. In step 9_4, the upper tone LED is turned on, and the process proceeds to step 9_10, and the chorus, reverb, and resonance types in the column corresponding to the set upper tone are read from the table of FIG. In addition to being set in the register 2 (C), it is also set in the effect applying unit 19.
[0076]
Next, a case where two timbre switches are pressed simultaneously will be described.
[0077]
When two timbre switches are pressed, the same processing as described above when only one timbre switch is pressed is executed due to the operation of the timbre switch that is pressed as soon as possible. When the second timbre switch is pressed, the processing resulting from the operation of the first timbre switch is merely performed in vain and does not have any adverse effect.
[0078]
If it is determined in step 9_1 that another timbre switch has been pressed, the process proceeds to step 9_5 to be dual-ON, and the process proceeds to step 9_6 in which two timbres corresponding to the two pressed timbre switches were previously pressed. It is determined whether or not the two tone colors corresponding to the two tone color switches (the two tone colors set in the register shown in FIG. 2B) are the same. When one of the two timbres is different, the timbre corresponding to the timbre switch arranged on the right side of the two timbre switches pressed is the upper of the register shown in FIG. The timbre corresponding to the timbre switch arranged on the left side of the two timbre switches set and pressed in the timbre portion is set in the lower timbre portion of the register shown in FIG. In this example, since the dual tone is ON, both of the two tones set in the register of FIG. 2B are assigned to the entire area of the keyboard 11, and any tone on the keyboard 11 is operated to generate two tone sounds. The
[0079]
On the other hand, if it is determined in step 9_6 that the two timbres this time are the same as the previous two timbres, the storage areas of the two timbres set in the register of FIG. 2B are replaced. That is, the timbre previously set in the upper timbre portion of the register in FIG. 2B is set in the lower timbre portion, and the timbre previously set in the lower timbre portion is also changed in the upper timbre portion. Set to the tone part. Here, dual ON is performed, and both the timbre set in the upper timbre portion and the timbre set in the lower timbre portion of FIG. 2B are assigned to the entire region of the keyboard 11. In this way, this electronic musical instrument can switch whether or not to shift the pitch in octave units only for the timbre set in the lower timbre part, or whether to give the effect of pedal operation to the lower timbre, An effect corresponding to the upper timbre is applied, and for any timbre of the two timbres in the dual ON state, such an effect is applied or not applied, or any timbre is supported. Depending on whether you want to apply the effect to be performed, it may be necessary to swap the upper and lower tones, step _6,9_8 is a step of performing processing therefor.
[0080]
In Step 9_9, two timbre LEDs corresponding to the set two timbres are turned on, and the process proceeds to Step 9_10, and the chorus, reverb, and resonance types corresponding to the timbre set as the upper timbre are shown in FIG. Are set in the register shown in FIG. 2C and the effect applying unit 19 shown in FIG. As shown in the table of FIG. 2A, only one chorus, reverb, and resonance type is set for each pair of the upper tone and the lower tone. Therefore, in step 9_10, the upper tone color is selected. Therefore, each type corresponding to the upper tone is set.
[0081]
FIG. 10 is a flowchart of a chorus switch ON routine that is activated when the chorus switch 180 is pressed in the normal setting mode.
[0082]
From FIG. 10 to FIG. 14, which will be described below in sequence, are routines related to the chorus effect, but the electronic musical instrument described here is configured to operate a similar routine related to the reverb effect. That is, regarding the reverb effect, each of the routines corresponding to each of FIGS. However, the routine related to the reverb effect is the same as the routine except for the difference whether the operated switch is the chorus switch 180 or the reverb switch 181 and the routine related to the chorus effect or the routine related to the reverb effect. The method of assembling is completely the same, and explanation of both the routine relating to the chorus effect and the routine relating to the reverb effect is merely an overlapping explanation. Therefore, here, the explanation of FIGS. The illustration and description of the flowchart relating to the reverb effect are omitted.
[0083]
In the chorus switch ON routine shown in FIG. 10, first, in step 10_1, it is determined whether or not the reverb setting mode is set. In the same manner as the chorus setting mode is set in step 10_6 of the chorus switch ON routine shown in FIG. 10, when the reverb switch is pressed, the reverb setting mode is set. On the other hand, as in the case of shifting from the chorus setting mode to the normal setting mode in step 11_5 of the chorus switch OFF routine shown in FIG. 11, when the reverb switch is turned off, the reverb setting mode is shifted to the normal setting mode. That is, step 10_1 in FIG. 10 determines whether or not the reverb switch 181 is pressed when the chorus switch 180 is pressed, in other words, whether or not the chorus switch 180 and the reverb switch 181 are pressed simultaneously. This is a determination step.
[0084]
The case where the chorus switch 180 and the reverb switch 181 are pressed at the same time will be described again with reference to the flowchart shown in FIG. 10, and only the chorus switch 180 is pressed here.
[0085]
In that case, the process proceeds to step 10_2 via step 10_1, the timer is started, the chorus status is reversed (step 10_3), the chorus effect is turned on (step 10_4), and the chorus LED 280 corresponding to the chorus switch 180 is orange. It is turned on (step 10_5), and it shifts to the chorus setting mode (step 10_6).
[0086]
Here, the timer in Step 10_2 is used to determine whether or not the chorus switch 180 has been pressed for a predetermined time.
[0087]
The chorus status in step 10_3 is a work flag and is used for determination by the chorus switch OFF routine shown in FIG. 11. The chorus effect is directly turned ON / OFF by turning ON / OFF the chorus status. It is not something.
[0088]
The chorus effect ON in step 10_4 means that the effect imparting unit 19 is instructed to impart the chorus effect. A chorus type representing what kind of chorus effect is to be imparted has already been set in the effect imparting section 19.
[0089]
FIG. 11 is a flowchart of a chorus switch OFF routine that is activated when a finger is released from the chorus switch 180.
[0090]
Here, first, the timer started in step 10_2 of the chorus switch ON routine shown in FIG. 10 is stopped (step 11_1), and then it is determined whether the chorus status is ON or OFF (step 11_2). When the chorus status is OFF, the process proceeds to step 11_3 to instruct the effect applying unit 19 to stop applying the chorus effect, the chorus LED 280 is turned off (step 11_4), and the chorus switch ON routine of FIG. The chorus setting mode set in step 10_6 returns to the normal setting mode (step 11_5), and the timbre LED display changes to the timbre selection state, that is, the timbre display before the chorus switch 180 is pressed. Returned (step 11_6). This is because, for example, in step 12_5 in FIG. 12 described later, the timbre LED may be displayed in a different state, so that it is restored.
[0091]
On the other hand, if it is determined in step 11_2 that the chorus status is ON, the process proceeds to step 11_7, a command to turn on the chorus effect is sent to the effect imparting unit 19, the chorus LED 280 is lit in orange (step 11_8), and the normal setting mode is entered. (Step 11_5), the tone color LED is returned to the display of the original set tone color (Step 11_6).
[0092]
Referring to FIG. 11 together with steps 10_1 to 10_6 in FIG. 10, when the chorus switch 180 is pressed for a time shorter than the time-up, the chorus effect is alternately turned on and off each time it is pressed. I understand.
[0093]
FIG. 12 is a flowchart of a chorus time-up routine that operates in response to the time-up of the timer started in step 10_2 of the chorus switch ON routine of FIG. When the chorus switch 180 is released, the chorus switch OFF routine of FIG. 11 operates and the timer is stopped at the step 11_1. Therefore, the chorus time up routine shown in FIG. This is a routine that operates when the time is up in a state.
[0094]
Here, the timer is first stopped (step 12_1), the chorus status is turned on (step 12_2), the chorus type setting mode is entered (step 12_3, see FIG. 3), and the chorus type setting mode is shown to indicate that it is in the chorus type setting mode. The LED 280 blinks orange (step 12_4), and the timbre LED from the left end to the one corresponding to the currently set chorus type blinks orange (step 12_5). Thereby, the currently set chorus type can be grasped intuitively.
[0095]
FIG. 13 is a flowchart of a routine that is started when any timbre switch is pressed in the chorus setting mode.
[0096]
When the chorus switch 180 is pressed, the chorus switch ON routine shown in FIG. 10 is started, the chorus setting mode is set in step 10_6, and when the finger is released from the chorus switch 180 (FIG. 11, step 11_5), or the time When it is up (FIG. 12, step 12_3), the chorus setting mode is exited. Therefore, the routine shown in FIG. 13 is a routine that is started when the timbre switch is pressed while the chorus switch 180 is being pressed and is in the state before the time is up.
[0097]
Steps 13_1 to 13_5 of this routine are the same as steps 12_1 to 12_5 shown in FIG. That is, this means that if the tone color switch is pressed without waiting for the time-up by pressing the chorus switch, the same action as when the time is up is achieved. This function is the same function as in the case of the split switch 171 described above, and opens the way for the user who wants to wait until the time is up to proceed to the next operation as soon as possible.
[0098]
FIG. 14 is a flowchart of a routine that is started when the timbre switch is pressed in the chorus type setting mode.
[0099]
The chorus type setting mode is a mode that is set when the chorus switch 180 is continuously pressed and the time is up (FIG. 12, step 12_3) or when the tone switch is pressed before the time is up (FIG. 13, step 13_3). . If the finger is released from the chorus switch 180, the mode changes to the normal setting mode (FIG. 11, step 11_5). Therefore, the chorus switch 180 needs to be kept pressed to maintain the chorus type setting mode.
[0100]
In such a chorus type setting mode, that is, in a state where the chorus switch 180 is kept pressed over the time-up time, or while the chorus switch 180 is kept pressed, the tone switch is pressed once and then the chorus switch 180 is turned on. If the timbre switch is pressed while the timbre switch is kept pressed, the routine shown in FIG. 14 is started, and the chorus type corresponding to the operated timbre switch is stored in the register and effect applying section 19 shown in FIG. The chorus type in the same timbre column as the timbre set in the upper timbre portion of the register shown in FIG. 2B in the table shown in FIG. The chorus type corresponding to the operated tone switch is overwritten (step 14_2). Further from the left end of the tone LED of tone LED, to tone LED corresponding to the operated tone color switch blinks orange (step 14_3). As a result, the chorus type is changed.
[0101]
At this time, since one hand keeps pressing the chorus switch 180, when the keyboard 11 is operated with the other hand, the musical tone having the pitch corresponding to the operated key is set with the set tone color. The chorus effect of the selected chorus type is applied (the chorus effect is ON in step 10_4 of the chorus switch ON routine shown in FIG. 10) and output. By listening to this musical tone, it is possible to confirm how the set chorus type is reflected in the musical tone. Even after the finger is released from the chorus switch 180, the chorus effect can be heard and heard. However, if the chorus switch 180 is depressed and heard, the chorus type that is set is not satisfactory. The chorus type can be changed immediately by pressing the tone switch.
[0102]
Next, returning to FIG. 10, a case where both the chorus switch 180 and the reverb switch 181 are pressed simultaneously will be described.
[0103]
FIG. 10 shows a routine that is started when the chorus switch 180 is pressed. Therefore, it is assumed here that the reverb switch 181 is pressed a little first, and then the chorus switch 180 is pressed. On the other hand, if the chorus switch 180 is pushed slightly before the reverb switch 181, the routine shown in FIG. 10 and the pair routine relating to the reverb effect is not the routine shown in FIG. 10. It is in charge of the same processing as described below.
[0104]
First, in step 10_1, it is determined whether or not the current state is the reverb setting mode, that is, whether or not the reverb switch 181 has been pressed and is still in the state before shifting to the reverb type setting mode. Here, a description is given of a case where the reverb switch 181 is pushed slightly earlier and subsequently the chorus switch 180 is pushed. Therefore, in step 10_1, it is determined that the reverb setting mode is set, and the process proceeds to step 10_7.
[0105]
In step 10_7, the timer is stopped. In response to the operation of the reverb switch 181 pushed slightly first, this timer starts a routine for reverb paired with the routine shown in FIG. 10, and starts at a step corresponding to step 10_2 in the routine. Timer.
[0106]
Next, in step 10_8, a command is issued to the effect applying unit 19 so as to stop both the chorus effect and the reverb effect. The reason will be described later.
[0107]
In step 10_9, the reverb status is inverted. This is because when the reverb switch 181 is pushed slightly first, the routine for reverberation paired with the routine of FIG. 10 operates, and the reverb status is reversed once in the step corresponding to step 10_3 in the routine. In step 10_9, the reverb status is reversed again in order to cancel the reversal of the reversal status once reversed.
[0108]
In step 10_10, the resonance type setting mode is set. In step 10_11, both the chorus LED 280 and the reverb LED 281 blink orange to indicate that they are in the resonance type setting mode.
[0109]
FIG. 15 shows that the timbre switch is pressed in the resonance type setting mode set in step 10_10 of FIG. 10 or the routine corresponding to step 10_10 of the reverb routine paired with the routine shown in FIG. It is a flowchart of the routine started in response to this.
[0110]
If one of the chorus switch 180 and the reverb switch 181 is released, it will exit from the resonance type setting mode. Therefore, here, the tone switch is pressed while the two switches 180 and 181 are kept pressed. It will be.
[0111]
When the routine shown in FIG. 15 is activated as a result of the timbre switch being operated in the resonance type setting mode, the resonance type corresponding to the operated timbre switch is stored in the register and effect applying section 19 shown in FIG. In addition, the resonance type in the same timbre column as the timbre set in the upper timbre portion of the register shown in FIG. 2B in the table shown in FIG. The resonance type corresponding to the operated timbre switch is rewritten (step 15_2), and the timbre LED of the timbre LED to the timbre LED corresponding to the operated timbre switch blinks in orange (step 15_3). ). In this way, the resonance type is changed.
[0112]
At this time, since the chorus switch 180 and the reverb switch 181 are continuously pressed with one hand, when the keyboard 11 is operated with the other hand, a musical tone having a pitch corresponding to the operated key is set to a set tone color. Further, when the damper pedal 16 is depressed, the resonance effect of the set resonance type is given and output. By listening to this tone, it is possible to confirm how the set resonance type is reflected in the tone. At this time, in step 10_8 of the chorus switch ON routine of FIG. 10 or in the step corresponding to step 10_8 of the corresponding reverb effect routine, effects other than the resonance effect, that is, the chorus effect and the reverb effect are turned off. Because it is set, it is possible to hear a musical tone with purely a resonance effect.
[0113]
When in the resonance type setting mode (when both the chorus switch 180 and the reverb switch 181 are kept pressed), when the finger is released from the chorus switch 180, the chorus switch OFF routine shown in FIG. When the chorus effect is ON when the chorus effect is ON when the chorus status is ON, that is, in the normal setting mode before shifting to the resonance type setting mode, the chorus effect is turned ON in step 11_7. The same applies when the finger is released from the reverb switch 181. When the routine for reverb paired with the routine shown in FIG. 11 is started and the normal setting mode before the transition to the resonance type setting mode is entered. When the reverb effect is ON, the reverb effect is returned to ON. Thus, when shifting to the resonance type setting mode, the chorus effect and the reverb effect in step 10_8 of FIG. 10 (or the step corresponding to step 10_8 of the reverberation routine corresponding to the routine of FIG. 10). Although both are once turned off, when the finger is removed from the chorus switch 180 and the reverb switch 181, the chorus effect ON and OFF and the reverb effect ON and OFF return to the original state. Therefore, unless there is a particular change, there is no need to reset those ON and OFF.
[0114]
In the above-described embodiment, exactly the same processing is performed when the time is up with the split switch held down (FIG. 6) and when the timbre switch is pressed before the time is up (FIG. 7). However, in that case, any timbre switch that is pressed before time-up has the meaning of causing the same effect as time-up, and the meaning of each timbre switch is not considered at all. Become. Therefore, this is changed so that the same effect as the time-up is maintained regardless of which timbre switch is pressed, and the pressed timbre switch is the same as the timbre switch in FIG. The operation, that is, the operation of setting the upper tone color or the lower tone color according to the tone color setting mode at that time may be performed at the same time.
[0115]
Similarly, in the above-described embodiment, only the same operation is performed when the time is up while the chorus switch is pressed and when the timbre switch is pressed before the time is up. Since the switch is pressed, the chorus type corresponding to the pressed tone color switch may be set in addition to causing the same effect as time-up. The same applies to reverb.
[0116]
Furthermore, in the above-described embodiment, when the operation of continuously pressing the split switch until the time is up (or pressing the timbre switch halfway) is repeated, the upper timbre setting mode and the lower timbre setting mode are alternately switched. For example, in an electronic musical instrument having a foot keyboard, it may be cyclically switched between an upper tone color setting mode, a lower tone color setting mode, and a mode for setting the tone color of the foot keyboard.
[0117]
Furthermore, in the embodiment described above, effects other than resonance (a reverb effect and a chorus effect) are not applied when setting the resonance type. On the other hand, when setting a reverb type or a chorus type, the specification is such that resonance can be imparted basically by depressing a damper pedal. The reason why the above-described embodiment is configured in this way is that, for example, the resonance effect is less audible than the reverb effect and the chorus effect, and when the resonance type is set, the reverb effect and the chorus are set. When the effect is applied, it is difficult to set the resonance type. Therefore, when the resonance type is set, the reverb effect and the chorus effect are prevented from being applied to the musical sound. On the contrary, the reverb type and chorus type settings can easily recognize the audible effect even if the resonance effect is given, so the resonance effect is not given when setting the reverb type or chorus type. It is not. Another reason is that when the reverb type or chorus type is set, the damper pedal is not operated, so the resonance effect is not given as long as the normal operation is performed, and the resonance effect is not applied. This is to respond to various operations such as pressing the damper pedal if you want to give it.
[0118]
However, the present invention is not limited to this, and when setting a chorus type or a reverb type, it is possible to force no other effects to be applied in the same way as when setting a resonance type. Good. Similarly to the above-described embodiment, if a certain effect (resonance effect) is set when another effect is applied, the effect being set is erased by another certain effect and the setting is performed. When it is difficult, only the effect that makes the setting difficult to perform may be prevented. In this case, a combination of effects that are not compatible (when setting an effect, it is difficult to understand the setting of the effect if it is given at the same time) is stored in advance, and when setting an effect there You may make it set another effect based on the memorize | stored combination.
[0119]
In the above embodiment, when the chorus effect type is set when the reverb switch is ON, not only the chorus effect but also the reverb effect is given to the musical sound. When the reverb effect type is set when the chorus switch is ON, not only the reverb effect but also the chorus effect is applied to the musical sound. However, the present invention is not limited to this, and when the chorus effect type is set when the reverb switch is in the ON state, only the chorus effect is applied to the musical sound, and when the chorus switch is in the ON state, the reverb effect type is set. In the case of setting, only the reverb effect may be added to the tone signal.
[0120]
The above-described embodiment is an example of an electronic musical instrument in which a sound source device is built in the main body. However, the present invention is not limited to such an example, and a plurality of musical sound signals input from the outside can be used. The present invention can also be applied to an effect applying device that provides the above effect.
[0121]
Further, as a modification of the above-described embodiment, when the mode is changed to a mode in which a certain effect type is set in a state where a plurality of effects are given to the musical sound, the effect during the type setting (in the above-described embodiment, There is also a method for preventing the same series (same group) effect (the reverb effect in the above-described embodiment) as the resonance effect).
[0122]
The same series (group) is grouped as follows.
[0123]
(1) What changes the tone
Equalizer, enhancer
(2) Sound distortion
Overdrive, distortion
(3) Sound fluctuation
Phaser, auto wah, flanger, tremolo, auto pan
(4) What changes the level
Compressor, limiter
(5) Sound expansion
Stereo chorus, tremolo chorus
(6) What makes sound sound
Delay, reverb, resonance
(7) Changing the pitch
Pitch shifter
If you set the resonance type and both the resonance and reverb effects are applied to the musical sound, both are in the series of `` sounding the sound '', so how much the resonance effect is currently applied to the musical sound and how much Since it is very difficult to understand whether it should be set or not, the reverb effect should not be given to the musical sound.
[0124]
As another example, it is assumed that an equalizer, an enhancer, and distortion are added to a musical sound. Therefore, when setting the equalizer, only the equalizer and distortion are applied as effects to the musical sound, and the enhancer is not applied.
[0125]
Furthermore, the effects in the present invention are the effects given to the musical sound output from the sound source, such as the chorus effect and reverb effect described in the above embodiment (in addition to the chorus effect, reverb effect, resonance effect, In addition to the many effects mentioned above when explaining the modification example, it also includes the case where a musical sound with an effect on hearing is generated by generating a musical sound with an effect added inside the sound source. It is. For example, when two musical sounds with slightly different pitches are added to generate a musical sound (in this case, an effect similar to the chorus effect appears), or when the envelope attack time is controlled and the musical tone is affected Is also included.
[0126]
Therefore, the effects referred to in the present invention are all included as long as they are audible effects.
[0127]
In the above embodiment of the present invention, each effect can be set only one by one (setting the type), but instead, a plurality of effects can be selected at the same time to change the type of each effect and other aspects. You may make it changeable. When changing the effect mode, if an effect other than the selected effect is ON, turn off the effect that hinders the setting of the selected effect, or effect other than the selected effect To turn off all of them. For example, in the above-described embodiment of the present invention, there are only two operators related to the effect, the reverb switch and the chorus switch, and the resonance is set when the reverb switch and the chorus switch are simultaneously turned on. In addition to the switch and chorus switch, there is a distortion switch that turns the distortion effect on / off. When the reverb switch and chorus switch are turned on at the same time, both the reverb and chorus types can be changed. In that case, the effect of distortion and resonance should not be given.
[0128]
【The invention's effect】
As described above, according to the present invention, it is possible to provide an effect that is easy to operate and that can output a musical sound that is easy to sensibly determine the degree of effect during the mode change when listening with the ear. The device is realized.
[Brief description of the drawings]
FIG. 1 is an internal configuration diagram of an electronic musical instrument including an embodiment of the present invention.
FIG. 2 is a diagram illustrating a table and a register configured in a RAM.
FIG. 3 is a transition diagram between various modes in the present embodiment.
FIG. 4 is a flowchart of a split switch ON routine.
FIG. 5 is a flowchart of a split switch OFF routine.
FIG. 6 is a flowchart of a split time-up routine.
FIG. 7 is a flowchart of a routine that is executed when a timbre switch is pressed in a split setting mode.
FIG. 8 is a flowchart of a routine that is activated when the timbre switch is pressed in the normal setting mode and split ON.
FIG. 9 is a flowchart of a routine that is started when the timbre switch is pressed in the normal setting mode and in the split OFF state.
FIG. 10 is a flowchart of a chorus switch ON routine.
FIG. 11 is a flowchart of a chorus switch OFF routine.
FIG. 12 is a flowchart of a chorus time-up routine.
FIG. 13 is a flowchart of a routine that is started when any timbre switch is pressed in the chorus type setting mode;
FIG. 14 is a flowchart of a routine that is started when a timbre switch is pressed in a chorus type setting mode.
FIG. 15 is a flowchart of a routine that is activated in response to the timbre switch being pressed when in the resonance type setting mode;
[Explanation of symbols]
10 Electronic musical instruments
11 Keyboard
12 CPU
13 RAM
14 ROM
15 Pedal operator
16 Dumper Petal
17 panels
18 sound sources
19 Effect imparting section
20 buses
30 Speaker
171 Split switch
172, ..., 179 Sound switch
181 Reverb switch
182 Function switch
271-282 LED

Claims (4)

In an effect applying device capable of simultaneously applying a plurality of effects to a musical sound,
A mode switching unit that switches to a mode adjustment mode that adjusts a mode of a predetermined effect, and at least one of the effects other than the predetermined effect on the musical sound while the mode switching unit is switching to the mode adjustment mode. An effect imparting device comprising an effect imparting control means for prohibiting the grant. The effect imparting control unit prohibits imparting all other effects to the musical sound except the predetermined effect while being switched to the mode adjustment mode by the mode switching unit. The effect imparting apparatus according to claim 1. The effect imparting control means prohibits the provision of an effect defined for the predetermined effect while being switched to the mode adjustment mode by the mode switching means. The effect imparting device according to 1. When the effect imparting control means is switched to the normal mode in which adjustment of any aspect of the effect is prohibited by the mode switching means, each effect is imparted to the musical sound in the previous normal mode. 2. The effect imparting apparatus according to claim 1, wherein the effect imparting apparatus returns to the same imparted or non-given state as the imparted state.

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