JPH02189593A - Controller for electronic musical instrument - Google Patents

Abstract

PURPOSE:To eliminate the influence of fluctuations of after-touch data generated against the intention of the blowing operation of a wind instrument player upon a musical sound by performing suppression when the rate of variation in characteristics of the musical sound to variation of the after-touch data is smaller than the width of the after-touch data. CONSTITUTION:Musical instrument play modes including a wind instrument play mode can be switched and selected and when the selected musical instrument play mode is the wind instrument play mode, a control data generating means 1-2 generates control data for the characteristics of the musical sound so that the suppression is performed when the rate of variation in characteristics of the musical sound to the variation of the after-touch data received by an after-touch data receiving means 1-6 is smaller than the width of the variation of the after-touch data. Consequently, after-touch effect that the player intends can be represented regardless of play operation information that the after-touch data means.

Description

[Detailed description of the invention] [Technical field of invention] The present invention relates to a control device for an electronic musical instrument, and particularly to a control device for an electronic musical instrument.

This invention relates to a control technology for reflecting aftertouch input in musical sounds generated by a sound source.

[Prior art and its problems] Historically, electronic musical instruments have developed mainly around keyboard-type instruments. Naturally, the control device (typically a microcomputer) for a keyboard-type electronic musical instrument is suitable for the MTM-type controls (keyboard, penguin, modulation wheel, pedal, etc.). Providing consistent sound source control has always been a challenge, and efforts have therefore been concentrated. Furthermore, communication technology between electronic musical instruments 1, for example, MID (Musical In
strument Digital fnterf
ace) has also been considered for keyboard-type electronic musical instruments.

However, in recent years, electronic musical instruments other than the keyboard type have become popular; for example, guitar-type electronic string instruments, reed-type electronic wind instruments, etc. have been put into practical use, and their popularity is increasing. Furthermore, from the perspective of music system flexibility,
Connect various electronic musical instruments (including sequencers) to each other,
By using them as external performance controllers for sound modules and the like, it is expected that the flexibility of musical expression rich in variety in various performance forms will be enhanced.

Unfortunately, the capabilities of current electronic musical instrument control devices are limited to M for a specific performance controller (typically a keyboard), and cannot perform sufficient musical tone control for any performance controller.

For example, if we take aftertouch data, which is the processing target of this invention, the information indicated by this data is the avoidance pressure after a key press when the performance controller is a keyboard, whereas the information indicated by this data is the avoidance pressure after a key press when the performance controller is a keyboard, whereas When it is a press controller, it is air flow or breath pressure. In the former case,
Performance controllers detect relatively gradual fluctuations in avoidance pressure as aftertouch data due to the limited degree of freedom of keyboard operation, so adding aftertouch effects can be done relatively easily with keyboard control devices. On the other hand, when a wind instrument is used, its press controller generates aftertouch data that changes with a high degree of freedom in response to the player's sensitive press control. Here, due to digital problems such as the accuracy of the press detection element, the resolution of the A/D converter, and the accuracy of the aftertouch data received and processed by the control device, it is difficult to obtain aftertouch data as intended by the player. It becomes difficult for the control device to receive, process, and control musical tones as expected. In particular, when the player is trying to give a fixed press control, that is, a constant breath pressure, small fluctuations often occur in the aftertouch data.
This is directly reflected in the control data for the aftertouch effect, causing the characteristic of the musical tone to repeatedly fluctuate, resulting in a problem (limit cycle-like problem) in which a round and unnatural sound is produced.

[Object of the Invention] Therefore, it is an object of the present invention to provide a control device for an electronic musical instrument to which various types of performance controllers are connected and into which aftertouch data expressing completely different forms of performance operation depending on the usage situation is input. To provide a control device for an electronic musical instrument that can express an aftertouch effect as intended by a player in musical sounds, regardless of performance operation information that touch data indicates. Furthermore.

The purpose of this invention is to solve the problem of limit cycle characteristics of musical tones caused by small cyclic fluctuations (fluctuations) in aftertouch data given by these performance controllers, even when press controllers and lip controllers are used for wind instruments. An object of the present invention is to provide a control device for an electronic musical instrument that can suppress fluctuation phenomena and realize an aftertouch effect originally intended by a player's breath pressure control.

[Structure and operation of the invention] In order to achieve the above object, the present invention makes it possible to switch and select a plurality of musical instrument performance modes including a wind instrument performance mode, and when the selected musical instrument performance mode is the wind instrument performance mode, , controlling the characteristics of the musical tone in the control data generating means such that the ratio of change in the characteristic of the musical tone to the change in the aftertouch data received by the aftertouch data receiving means is suppressed when the width of change in the aftertouch data is small; It is characterized by generating data.

According to this configuration, when there is a large change in aftertouch data during wind instrument performance mode, control data is generated based on the assumption that the player's intention is indicated by the change, but the range of change in aftertouch data is When it is small, the player's intention is not directly reflected in the change, but rather a smooth aftertouch effect is intended, and the range of change in the control data is suppressed.

As a result, there are no harsh changes in the characteristics of musical tones, and the aftertouch effect that the player expects can always be obtained. In addition, since the arithmetic processing in the control data generation means is simple (completed in a short time) when in a mode other than the wind instrument mode, musical tone control for other performance control data (note on/off, etc.) is included in the control device. This can be carried out satisfactorily by other means such as those described above, and it becomes possible to effectively utilize the sound source of the control device under the constraints of real-time processing. Note that when in wind instrument mode, the amount of processing from aftertouch data to obtaining control data may be slightly larger, but since V instruments are generally monophonic, it is not possible for them to be inherently polyphonic like W1 instruments. No additional processing is required.

- In the configuration example, the control data generation means includes touch data cycle-specific cutting data generation means for generating control data from aftertouch data received for each cycle;
The smoothing means operates during the wind instrument performance mode and performs smoothing processing on the control data generated by the touch data cycle-specific control data generation means when the variation thereof is small. In this case, smoothing is performed in the area of control data that directly influences musical tone characteristics (rather than in the area of aftertouch data before conversion), making it easier to eliminate limit cycle-like phenomena that occur in musical tones. It can be prevented.

The smoothing means may include, for example, means for calculating the difference between the control data of the previous cycle (prefix M) and the control data generated by the touch data cycle-specific control data generation means in the current cycle; The control data for the current cycle can be regenerated depending on the magnitude of the difference. The latter method is 1. For example, when the difference is smaller than a certain limit value, it is regarded as an obvious limit cycle event, the control data of the current cycle is set to the value of the control data of the previous cycle, or a value sufficiently close to that value, and the difference is If the difference is sufficiently large, the player's intention is reflected in the difference, and the control data of the current cycle from the control data generation means for each touch data cycle is used without modification. Apply smoothing.

Smoothing does not necessarily have to be based on two sets of control data before and after, but can be performed by comparing three or more consecutive aftertouch data, or by comparing control data or intermediate data that reflects small fluctuations in aftertouch data. The important thing is to make sure that the aftertouch effect does not lag behind the player's operations, while ignoring small and meaningless aftertouch data fluctuations. Alternatively, if a large aftertouch data fluctuation occurs due to the player's intention, the fluctuation should be faithfully reflected in the control data.

[Example] Hereinafter, an example of the present invention will be described with reference to the drawings.

Overall configuration> The overall configuration of an electronic musical instrument l incorporating the features of the present invention is shown in FIG. Key velocity data and counter pressure data after key presses (aftertouch data on the keyboard) are detected and sent to a microcomputer (CPU) 1-2 as a control device for one electronic musical instrument l. Switches 1-3 consist of a series of functional switches, the status of each switch being sent to microcomputer 1-2 for processing. The controller 1-4 constitutes performance operators other than the key 1B1, and includes a pen wheel for changing the pitch of the musical tone being played, a modulation wheel for changing the depth of the tremolo, and a preset wheel. It includes operators such as definable wheels for acting on a plurality of musical tone structures and elements, and each operator data is a 0 display sent to the microcomputer 1-2. B1-5 consists of an LED, LCD (liquid crystal) display, etc., and displays the current performance status, operating status j6 (system status) of the electronic musical instrument l, setting data, etc. below IIm of the microcomputer 1-2.

MIDII-6 is an external interface used by the microcomputer 1-2 to communicate data with external electronic musical instruments, sequencers, etc. Another external interface 1-7 is a microcomputer l.
-2 and an IC card, and the microcomputer 1-2 is an interface between this external interface 1-2 and an IC card.
7, data or programs are taken in from the IC card, and data or programs are written to the IC card. Microcomputer 1-2 is RO
It has Ml-8 and RAM1-9.

The ROM1-8 stores programs for operating the electronic musical instrument 1, tone data, performance data, etc.
AMl-9 contains data used during program execution,
For example, timbre data, timbre control data, performance data, performance status data, etc. are temporarily stored.

The sound fil-10 generates musical tone signals of a plurality of voices under the control of the microcomputer 1-2. Sound source 1-1
0, for example, a 1PD (interactive phase distortion system) sound source as shown in Japanese Patent Application No. 82-249467 can be used. The digital musical tone signal generated by the sound source 1-1O is sent to the D/A converter 1- for each system (here, two systems).
11, and converted into analog musical tone signals of each system. D/A converter! Analog musical tone signals of each system from 1-11 are input to a panning effect generator 1-12 which is generated by a microcomputer 1-2. The panning effect generator 1-12 includes two pairs of VCAs (2
Out of a total of four VCAs, the outputs of two VCAs are mixed to form stereo right and left channel signals. Thereby, the localization of the sound image is controlled for each system. Panning effect generator 1-1
Each stereo channel signal from 2 is passed through filter 1-1
3, unnecessary frequency components are removed, and after being amplified by an amplifier 1-14, the sound is emitted from left and right speakers 1-15.

Basic operations〉 Next, we will explain the basic operations of electronic musical instruments as shown in Figure 2A~
This will be explained with reference to FIG. 2F.

FIG. 2A shows the first timer interrupt routine that is started at regular intervals, and in this routine 2-1-1,
The state of the key fil-1 and the state of each key 2,000 of the switch 1-3 are taken into the microcomputer 1-2.

FIG. 2B shows the second timer interrupt routine, in which the data of the controller 1-4 is taken into the microcomputer 1-2 in step 2-2-1, and the control data is compared with the previous control data. Zero-order step 2-2-3 in which the presence or absence of a change is checked, and if there is a change, control data change processing 2-2-2 is executed.
Now, calculations for realizing LFO vibrato are executed. That is, current vibrato data is generated from data that affects vibrato (reference rate, reference depth, control data for vibrato parameter modulation, and MIDI data).

Next, in step 2-2-4, calculations are performed to change the pitch of musical tones using the LFO vibrato, MIDI data, and control data according to the system's beep and chi change settings, and the results are converted into sounds [tl -10 to control the pitch.Next, in step 2-2-5, LFO) calculates data to realize remolo (growl) (control data or MIDI data modulates tremolo or growl). Step 2 of the 0th order, which includes the calculation processing necessary when
- In 2-6, calculations are performed to make the remolo (LFO), MIDI data (for example, aftertouch data), and control data actually change the timbre and volume of the musical sound, and the results are sent to the sound source 1-10. Controls the tone and volume of musical sounds.

In the final step 2-2-7, panning data creation processing is performed to generate a panning effect.

FIG. 2C is a third timer interrupt routine, and in this routine 2-3-1, the panning effect generator 1 of FIG.
-12, a control signal is sent from the microcomputer 1-2 to actually realize the effect.

Figure 2D shows that when MIDI data is sent,
This is a MIDI reception processing routine 2-4-1 that is activated by an interrupt from the DI interface 1-6, and here performs processing for reception (such as setting MIDI-related buffers on RAMI-9). Only.

Figure 2E shows the MID! when sending MIDI data to an external electronic musical instrument, etc. MIDI transmission processing routine 2-5 activated by an interrupt from interface 1-6
-1, thereby maintaining the MIDI data transmission rate.

FIG. 2F shows the general flow (main program) of the microcomputer 1-2. First, when the power is turned on, the initialization routine 2-6-1
At this point, initial settings for the sound source 1-6, initial display data settings for the 5-display section 1-5, and initial settings for each control data, calculation data, etc. are performed. Step 2-6-
In step 2, a switch state change is determined by referring to the result of the keyboard/switch data acquisition interrupt routine (Fig. 2A), and if there is a change, the switch change processing routine 2-6-3 is executed. Execute. In this routine 2-6-3, the performance mode is set, tone data is set, MIDI control data is set, pan control data is set, musical tone control data is set for the sound source 1-10, and musical tone control data is set on the 1 display section 1-5. Setting display data, initializing control data, controlling the panning effect generator 1-12, exchanging data or programs with the external interface l-7 of the IC card, controlling the MIDI interface 1-6, etc. (hereinafter referred to as menu).

Next, in step 2-6-4, it is determined whether or not there is MIDI data input from the MIDI interface 1-6.
Check the inspection flag set in MIDI reception routine 2-4-1 (Figure 2D) to determine if there is an input, and if there is an input, M
Execute IDI IN processing routine 2-6-5. In this input processing routine 2-6-5, MIDI input data is identified, and according to the results, the corresponding internal performance mode is changed, tone data is changed, pan control data is changed, musical tone control data is changed, musical tone control ( note on/off, etc.)
, control of display data, MIDI interface l-6
control etc. are executed according to the menu and setting data.

Next, in step 2-6-6, the state of the key 11-1 is changed,
In other words, the presence or absence of a pressed key, the presence or absence of a # key, etc. are determined by the interrupt routine 2-
1-1 (Fig. 2A), and if there is a change, the socialization processing routine 2-6-7 changes data in response to key presses and key releases, assigns pronunciation 1 pronunciation processing,
Mute processing, # control of MIDI interface X-6, etc. are performed.

Musical tone control data setting> FIG. 3 shows an example of setting of musical tone control data. This setting is performed by operating switch 1-3 or through external MIDI data.In Figure 1, sense is sensitivity data that takes a value from 0 to 99, and amplifier bias is a parameter that controls the volume and color of the musical tone. (In the case of an fPD sound source, one voice, or sound generation channel, is configured by a programmable connection form (sound generation algorithm) of multiple modules. For a module used as a musical tone output, the amplifier bias is the amplitude of the musical tone of that module, In other words, it is a bias component for the volume, and for modules that output musical tone components that are used as inputs for other modules, the amplifier bias acts as a bias component that changes the timbre of the final output musical sound of the sound generation channel), and the vibrato depth is a bias component for the LFO. It means the depth of vibrato, that is, the width of frequency fluctuation. Aftertouch, modulation wheel, definable controller, footpolium are controllers (operators)
6, whether each controller acts on musical tone parameters (here, amplifier bias, vibrato depth), that is, whether or not it modulates musical tone parameters, is determined according to ON or OFF in each box shown in the diagram. In the example shown in Figure 1, for example, aftertouch is a controller (control data) that modulates the amplifier bias with the maximum sensitivity of 99.Here, aftertouch data is generated when key 911-1 on the main body of electronic musical instrument 1 is operated. similar data sent in MIDIID-MAT from an external electronic keyboard instrument, data generated based on press operations on an external electronic wind instrument and sent in MIDIID-MAT, or data sent in MIDIID-MAT from an external electronic keyboard instrument. It can be data generated based on string operations on an electronic stringed instrument and sent in MIDIID-MAT.

Any external electronic musical instrument (controller) can be connected via the MIDI interface 1-6 as a communication interface. In some cases, aftertouch is information representing the strength of the breath, in other cases it is information representing counter pressure, and in other cases it is information representing other performance operating conditions. In this invention, in view of these points,
In addition to incorporating a function to switch the musical instrument performance mode into the electronic musical instrument, optimal control of aftertouch is performed depending on the musical instrument performance mode, with particular consideration given to the wind instrument performance mode.

Hereinafter, how these points are realized will be explained in detail with regard to the embodiments.

Musical Instrument Performance Mode Setting> First, setting and changing of the musical instrument performance mode will be explained with reference to FIGS. 4 to 6.

FIG. 4 shows all switches included in switches 1-3. The instrument performance mode is set under the normal menu. First, by pressing the NORMAL switch 3-1 among the switches shown in FIG. 4, the electronic musical instrument 1 displays a tone as shown in FIG. (indicating an electric piano) is displayed. Next, press the cursor (CUR5OR) key 32-2,
Then move the cursor on the display to the musical instrument performance mode display position as shown in FIG.

By operating the VALUE key 3-3, the displayed data changes like +G-+W.

Here, K is keyboard performance mode, G is guitar performance mode,
W indicates a wind instrument performance mode.

At this time, the internal data stored in the register M for performance mode determination in RAM1-9 has the upper 3 bits indicating 0 or more instrument performance modes that change in the order of ioo→010→001, as shown in FIG. - The setting process of the switch change process routine 2-6-3 of the general flow (Figure 2)
It is designed to be executed within. Therefore, for example, when using an electronic wind instrument with an external electronic instrument, the user should set the wind instrument mode according to the procedure described above, and when using an electronic string instrument, the user should set the string instrument mode, and when using the electronic keyboard instrument, the user should set the wind instrument mode according to the procedure described above. If you do so, you will need to set the keyboard mode.

Aftertouch input processing> As mentioned above, MIDI reception is performed using one byte worth of MIDI.
Each time data is input to the MIDI interface l-6, it is taken into the microcomputer 1-2 according to the interrupt routine (Fig. 2D), and the MID
It is recorded in the I-related buffer. Processing for MIDI data stored in the buffer is performed in 2-2 of the general flow.
Executed at 6-5. Aftertouch data is MIDI
When an electronic wind instrument is used as the external instrument and the aftertouch data is generated by the breath pressure on the mouthpiece, MIDI aftertouch data is often used due to the delicate control of the breath pressure. It will be input to the electronic musical instrument l via the MIDI interface 1-6. If you try to process all of these MIDI aftertouch data sequentially, the processing time will cause the generation of the aftertouch effect to be delayed relative to the player's performance operations, making it impossible to obtain the effect the player expects. ,For this reason.

In this embodiment, in order to ensure that the effect is not delayed even in the worst situation, the maximum value of aftertouch data obtained in the current cycle is processed in the MIDI input processing routine 2-6-5. I am trying to select it as the target aftertouch data. That is, as shown in FIG. 7, it is checked in step 7-1 whether aftertouch data has been received, and if it has been received, the maximum aftertouch value is determined for each MIDI channel as shown in step 7-2. Find it, save it, and clear the others.

Form of aftertouch effect> In this embodiment, which element of the musical tone is affected by the aftertouch data can be determined within the range shown in FIG. 3 described above. That is, the amplifier bias and/or vibrato depth can be modulated by aftertouch. However, in the following description, it is assumed that amplifier bias is controlled by aftertouch.

On the other hand, the amplifier bias is set by LFO in addition to aftertouch.
) It is also controlled by remolo (crawl), modulation word wheel, definable controller, and footpolium, but we will keep the explanation of controls other than aftertouch to the bare minimum.

Musical tone control data creation process> The maximum aftertouch data in each cycle selected in the aftertouch input process described above is the musical tone control data (in this case, amplifier bias data) shown in FIG.
The creation process is performed in -chin. This routine is a subroutine within the control data change process 2-2-2 in the timer interrupt routine (Figure i2B). In the musical tone control data creation process shown in Figure 8, the amplifier bias components from the control data of the elements that affect the amplifier bias, such as MIDI aftertouch data, modulation wheel data, definable controller data, and footpolium data, are sensed. The instrument performance mode is referenced when creating this amplifier bias component. , amplifier bias components are generated in different ways depending on whether or not the wind instrument performance mode is selected. In particular, in the case of the embodiment, in order to apply the aftertouch data representing the breath pressure in the wind instrument performance mode to the amplifier bias in a non-linear manner so as to match the player's intention,
A data conversion table showing the characteristics of the action is prepared on the ROM1-8. However, since it is not desirable to prepare a conversion table for the entire range of sense data in terms of storage capacity, some conversions are performed by direct calculation.

Following the flow in Figure 8, first, step 8-
1, the sum of the senses whose modulation to the amplifier bias is ON is calculated.0 For example, for the settings shown in FIG. 3, the aftertouch sense 99 becomes the calculation result AO. The setting data in Fig. 3 can be data attached to a tone, and can be automatically changed (set) by changing the tone. Next, in step 8-2, each operator data whose modulation is turned on is set. (0~127) and sense (0~99) and compress the data to θ~99.
Divide by 7, calculate the sum of the resulting data, and set it to BO 0. For example, if the settings are as shown in Figure 3,
When 06FH is given as MIDI aftertouch data, the result is 86. Second, step 8
-3, where it is determined whether the mode is tube mode or not. That is, bit 5 of the mode register M shown in FIG. 5 is tested, and if it is "1", it is the tube mode, and if .theta.', it is other than the tube mode, and the process proceeds to step 8-4.

In step 8-4, the standardized operator data BO is subtracted from the standardized sense AO to obtain amplifier bias data ABD. As a result, in musical instrument performance modes other than the wind mode, the volume and tone change linearly with respect to operator data (which may be aftertouch data).

On the other hand, in the tube mode, the process proceeds to step 8-5, where it is determined whether the reference sense AO is 92 or more. If the standard sense AO is 91 or less, proceed to step 8-6 and
Expand the sense data in the range of ~91 to re-standardized sense data A2 up to O~99, proceed to steps 8 to 7, and subtract the standard operator data BO from the sense data A2 to create amplifier bias data ABD. get.

When the sense data AO is 92 or more, step 8-8
Then, subtract the standard operator data BO from 99 to get data A.
1 (minimum 0 to 99) is obtained and expanded to a minimum value of O to 127 to obtain element number B1 in the conversion table (music tone control data conversion table). Furthermore, in step 8-9, 92 is subtracted from the sense data AO to obtain the conversion table number No. (0 to 7) for each sense data, and step 8-1
0, the B1-th data of the table is read out and set as amplifier bias data ABD. As a result of this, the 9th
Changes in volume and timbre as shown in the figure are within the range of tube mode sense data AO≧92, and the operator data (MID
This will occur according to the size of the aftertouch data of I).

Final amplifier bias data creation e-transfer> The amplifier bias data generated in the process shown in Figure 8 is amplifier bias data created from controller data (which may include MIDI aftertouch data) in a certain section (cycle), and other The operator data in the cycle is completely independent data in terms of processing. Therefore, use this amplifier bias data as a sound source! -10, small fluctuations in each cycle of the controller data, especially the aftertouch data that indicates the strength of the breath, which is a problem in wind instrument performance mode, will appear in the volume and timbre of the musical sound, causing a continuous This will result in sound being generated.

Therefore, it is desirable to prevent this occurrence and process the amplifier bias data so that the characteristics change smoothly.Then, add the amplifier bias component from the LFO tremolo (growl) and use it as the final amplifier bias for the sound source. 1-10. In the case of the embodiment, these processes are performed in the tone volume a color changing processes 2-2 to 2-6 in the timer interrupt routine (FIG. 2B).
Is going. Details are shown in FIG.

First, in step 10-1, ABDN
The previous amplifier bias data contained in the EW is used as the AED.
Move the amplifier bias data ABD created from the current controller data, which is the processing result of Figure 8, to ABD.
Set to NEW. Next, the process proceeds to step 10-2, where it is determined whether the mode is tube mode. When not in tube mode,
Since there is no problem with the rolling sound, move the amplifier bias data (ABDNEW data) created from the controller data this time to B, and set the value B to LFO) Remolo (Growl)
(step 10-3.1O-
10).

However, when in tube mode, the aftertouch data that indicates the strength of the breath may continue to fluctuate randomly from cycle to cycle, even though the player intends to perform certain urgent tasks. In this case, the small fluctuations will be directly reflected in the amplifier bias data ABD, so the same processing as when not in tube mode 1O-3, 1O-7
If you do this, you will end up with gradual changes in the musical tone. Therefore, as shown in 10-4 to 10-9, in this embodiment, the fluctuation of aftertouch data for each cycle is evaluated, and in the case of a large fluctuation, it is assumed that the player's intention is indicated and faithful processing is performed. However, in the case of small fluctuations,
The process of smoothing the amplifier bias data ABD is performed in two stages. According to the flow, the cycle-by-cycle fluctuation of the aftertouch data can be evaluated by the difference between the previous amplifier bias data ABDOLD and the current cycle's amplifier bias data ABDNEW, so this difference AO is obtained in step 1O-4. Subsequently, in step 1O-5, it is determined whether the difference AO is less than the threshold value xO, and if it is, it is considered that the amplifier bias data is slightly fluctuating, so a process 10-6 is performed to reduce the difference AO. (Here, the size is set to 1/4).Also, if it is greater than or equal to xO but less than the second threshold value Xi (>XO), 1/4AO + 1/8A
O (step 10-7.1O-8), and
Any other suitable compressed data processing can be used for the arithmetic processing in step 10-6. can be evaluated. The difference AO is selectively compressed according to the magnitude of variation AO in step 10-9.

It is added to or subtracted from the previous amplifier bias data ABDOLD, and the result B is saved in ABDNEW as the current amplifier bias data related to the operator. This data B is obtained by smoothing fluctuations in aftertouch data for each cycle. A point where amplifier bias data A related to LFO) remolo (growl) is added to this smoothed amplifier bias data B of the controller and transferred to the sound source 1-1O as final amplifier bias data C (step 1
O-10) is the same as in other musical instrument performance modes.

As a result, in the wind instrument performance mode, when aftertouch data indicating an emergency is input to the electronic musical instrument 1, the choppy and unnatural changes in musical tone characteristics seen in conventional electronic musical instruments are eliminated, and the player's needs can be met. It turns out.

This concludes the description of the embodiment, but various modifications and changes can be made without departing from the scope of the invention.For example, in the above embodiment, the volume, Although only the timbre and pitch have been mentioned, it is also possible to affect elements such as effectors. Further, although an fPD sound source is illustrated as the sound source 1-10, any other suitable digital η source can be used. Moreover, although the aftertouch data in the wind instrument mode has been described as data indicating an emergency, other wind performance information 1, for example, information on the strength of biting the lip may be used.

[Effects of the Invention] As is clear from the above description, in claim 1, a plurality of musical instrument performance modes including a wind instrument performance mode can be switched and selected.1 When the selected musical instrument performance mode is a wind instrument performance mode, , controlling the characteristics of the musical tone in the control data generating means such that the ratio of change in the characteristic of the musical tone to the change in the aftertouch data received by the aftertouch data receiving means is suppressed when the width of change in the aftertouch data is small; Since data is generated, it is possible to solve the problem of limit cycle-like effects on musical sounds caused by fluctuations in aftertouch data that may occur contrary to the wind instrument player's intention, and also to This is effective in efficiently utilizing the limited *m under the constraints of real-time processing to exert different musical tone control abilities.

In addition, in claim 2, after the control data that reflects the fluctuation of the aftertouch data is created, the fluctuation of this control data is checked and smoothing processing is performed according to the magnitude thereof, so that it is possible to more directly Negative effects on musical tones can be eliminated.

Further, in claim 3, the smoothing means takes the difference between the previous control data and the control data for each current touch data cycle, and selectively regenerates the current control data depending on the magnitude of the difference. So.

It becomes possible to carry out the processing of the smoothing means in an even shorter time.

[Brief explanation of the drawing]

FIG. 1 is an overall configuration diagram of an electronic musical instrument to which the present invention is applied, and FIG. 2A is a timer interrupt processing diagram for importing the states of the keyboard 1-1 and switch 1-3 shown in FIG. 1 into the microcomputer 1-2. Flowchart, FIG. 2B is a flowchart of a timer interrupt routine in which processes for controlling various musical tone characteristics are performed, FIG. 2C is a flowchart for controlling the panning effect generator 1-12 of FIG. 1, and FIG. 2D
The figure is a flowchart of MIDI reception processing, and Figure 2E is a flowchart of MIDI reception processing.
A flowchart of the IDIID process, Figure 2F is a flowchart of the overall operation, Figure 3 is a diagram showing an example of setting data for musical tone control, and Figure 4 is an arrangement diagram of switches placed in switches 1-3 in Figure 1. , FIG. 5 is a diagram showing the contents displayed on the display section 1-5 of FIG. 1 when switching the musical instrument performance mode,
Figure 6 is a diagram showing changes in internal mode data when switching instrument performance modes, Figure 7 is a seven-point chart regarding selection of the maximum value of aftertouch data, and Figure 8 is a diagram showing musical tone control from aftertouch data, etc. Flowchart for creating data (amplifier bias data component), No. 9
The figure shows changes in the volume and timbre of musical tones that occur based on aftertouch when the musical tone-control data creation table is selected in the wind instrument performance mode.
Regarding the creation of final amplifier bias data to be sent to the sound source 1-10 in the figure, it is a 70-chart for smoothing the amplifier bias data in the wind instrument performance mode. 1-2...Microcomputer, 1-3...
...Switch, 1-8...ROM, 1-9
...RAM, 3-1...Normal switch, 3-2...Cursor key, 3-3...
...Value key, M...Mode register.

Claims (3)

[Claims] (1) In a control device for an electronic musical instrument, the control device includes aftertouch data receiving means for receiving aftertouch data, and control data generating means for generating control data for controlling characteristics of musical tones based on the received aftertouch data. The control data generation means includes a mode selection means for switching and selecting a plurality of musical instrument performance modes including a wind instrument performance mode, and a mode storage means for storing the selected musical instrument performance mode, and the control data generation means includes a mode storage means for storing the selected musical instrument performance mode. When the selected musical instrument performance mode shown is the wind instrument performance mode, the ratio of the change in the characteristics of the musical tone to the change in the aftertouch data is suppressed when the width of the change in the aftertouch is small. A control device for an electronic musical instrument, characterized in that it generates control data. (2) A control device for an electronic musical instrument comprising aftertouch data receiving means for receiving aftertouch data, and control data generating means for generating control data for controlling characteristics of musical tones based on the received aftertouch data, It has mode selection means for switching and selecting a plurality of musical instrument performance modes including a wind instrument performance mode, and mode storage means for storing the selected musical instrument performance mode, and furthermore, the control data generation means: control data generation means for each touch data cycle that generates control data from the received aftertouch data; and a touch data cycle-specific control data generation means that operates when the selected musical instrument performance mode indicated by the mode storage means is the wind instrument performance mode, and is operable to generate control data from the touch data. 1. A control device for an electronic musical instrument, comprising: smoothing means for performing smoothing processing on the control data generated by the cycle-by-cycle control data generating means while fluctuations thereof are small. (3) In the control device for an electronic musical instrument according to claim 2, the smoothing means calculates a difference between the control data of the previous cycle and the control data generated by the touch data cycle-specific control data generation means in the current cycle. means and
1. A control device for an electronic musical instrument, comprising: means for generating final control data for the current cycle depending on the magnitude of the calculated difference.