JPH02189595A - Controller for electronic musical instrument - Google Patents

Abstract

PURPOSE:To reflect after-touch effect, which has substantially no delay behind the playing operation of a player, on a musical sound even when an optional after-touch play controller is connected by inspecting the reception state of after-touch data periodically and generating control data for controlling the characteristics of the musical sound. CONSTITUTION:The data reception state of an after-touch data receiving means 1-6 is inspected periodically and an after-touch evaluating means 1-2 evaluates one after-touch data for processing for one or plural received after-touch data; and a control data generating means 1-2 processes the after-touch data for processing to generate the control data for controlling the characteristics of the musical sound. Consequently, an optional type play controller is used sufficiently as an after-touch controller and specially, when the play controller of a wind instrument is used, the after-touch effect that the player intends can be represented in the musical sound substantially without delay.

Description

[Detailed description of the invention] [Technical field of invention] The present invention relates to a control device for an electronic musical instrument, and more 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. Inevitably, a control device for a keyboard-type electronic musical instrument a
(Typically, a microcomputer) takes into account that the instrument's operators are keyboard types (keyboard, penguin, modulation wheel, pedal, etc.), and it is always a challenge to control the sound source appropriately. ,Therefore, efforts have been concentrated on communication technology between electronic musical instruments.

For example, MID I (Musical Instr.
Consideration has also been given to keyboard-type electronic musical instruments (Digital Interface).

However, in recent years, t11! ! Electronic musical instruments other than the 11 types are becoming popular, and guitar-type electronic stringed instruments and reed-type electronic wind instruments are becoming increasingly popular. With the emergence of such a wide variety of electronic musical instruments, users are now using MIDI to connect these instruments.
etc., and have come to enjoy music in a variety of performance formats.

Unfortunately, at present, control devices for electronic musical instruments cannot process input from any performance controller (91! board, wind, guitar controller, etc.) based on the characteristics of the individual performance controller or the basic correlation between the playing styles for various instruments. For example, when the performance controller is a keyboard, the information "aftertouch data" cannot be pressed. ! In the former case, the speed at which aftertouch data is generated is as follows.

Although it is relatively slow, in the latter case, the player performs urgent and delicate controls, so aftertouch data is generated frequently, and a large amount of aftertouch data is input to the control device. That will happen. Here, if the control device attempts to process all received aftertouch data, as in the case of a keyboard.

Due to the time required for processing, there is a delay in the actual generation of musical tones with aftertouch effects in the sound source compared to the player's performance operations.Furthermore, not only is there a delay in width, but also the generation speed of aftertouch data is delayed. The amount of delay varies depending on the variation of . As a result, the effect deviates greatly from the player's expectations.

[Object of the Invention] Therefore, it is an object of the present invention to be able to accommodate the use of any type of performance controller as an aftertouch controller, and in particular, even when a performance controller for a wind instrument is used, the aftertouch effect intended by the player is not affected. 'IJ!' without any real delay! An object of the present invention is to provide a control device for an electronic musical instrument that can express sound.

[Structure and operation of the invention] In order to achieve the above object, the present invention periodically inspects the data reception state of the aftertouch data reception means,
The aftertouch data evaluation means evaluates one processing aftertouch data for one or more received aftertouch data, and the control data generation means processes this processing aftertouch data to generate a musical tone. The present invention is characterized in that control data for controlling characteristics is generated.

According to this configuration, the control data generation means only needs to process one piece of aftertouch data as aftertouch data for each operation cycle, so there is virtually no processing delay, and a large amount of aftertouch data, such as in an electronic wind instrument, is generated. Even if a performance controller is used that provides data,
It is possible to obtain an aftertouch effect of a musical tone without delay in response to a player's performance.

One piece of processing aftertouch data that the aftertouch data evaluation means evaluates at the time of inspection has a value that depends on one or more received aftertouch data. Typically, a representative value of the received aftertouch data becomes the aftertouch data for processing. In a preferred example, when a plurality of aftertouch data are received, the aftertouch data evaluation means selects the maximum value among them as the aftertouch data for processing. This evaluation logic attempts to form the attack part or sound pressure rising part that is noteworthy in the flow of musical tones.
This makes it easy to bring about an instant 77 touch effect for a performance operation performed by a player, such as an operation that applies an urgent action to the mouthpiece immediately after tonguing in the case of a wind instrument. However, the time interval at which the aftertouch data evaluation means evaluates the aftertouch data for processing can be shortened to the extent that it does not cause a problem at the auditory level, depending on the configuration of the electronic musical instrument used, so evaluations other than maximum value selection are possible. For example, minimum value selection, averaging processing, etc. may be employed.

In addition, as used in this specification, "regularly" in "regularly inspecting the data reception state of the aftertouch data receiving means" means that the inspection (evaluation) interval is completely constant in time. is not limited, and includes fluctuations in the length of the interval depending on the amount of processing in the processing system other than aftertouch when the control device for the electronic musical instrument is realized by a microcomputer controlled by a program program.

[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 incorporating the features of the present invention is shown in FIG. data and aftertouch data in corporate data cMg1 after a key press) are detected and sent to a microcomputer (CPU) 1-2 as a control device of the electronic musical instrument I. Switches 1-3 consist of a series of operational 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 i1, and includes a pengu wheel for changing the pitch of the musical tone being played, a modulation wheel for changing the depth of the tremolo, and a preset controller. The display unit 1-5 includes operators such as a definable wheel for acting on the set components 1 to 41a, and each operator data is sent to the microcomputer 1-2. It consists of an LED, LCD (liquid crystal) display, etc., and under the control of a microcomputer 1-2 displays the current performance status and operating status of the electronic musical instrument 1 (system status).
, display setting data, etc.

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 the microcomputer 1
-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 RAMl-9, and ROMl-8 stores programs for operating this electronic musical instrument, tone data, performance data, etc., and RAMl-9 is used while executing the program. Data such as timbre data, timbre rfIi data, performance data, and performance status data are temporarily stored.

"The source 1-1O generates musical tone signals of a plurality of voices under the control of the microcomputer l-2. The sound source 1-10
For example, a 1PD (interactive phase distortion system) sound source as shown in Japanese Patent Application No. 62-249467 can be used. Generation of sound source 1-10 1. The digital musical tone signals are sent to the D/A converter 1- for each system (here, two systems).
11, and converted into analog musical tone signals of each system. Each system of analog musical tone signal from the D/A converter 1-11 is input to a panning effect generator 1-12 controlled by a microcomputer 1-2. The panning effect generators 1 to 12 have two pairs of VCAs (for two systems) that complementarily control the amplitude of input analog musical tone signals of each system, and out of a total of four VCAs, two The outputs of each VCA are mixed to form stereo right and left channel signals. As a result, a
The localization of the image is controlled. Panning effect generator 1-12
Each stereo channel signal from
After unnecessary frequency components are removed from the signal and the signal is 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 keyboard 1-1 and the state of each switch 1-3 are taken into the microcomputer 1-2.

FIG. 2B shows the second timer interrupt routine, in which the controller! -4 data is taken into the microcomputer 1-2, and from the comparison with the previous control data, it is checked whether or not the control data has changed, and if it has changed, control data change processing 2-2-2 is executed. 0th step 2-2-3
Now, calculations for realizing LFO vibrato are executed. That is, current vibrato data is generated from data that affects vibrato (reference rate, reference depth, mount roll data and MIDI data for vibrato parameter modulation).

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 pitch change setting state of the system, and the results are sent to the power source 1-XO. In the first step 2-2-5, which controls the pitch, L
FO) Data performance to realize Remoro (Groll)! (This also includes arithmetic processing necessary when control data or MIDI data modulates tremolo or growl.) Next step 2-2
-6 performs calculations to make the LFO tremolo, MIDI data (for example, aftertouch data), and control data actually change the timbre and volume of the musical sound, and sends the results to sound sources 1-10 to change the timbre of the musical sound. , control the volume.

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

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

Figure 2D shows that when MIDI data is sent,
This is a MIDIID external routine 2-4-1 that is activated by an interrupt from the DI interface 1-6, and here only performs processing for reception (such as setting MIDI-related buffer related buffer adapters of RAMI-91). It is. FIG. 2E shows a MIDI transmission processing routine 2-5- activated by an interrupt from the MIDI interface l-6 when MIDI data is sent to an external electronic musical instrument, etc.
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
Here, *1; (initial settings for 1-6, initial display data settings for display section 1-5, initial settings for each control data, calculation data, etc. are performed. Step 2
-6-2, the 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 - Execute 3. This routine 2-6-
3, set the performance mode, set the tone data, and set the MID.
I control data settings, pan crystal control data settings, sound source 1-
setting of musical tone control data for 10, setting of display data for display section 1-5, initial setting of control data,
Control of the panning effect generator 1-12, exchange of data or programs with the external interface 1-7 of the IC card, control of the MIDI interface 1-6, etc. are executed according to the system status (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.
It is determined by referring to the inspection flag set in MIDI reception routine 2-4-1 (Figure 2D), 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.)
, ig control of display data, MIDI interface 1-
Controls 6 and the like are executed according to the menu and setting data.

Next, in step 2-6-6, the state change of the key fit-1, that is, the presence or absence of a key press, the presence or absence of a key release, etc. is determined by the interrupt routine 2.
-1-1 (Fig. 2A) is determined from the processing result, 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, performs pronunciation processing, Mute processing, control of the MIDI interface 1-6, 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 switches 1-3 or through external MIDI data. In the figure, sense is sensitivity data that takes a value from 0 to 99, and amplifier bias is a parameter that controls the tone and timbre of the musical sound. (In the case of an iPD 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)
, and whether or not each controller acts on musical tone parameters (amplifier bias and vibrato depth here), that is, whether or not it modulates musical tone parameters, is determined according to ON and 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 when the key 511-1 on the main body of electronic musical instrument 1 is operated. similar data sent via MIDIID-MAT from an external electronic keyboard instrument, data generated based on a press operation on an external electronic wind instrument and sent via MIDIID-MAT, or data sent via 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 corporate use, and in other cases, it is information representing other performance operation states. In view of these points, the embodiment of the present invention incorporates a function to switch the musical instrument performance mode into an electronic musical instrument, and performs optimal control regarding aftertouch according to the musical instrument performance mode, with particular consideration given to the wind instrument performance mode. I'm trying to make it happen.

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

Instrument performance mode setting> First, with reference to Figures 4 to 6, set J9 in the instrument performance mode.
This section explains the settings and changes.

FIG. 4 shows all the switches included in switch 1-3. The instrument performance mode is set under the normal menu. First, by pressing the NORMAL switch 3-1 of the switches shown in FIG. 4, the electronic musical instrument 1 displays its display section! -5's LCD display will display tones as shown in Figure 5 (EP in the figure represents an electric piano).Next, press the cursor (CU RS OR) key 32-2. Move the cursor on the display to the instrument performance mode display position as shown in Figure 4, then press J/) to select the value (
By operating the VALUE) key 3-3, the displayed data changes to 4G-+W. Here, K
indicates the keyboard performance mode, G indicates the guitar performance mode, and W indicates the wind instrument performance mode.

At this time, the L-order 3 bits of the internal data stored in the register M for performance mode determination in the RAM 1-9 change as shown in FIG. 6 in the order of 100→010→001. The following instrument performance mode setting processing is performed in switch change processing 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 as an external electronic instrument, the user sets the wind instrument mode according to the procedure described above, when using an electronic string instrument, the user sets the string instrument mode, and when using an electronic keyboard instrument, the user sets the wind instrument mode according to the procedure described above. 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 1-6, it is taken into the microcomputer l-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
In the case given below, when an electronic wind instrument is used as the external instrument and the aftertouch data is generated by an emergency on its mouthpiece, MIDI aftertouch data is often transferred to the MIDI interface due to the delicate control of the emergency. The signal is input to the electronic musical instrument 1 via 1-6. If you try to process all of these MIDI after-second data sequentially,
Due to the processing time, the generation of the aftertouch effect is delayed relative to the player's performance operations, making it impossible to obtain the effect expected by the player.For this reason, in this embodiment, the aftertouch effect is not effective even in the worst situation. To avoid delays, M.
In the IDI input processing routine 2-6-5, the maximum value of the aftertouch data obtained in the current cycle is selected as the aftertouch data to be processed. That is, as shown in Figure 7,
Check whether aftertouch data has been received in step 7-1, and if so, step 7
-2, find the maximum after value for each MIDI channel, 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 wheel, definable controller, and two-two topolium, but we will keep the explanation of controls other than aftertouch to the bare minimum.

Musical tone control data creation process> The maximum value of aftertouch data for each cycle selected in the aftertouch input process described above is determined by the musical tone control data (in this case, amplifier bias data) creation process routine shown in Figure 8. Processed in This routine is a subroutine within the control data change process 2-2-2 in the timer interrupt routine (FIG. 2B). 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 amplifier bias, that is, 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, R
A data conversion table is prepared on OMl-8 that shows the characteristics of its action. 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.

According to the flow shown in Fig. 8, first, the stave 8
-1, the sum of the senses whose modulation to the amplifier bias is ON is calculated as 0. For example, for the settings shown in FIG. 3, the aftertouch sense 99 becomes the calculation result AO. Note that the setting data in Fig. 3 may be data attached to the tone, and may be automatically changed (set) by changing the tone.
Next, in step 8-2, each controller data (θ~127) whose modulation is on is multiplied by the sense (0~99), and in order to compress the data into O~99, i
Divide by 27, calculate the sum of the resulting data, and calculate the BO
For example, if the settings are as shown in Figure 3 and 06FH is given as MIDI aftertouch data, the result will be 86.0 Next, proceed to step 8-3, where the tube mode is set. It is determined whether

That is, bit 5 of the mode register M shown in FIG. 5 is tested, and if it is 41'', it is the tube mode, and if it is '0'', 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 step 8-7, 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.
I (minimum θ~99) is obtained and expanded to the minimum value O~127 to obtain the element number Bl 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
At step O, the B1-th data of the table is read out and used 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 fee transfer> The amplifier bias data generated by 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, if this amplifier bias data were sent as is to the sound sources 1-10, 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 the wind instrument performance mode, would cause the volume of the musical tone to change. This will appear in the tone, resulting in a shaky sound.

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 LFO) remolo (growl) to create the final amplifier bias. The data is transferred to the sound source 1-10 as follows. In the case of the embodiment, these processes are performed in the tone volume change process 2-2-6 of the timer interrupt routine (FIG. 2B). Details are shown in FIG.

First, in step 10-1, data is updated.

Move the previous amplifier bias data stored in ABDNEW to ABDOLD, and create amplifier bias data ABD from the current control data, which is the processing result shown in Figure 8.
Set ABDNEW to 0 Next, step 1O-2
Proceed to determine whether it is in tube mode. When not in tube mode, there is no problem of rolling sweat, so the amplifier bias data (ABDNEW) created from this controller data.
data) to B, and add the amplifier bias component (Routine 2-2-
5 processing result) to obtain the final amplifier bias data C, which is transferred to the sound source 1-10 (step 1O-3).
, 1O-10).

However, when in tube mode, the aftertouch data indicating the strength of the breath may continue to fluctuate randomly from cycle to cycle, even though the player intends to perform certain urgent tasks. , the small fluctuations are directly reflected in the amplifier bias data ABD, so the same processing as when not in tube mode 1O-3, 10-7 is performed.
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, cycle-by-cycle fluctuations in 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 10-4. Subsequently, in step 10-5, 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. (in this case, the size is 1/4), and if xou and h are less than the second threshold value Xi (>XO), then 1/4A O+ 1
/ 8 Change to AO (steps 1o-7, 1O
-8), Note that any other suitable compressed data processing can be used for the arithmetic processing in steps 10-6 and 10-9, and in step 10-4, aftertouch data or amplifier bias can be Data fluctuations can be evaluated. The difference AO selectively compressed according to the magnitude of fluctuation AO is added to or subtracted from the previous amplifier bias data ABDOLD in step 1O-9, and the result B is saved in ABDNEW as the current amplifier bias data related to the controller. . This data B is obtained by smoothing fluctuations in the 77 touch data for each cycle. A point where amplifier bias data A related to LFO tremolo (growl) is added to this smoothed amplifier bias data B of the controller and transferred to the sound source 1-10 as final amplifier bias data C (step 1O-1
0) is the same as in other musical instrument performance modes. As a result, when in the wind instrument performance mode, when aftertouch data indicating an emergency is input to this electronic musical instrument, 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 embodiments, but various modifications and changes may be made without departing from the scope of the invention.For example,
In the above embodiment, only the volume, timbre, and pitch are mentioned as the components of the musical sound on which aftertouch acts, but it is also possible to make it act on elements such as effectors. Also,
Although an iPD sound source is illustrated as the sound source 1-10, any other suitable digital sound source can be used. Although the aftertouch data in the wind instrument mode has been described as data indicating an emergency, it may also be other blowing information, such as information on the strength of biting the lip.
Among the aftertouch data received in , the maximum value is selected as the aftertouch data for processing, but instead, the minimum value, the center value, or the average value may be used as the aftertouch data for processing.

[Effects of the Invention] As is clear from the above description, in claim 1, the data reception state of the aftertouch data receiving means is periodically inspected, and one or more aftertouch data is received. Evaluate aftertouch data for processing,
In the control data generation means, the aftertouch data for processing is processed to generate control data for controlling the characteristics of musical tones, so even when any aftertouch performance controller is connected, for example, a press controller for a wind instrument can be connected. Even when used, the aftertouch effect can be reflected in musical sounds with virtually no delay in response to the player's performance operations.

Further, in claim 2, since the maximum value is selected as the aftertouch data for processing among the plurality of aftertouch data received at the time of inspection, it is possible to emphasize the sound pressure rising part in the flow of musical tones, etc. This makes it easy to control changes in the characteristics of musical tones in response to the player's performance operations with less delay.

[Brief explanation of the drawing]

Figure 1 is an overall configuration diagram of an electronic musical instrument to which this development 11 is applied.
Figure 2A shows the keyboard l-1 and switch in Figure 1! FIG. 2B is a flowchart of a timer interrupt routine in which processing for controlling various shoe characteristics is carried out, and FIG. Flowchart for controlling the vanning effect generator 1-12 of FIG.
Fig. D is a flowchart of MIDI reception processing, Fig. 2E is a flowchart of MIDI communication processing, Fig. 2Fffl is a 7r:1-chart of the overall operation, Fig. 3 is a diagram showing an example of setting data for musical tone control, Fig. 4 is switch 1- in Figure 1.
Figure 5 is a diagram showing the contents displayed on display section 1-5 in Figure 1 when changing the musical instrument performance mode, Figure 6 is a diagram showing the arrangement of switches placed in the instrument performance mode. Figure 7 is a flowchart for selecting the maximum value of aftertouch data, Figure 8 is a flowchart for creating musical tone control data (amplifier bias data component) from aftertouch data, etc. FIG. 9 is a diagram showing 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, the first θ
The figure is a flowchart for smoothing the amplifier bias data in the wind instrument performance mode regarding the creation of the final amplifier bias data to be sent to the sound source 1-10 in FIG. Switch, 1-8...ROM, 1-9...
...RAM, 3-1...Normal switch, 3
-2...Cursor key, 3-3...Value key, M...Mode register.

Claims (2)

[Claims] (1) Control of an electronic musical instrument having aftertouch data receiving means for receiving aftertouch data, and control data generating means for generating control data for controlling the characteristics of musical tones so as to reflect the aftertouch data in the generated musical tones. In the device, the data receiving state of the aftertouch data receiving means is periodically inspected, and the data receiving state of the aftertouch data receiving means is checked,
or aftertouch data evaluation means for evaluating one aftertouch data for processing from a plurality of aftertouch data, and the control data generation means generates the control data by processing the aftertouch data for processing. A control device for an electronic musical instrument. (2) In the control device for an electronic musical instrument according to claim 1, when a plurality of aftertouch data are received, the aftertouch data evaluation means selects the aftertouch data of the maximum value among the aftertouch data for the processing. A control device for an electronic musical instrument characterized by selection as touch data.