JPH02188795A - 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 every time the note-on information is inputted. CONSTITUTION:This electronic musical instrument has the sound source means 9 which generates musical sound signals independently at plural positions. Further, the 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 every time the note-on information is inputted. Therefore, the localization of the musical sound generated by the sound source means 9 can be changed every time the note-on information based upon play operation is inputted. Thus, a player can changes the localization of the musical sound generated by playing, for example, single tones, one by one, and also generates the musical sound of wide localization by playing, for example, a chord. Consequently, the stereophonic effect based upon the player's intention can be 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 tremolo to each musical sound, and these musical sounds are, for example, placed in a localization preset by the performer. There is something that can be distributed to the 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 tones based on the player's performance operations, thereby making it possible to obtain the stereo effect intended by the player.

[Means to solve the problem]

The present invention includes, first, 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 tone signal may be generated at a localization at the center of the left and right sides or at a localization where the mixing ratio of the left and right changes continuously. Further, in this case, musical tone signals are generated independently in polyphonic numbers such as 4 tones, 8 tones, etc. in each of the left and right channels.

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 each time note-on information is input. In this case, the note-on information is, for example, MIDI (Musical In
Strument Digital Interface
e) Input from a keyboard instrument or the like based on the standard, or input in response to keys pressed from the built-in keyboard section. Each time the note-on information is input, the localization control means alternately changes the sound generation assignment to, for example, the left and right channels in the sound source means, and controls the pitch, volume, timbre, etc. based on each note-on command. This is a means of controlling the sound to produce musical tones. Here, according to a preferred configuration example,
When a predetermined localization is determined in response to the input of each note-on information, if the predetermined polyphonic number of musical tones are being produced at the predetermined localization in the sound source means,
The localization control means causes the sound source means to generate a musical tone based on the note-on information at a localization other than the predetermined localization. Similarly, when the predetermined localization is determined, if the predetermined polyphonic number of musical tones are being produced at all of the plurality of localizations in the sound source means, the localization control means determines the predetermined localization in the sound source means. Among the musical tones being sounded, the musical tone whose sounding was started earliest is muted, and a musical tone based on the note-on information is generated.

[For production]

When a performer performs a performance by repeatedly pressing keys on a keyboard using a built-in keyboard instrument or the like connected externally via MIDI, the musical sound emitted from the sound source means for each key press is For example, the localization changes alternately between the left and right channels.

That is, the performer can change the localization of the musical tones produced by pressing keys one by one. Furthermore, by playing chords, 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 player's intention. It should be noted that note-on information is not limited to keyboard operations, and even when automatic performance is performed using a sequencer or the like, note-on information can control the localization of musical tones in synchronization with input.

In this case, if the polyphonic number of musical tones in a certain localization becomes full, appropriate control can be performed, for example, by distributing the musical tones to another localization.

Furthermore, if the polyphonic number of musical tones in all localizations is full, the musical tones can be played with priority given to the last sound in the localization specified by the localization control means, and in this case, appropriate control can also be performed. It can be carried out.

〔Example〕

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

FIG. 1 is a block diagram of an electronic musical instrument according to the present invention. This embodiment uses external MIDI commands (including data).

same as below. ) and controls the sound source based on it to produce the corresponding musical tone.As shown in the figure, the keyboard section 16
Alternatively, it can also be implemented as part of a keyboard instrument or the like having the controller 17. Note that the controller 17 may include, for example, a bender wheel for arbitrarily changing the pitch during performance.
), a modulation wheel (Modulation wheel 1) that allows you to arbitrarily change the tremolo depth, etc.
There are operators such as a definable wheel (Definable wheel 1) that can arbitrarily change data for one or more of preset musical tone components. 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 signals input from the outside to control the main tone generator module according to the MIDI standard, and transmits them to the bus.
This is an interface circuit for transmitting signals for controlling an external electronic musical instrument that 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 10 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 - that is with regard to the present embodiment, and it is clear that the localization control of the invention may also be carried out by such a panning effect generator ti.

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 amplifies the stereo output for left and right channels independently, and the stereo musical tone signals amplified in this way are 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 described at the beginning, the keyboard section 16 and the controller 17 are an example of the configuration when this embodiment is implemented as part of a keyboard instrument, and are not directly related to the present invention, so a description of their operation will be omitted.

of , 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). 1 flow, and at 5301 the MID (M
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 DI 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. Note that the switch data determined here is detected by the interrupt processing shown in FIG.
The switch data imported into AM8 is used.

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 banging (PAN) control data, changing each data, setting musical tone control data for the sound source 9, and setting the display unit 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, at 5504, the MIDI circuit 5
It is determined whether a DI 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 manual power as determined in 5504, the MIDI IN process in 5505 is not executed, and the MIDI IN process in 550 is not executed.
Proceed to step 6.

At 3506, it is determined whether or not there is a change in key depression in the keyboard section 16. As explained in section 1, "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. is not relevant, so its details will be omitted: If there is no key press change after the above processing or as determined in 5506, by returning to the processing in 5502, 350
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 l141DI IN process at 5505 in the general operation flowchart of FIG. An outline of the sound production mode of the electronic musical instrument according to the 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 (Mtl
It has three performance modes: LTl, POLY MODE). In NORMAL MODE, 1 tone has 8
It is possible to produce musical tones of the tone Po1y.

In the COMBINATION MODE, there are two sound generation areas, and each area can be assigned one timbre of four tones Po1y. That is, it is possible to generate musical tones with a mixture of two tones using four tones Po1y. MULTl, POLY MOD
E has 8 sound generation areas, and each area can be assigned 0 to 8 sounds Po1y with 1 timbre. However, ML
The total number of Po1y in all areas of ILTl and POLYMODE will never be larger than 8 notes.

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

FIG. 6 shows the sound production mode of this embodiment when each HIDE command is input through the MIDI circuit 5 of FIG. 1 in each of the performance modes described above. In the table of the same figure, Note
The on10ff command is a command to start or end sound, the Pitch Render command is a command to pitch bend (change pitch), and the After Touch command is a command to start or end sound.
This command instructs the key pressure after pressing the key. 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, Noteanloff, Pitch Rende
r, After Touch, Tone Change, and Control Change commands operate only when a fixed predetermined MIDI ID code is specified, and commands in other MIDI ID codes are ignored.

As the second performance mode, play Gu in NORMAL MODE.
If itarMode is selected, Note
For each command of onloff and Pitch Bender, it operates independently corresponding to each MIDI ID code from a fixed predetermined MIDI ID code to a channel added by 5. For example, when the predetermined MIDI ID modulus is 1, up to 1+5=6 channels can be operated independently. This is because the MIDI ID modulus of commands input from a stringed instrument such as a guitar is set independently for each string.
In many cases, the strings to 6th strings are assigned to channels 1 to 6, and Note onloff (corresponds to picking for each string) and Pitch Bender are set for each string.
This is because each instruction (corresponding to the bending playing method, etc. for each string) is given. On the other hand, After Tou
Each command for ch, tone change, and control change is set to a fixed predetermined M value of the lowest channel among the above six channels [The command is accepted only when the DI channel is specified, and the channel +5 from the above channel is accepted. The command is executed simultaneously for the six strings corresponding to . This is because timbre changes, etc. are instructed to all 6 strings at the same time, so by sending commands using only the lowest MIDI ID modulus, commands can be executed for all 6 strings. This prevents redundancy such as transferring commands to each string separately.

As the third performance mode, Wi
If ndMode is selected, Key Boa
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
Sets the after curve unique to wind instruments. Furthermore, as shown in Fig. 6, the Guitar Mo
In case of de, it is set as an after curve similar to Key Board Mode. 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, Gu
It is conceivable that the aftertouch of itarMode 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 FIG. Output to 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, the key
In the Board Mode, unlike the Key Board Mode in the NORMAL MODE, as will be described later, when a note is turned on, no sound generation processing is performed for the left/right distribution 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.

The following is 8 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 21 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 rKu, "G", and [WJ 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-hGuitar M
ode-eWind M6de -+Key Boar
The performance mode changes as shown in d Mode.

FIG. 8(d) to (f) are COMBINATION M
ODE and Key Board ModeXGu
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 (2) shows the display of MULTl and POLY MODE, and as mentioned above, the Key Board Mod
Since it is fixed to e, the display of "K" is omitted.

In addition, in Fig. 8 (a) to (g), rPs on the first line of the screen
"Tl" is an abbreviation for preset bank l, and rA-IJ, rA-2J, rA-3, etc. on the second line are tone bank A.
1.2.3, both of which store timbre data and 7
1! It shows the area. Also, “vZ EP,,rV
Characters such as "Z BASS" and "vZ TRUMPET" indicate tone names.

Furthermore, 11+(2)'' in FIGS. 8(d) to (f) means simultaneous pronunciation of two tones, and indicates that the tone bank and tone name of the sound generation area surrounded by the mouth are displayed.

Figure 8 (The character NIIIIIIJ in the first line of - is 8
The Po1y numbers of the four sound generation areas 1 to 8 are displayed in order from the left. Note that (6) in the same figure all shows IPoly. 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 of the key switches 1B (NORMAL MODE) and 19 in FIG.
(COMBINATION MODE), 20 (M
ULTl, POLY MODE), 21 (select key) is pressed, and if YES, 5907~5
Perform each process in 910, and if none of the above is the case, return 59.
At step 11, processing for changing the corresponding switch is performed. In addition, 5
Since the process of 911 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 5907 and the
LMODE setting processing is performed. Here, all the musical tones being produced by the sound source 9 in Fig. 1 are muted, and the NORMAL
Key Board Mode, G
Determine either uitar mode or wind mode. The flag NORMFG is shown in Figure 1O (b)
As shown in the figure, bits from bit to 4 are unused.
5.6.7 is Key BoardMode, Gui
Each bit is set to "1" in tar mode and wind mode, and since each mode is exclusive, one of the bits is always "1". After the above determination,
The first memory is a sound generation control RAM (part of RAM8 in Figure 1).
After setting the information to the flag MODEFG in Figure 6(a), in order to perform the operation of the NORMALMODE sound generation mode already explained in Figure 6, a storage area (not particularly shown) necessary for sound generation control on the RAMB in Figure 1 is used. Initialize all. Here, the flag MODEFG is as shown in FIG. 10(a).
As shown in 1-byte RAM, bitOll
, 2 are NORMALMODE and COMBINA, respectively.
It is set to ``1'' when the mode is TION MODE, MULTI, or PO BUY MODE, and since each mode is mutually exclusive, only 1 of the 3 bits is ``l''.
and one of the bits is rl. Therefore, in the above N0RIIIAL MODE setting process, bitOll and 2 of the flag MODEFG are set to "
1” “O” [Set to OJ. In addition, the flag M
Bit 3.4 of ODEFG is unused. Also, bi
t5.6.7 is Key Board Mode, Gu
In itarMode and Wind Mode, "
Since each of these modes is also exclusive, one of the bits is always set to rl4.

Next, COMBINATION MODE in Figure 7 19
When the setting switch is pressed, the process advances from 3903 to 5908 in FIG. 9, and the COMBINATION MODE setting process is performed. Here, all the musical tones being produced by the sound source 9 in FIG. 1 are muted, and the COMBINATION M
Read out the flag COMBFG shown in FIG. 10 (C), which is the dedicated RAM of ODE (part of RAM 8 in FIG. 1), and set Key BoardMode, Guitar M
mode or wind mode.

The flag COMBFG has exactly the same structure as the flag NORMFG in FIG. 10(a), as shown in FIG. 10(C). After the above determination, the NORMAL MOD
Similar to the E setting process, the flag MODEF in FIG. 10(a)
After setting the information in G, COM as already explained in Figure 6
In order to operate in the sound generation mode of BI-NATION 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 MULT1 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 MOD in FIG.
Bit 1.2 of EFG is set to r□, r□, rl, and bit5.6.7 is set to r1. Set rQJ rO,. In MULT1 and POLY MODE, this is the Key Board
This is because it is fixed to 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.

W change processing is performed. This process is performed by MULTl, PO
If LYMODE is selected, the process ends without performing any processing. If NORMAL MODE is selected, first set the flag NORMFG in Fig. 10 Φ).
In, when bit5 is "1", bit6 is "1"
When bit 7 is "1", bit 5 .
6.7 as “0”, “11”, “0”, I□, r□, rl,, “
1""0" After setting to "0", the above S907
The same NORMAL MODE setting process is executed.

When COMBINATION MODE is selected, first, in the flag COMBFG in FIG.
．． 7 rQJ rlJ rOJ, rQJ rQJ rl
J, 11J r□" After setting to "r□",
The COMBINATION MODE setting process similar to 908 is executed.

After the switch change process is performed and the performance mode is set at 3503 in FIG. 5 as described above, the MIDI IN switch shown in FIG.
Note onloff from external equipment via circuit 5
, Pitch Render, After Tou
The operation when the MIDI commands ch and tone change are input will be described below. In addition, what is particularly relevant to the present invention is NOHMAL MODE.
When rd Mode is selected, Note o
This is a processing operation when the n command is input, 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 loaded into the RAM 8. This state is detected in the determination process 3504 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 5Pitch Rende in 31101 to 51104 respectively.
It is determined whether the command is rSAafter Touch or tone change. If it is a control change command other than the above command, it will be processed by control data change processing based on interrupts at regular intervals as described later, so M
The IDIIN process ends without performing anything. Furthermore, in the case of commands other than these, it is determined in step S1114 which ones are invalidated and which ones are valid, and then the processing of the valid commands is executed. Applicable commands include system messages that are not related to the MIDI channel, such as exclusive messages, common messages, and real-time messages based on the MIDI standard.

Next, Note onloff, Pitch R
A case will be explained in which the following command is input: ender, AfterTouch, or ``change tone''. Note that the following explanation corresponds to the general operations in each of the first to fifth performance modes already explained in the section "Summary of sound production mode in this embodiment" using FIG. 6.

First, as the first performance mode, select NORMAL MODE.
The case where Key Board Mode is selected will be explained.

First, note in the first performance mode that is particularly relevant to the present invention.
If the an10ff command is input, the S
The determination at 1101 becomes YES, and channel determination l at 51105 is executed. The details of channel judgment are explained in the 12th section.
In the case of the first performance mode shown in Fig. 12, 31201
．． When the determination in S 51203 becomes NO and the determination process in S 1205 is executed, the MIDI channel specified in the input command (hereinafter simply referred to as MIDI channel) is changed to a fixed predetermined IIIDI channel (hereinafter referred to as simply MIDI channel). S
The determination in 1205 is YES, and 3110 in Fig. 11
Proceed to NoLe on10ff processing in step 6. This process is shown in FIG. In the case of the first performance mode, S1401,
The determination in S1402 is NO, and the process advances to S1403. If the command is a Note on command, the process advances to S1414, and if the determination in S1414 is YE.
S, continued < 51415 judgment is also YES, 5141
6 left and right portions proceed to sound generation processing.

In this embodiment, the sound source 9 in FIG. 1 is capable of producing sounds in parallel in eight-note polyphony through time-sharing processing, and has eight modules as shown in FIG. 19. 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 the 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 the stereo left channel tone. It is output as a musical tone (L in the same figure). A major feature of this embodiment is that in step S1416, the left and right channels are alternately switched for each sound generation.

In FIG. 18, the left and right portions of 31416 in FIG. 14 show details of the sound generation process.

First, in step 31801, it is determined whether the previously sounded musical tone is the right channel or the left channel. Now, RAMB in Figure 1
Inside, left and right flags RTLF as shown in FIG. 20 are stored. If the musical tone generated by the previous Note on command is generated in the right channel, r□ is stored in bito as described later, and if it is generated in the left channel, "1" is stored in bito. Therefore, 3180
In step 1, it is determined whether the previously sounded musical tone is the right channel or the left channel, based on the contents of the bito of the left and right flag RTLF.

As a result of the above determination, if the previous channel was the right channel,
The processing in steps 31802 to 31807 basically causes the left channel to produce sound, and if the previous time was the left channel, the processing in steps 51808 to S 1813 basically causes the right channel to produce sound.

If the previous time was the right channel, first, 51802
, if there is a module that is not being sounded among the modules 5 to 8 corresponding to the left channel in the sound source in Figure 19 (corresponding to sound source 9 in Figure 1, the same applies hereinafter), its module number (5 to 8) is written to an accumulator (not shown) in the CPUI of FIG. 1, and if not, the accumulator is set to 0.

At step 51803, it is determined whether or not distribution to the left channel is possible based on the contents of the accumulator, and if possible, at step 31804, a sound generation instruction is given to the sound source module corresponding to the contents of the accumulator, and the 20th
Write "l" into bitO of the left and right flag RTLF in the figure.

As a result of the determination in step 31803, if distribution to the left channel is impossible, that is, if the content of the accumulator is 0, distribution to the right channel is performed. That is, 3180
5, if there is a module that is not being sounded among the modules 1 to 4 corresponding to the right channel in the sound source in Figure 19, write that module number (1 to 4) into the accumulator; if not, set the accumulator to O. .

Then, in 31806, it is determined whether distribution to the right channel is possible based on the contents of the accumulator, and if possible, in 31804, a sound generation instruction is given to the sound source module corresponding to the contents of the accumulator, and the 20th
Write "0" to bitO of the left and right flag RTLF in the figure.

If it is not possible to allocate to the right channel based on the determination of 31806, that is, if the content of the accumulator is O,
Proceed to step 31807, and issue a sound generation instruction to the module that was sounded first among modules 5 to 8 corresponding to the left channel in the sound source in FIG. 19, and write IJ in bito of the left and right flag RTLF in FIG. 20. .

In this way, first, if distribution to the left channel is not possible, distribution to the right channel is performed, and if distribution to the right channel is also not possible, sound generation control is performed to give priority to the left channel. Note that the sound generation control may be performed on a first-come, first-served basis, and in that case, the process of 81807 may be omitted.

Regarding the above operation, if the previous time was the left channel, the process of S1808 to S1813 causes the right channel to produce sound, but these are the same as those of S1802 to S1813.
This process is exactly the same as the process in 1807, except that the left and right sides are reversed.

Through the above processing, each time a Note on command is input, musical tones are generated alternately in the left and right channels in principle.

Next, 314 of the Note on10ff process in Figure 14
Returning to step 03, if the input command is a note off command, the process advances to step S1405, where 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, in the first performance mode, Pitch Bender]
? When the command is input, after the determination in 31101 in FIG. 11 becomes NO, the determination in 5i102 becomes YES, and 3
Channel determination 1 at 1107 is executed. This is the N
As in the case of the oteon10ff command, Figure 12 S
After the determination of 1201 and S 1203 is NO, M
S 1 only if IDI channel and fixed channel are equal
The determination of 205 is YES, and P of 31108 in FIG.
Proceed to itch Bender processing. This process is performed in the 15th
As shown in the figure. For the first performance mode, 51501.515
The determination in step 02 is NO, and the process advances to 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 MIDIID modulus and the fixed channel are equal, the determination in 51301 becomes YES, and the process proceeds to AfLer Touch processing in FIG. 11, 5IIIO. This process is shown in FIG. In the case of the first performance mode, the determinations in S1601 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 the volume and timbre parameters of the musical tone based on the conversion curve suitable for the keyboard instrument stored in the ROM 7 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 determination in S1101-S1103 in FIG. 11 is N.

After that, the determination of 51104 becomes YES, and 5it
11 channel decisions 2 are performed. That is, the above A
fter Touch': As in the case of J 7nd,
The first one only if the MIDIID modulus and the fixed channel are equal.
The determination in Figure 3 51301 is YES, and 511 in Figure 11
Proceed to step 12, 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 61 area for sound generation control in RAMB shown in FIG.
At 1704, the manually generated tone data is transferred to the sound source 9,
To switch the tone to be produced with the sound an.

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

When the Note on10ff command is input in the second performance mode, the determination at 5IIOI in FIG. 11 becomes YES, and channel determination 1 at 51105 is executed. That is, after the determination in FIG. 12 31201 becomes NO, S 1
If the determination in S 203 is YES and the determination process in S 1204 is executed, the determination in S 1204 is performed only when the MIDI ID modulus is within the range of 6 channels from the fixed channel to the fixed channel + 5 channels. If the answer is YES, the process proceeds to 81106 in FIG. 11, that is, the Note on 10ff process in FIG. 14. In the case of the second performance mode, after the determination in S1401 becomes NO, S14
The determination in step 02 is YES, and the process advances to S1409. Then, if the command is a Note on command, S1
Proceeding to step 411, first, if there is a module currently producing sound to which a channel equal to the Ml old channel of the sound source 9 in FIG. 1 is assigned, it is muted. Note that channel determination is performed in S1413, which will be described later, based on channel data stored in the RAMB of FIG. Next, 51
At step 412, an empty module of the sound source 9 is instructed to start generating sound. Furthermore, in S1413, the module that started generating sound and the MIDI ID code are stored in the RAM 8. As mentioned above, the reason why the sound of the same channel is muted and then a new sound is started is because the MIDI ID rules for commands input manually from stringed instruments such as guitars are set independently for each string. - This is because it is impossible for multiple string sounds to be sounded at the same time. In addition, in order to leave a lingering sound, the sound may be muted by adding an appropriate envelope.

On the other hand, if the command is a Note off command,
Proceed to S1410 and MI with the sound source 9 currently producing.
Mute sounds with the same DIID modulus.

When the Pitch Bender command is input in the second performance mode, after the determination at 5IIOI in FIG. 11 becomes NO, the determination at 51102 becomes YES, and channel determination 1 at 51107 is executed. This is the same as the above Note
312 in FIG. 12, as in the case of on10ff command 7.
After the determination of 01 becomes No, the determination of S1203 becomes Y.
ES, and only when the MIDI ID modulus 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 S 1501 becomes No, the determination in S 1502 becomes YES, and the process proceeds to S 1504. Here, the pitch bender is applied only to notes whose MIDI channel is the same as the channel that was previously sounded (the channel that is currently being sounded). Reflect the data. 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 determination of 5IIOI and 51102 in FIG. 11 becomes NO, the determination of 51103 becomes YES,
Channel determination 2 of S1309, that is, FIG. 13, is executed, and the determination of S1301 is Y only when the MIDI channel and fixed channel are equal, just as in the case where the After Touch command is input in the first performance mode.
ES, and After Tou of 5111O in Figure 11
The process proceeds to the ch process, that is, the After Touch process shown in FIG. In other words, in the case of the second performance mode, After
For the Touch command, the Note on1
Unlike the 0ff command or the PitchRender command, the command is accepted only when a fixed predetermined MIDI channel, which is the lowest chord channel among the six channels, is specified. The After Touch processing in Fig. 16 is similar to the case of the first performance mode, and proceeds to S1601-31602-31603 to perform aftertouch processing suitable for keyboard instruments, but in this case, the after touch processing is performed on a channel +5 from the fixed channel. The above command is executed simultaneously for the corresponding six string channels.

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.
As in the case of the ter Touch command, only when the MIDI channel and the fixed channel, that is, the lowest string channel are equal, the determination in FIG. 13 31301 becomes YES and the command is accepted, and the tone change process in FIG. Proceed to figure. Here, as in the case of the first performance mode, all the notes being sounded are muted in steps 51701-31702, and in S1703 the RA of FIG.
The RAM chain acid for sound generation control in the MB is initialized, and the tone data inputted to the sound source 9 in S1704 is transferred to switch the tone to be produced by the sound source 9. 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, and the After Touch for 1 string is executed at the same time.
By transmitting the h command, you can change the tone of all 6 strings at the same time.

Next, as the third performance mode, NORMAL MOD
The case where Wind Mode is selected in E will be explained.

If the Note on10ff command is input in the third performance mode, the Key Boa
As in the case where rdMode is selected, FIG.
The determination of llOf becomes YES, the channel determination 1 of 31105 is executed, the determination of 31101.51203 in FIG. Figure 31106, i.e. Note in Figure 14
Proceed to on10ff processing. In FIG. 14, in the case of the third performance mode, the determinations in S1401 and S1402 are NO, and the process proceeds to S1403, and the command is Not.
If it is an e on command, the process advances to S1414, but since this determination is NO, the process advances to S1404. Here, the empty module of the sound source 9 in FIG. 1 which is not currently producing sound is instructed to start producing sound. In this case, the above Key
Unlike the case of Board Mode, distribution to left and right channels is not performed.

On the other hand, if the command is a Note off command,
Proceed to S1403-S1405, and select the note number (hereinafter referred to as Note No.) of the sound source 9 that is currently producing sound.
) is the same sound.

Next, when the Pitch Bender and Tone Change commands are input in the third performance mode, the operations are exactly the same as in the first performance mode.

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.
The process proceeds as 03→S 1109-31110, but after the determination in S 1601 becomes No in FIG. 16, the determination in S 1602 becomes YES. The process then proceeds to 31604, where aftertouch processing unique to wind instruments is performed. in particular,
The input aftertouch data is converted into the volume and timbre parameters of the musical tone based on the conversion curve or conversion algorithm suitable for wind instruments stored in the ROM 7 shown in Fig. 1, and the parameters are transferred to the sound source 9 to be used as a sound source. change the characteristics of As a result, in the control form unique to wind instruments, in which volume etc. are controlled by aftertouch,
This allows you to naturally respond to the behavior in which aftertouch data always becomes smaller at the beginning of a sound.

In contrast to the above NORMAL MODE, in the fourth performance mode COMBINATTON MODE, two tones are sounded at the same time, and the number of Po1y in each tone is 4. , the same processing as in each of the first to third performance modes of NORMAL MODE is performed. However, to
When the Note on10f command is input in BoardMode, the determination in S1415 becomes NO after the determination in 31414 in FIG. Performs pronunciation processing. Also, COMBINATION MO
If the Note on10f command is input in GUILarMode of DE, each tone will have 4 notes P for 6 strings.
Since it operates in o1y, 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 MULTl, POLY M.
The operation when ODE is selected will be explained.

In this case, operations are performed in exactly the same way as in the first performance mode, except that each process is performed only on sounds in sound generation areas to which channels equal to the MIDI ID modulus are 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 MIDI ID so that it behaves as an independent musical instrument.

When the Note on10ff command is input in the fifth performance mode, the process proceeds to S 1101-31105 in FIG. 11, the determination in S 31201 in FIG.
By executing the determination process 2, the determination becomes YES only when the Po1y number of the sound generation area to which the MIDI ID modulus 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 IID method is assigned.
The processes of S1406 to S1408 corresponding to the process of are executed.

When the Pitch Bender command is input in the fifth performance mode, S 1101-31102-3 in Figure 11
1107, the same channel judgment l as in the case of the Note on10ff command is executed, and the 11th
The process proceeds to the Pitch Bender process in FIG. 51108, ie, FIG. Here, the determination of S1501 is YE.
3150 of the first performance mode only for the sound generation area to which the MIDI ID modulus is assigned.
The process of S1505 corresponding to the process of 3 is executed.

31101-31102-311 in Fig. 11 when the After Touch command is manually executed in the fifth performance mode.
03→51109, and channel determination 2 in FIG. 13 is executed in exactly the same manner as in the first performance mode. In other words, the determination in S1301 is Y only when the MIDI ID modulus and one of the fixed channels of each sound area are equal.
ES, and After Tou in Figure 11 5IIIO
The process proceeds to channel processing, that is, to FIG. Here, S 16
If the determination in step 01 is YES, the processing in step S1605 corresponding to the processing in step 31603 of the first performance mode is executed only for the sound generation area to which the MIDI ID modulus is assigned.

In the fifth performance mode, a tone change command is input Lf, -
In the case, Fig. 11 S 1101-31102-31103
= S1104-31111, and the After T
Channel judgment 2 is exactly the same as in the case of ouch command 7.
is executed, and the process proceeds to the tone color change process 31112 of FIG. 11, that is, FIG. 17. Here, the determination in S1701 is YES, and the 5th performance mode of the first performance mode is applied only to the sound generation area to which the MIDI ID modulus is assigned.
S 1705 corresponding to the processing of 1702 to S 1704
The processing of ~S1707 is executed.

As above, NORMAL MODE, CO
MBINATIONMODE or MULTl, POLY
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
A major feature of MAL N0DE in Key Board Mode is that a sound generation process is performed in which musical tones are alternately distributed to the left and right stereo channels for each sound generation operation.

At the end of the control day, the operation when a control change command is manually input from an external device via the MIDI circuit 5 of FIG. 1 will be explained along the operation flowchart of FIG. 21.

In the operation flowchart of FIG. 21, similar to the switch state acquisition operation etc. of FIG.
This is executed in priority to the general operation flowchart shown in the figure. Therefore, when a control change command is input, it is processed in units of the above-mentioned fixed period.

When a mass or control change command is input,
As already explained, the operation flowchart in FIG. 3 is executed based on the interrupt from the ID1 circuit 5, and the MI
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 S2101 and S2102. M
If no IDI command has been input, or if the input MIDI command is not a control change command, the determination in S2101 and/or 32102 is No, and the process advances to 32104. This will be discussed later.

When a control change command is detected, first
Only when the MIDI channel (MIDI channel specified in the same input command) is equal to the fixed channel, the determination in 52103 becomes YES, and the process proceeds to control data change processing in 52104. Here, the control corresponding to control change data input based on the operation of an external device such as a modulation wheel, foot volume, master volume, foot switch, voltament time change switch, voltament 0N10FF switch, etc. is shown in Figure 1. As explained in the MIDI IN processing section, the Gu
itar Mode (NORMAL MODE or CO
MBINATTON 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 MIILT1 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 at 52105, and it is determined whether or not its state has changed since the previous determination.

As explained in the section "Configuration of this embodiment," this processing is executed when this embodiment is realized as part of a keyboard instrument and has a controller 17, and the operation of its own controller is also performed. A change in the state of the controller 52105 is determined in order to reflect the change in the tone 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 32105 and 32106.

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 musical tones to vary periodically at a low frequency by the output of the FO (low frequency oscillator).
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 modulation is applied to the LFO vibrato using the control data calculated in 32104 or 52106 based on the MIDI command or the operation of the controller 17 shown in FIG.

At step <32108, 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 realize LFO tremolo (growl). This is an effect in which the volume and timbre of musical tones are periodically varied at low frequencies by the output of the LFO, and when the CPU 1 in FIG. Realize. Here, the above 521
Data calculation processing is also performed when modulation is applied to the LFO tremolo (growl) using the control data calculated at 04 or 5210f3.

At step 32110, an instruction is given to the sound source 9 in FIG. 1 to actually change the volume and timbre of the musical tone based on the LFO tremolo (growl) data calculated in the above processing.

Then, in step 52111, arithmetic processing is performed on data 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 IO to change the localization of the left and right channels either uniformly or randomly.

The actual panning effect is performed at step 32201 in the operation flowchart of FIG. 22, which is executed by a timer interrupt at regular intervals, which is different from the operation flowchart of FIG. 21.
In the process, 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.

In the above embodiments, in NORMAL MODE
In the case of BoardMode, the distribution of musical tones was controlled so that they were distributed alternately to the left and right for each note, but this is not limited to left and right localization; for example, the distribution of musical tones could be done from left to center, right, center, and left for each note. The distribution may be controlled, and furthermore, the degree of mixing to the left and right may be controlled to change continuously. In this case, the panning effect generator 11 performs panning control.

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 embodiment described above, the performance mode was changed using the switches shown in FIG. 7 in the switch section 3 shown in FIG. 1, but it may be possible to change the performance mode using MIDI commands from an external device.

Furthermore, although the maximum number of sounds that can be produced simultaneously by the sound source 9 in FIG. 1 is eight, it is not limited to this;
The number may be increased to 2 tones, etc. In addition, Guitar M
Although the number of strings that can be handled in the case of ode is six strings, it may be more than six strings.

In addition, in COMBINATION MODE, more than two sound areas are provided, so that one Not
It is also possible to increase the number of tones of different tones to be sounded simultaneously with e on to 3 or more, and furthermore, it is possible to increase the number of musical tones with different tones to 3 or more.
It may be possible to switch to 4.8, etc. In that case, the Po1y number of simultaneous sounds will change.

Furthermore, Key B in MULTl and POLY MODE
Although only the oard Mode was set fixedly, the GUI
It may also be possible to set tar mode, wind mode, or the like.

〔Effect of the invention〕

According to the present invention, the localization of musical tones produced from the sound source means can be varied every time note-on information is input based on a performance operation. Thereby, the performer can sequentially change the localization of the musical tones produced by playing, for example, one note at a time. Furthermore, by playing chords, for example, musical tones with a wide localization can be produced. In this way, according to the present invention, it is possible to obtain a stereo effect based on the player's intention.

In this case, if the polyphonic number of musical tones in a certain localization becomes full, appropriate control can be performed by distributing the musical tones to another localization, making it possible to use the sound source efficiently. .

Furthermore, if the polyphonic number of musical tones in all localizations is full, by giving priority to the last tones, it is possible to obtain appropriate stereo effects while efficiently using the sound source. becomes.

[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 FIGS. 9 is an operation flowchart of switch change processing; FIGS. 10(a) to 10(C) are configuration diagrams of sound generation mode memory;
11 is an operation flowchart of MIDI IN processing, FIG. 12 is an operation flowchart of channel determination 1, FIG. 13 is an operation flowchart of channel determination 2, FIG. 14 is an operation flowchart of Note on10ff processing, and 15. Figure 16 is an operation flowchart of pitch bender processing, Figure 16 is an operation flowchart of aftertouch processing, Figure 17 is an operation flowchart of tone switching processing, Figure 18 is an operation flowchart of sound generation processing for left and right distribution, 19 is a configuration diagram of the sound source, FIG. 20 is a configuration diagram of left and right flags, FIG. 21 is an operation flowchart of control data change processing, and FIG. 22 is an operation flowchart of PAN control processing. 1...Central control unit (CPU), 2...Bus, 5...ID1 circuit, 7...ROM. 8... ・RAM. 9...Sound source.

Claims (1)

[Scope of Claims] 1) Sound source means for independently producing a musical tone signal at each of a plurality of localizations; and each time note-on information is input, the sound source means generates a musical tone based on the note-on information while changing the localization. An electronic musical instrument characterized by comprising: localization control means for generating sound; 2) The electronic musical instrument according to claim 1, wherein the sound source means independently generates musical tone signals at a predetermined polyphonic number in each of the plurality of localization positions. 3) When the localization control means determines a predetermined localization each time the note-on information is input, if musical tones of the predetermined polyphonic number are being produced at the predetermined localization in the sound source means, the localization control means determines the predetermined localization. 3. The electronic musical instrument according to claim 2, wherein the control means causes the sound source means to generate musical tones based on the note-on information at a localization other than the predetermined localization. 4) When the localization control means determines a predetermined localization every time the note-on information is input, the predetermined polyphonic number of musical tones are being produced at all of the plurality of localizations in the sound source means; 3. The localization control means is characterized in that the sound source means mutes the musical tone that was started earliest among the musical tones being produced at the predetermined localization, and generates a musical tone based on the note-on information. Electronic musical instruments listed.