JPH02188792A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To obtain stereophonic effect that a player intends by providing a localization control means which generates a musical sound based upon note-on information by a sound source means while changing localization according to a string where note-on information is generated every time note-on information is inputted. CONSTITUTION:The electronic musical instrument has the sound source means 10 which generates musical sound signals independently at plural positions. Then, this musical instrument has the localization control means 1 which generates the musical sound based upon the note-on information by the sound source means 9 while changing the localization according to the string where the note-on information is generated every time the note-on information is inputted. Then when the string is picked, the localization of the musical sound generated by the sound source means 9 changes to, for example, a left or right channel according to whether the operated string is an even-numbered or odd- numbered string. Namely, the player can change the localization of the generated sound by selecting and operating a string. Consequently, the stereophonic effect based upon player's intention is obtained.

Description

DETAILED DESCRIPTION OF THE INVENTION [Field of Industrial Application] The present invention relates to an electronic musical instrument that controls sound production while controlling the localization of musical tones.

[Conventional technology]

BACKGROUND ART In recent years, electronic musical instruments that can output musical tones not only in monaural but also in stereo have been developed. In this case, a device has been developed that distributes musical tones to left and right channels.

As a conventional example of such a device, for example, two types of musical sound outputs are generated by adding different effects such as LFO vibrato or LFO remolo to musical sounds, and these musical sounds are localized in a preset position by the performer. There is one that divides the signal into left and right channels. Alternatively, there is also a control system in which the two types of musical tones are randomly distributed between the left and right channels.

[Problem to be solved by the invention]

However, in the conventional example described above, the musical tones are not distributed to the left and right channels by the performance operation, but are distributed to the left and right channels regardless of the performer's intention, making it impossible to obtain the stereo effect that the performer intended. The problem is that it cannot be done.

An object of the present invention is to make it possible to control the localization of musical sounds based on the player's performance operations in an electronic musical instrument such as an electronic guitar, thereby making it possible to obtain the stereo effect intended by the player. .

[Means to solve the problem]

The present invention first relates to an electronic musical instrument that generates musical tones based on performance information generated in response to performance operations on a plurality of strings. The means includes, for example, MIDI (Musical
Instrument Digital Inter
This is a sound source module that generates musical tone signals while controlling pitch, volume, tone color, etc. in accordance with note on/off commands, pitch bender commands, etc. input from an external electronic guitar based on the G.face) standard. Note that the electronic musical instrument of the present invention may be implemented as part of an electronic musical instrument that itself has a guitar body. Here, an externally connected or built-in electronic guitar has, for example, six strings strung on the main body, and the player can select any of these strings at any position on the frets provided on the main body. By picking while pressing, it is possible to electronically detect and output press information on the fret or vibration information on the string as note-on/off data and initial touch data independently for each string. Note that string operation here refers not only to the operation of external or built-in guitar strings, but also to playback of independent performance tracks corresponding to each string by a sequencer connected externally via MIDI, etc. include.

First, it includes sound source means for independently producing musical tone signals at each of a plurality of localizations. This means can be applied to various types of sound sources, such as a frequency modulation type or phase modulation type digital sound source, a PCM sound source, etc. And, for example, it is a means for independently generating musical tone signals in each localization of the left channel and right channel of stereo, for example, by time-division processing. Alternatively, the musical sound signal is generated at a localization in the center of the left and right sides or a localization in which the left and right mixing ratio changes continuously,
But that's fine.

Next, the apparatus includes localization control means for generating musical tones based on the note-on information while changing the localization in the sound source means according to the string for which the note-on information is generated each time the note-on information is input. In this case, the note-on information is input in response to each string operation of an externally connected electronic guitar, for example via MIDI, or in response to each string operation of a built-in guitar body. Each time note-on information is input, the localization control means determines which string operation the note-on information corresponds to,
Based on the determination result, sound generation control is performed while changing localization in the sound source means. That is, for example, consecutive string numbers are assigned to each string, and if the string number related to the input note-on information is an even number, the sound source means generates a musical tone signal in the left channel localization, and if the string number is an odd number, the musical tone signal is generated in the right channel. The sound will be played in the stereo position of the channel. Alternatively, the relationship may be the opposite. Note that the string number corresponds to, for example, a MIDI channel, so the M string number set in the input note-on information
By determining the IDI channel, even string number/
Can distinguish odd numbers.

[For production]

When a performer performs a performance by picking strings using an electronic guitar that is built-in or connected externally via MIDI, the sound source changes depending on whether the operated string is an even-numbered string or an odd-numbered string. The localization of musical tones emitted from the means changes to, for example, the left channel or the right channel.

That is, the performer can change the localization of the musical tones produced by selecting and operating the strings.

Furthermore, by operating multiple strings simultaneously, for example, it is possible to generate a musical sound with a wide localization in the left and right channels, and it is possible to obtain a stereo effect based on the performer's intention.

〔Example〕

Hereinafter, the present invention will be described in detail with reference to the drawings. This embodiment is realized as an electronic musical instrument that can select any performance mode from among a plurality of performance modes, and the parts related to the present invention are a normal mode (NORMAL MODE) and a guitar mode (Guitar mode).
This relates to note-on control processing (described later) when the mode (ar Mode) is selected.

Figure 1 is a configuration diagram of an electronic musical instrument according to an embodiment of the present invention. This embodiment is realized as a sound source module type electronic musical instrument that receives external MIDI commands (including data; the same applies hereinafter) and controls the sound source based on them to produce the corresponding musical tones. As shown in the figure, it is also possible to realize it as a part of a keyboard instrument or the like having a keyboard section 16 or a controller 17. Note that the controller 17 may include, for example, a bender wheel for arbitrarily changing the pitch during performance.
hee1), a modulation wheel that allows you to arbitrarily change the tremolo depth, etc.
e1), a definable wheel that can arbitrarily change data for one or more of the musical tone components set in advance;
) and other operators. In the following description, unless otherwise specified, the sound source module will be described as being controlled based on external MIDI commands.

A central control unit (hereinafter referred to as CPU) l performs data processing from each processing section, which will be described later, and sends out control data for controlling each processing section, thereby controlling the entire electronic musical instrument.

The switch section 3 is a group of various switches, including a switch for changing the tone color, a switch for changing the performance mode (described later), and a switch for changing the setting state of various control data, performance mode setting data, tone data, etc. , or a volume for changing data values, and these switch information is sent to the CPU via bus 2.
After the data is imported and processed, the data is set or sent to each processing system.

The display unit 4 is an LED or LCD display, etc.
The current performance status, setting data values, system setting status, etc. are displayed in response to data sent from the CPU via bus 2.

The MIDI circuit 5 receives a signal input from the outside to control the main tone generator module according to the MIDI standard, and transmits the signal to the bus 2.
This is an interface circuit for transmitting signals for controlling an external electronic musical instrument, which are transferred to the CPU via the bus 2, or conversely output from the CPU via the bus 2, in accordance with the MIDI standard.

The external interface 6 is an interface circuit for importing data, programs, etc. stored in the IC card, and conversely writing data, programs, etc. to the IC card. Note that this circuit is not particularly related to the present invention.

The ROM 7 is a read-only memory that stores programs, tone data, performance data, etc. for operating the sound source module.

The RAM 8 is a rewritable memory that temporarily stores data used in the program, timbre data, timbre control data, performance data, performance status data, and the like.

The sound source 9 is a circuit that generates musical tones while setting the tone and controlling the sound generation state based on control data input from the CPU via the bus 2. Digital sound source circuits can be applied.

The D/A converter 10 is a conversion circuit that converts digital musical tone data from the sound source 9 into a stereo analog musical tone signal.

The panning effect generator 11 is a circuit that adds a panning effect to the stereo analog musical tone signal from the D/A converter l0 to automatically change the localization of the left and right channels. The state of this panning effect is controlled by a control signal input via bus 2 from the CPUI. The present invention relates to a type of panning processing for distributing a musical sound signal between left and right stereo channels, but the panning effect generator 11 is a circuit that adds a panning effect to the analog musical sound signal in a fixed position or at random. This is not particularly relevant to this embodiment. Of course, this is related to this embodiment, and it is clear that the localization control of the present invention may be performed by such a panning effect generator 11.

The filter 12 is a left and right channel independent filter for removing unnecessary frequency components from the stereo musical sound signal from the panning effect generator 11.

The amplifier 13 outputs the above stereo output into left and right channels independently.
The thus amplified stereo musical tone signal is emitted from each speaker 14, 15. Note that when this embodiment is implemented as a sound source module, the amplifier 13 and speakers 14 and 15 may be omitted, and the stereo musical sound signal from the filter 12 may be output to an external audio system connected to the sound source module.

As explained at the beginning, the keyboard section 16 and the controller 17 are an example of the configuration when this embodiment is realized as part of a keyboard instrument, and are not directly related to the present invention.
The explanation of its operation will be omitted.

, 6 to 1 of 8′ flow The operation of the electronic musical instrument having the above configuration will be explained below.

Note that each operation flowchart shown below is based on C in Fig. 1.
The PUI is executed by operating according to a program stored in the ROM 7.

The electronic musical instrument according to this embodiment starts the general operation flowchart shown in FIG. 5 at the same time as the power is turned on and repeatedly executes it, but also interrupts the operation flowcharts shown in FIGS. 2 to 4 and 21 and 22. Execute by. Note that FIGS. 9 and 11 to 18 show details of each part of the general operation flowchart of FIG. 5.

First, the basic operation flow of this embodiment will be explained according to the operation flowcharts of FIGS. 2 to 5.

The explanation will be given with reference to each processing unit shown in FIG. 1 from time to time.

FIG. 2 shows a processing flow that is executed with priority over the general operation flowchart of FIG. The state of each switch is loaded into an area (not shown) of the RAM 8. After executing this process, the process returns to the general operation flowchart of FIG. 5 again.

FIG. 3 shows a process that is executed with priority over the general operation flowchart of FIG. 5 based on an interrupt from the MIDI circuit 5 when the MIDI circuit 5 receives a MIDI command from an external device (not particularly shown). 5301, M received by the MIDI circuit 5.
Processing is carried out to import an IDI command into an area not particularly shown in the RAM 8, and processing to set a flag indicating that a MIDI input has occurred in an area not particularly shown in the RAMB. After executing this process, the process returns to the general operation flowchart of FIG. 5 again.

FIG. 4 shows how, when this embodiment is realized as a part of a keyboard instrument and is equipped with a keyboard section 16, a controller 17, etc., the operation data is output to an external device when these are operated. This is the processing flow of 540
1, the MI
A process of outputting as a MIDI command via the D1 circuit 5 is performed. Note that this operation is normal MIDI command output processing and is not directly related to the present invention.

FIG. 5 is a general operation flowchart repeatedly executed by the CPUI.

When the power is first turned on, in 5501, the sound source 9
Initialization processing is performed, such as initial settings for , initial display data settings for the display unit 4 , and initialization of each control data, control data, calculation data, etc. in the RAM 8 .

Next, in 5502, it is determined whether the state of the switch section 3 has changed. The switch data to be determined here is the switch data detected by the interrupt processing shown in FIG. 2 and stored in the RAM 8.

If there is a change in the switch state as a result of the above determination, 5503
At , switch change processing is performed. Here, in addition to setting the performance mode, setting tone data, setting MIDI control data, setting panning (PAN) control data, changing each data, setting musical tone control data for the sound source 9, and setting the display section 4. All necessary processing depending on the system status, such as data settings, initial settings of control data, control of the banging effect generator 11, exchange of data or programs with an IC card etc. via the external interface 6, MIDI control, etc. will be done. Note that this operation will be detailed later. After the above operation, 5504
Move on to processing.

On the other hand, if there is no change in the switch state as determined in step 5502, the switch change process in step 5503 is not executed, and
The process moves to step 504.

Next, in 5504, MIDI is transmitted via MID1 circuit 5.
It is determined whether a command has been input.

Note that the flag for determining the presence or absence of MIDI input is set in the RAM 8 by the interrupt processing shown in FIG. 3, as described above.

If there is MIDI input according to the above judgment, MIDI of 5505
Execute DI IN processing. Here, the input MIDI
Identify the command, change the internal performance mode, change the tone data, change the PAN control data, in response to the data.
Changes in musical tone control data and all processes related thereto, as well as musical tone control, display data control, MIDI control, etc., are processed according to the system status and setting data. Note that this is a part particularly related to the present invention, and the operation according to the present invention will be described in detail later. After the above operations, the process moves to step 5506.

On the other hand, if there is no MIDI input according to the determination in 5504, the MIDI IN process in 5505 is not executed, and the MIDI IN process in 550
Proceed to step 6.

In 5506, it is determined whether or not there is a change in key depression in the keyboard section 16. As explained in the section "Configuration of this embodiment," this process is executed when this embodiment is realized as a part of a keyboard instrument and has the keyboard section 16, and the own keyboard operation also produces musical sounds. 55 in order to reflect it in the pronunciation control of
It is determined whether or not there is a change in key depression in step 06.

If a key press/release operation is performed, key press change processing is performed in 5507. This processing involves changing data in response to key press/release operations, assigning sounds, producing sounds, muting, MIDI control, etc., and is the same as the operation of a normal keyboard instrument, and is directly related to the present invention. Since it is not relevant, its details will be omitted.

After the above processing or if there is no change in the key press as determined in step 5506, the process returns to step 5502.
Processes 2 to 5507 are repeatedly executed.

Note that if this embodiment is implemented as a sound source module type electronic musical instrument that does not have the keyboard section 16, it is not necessary to execute the processes 5506 and 5507.

In the basic operation flow of this embodiment described above, the part that is particularly relevant to the present invention is the MIDI IN process at 8505 in the general operation flowchart of FIG.
Before explaining these details, an outline of the sound production mode of the electronic musical instrument according to this embodiment will be explained.

In this embodiment, the maximum number of simultaneous sound productions (hereinafter referred to as polyphonic (Poly) number or simply Po1y) is 8 notes, and a maximum of 8 tones can be produced simultaneously as a sound source.

And NORMAL MODE
, combination mode
MODE), and multi-polyphonic mode (MUL
It has three performance modes: Tl, POLY MODE). In NORMAL MODE, it is possible to generate eight Po1y musical tones with one tone.

In the COM[1INATION MODE, there are two sound generation areas, and it is possible to allocate one timbre and four-tone Po1y to each area. That is, it is possible to generate musical tones with a mixture of two tones using four tones Po1y. MULTl, POLY MO
The DE has eight sound generation areas, and one timbre of 0 to 8 tones Po1y can be assigned to each area. However, M
The total number of Po1y in all areas of ULT1 and POLYMODE will never be larger than 8 notes.

Furthermore, for each of the above three performance modes, NORM
AL MODE and COMBINATION MODE
Now, each keyboard mode (Key Board
Mode), Guitar Mode
) and wind instrument mode (Wind Mode) can be selected alternatively.
The ey Board Mode is fixedly set.

FIG. 6 shows the sound production mode of this embodiment when each MIDI command is inputted via the MIDI circuit 5 of FIG. 1 in each of the performance modes described above. In the table in the figure, the Note onloff command is a command to start or end sounding, the Pitch Bender command is a command to pitch bend (change pitch), and , After Touch command is a command for instructing aftertouch (key pressure after pressing a key, etc.). Furthermore, the timbre change command is an instruction to change the timbre to be produced, and the control change command is an instruction to change various controls such as the modulation wheel, foot volume, portamento data, master volume, foot switch, etc.

In Figure 6, NORMAL MOD is selected as the first performance mode.
If Key Board Mode is selected in E, Noteonloff, Pitch Bende
r, After Touch, Tone Change, and Control Change commands operate only when a fixed predetermined MIDI channel is specified, and commands on other MIDI channels are ignored.

As the second performance mode, play Gu in NORMAL MODE.
If itarMode is selected, Note
For the onloff and Pitch Bender commands, it operates independently for each MIDI channel, from a fixed predetermined MIDI channel to a channel added by 5. For example, when a predetermined MIDI channel is 1, up to 1+5=6 channels operate independently. This is because the 141 DI channels of commands input from a stringed instrument such as a guitar are set independently for each string. For example, in many cases, the 1st to 6th strings are assigned to channels 1 to 6, and Note onloff (compatible with picking for each string) and Pitch Bende
This is because each instruction of r (corresponding to the bending playing method etc. for each string) is given. On the other hand, After To
uch, tone change, and control change commands are accepted only when a fixed predetermined MIDI channel of the lowest string channel among the above six channels is specified, and corresponds to the channel +5 from that channel. The command is executed simultaneously for the six strings. This is because timbre changes, etc. are instructed to all 6 strings at the same time, so by sending commands using only the MIDI channel corresponding to the lowest string, commands can be executed for all 6 strings. This prevents redundancy such as transferring commands to each string separately. Note that when a note is turned on in this mode, sound generation processing is performed for the left and right distributions related to the present invention.

As the third performance mode, Wi
If Key Boa mode is selected,
Same as when rd Mode is selected, but
If the After Touch command is input, A
Change the data of the fter Touch command to the volume of the musical tone.
Conversion curve for converting to tone parameters (hereinafter referred to as
Set the after curve (called after curve) as an after curve specific to wind instruments. In addition, as shown in Figure 6, the Guitar
In the case of Mode, an after curve similar to that of Key Board Mode is set. In this way, Win
The reason for changing only the d Mode setting is that in the case of wind instruments, aftertouch is often used to control the volume, etc., but at the beginning of the sound, the aftertouch data is always small, so if you control it in the same way as aftertouch in Key Board Mode, The rise of the sound is always slow,
This is because the performance becomes unnatural. In addition, Gui
The tarMode aftertouch may be added using a dedicated touch key provided on the guitar body. ``Here, the after curve or the algorithm that determines it is stored, for example, in the ROM 7 in Figure 1, and refers to the curve based on the data of the After Touch command input by the CPUI, and converts it into the volume and timbre parameters of the musical tone. and output to the sound source 9.

In contrast to the above NORMAL MODE, in the fourth performance mode, COMBINATION MODE, as shown in Figure 6, two tones are sounded at the same time, and the first to third tones of NORMAL MODE are
This is exactly the same as in each performance mode. However, Gui
In tar Mode, the GUI of NORMAL MODE
Unlike the case of tar Mode, as will be described later, when a note is turned on, no sound generation processing is performed for the left and right distributions related to the present invention.

As the fifth performance mode, MULTl, POLY MOD
E is assumed to be used as a sound source for a sequencer (automatic performance device), and in this example, the
Only Mode can be set, Note onl
off, PitchBender, After
The Touch, Tone Change, and Control Change commands are independent for each MIDI channel, and operate on the sound generation area of the same channel as the MIDI channel independently set for the eight sound generation areas.

As shown above, in this embodiment, NORMAL MOD
E, COMBINATION MODE or MULTI
, POLY MODE, and the ability to control the optimal musical tone production for each device depending on whether the externally connected electronic musical instrument is, for example, a keyboard, an electronic guitar, or an electronic wind instrument. It is.

Switch φ 3 Below, 3 of the general operation flowchart in Figure 5 above.
503 switch change processing and 5505 MIDI I
The N process and the control data change process due to interrupts will be sequentially explained.

First, the switch change process when each performance mode is set with the switch section 3 of FIG. 1 in FIG. 5 will be explained.

FIG. 7 shows a part of the switch unit 3 shown in FIG. 1, and is a key switch for setting each performance mode. 1 in the same figure
8.19 and 20 are NORMALMODE, C
OMBINATION MODE and MULTl, PO
This is a switch to set LY MODE, and 2■ is Ke
y This is a selection key for selecting Board Mode, Guitar Mode, or Wind Mode.

FIG. 8 shows an example of the display on the display section 4 of FIG. 1 when each performance mode is selected. In this example, the display unit 4 has 16
It is composed of an LCD module with 2 lines of characters.

In the same figure (a) to (C), NORMAL MODE is selected and Key Board Mode, Gu
This is a display example when itar Mode and Wind Mode are selected, and the underlines under the letters "K", "G", and "W" are blinking with a cursor. Then, each time the select key 21 in FIG. 7 is pressed, the
) - (b) - (C) - (a), and the display changes as follows: Key Board Mode - “Guitar M
ode-+Wind Mode-+Key Boar
The performance mode changes as shown in d Mode.

FIG. 8(d) to (f) are COMBINATION M
ODE and Key Board ModeSGu
This is a display example when itar mode and wind mode are selected, and each performance mode can be selected using the select key 21 in FIG. 7, as in the case of NORMAL MODE.

FIG. 8(g) shows the display of MULTl and POLY MODE, and as mentioned above, Key Board Mod
Since it is fixed to e, the display of "K" is omitted.

In addition, in Figures 8(a) to 8(a), rPsTl on the first line of the screen
” is an abbreviation for preset bank l, and rA on the second line
-IJ, rA-2J, rA-3J, etc. are tone bank A 1.
．． 2.3, both of which indicate areas where timbre data is stored. Also, “VZ EPJ, rVZ B
Letters such as ASSJ, rVZ TRUMPET, etc. indicate tone names.

Furthermore, "1+(2)" in Figures 8(d) to (f) means simultaneous pronunciation of two tones, and indicates that the tone bank and tone name of the pronunciation area surrounded by the mouth are displayed. .

The characters "rllllllllllJ" in the first line of FIG. 8 (8) display the Po1y numbers of the eight pronunciation areas 1 to 8 in order from the left. Incidentally, all of the diagram (g) shows lPo1y. It also shows that the tone bank and tone name are displayed in the sound production area surrounded by the mouth.

FIG. 9 is an operation flowchart of a program executed when each switch of the switch section 3 of FIG. 1 (including each switch 18 to 21 of FIG. 7) is pressed. This operation flowchart shows details of the switch change process 5503 in the general operation flowchart of FIG.

In FIG. 9, at 5901, it is determined whether the key switch whose state has changed is newly pressed or released, and if it has been released, the process advances to 5906 to perform switch change processing.

However, each of the switches 18 to 21 in FIG. 7 does not have an OFF state, so the process ends without performing any processing.

If a key switch whose state has changed is pressed anew, 5
In each of the determination processes 902 to 5905, each key switch 18 (NORMAL MODE) and 19 in FIG.
(COMBINATION MODE), 20 (MU
LTl, POLY MODE), 21 (select key)
Determine whether or not is pressed, if YES, 5907-59
Perform each of the 10 processes, and if none of the above is the case, return 591.
Step 1 performs processing to change the corresponding switch. Furthermore, 59
Since the process No. 11 is not directly related to the present invention, its details will be omitted.

When the NORMAL MODE setting switch in Figure 7 18 is pressed, the process advances from 5902 to 5901 and the
LMOI)E setting processing is performed. Here, all the musical tones being produced by the sound source 9 in FIG. 1 are muted, and the NORMA
Key Board Mode
Either itar Mode or 141ind Mode is determined. The flag NORMFG is set as shown in Fig. 10 (b
) As shown in bito 4, it is unused and bito 4 is unused.
t5.6.7 is Key BoardMode, Gu
In itar mode and wind mode, each bit is set to "1", and since each mode is exclusive, one of the bits is always set to "l". After the above determination, information is set in the flag MODEFG in FIG. 10(a), which is the sound generation control RAM (part of RAM8 in FIG. 1), and then the operation of the sound generation mode of NORMALMODE already explained in FIG. In order to do this, all storage areas (not shown) necessary for sound generation control on the RAM 5 in FIG. 1 are initialized. Here, the flag MODEFG is a 1-byte RAM as shown in FIG.
O112 are each NORMALMODESCOMBIN
ATION MODE, , MULTl, POLY MO
It is set to ``1'' when it is DE, and each mode is mutually exclusive, so only one bit out of the 3 bits is ``1'', and any bit is rl. There is. Therefore, in the NORMAL MODE setting process described above, bito, ■, and 2 of the flag MODEFG are set to r1. r□, r□, are set. In addition, the flag M.O.
Bit 3.4 of DEFG is unused. Also, bit
5.6.7 is Key Board Mode, Gui
rl in tarMode and Wind Mode respectively
, and each of these modes is also exclusive, so
One of the bits is always "1".

Next, COMBINATION MODE in Figure 7 19
When the setting switch is pressed, the process proceeds from 5903 to 5908 in FIG. 9, and the COMBINATION MODE setting process is performed. Here, all musical tones being produced by the sound source 9 in Figure 1 are muted, and the COM old NATION MO
The first RAM which is dedicated to DE (part of RAM8 in Figure 1)
Read the flag COMBFG shown in diagram (C) and set Key BoardMode, Guitar Mo
Determine either de or Wind Mode. The flag COMBFG, as shown in FIG. 10(C), has exactly the same configuration as the flag NORMFG in FIG. 10(a). After the above determination, the NOHMAL MIID
Similar to the E setting process, the flag I'1OD in FIG. 10(a)
After setting the information in the EFG, the C
In order to operate in the sound generation mode of OMBINATION MODE, all storage areas (not shown) necessary for sound generation control on the RAMB in FIG. 1 are initialized.

Next, MULTl and POLY MODE in Figure 7 20
When the setting switch is pressed, the process proceeds from 5904 to 5909 in FIG. 9, where MtlLTl and POLY MODE setting processing is performed. Here, all the musical tones being produced by the sound source 9 in FIG. 1 are muted, and the flag MO in FIG.
DEFG bito, ■, 2 respectively ro'' rO,, +
rl”, set bits 5, 6, and 7 to “1” and “0” respectively.
Set to "0". This is MULTl, POLY
In MODE, as already explained in Figure 6, the Key
This is because it is fixed to Board Mode.

On the other hand, if the select key in Fig. 7 21 is pressed, the 9th
Proceeding from 5905 to 5910 in the figure, G and W change processing is performed. This process is performed by MtJLT I, POLY
If MODE is selected, the process ends without performing any processing. When NORMAL MODE is selected, first, in the flag NORMFG in FIG. 6.
1 rO"N"ra", rQ, r□, rl,, rlJ
rQJ r□", the NORMAL MODE setting process similar to 5907 is executed.

When COMBINATION MODE is selected, first, in the flag COMBFG in FIG. 10 (C), when bit 5 is rlJ, when bit 6 is "1", and when bit 7 is "1", bit 5.
．． 7 as r□, rlJ r□,, "0""0""l", r
1" rQJ r□, and then the above 3908
Execute the same COMBINATION MODE setting process.

After the switch change process is performed at 8503 in FIG. 5 and the performance mode is set as described above, the MIDI
Note onloff from external equipment via circuit 5
5Pitch Bender, After Touch
The operations when the MID4 commands h and tone change are input will be described below. Note that the Guitar M mode in NORMAL MODE is particularly relevant to the present invention.
This processing operation is performed when the Note aH command is input when ode is selected, and is characterized by performing a sound generation operation while distributing musical tones to the left and right stereo channels, as will be described later.

When each of the above MIDI commands is input, the third
The operation flowchart shown in the figure is executed, and the MIDI command received by the MIDI circuit 5 is taken into the RAM 8. This state is detected in the determination process 8504 in FIG. 5, and the MIDI IN process 5505 is executed. The details of this process are shown in FIG.

In the same figure, Note onloff and Pitch Bend are shown in 51101 to 31104, respectively.
It is determined whether the command is er, After Touch, or tone change. In the case of a control change command other than the above-mentioned command, as will be described later, it is processed by control data change processing based on interrupts at regular intervals, so the 14IDTIN processing ends without performing anything due to the determination of 51113. Furthermore, in the case of commands other than these, it is determined in step 51114 whether the commands are invalid or valid, and then the valid commands are processed. Applicable commands include system messages unrelated to the HIDE channel, such as exclusive messages, common messages, and real-time messages based on the MIDI standard.

Next, Note onloff, Pitch B
A case where any one of the commands ender, AfterTouch, or tone change is input will be described.

Note that the following explanation corresponds to the general operation in each of the first to fifth performance modes described in the section ``Summary of sound production mode in this embodiment J'' using FIG. 6.

First, as the first performance mode, select NORMAL MODE.
The case where ey Board Mode has already been selected will be explained.

When the Note on10ff command is manually executed in the first performance mode, the determination at 5IIOI in FIG. 11 becomes YES, and channel determination 1 at 51105 is executed. Details of channel determination l are shown in FIG. In the case of the first performance mode, the determination in S1203 in FIG. 12 51201 is No, and the determination process in S1205 is executed.
MIDI channel (
Only when the MIDI channel (hereinafter simply referred to as the MIDI channel) is equal to a fixed predetermined MIDI channel (hereinafter referred to as the fixed channel), the determination in S1205 becomes YES;
The process proceeds to Note on 10ff processing in FIG. 1F 51106.

This process is shown in FIG. In the first performance mode, 5
The determination of 1401.51402 is NO, and S 140
Proceed to step 3. If the command is a Note on command, the process advances to S1404, and the empty module in the sound source 9 of FIG. 1 that is not currently producing a sound is instructed to start producing sound.

Here, although the sound source 9 in FIG. 1 will not be described in detail, it is possible to generate eight sounds in parallel through time-sharing processing, and in this embodiment, each time-sharing timing corresponding to the above-mentioned eight sounds is called a module. I'll decide. Although not shown in detail in FIG. 14, if there is no empty module, for example, the module whose sound generation was started oldest may be muted, and a new sound generation start instruction may be given to that module.

On the other hand, if the command is a Note off command,
Proceeding to S1405, the notes currently being produced by the sound source 9 and having the same note number (hereinafter referred to as Note No.) are muted.

Next, when the Pitch Bender command is input in the first performance mode, the determination of 5IIOI in FIG. 11 is No.
After that, the determination of 51102 becomes YES, and 311
Channel determination 1 of 07 is executed. This is the above-mentioned Not
eon10ff D? As in the case of the
1201, after the determination of S L203 becomes NO, MI
S12 only if DI channel and fixed channel are equal
The determination of 05 becomes YES, and Pi of 31108 in FIG.
Proceed to tch Bender processing. This process is shown in FIG. In the case of the first performance mode, S 1501, S 1
The determination in step 502 is No, and the process advances to step S1503. Here, the pitch bender data is reflected on all eight sounds that can be produced at the same time.

When the After Touch command is input in the first performance mode, after the determinations in FIG. 11 51101 and 51102 become NO, the determination in 51103 becomes YES,
Channel determination 2 of 51109 is executed. This process is shown in FIG. That is, only when the MIDI channel and the fixed channel are equal, the determination in S1301 becomes YES, and After Toucl+ in 5111O in FIG.
Proceed to processing. This process is shown in FIG. In the case of the first performance mode, the determinations in 31601 and S1602 are No, and the process advances to S1603. Here, we perform aftertouch processing suitable for keyboard instruments. Specifically, the input aftertouch data is converted into variations in the volume and timbre of the musical tone based on a conversion curve suitable for the keyboard instrument stored in the ROM 7 shown in FIG. 1, and the parameters are transferred to the sound source 9. to change the characteristics of the sound source.

When a tone change command is input in the first performance mode, the discrimination power N in FIG. 11 is 31101-31103 (7).

After that, the determination of 31104 becomes YES, and 5l1
11 channel decisions 2 are performed. That is, the above A
After Touch=]? As in the case of M
13th only if IDI channel and fixed channel are equal
The determination in FIG. 31301 is YES, and 3111 in FIG.
Proceed to step 2, tone change processing. This process is shown in FIG. In the case of the first performance mode, the determination in S1701 is N.

The process then proceeds to S1702, and all the sounds being produced are muted. Next, in step S1703, the RAM a area for sound generation control in RAMa shown in FIG.
At step 704, the tone data inputted to the sound source 9 is transferred, and the tone to be produced by the sound source 9 is switched.

Next, as the second performance mode, select NORMAL MODE.
The case where Guitar Mode is selected will be explained.

Note in a second performance mode that is particularly relevant to the present invention.
If the on10ff command is input, Figure 11 31
The determination at 101 becomes YES, and channel determination 1 at 51105 is executed. That is, after the determination in FIG. 12 31201 becomes No, the determination in S 1203 becomes YES, and the determination process in S 1204 is executed.
The MIDI channel changes from a fixed channel to the fixed channel +
Only when it is within the range of 6 channels up to 5 channels, the determination in S1204 becomes YES, and the result shown in FIG.
The process proceeds to step 1106, that is, the Note on 10ff process shown in FIG. In the case of the second performance mode, after the determination in S1401 becomes No, the determination in S1402 becomes YES, and the process advances to S1409. And the command is Note
In the case of an on command, the process proceeds to 31411, and first, if there is a module currently producing sound to which a channel equal to the MrDI channel of the sound source 9 in FIG. 1 is assigned, it is muted. Note that the channel is determined using 51413, which will be described later.
This is performed based on the string number data stored in the RAMB shown in FIG. Next, in step 51412, the empty module of the sound source 9 is instructed to start generating sound.

FIG. 18 shows an operation flowchart of the processing of the sound generation start instruction 31412 in FIG. 14. Now, in the second performance mode, the determination in 31801 is YES, and the process advances to 31802. In this embodiment, as already explained, the sound source 9 in FIG. 1 is capable of producing 8-tone polyphonic sound in parallel through time-sharing processing, and is capable of producing eight sound modules in parallel as conceptually shown in FIG. 19. have That is, each module means each time division timing corresponding to the above eight sounds. Furthermore,
The outputs of modules 1 to 4 are accumulated into one and output as a stereo right channel musical tone (R in the figure), and the outputs of modules 5 to 8 are also accumulated into one and output as a stereo left channel musical tone (R). It is output as L) in the same figure. A major feature of this embodiment is that the sound is produced while being distributed to the left and right channels depending on whether the string number is even or odd, as shown below. The details of the pronunciation processing are shown below.

First, at 31802 in FIG.
It is determined whether the string number of the ta on10ff command is an even number or an odd number. Here, the 2.4th and 6th strings of the guitar are even string numbers, and the 1.3rd and 5th strings are odd string numbers. As already explained in the section "Summary of sound production mode in this embodiment", the MIDI channel of commands input from the guitar is set independently for each string. For example, the 1st to 6th strings are set to channel 1. ~6 is assigned. Therefore, here, manually created Note on
By determining the MIDI channel set in the 10ff command, it is determined whether the string number is even or odd.

As a result of the above determination, if the string number is an odd number, the process of making the right channel sound is performed in the process 81803.

Here, a module that is not producing sound among modules 1 to 4 corresponding to the right channel in the sound source in FIG. 19 (corresponding to sound source 9 in FIG. 1, the same applies hereinafter) is instructed to start sounding.

On the other hand, if the string number is an even number, processing is performed in step 51804 to cause the left channel to produce sound. Here, a module which is not producing sound among modules 5 to 8 corresponding to the left channel in the sound source of FIG. 19 is instructed to start producing sound.

After the above processing, the process proceeds to 31413 in FIG. 14, and the control data MODU corresponding to the module is stored in the RAM 8.

FIG. 20 shows the structure of the control data MODU. As shown in the figure, corresponding to the eight modules of the sound source 9 in Figure 1,
It consists of 24 bytes, 3 bytes each. Of the 3 bytes of each module, bits 0 to 6 of the first byte indicate the note number (NoteNo) that is being sounded as a value from 0 to 127 (decimal number), and bit 7 indicates when the corresponding module is note-on. rl to see if a note has been sent or a note off has been made.

Or it is indicated by "0". The second byte bito-6 indicates the initial touch data during sound generation as a value from 0 to 127 (decimal number). The third byte, bito~2, stores the string number indicating which string the module is sounding, and
Each string up to the 6th string takes a value of 1 to 6. Note that the string number corresponds to the input MIDI channel as described above.

The control data MODII is used in S1411 described above to determine a channel for muting a module that is currently producing sound and is assigned a channel equal to the MIDI channel. The reason why the sound of the same channel is muted and then a new sound is started is because the MIDI channel of commands input from stringed instruments such as guitars is set independently for each string. This is because it is impossible for multiple sounds to be pronounced at the same time. In addition, in order to leave a lingering sound, the sound may be muted by adding an appropriate envelope.

Through the above-described sound generation processing, sound is generated while being distributed to the left and right channels depending on whether the string number is an even number or an odd number.

Next, 514 of the Note on10ff process in Figure 14
Returning to 09, if the input command is a Note off command, the process proceeds to 51410, where the sound currently being produced by the sound source 9 and having the same MIDI channel is muted. In this case, the first byte of the corresponding module in Figure 20,
Note off information is set.

When the Pitch Render command is manually executed in the second performance mode - mode, after the determination in 31101 in FIG. 11 becomes NO, the determination in 51102 becomes YES, and the
Channel determination 1 is performed. This is the same as the above Note
As in the case of the on10ff command, 312 in FIG.
After the determination of 01 becomes NO, the determination of SL203 becomes Y.
ES, and only when the MIDI channel is within the range of 6 channels from the fixed channel to the fixed channel + 5 channels, the determination in S1204 becomes YES, and the Pitch of FIG.
Proceed to Bender processing. In the second performance mode, S
After the determination in step 1501 becomes No, the determination in step S 1502 becomes YES, and the process advances to step S 1504. Here, the pitch bender data is reflected only for sounds whose MIDI channel is the same as the previously produced channel (currently producing channel). In other words, pitch bending is applied independently only to the notes corresponding to the strings that have been bent, for example.

When the After Touch command is input in the second performance mode, after the determinations at 51101 and 51102 in FIG. 11 become NO, the determination at 51103 becomes YES,
Channel determination 2 of 51109, that is, FIG. 13 is executed, and After Toucb m
+ Just as in the case of cloak input, the determination in S1301 becomes YES only when the MIDI channel and the fixed channel are equal, and After 51110 in FIG.
Touch processing, that is, After Touch in FIG.
Proceed to ch processing. In other words, in the case of the second performance mode, Af
For the ter Touch command, see the above Note.
onloff command or PitchBend
Unlike the er command, this command is accepted only when a fixed predetermined MIDI channel, which is the lowest chord channel among the six channels, is specified. The After Toucb process in FIG. 16 is the same as in the first performance mode, S1601-31602-31
Proceeding to step 603, aftertouch processing suitable for keyboard instruments is performed, but in this case, the above command is simultaneously executed for channels for six strings corresponding to channels +5 from the fixed channel.

Thereby, by transferring the After Touch command for one string, it is possible to simultaneously apply the aftertouch effect to six strings.

When a tone change command is input in the second performance mode, after the determinations in 5IIOI to 51103 in FIG.
ter Touch: As with the cloak, MID
Only when the I channel and the fixed channel, that is, the lowest string channel are equal, the determination at 31301 in FIG. 13 becomes YES, the command is accepted, and the process proceeds to the tone change process at 31112 in FIG. 11, ie, FIG. 17. Here, as in the case of the first performance mode, all the notes being sounded are muted in steps S 1'701 → 51702, and in S 1703 the first
The RAM '6M area for sound generation control in the RAMB shown in the figure is initialized, the tone data inputted to the sound source 9 in S1704 is transferred, and the tone to be produced by the sound source 9 is switched. In this case as well, the above command is executed simultaneously for the channels for 6 strings corresponding to the channel +5 from the fixed channel, so that the After
By transmitting the r Touch command, you can change the tone of all 6 strings at the same time.

Next, the third performance mode is Dark RMAL MODE.
The case where Wind Mode is selected will be explained.

Note onloff, Pit in 3rd performance mode
The operation when ch Bender and tone change commands are input is in the first performance mode, that is, Key
This is exactly the same as each case when Board Mode is selected.

If the After Touch command is input in the third performance mode, the command 511 in Fig. 11 is input as in the first performance mode.
03-31109-31110, but 3 in Figure 16
After the determination at 1601 becomes NO, the determination at 31602 becomes YES. The process then proceeds to S1604, where aftertouch processing unique to wind instruments is performed. Specifically, the input aftertouch data is converted into the volume and timbre parameters of the musical tone based on a conversion curve or conversion algorithm suitable for wind instruments stored in the ROM 7 shown in FIG. to change the characteristics of the sound source. As a result, in a control mode unique to wind instruments in which the volume and the like are controlled by aftertouch, it is possible to naturally cope with an operation in which aftertouch data always decreases at the rise of a sound.

In contrast to the above NORMAL MODE, in the fourth performance mode, COMBINATION MODE, two tones are sounded at the same time, and the number of Po1y in each tone is four. The same processing as in each of the first to third performance modes of the NORMAL MODE is performed. However, Guitars
In the case of Note on processing in r Mode, the process proceeds to 51409-81411-31412 in Fig. 14, and since the determination in 31801 in Fig. 18 is NO, the normal pronunciation is performed in 31805 without performing pronunciation processing for the left and right portions. Perform processing. In this case, since each tone operates with four notes Po1y for the six strings, the sound generation control is performed while the oldest sound data is muted by the later inputted note-on.

Finally, the fifth performance mode is MULTT, POLY M.
The operation when ODE is selected will be explained.

In this case, the operation is exactly the same as in the first performance mode, except that each process is executed only for sounds in the sound generation area to which a channel equal to the MIDI channel is assigned. In this case, the sound generation areas are, for example, the first sound generation area has channel number 1 and 2 sounds Po1y, the second sound generation area has channel number 2 and 3 sound Po1y, and the third sound generation area has channel number 3 and 3 sound Po1y. As in,
This refers to an area allocated to each IDI channel so that it behaves as an independent musical instrument.

When the Note on10ff command is input in the 5th performance mode, the process proceeds from 31101 to 51105 in Figure 11,
The determination in FIG. 12 31201 is YES, and S 120
By executing the determination process in step 2, the determination becomes YES only when the Po1y number of the sound generation area to which the MIDI channel is assigned is not O, and the result is 5l1 in FIG.
The process proceeds to the Note on10ff process of 06, ie, FIG.

Here, the determination in S1401 is YES, and the MID
S1403 to S1405 of the first performance mode are applied only to the sound generation area to which the I channel is assigned.
The processes of S1406 to S1408 corresponding to the process of are executed.

When the Pitcb Bender command is input in the 5th performance mode, 51101 → 31102 → 51 in Figure 11
107, channel determination 1 is executed, which is exactly the same as in the case of the Note on10ff command, and the process proceeds to the PiLcb Bender process of 31108 in FIG. 11, that is, FIG. 15. Here, the determination of S1501 is YES
Therefore, the first performance mode 31503 is applied only to the sound generation area to which the MIDI channel is assigned.
The process of S1505 corresponding to the process of is executed.

When the After Touch command is input in the fifth performance mode, S 1101-31102 → 31 in Figure 11
Proceed to 103-31109 and go to channel determination 2 in Figure 13.
is executed in exactly the same manner as in the first performance mode.

In other words, the determination in 51301 is Y only when the MIDI channel and one of the fixed channels of each sound generation area are equal.
ES, and After Tou in Figure 11 5IIIO
The process proceeds to channel processing, that is, to FIG. Here, 3160
1 is YES, and the process of S1605 corresponding to the process of 31603 of the first performance mode is executed only for the sound generation area to which the MIDI channel is assigned.

When a tone change command is input in the 5th performance mode, 31101→S1102-S1103 in FIG. 11
-51104-31111, and the After T
ouch :] ? 7. Channel determination 2, which is exactly the same as in the case of 1000, is executed, and the process proceeds to the tone change process at 31112 in FIG. 11, that is, FIG. 17. Here, S 170
S corresponding to the processing of steps 31702 to S 1704 of the first performance mode is applied only to the sound generation area to which the determination in step 1 is YES and a MIDI channel is assigned.
Processes 1705 to S1707 are executed.

As above, NORMAL MODE, CO
MBINATTONMODE or MLILTIPOLY
Each performance mode of MODE is selected, and the Key
By selecting Board Mode, Guitar Mode, or Wind Mode, it is possible to control the production of musical tones that are optimal for each device, depending on whether the externally connected electronic musical instrument is a keyboard, electronic guitar, electronic wind instrument, etc. becomes. In particular, in this example, NOR
When MAL MODE is in Guitar Mode,
A major feature is that the sound processing is performed in such a way that the sound is alternately assigned to the left and right stereo channels depending on whether the string number is even or odd.

The operation of the controller when a control change command is input from an external device via the MIDI circuit 5 of FIG. 1 at the end of the procedure will be described with reference to the operation flowchart of FIG. 21.

The operation flowchart in FIG. 21 is similar to the switch state capture operation in FIG. 2, based on interrupts at regular intervals from a timer (not shown) in the CPU, and takes priority over the general operation flowchart in FIG. executed. Therefore, when a control change command is input, it is processed in units of the above-mentioned fixed period.

First, if a control change command is input,
As already explained, the operation flowchart of FIG. 3 is executed based on the interrupt from the MIDI circuit 5, and the MIDI
The MIDI command received by the DI circuit 5 is captured in the RAM 8. This state is shown in Figure 21, S.
It is detected in the determination processing of 2101 and 32102. M.I.
If no DI command has been input, or if the input MIDI command is not a control change command, the determination in S2101 and/or S2102 is No, and the process advances to 52104. This will be discussed later.

When a control change command is detected, first
Only when the MIDI channel (the MIDI channel specified in the same input command) is equal to the fixed channel, the determination in S2103 becomes YES, and the process proceeds to control data change processing in S52104. Here, the control corresponding to the data of the control change manually performed based on the operation of the external device such as the modulation wheel, foot volume, master volume, foot switch, portamento time change switch, portamento 0N10FF switch, etc. is shown in Figure 1. This is done for sound source 9. Furthermore, as explained in the MIDI IN processing section, the G
uitar Mode (NORMAL MODE or C
In OMBINATION MODE), the above command is accepted only when the MIDI channel is equal to the fixed channel corresponding to the lowest string, and the actual control is performed simultaneously from the fixed channel to the channel corresponding to the 6th string up to the channel + 5 channels. .

Furthermore, in MULTl and POLY MODE, control is performed only for the corresponding sound generation area when it is equal to one of the fixed channels corresponding to each sound generation area.

In addition to the control change command input as a MIDI command as described above, the controller 17 shown in FIG. 1 is operated in S2105, and it is determined whether or not its state has changed since the previous determination.

This process is a process that is executed when this embodiment is realized as a part of a keyboard instrument and has a controller 17, as explained in the section of "Configuration J of this embodiment," and the operation of its own controller also produces musical sounds. The state change of the controller 52105 is determined in order to reflect the change in the sound production control.

Then, if a controller operation is performed, 32
At 106, the corresponding control data is changed. This process is similar to the process of 52104 above. Note that if this embodiment is implemented as a sound source module type electronic musical instrument that does not have the controller 17, it is not necessary to execute the processes of 32105 and S2106.

In the next step 32107, data calculations are performed to realize LFO vibrato. What is LFO vibrato?
This is an effect that causes the pitch of a musical tone to vary periodically at a low frequency by the output of the FO (low frequency oscillator), and the cput shown in Figure 1
This is realized by creating corresponding pitch change data and transmitting it to the sound source 9. Here, data calculation processing is also performed when the LFO vibrato is modulated by the control data calculated in step 52104 or S2106 based on the MIDI command or the operation of the controller 17 shown in FIG.

At step 82108, an instruction is given to the sound source 9 in FIG. 1 to actually change the pitch of the musical tone based on the LFO vibrato data calculated in the above processing.

In S2109, data calculations are performed to implement LFOI-remo (growl). This is LFO
This is an effect in which the volume and timbre of musical tones are periodically varied at a low frequency by the output of , and is achieved by the CPU 1 in FIG. . In addition, here, based on the MIDI command or the operation of the controller 17 in FIG.
The control data calculated in 2104 or 52106 also performs data calculation processing when modulation is applied to the LFO tremolo (growl).

In the sequel <32110, based on the LF○ tremolo (growl) data calculated in the above process, the sound source 9 in FIG.
The user instructs the user to actually change the volume and timbre of the musical tone.

Then, at 32111, arithmetic processing of data is performed to generate a panning effect. The panning effect here refers to the panning effect generator 11 as described above.
This is an effect that is added to the stereo analog musical tone signal from the D/A converter 10 to change the localization of the left and right channels either uniformly or randomly.

The actual panning effect is performed at 3220 in the operation flowchart of FIG.
1, the CPU 1 shown in FIG. 1 outputs a control signal to the panning effect generator 9 via the bus 2, thereby generating and adding the control signal.

Blood ■ Back Game ■ In the above example, Guita in NORMAL MODE
In r Mode, musical tones are generated in the right channel when the string number is odd, and musical tones are generated in the left channel when the string number is even, but of course the reverse may be used.

Furthermore, although the distribution of musical tones has been controlled so that they are distributed to either the left or right, the distribution is not limited to left or right localization; for example, the distribution may be controlled so that they are placed between the left and the center, or between the right and the center. Furthermore, it may be controlled to have any localization between left, right, and center.In this case, panning control is performed by the panning effect generator 11.

On the other hand, musical tones were distributed to the left and right channels by dividing the eight modules of the sound source 9 in FIG. 1 into four each on the left and right channels, as shown in FIG. In the step of making the module sound, only the left and right flags may be set for each module, and in the final accumulation step, the signals may be distributed to the left and right channels based on the flags.

Further, in the above embodiment, the performance mode was changed using the switches shown in FIG. 7 in the switch section 3 shown in FIG. 1, but M! It may also be possible to change it using a DI command.

In addition, although the maximum number of sounds that can be produced simultaneously by the sound source 9 in FIG. 1 is 8, it is not limited to this;
It may be increased to 32 tones or the like. In addition, Guitar
Although the number of strings that can be handled in the case of Mode is 6 strings, it may be more than 6 strings.

Furthermore, in COMBINATION MODE, more than two sound generation areas are provided, so that one Note
It is also possible to set the number of musical tones of different tones to be sounded at the same time to 3 or more when on, and furthermore, the sound generation area can be set to 2.4.
．． It may be switched to 8 etc. In that case, the Po1y number of simultaneous sounds will change.

And in MULTIPOLY MODE, Key B
Although only the oard Mode was set fixedly, the GUI
It may also be possible to set tar mode or wind mode.

〔Effect of the invention〕

According to the present invention, it is possible to change the localization of musical tones produced by the sound source means by the strings operated by the player. That is, the localization of musical tones generated from the sound source means can be changed, for example, to the left channel or the right channel, depending on whether the manipulated string is an even-numbered string or an odd-numbered string, for example.

This allows the performer to change the localization of the musical tones produced by selecting and operating the strings.

Furthermore, by operating multiple strings at the same time, for example, it is possible to produce a musical sound with a wide localization in the left and right channels. In this way, it is possible to obtain a stereo effect based on the performer's intention.

[Brief explanation of the drawing]

FIG. 1 is a configuration diagram of an electronic musical instrument according to the present invention, and FIG.
Figure 3 is an operation flowchart for capturing switch status; Figure 4 is an operation flowchart for MIDIID;
5 is a general operation flowchart, FIG. 6 is a sound generation mode table, FIG. 7 is a configuration diagram of the sound generation mode setting key switch, and FIG. 8 is a diagram showing the configuration of the sound generation mode setting key switch. (2) is a diagram showing display examples of each mode,
FIG. 9 is an operation flowchart of switch change processing; FIGS. 1O (a) to (C) are configuration diagrams of sound generation mode memory;
Figure 11 is G, Figure 12 is -G, Figure 13 is Yard, Figure 15 is Chart, Figure 16 is Chart, Figure 17 is Yard. , Fig. 18 is , Fig. 19 is , Fig. 20 is , Fig. 21 is the operation flowchart of MIDI IN processing, channel judgment l
Operation Flowchart Channel Judgment 2 Operation Flowchart Note on10ff Processing Operation Flowch Bitch Bender Processing Operation Flow Aftertouch Processing Operation Data Configuration Operation Flowchart of Control Data Change Process FIG. 22 is an operation flowchart of the PAN control process. ■... Central control unit (CPU), 2... Bus, 5... MIDI circuit, 7... ROM. 8...RAM. 9...Sound source.

Claims (1)

[Scope of Claims] 1) An electronic musical instrument that generates musical sounds based on performance information generated in response to performance operations on a plurality of strings, comprising: sound source means for independently producing musical sound signals at each of a plurality of localizations; , localization control means for generating musical tones based on the note-on information while changing the localization in the sound source means according to the string for which the note-on information is generated each time the note-on information is input; Characteristic electronic musical instruments. 2) The plurality of strings each have a consecutive string number, and the localization control means controls the localization of the left channel in the sound source means when the string number at which the input note-on information is generated is an even number. Generating a musical tone signal based on the note-on information, and when the string number at which the inputted note-on information was generated is an odd number, generating the musical tone signal based on the note-on information in the localization of the right channel in the sound source means. The electronic musical instrument according to claim 1, characterized in that: 3) The plurality of strings each have a consecutive string number, and the localization control means controls the localization of the right channel in the sound source means when the string number at which the input note-on information is generated is an even number. Generating a musical tone signal based on the note-on information, and when the string number at which the inputted note-on information was generated is an odd number, generating the musical tone signal based on the note-on information in the localization of the left channel in the sound source means. The electronic musical instrument according to claim 1, characterized in that: