JPH0267598A - Musical sound generating device - Google Patents

Abstract

PURPOSE:To play a piece of music with sense of presence by converting the information regarding positions of musical instruments into plural pieces of musical sound parameter controlling information and, at the same time, reproducing a sound field in accordance with the positions of the instruments in a concert hall by respectively controlling plural parameters of musical sound signals in accordance with the plural pieces of musical sound parameter controlling information. CONSTITUTION:An instrument position designating means 34 generates instrument position information indicating positions of musical instruments in a desired concert hall. A converting means converts the instrument position information into musical sound parameter controlling information about plural musical sound parameter required for reproducing a sound field in accordance with the positions of musical instruments at every musical sound parameter. A controlling means 44 respectively controls plural parameters corresponding to the plural musical sound parameters of musical sound signals generated by a sound source means 30 in accordance with the plural musical sound parameter controlling information generated by the converting means. Then sound producing means 46 and 48 produce the sound of the musical sound signals controlled by the controlling means 44 through plural sound producing channels and, as a result, the sound field corresponding to the positions of musical instruments in the concert hall is reproduced. Thus a piece of music can be played with sense of presence.

Description

[Detailed Description of the Invention] [Industrial Application Field] The present invention relates to a musical tone generating device suitable for use in electronic musical instruments, automatic musical instruments, etc., and particularly relates to a technique for reproducing a sound field according to the position of the instrument in a performance hall. It is related to.

[Summary of the Invention] The present invention converts musical instrument position information into a plurality of musical tone parameter control information, and controls a plurality of parameters of a musical tone signal according to the musical tone parameter control information, so as to correspond to the musical instrument position in a performance hall. By reproducing the sound field created by the sound field, it is possible to perform with a rich sense of realism.

[Prior Art] Conventionally, as a technology for imparting sound effects to electronic musical instruments, effect control information for obtaining a unique sound effect (e.g. reverb effect) for each performance venue such as a "concert hall" or "jazz club" has been created in advance. It is known that when a desired musical instrument is preset and a desired musical instrument is selected, an acoustic effect peculiar to the selected musical instrument is imparted to the musical tone signal based on the corresponding preset information.

[Problems to be Solved by the Invention] According to the above-described conventional technology, it is possible to enjoy a performance by reproducing the acoustic effects specific to a desired performance base, but it is difficult to reproduce a sound field depending on the position of the instrument in the performance hall. I was unable to do so and was left with a lack of sense of realism. In other words, in actual performance, the sound field feeling (e.g. sound image localization, frequency components of musical tones, magnitude of acoustic effects, etc.) depends on the type and arrangement of instruments used, etc.
However, with the above-mentioned conventional technology, it is not possible to enjoy a performance that simulates such a sound field feeling.

On the other hand, as an electronic musical instrument equipped with multiple speakers, it is possible to perform by setting the sound image localization and acoustic effects of the performance sound by operating the volume, switch, and other controls provided on the panel. something is known.

With such electronic musical instruments, it is troublesome to operate a large number of controls to obtain the desired sound field feeling, and it is especially difficult to operate a large number of controls based on the desired position of the instrument in the performance hall. It is not easy to operate the various controls to reproduce a sound field that is different from the actual sound field. Therefore, as in the prior art described above, the control information necessary to reproduce the sound field according to the position of the instrument for each performance hall is preset. Although it is conceivable to do so, the amount of information to be preset increases and the configuration becomes complicated.

An object of the present invention is to make it possible to reproduce a sound field depending on the position of an instrument in a performance hall without complicating the operation or configuration.

[Means for Solving the Problems] A musical tone generating device according to the present invention includes a musical instrument position specifying means,
It includes a conversion means, a sound source means, a control means, and a sound generation means.

The instrument position specifying means generates instrument position information representing the position of the instrument within a desired performance venue, and may be in the form of either setting operation means or presetting means.

The conversion means converts the above-mentioned instrument position information into musical sound parameter control information for each musical sound parameter for a plurality of musical sound parameters necessary to reproduce a sound field according to the musical instrument position, and these musical sound parameter control information include: , volume level control information that determines sound image localization, frequency characteristic control information that determines frequency components of musical tones, effect level control information that determines the magnitude of acoustic effects such as reverb effects, etc. can be used.

The sound source means generates musical tone signals having tones corresponding to musical instruments in the performance hall, and can be driven by either performance information based on keyboard operations or performance information read from a memory or the like.

The control means controls a plurality of parameters corresponding to the plurality of musical tone parameters of the musical tone signal generated from the sound source means in accordance with a plurality of musical tone parameter control information from the conversion means.

The sound generating means reproduces a sound field corresponding to the position of the musical instrument in the performance hall by producing sound signals controlled by the control means through a plurality of sound generating channels (for example, sound generating channels arranged on the left and right sides).

[Function] According to the configuration of the present invention, a sound field corresponding to the position of the musical instrument in the performance hall is reproduced, so that it is possible to enjoy a performance with a rich sense of realism.

Furthermore, since a conversion means is provided that converts the instrument position information from the instrument specifying means into a plurality of musical tone parameter control information, when the setting operation means is used as the instrument position specifying means, the instrument position can be directly set. The operation is very simple, and when using the preset means as the instrument position specifying means, it is only necessary to preset the instrument position information, and the configuration of the preset information processing section is simpler than presetting a plurality of musical tone parameter control information. Become.

[Embodiment] FIG. 1 shows a circuit configuration of an electronic musical instrument according to an embodiment of the present invention, and the generation of musical sounds in this electronic musical instrument is controlled by a microcomputer.

Configuration of an electronic musical instrument (Fig. 1) In Fig. 1, the bus lO includes a keyboard circuit 12° operator group 14, a central processing unit (cPU) 1B, a ROM (read only memory) 18, and a RAM (random memory). An access memory 20, a register group 22, a floppy disk device 24, a display panel interface 2B, a touch panel interface 2B, a sound source interface 30, an external input interface 32, and the like are connected.

The keyboard circuit 12 includes, for example, an upper keyboard, a lower keyboard, and a pedal keyboard, and key operation information is detected for each key of each keyboard.

The operator group 14 includes various operators provided on the musical instrument panel for musical tone control and performance control, and operation information is detected for each operator. Operators related to the implementation of this invention will be described later with reference to FIG.

The CPUIB executes various processes for generating musical tones according to programs stored in the ROM 1B, and these processes will be described later with reference to FIGS. 8 to 12. In addition to programs, the ROM 18 also stores musical tone parameter control information as will be described later with reference to FIG.

The RAM 20 is for storing display/control data for one performance hall read from the floppy disk device 24.

The register group 22 includes a large number of registers used in various processing by the CPU 1B, and of these registers, those related to the implementation of the present invention will be described later.

The floppy disk device 24 has a floppy disk on which display and control data for each of the plurality of concert halls is recorded. Writing data from the floppy disk to the RAM 20 will be described later with reference to FIG. do.

The display panel interface 26 and the touch panel interface 2 are connected to the display panel 34A and the touch panel 34B, respectively, which constitute the instrument position setting device 34, and the interface 26 is connected to the display panel 3
Supply display data DS to 4A and interface 28
detects the touch position from the touch panel 34B, and receives musical instrument position data PS corresponding to the touch position. Note that the instrument position setting device 34 will be described later with reference to FIG. 3.

The sound source interface 30 supplies sound source control information TS to the allocation circuit 3B, and the sound source control information TS includes Ug! Performance information such as key-on signals, key-off signals, key data (pitch data) corresponding to key presses, and R
The musical tone parameter control information read from OM18 and the RA
It is possible to supply the timbre designation data and reverb control data read from M20.

The external input interface 32 is for inputting performance information based on W1 keyboard operations from other electronic musical instruments or performance information read from a storage (recording) device.The input performance information is input from the keyboard circuit 12. Allocation circuit 3 via sound source interface 30 together with or instead of performance information.
6゛ can be supplied.

The allocation circuit 38 assigns the supplied sound source control information TS to the first sound source (TGI) 3B, the second sound source (TG2) 40, and the third sound source (TGI) 3B.
It is allocated and supplied to the sound source (TG3) 42 or parameter control circuit 44 of TGI (38) to TG3 (42).
) are all capable of generating digital musical tone signals. TG l (3B) includes first sound source control information S1
, performance information based on the upper keyboard operation and tone designation data corresponding to instrument 1 (for example, piano) are supplied, and the TG
2 (40) includes performance information based on the lower keyboard operation and the musical instrument 2 (for example, violin) as the second sound source control information S2.
The corresponding tone specification data is supplied.

The TG3 (42) is supplied with performance information based on pedal keyboard operations and timbre designation data corresponding to the instrument 3 (for example, bass) as the third sound source control information S3, and the parameter control circuit 44 is supplied with tone parameter control information. PD and reverb control data RVD are supplied. In this case, performance information from the external input interface 32 can be supplied instead of performance information based on the operation of any of the upper keyboard, lower keyboard, and pedal keyboard. It is possible to play together with musical instruments or automatic musical instruments.

The parameter control circuit 44 receives the digital musical tone signal S11. from the TGI (3B). For the digital musical tone signal S12 from TG2 (40) and the digital musical tone signal S13 from TG3 (42), the musical tone parameters are controlled based on the musical tone parameter control information PD, and the reverb effect is imparted based on the reverb control data RVD. The musical tone signal subjected to this kind of control is D/A (digital/analog) separately for the left and right channels.
Convert to analog musical tone signal for right channel As (R)
and transmits an analog musical tone signal AS (L) for the left channel. A specific example of the parameter control circuit 44 will be described later with reference to FIGS. 6 and 7.

The musical tone signal AS(R) is supplied to the right speaker 48H via the output amplifier 46R, and is produced as a musical tone. Further, the musical tone signal AS (L) is supplied to the left speaker 48L via the output amplifier 4BL, and is emitted as a musical tone.

Manipulator Arrangement (FIG. 2) FIG. 2 shows an example of the arrangement of manipulators related to the implementation of the present invention among the manipulators belonging to the manipulator group 14.

The performance mode switch FMS is used to specify the normal performance mode. When turned on, the light-emitting element PML in the vicinity lights up, allowing normal manual performance (or automatic performance) that does not involve reproduction of the original sound field. ) becomes possible.

As the performance key selection switch H3S, N switches are arranged in parallel, and each switch has a light emitting element H in its vicinity.
SL is provided. When the switch HSS corresponding to the desired performance key is turned on, the light-emitting element H3L in the vicinity lights up, and manual performance (or automatic performance) becomes possible while reproducing the sound field of the performance key corresponding to the turned-on switch. . And switch H5 where one light emitting element H3L is lit
When S is turned on, the light emitting element H5L goes out and the light emitting element PML lights up, returning to the normal performance mode.

Musical instrument position setting device (FIG. 3) FIG. 3 is a top view of the musical instrument position setting device 34, in which a display panel 34A is arranged on the back side of a transparent touch panel 34B having a switch matrix. The structure is as follows.

The display panel 34A displays, for example, a symbol HSY of a performance group such as a concert hall, a performance venue name HNM such as rHALLIJ, an instrument display frame FLM, an instrument symbol ISY, and an instrument name INM. In this case, the instrument display frame FLM can be displayed within a rectangular area corresponding to the touch panel 34B, and includes the instrument symbol ISY and instrument name IN.
One set of M is displayed in each musical instrument display frame FLM. −
For example, in the leftmost instrument display frame FLM, a piano symbol is displayed as the instrument symbol ISY, and the characters rPI ANOJ are displayed as the instrument name INM, and similarly, in the rightmost instrument display frame FLM, The violin symbol and the letters rVIOLINJ are displayed in the rightmost display frame FLM, while the bass symbol and rBAssJ are displayed in the rightmost display frame FLM.
characters are displayed respectively.

The length of one side of the touch panel 34B in the front and rear direction is H,
When the length of one side in the left-right direction is W, H corresponds to the depth of the playing board, and W corresponds to the width (or frontage) of the playing board.

Assuming that the left back end of the touch panel 34B is the origin Po (0,0), the front-rear direction is the y-axis, and the left-right direction is the X-axis, the position of the piano is determined using the xy coordinates Pp (
), and similarly the position of the violin is expressed as PV
(X2y2), the bus position is FB (x3,
y3).

In the musical instrument position setting device 34 in FIG. 3, a touch panel 34 corresponding to the musical instrument display frame FLM in which a piano is displayed, for example,
If you touch a part of B with your finger, etc. and move it forward, backward, left, and right while keeping this touch, the instrument display frame FLM will change as you move.
is also moved along with the instrument name INM and instrument symbol ISY,
The position where you stop moving and touching becomes the final display position of the piano.

The same holds true for the other musical instrument display frames FLM displaying violin and bass. Therefore, it is possible to easily and arbitrarily set the position of each of the three types of musical instruments in the performance hall using only a touch operation.

Display/Control Data (Fig. 4) Fig. 4 shows the format of the display/control data.The floppy disk mentioned above contains performance hall 1 (e.g. small hall), performance hall 2 (e.g. large hall), performance hall 2 (e.g. large hall), Performance hall 3
(For example, an outdoor stage)...Display and control data for N performance halls corresponding to each of the performance halls N (for example, a jazz club) are recorded.

When a desired performance hall is selected by operating the performance hall selection switch H3S shown in FIG.
The data is transferred to the AM 20 and written to the RAM 20 in a format as illustrated for the performance hall l in FIG.

The data for one concert hall is obtained by arranging the identification data ID at the beginning, followed by concert hall related data and instrument related data for three instruments. The performance hall related data includes data representing the number of bytes Ko of the performance hall name data HNMD, data representing the number of bytes Lo of the performance hall symbol data H5YD, data representing the number of bytes Mo of the reverb control data RVD,
Performance venue name data HNMD for performance venue name data.

It consists of performance hall symbol data HSYD for displaying the performance hall symbol, and reverb control data RVD for controlling the reverb effect.

HADo is 1, which is the start address when performance hall related data is written to the RAM 20, and using this and the number of bytes of each data KO, Lo, Mo, the readout from the RAM 20 or the rough data HNMD, H3YD, RVDc7) is controlled. Ru.

Musical instrument related data is musical instrument l (for example, piano).

Instrument 2 (e.g. violin) and Instrument 3 (e.g. bass)
It consists of display and control data related to each. Here, since the data formats for the three instruments are similar, instrument l will be described as a representative.

Musical instrument 1 related data includes instrument name data I, data representing + in the number of bytes of NMD, and instrument symbol data ISY.
Data representing the number of bytes L+ of D, tone specification data T
Data representing the number of bytes M1 in SD, instrument name data I NMD for displaying the instrument name, instrument symbol data I5YD for displaying the instrument symbol, tone specification for specifying the tone corresponding to the instrument (for example, piano tone) data TSD, data representing the instrument position in the x direction (Xt);
It consists of data representing the instrument position (yl) in the y direction. HADI is the start address when instrument l-related data is written to the RAM 20, and using this and the number of bytes of each data +, L+, M+, data INMD, l5YD from the RAM 20.

Reading of TSD and instrument position data (xl, y+) is controlled. For convenience of explanation, the storage area for data representing XI in the RAM 20 is assumed to be Xt, and 71
Let Yl be a storage area for data representing .

For data related to musical instrument 2 and musical instrument 3, the head addresses HAD2 and HAD3 are used for read control, respectively. In addition, storage areas x2 and x3 corresponding to Xl,
Storage area Y2 corresponding to Yl. Y3 exists, but illustration of these is omitted.

Storage Information in ROM 1B (FIG. 5) FIGS. 5A to 5D show five types of musical tone parameter control information stored in ROM 1B.

In the ROM 18, a first multiplication coefficient MPI is stored in a storage section corresponding to FIG. 5(A) for each normalized value Py of the y-coordinate of the musical instrument. The first multiplication coefficient MPI is 6 that determines the sound image localization in the front and back directions of the performance venue, and PV = 1
By setting MP1=1 in this case, it is possible to reproduce a sound image corresponding to the position of the instrument at the front of the concert hall.

The storage section corresponding to FIG. 5(B) stores a fourth multiplication coefficient MP4 for each normalized value P of the y-coordinate of the musical instrument. The fourth multiplication coefficient MP4 determines the magnitude of the reverb effect in the front and rear directions of the performance hall, and when P, = 0, M
By setting P4=1, it is possible to provide a large reverb effect corresponding to the instrument position at the rear of the concert hall.

In the storage section corresponding to FIG. 5(c), a filter constant CF is stored for each normalized value P of the X coordinate of the musical instrument.

The filter constant CF determines the cutoff frequency of the low-pass filter described later, and when P, = 1, fs/
2 (fs is the sampling frequency of the digital musical tone signal)
By doing so, it is possible to expand the sound range toward the treble side in accordance with the position of the instrument at the front of the concert hall.

The storage section corresponding to FIG. 5(D) stores second and third multiplication coefficients MP2 and M for each normalized value Px of the X coordinate of the instrument.
P3 is stored, and lines L2 and L3 show changes in the values of MP2 and MP3, respectively. These multiplication coefficients MP2 and MP3 determine the sound image localization in the left and right directions of the performance hall, and when P,=1, MP2=1. MP3=0
By doing so, it is possible to reproduce the sound image corresponding to the position of the instrument at the rightmost part of the concert hall, and when P, = O, MP2 = O, M
By setting P3=1, it is possible to reproduce a sound image corresponding to the instrument at the leftmost part of the concert hall.

Note that the normalized value P of the X coordinate of the musical instrument and the normalized value Px of the X coordinate are based on the musical instrument position data read from the RAM 20 (for example, data representing It shall be determined accordingly.

Parameter Control Circuit (FIGS. 6 and 7) FIG. 6 shows an example of the configuration of the parameter control circuit 44. This circuit 44 receives digital musical tone signals S11. 3 with S12 and S13 as inputs respectively
It includes three parameter control units CNI, CN2, and CN3. Since these parameter control units CNl-CN3 have similar configurations, CNI will be described as a representative.

The digital musical tone signal Sll from the TGI is sent to a 1 multiplier 50.
and is multiplied by a first multiplication coefficient MPI. The multiplication output from the multiplier 50 is supplied to a low-pass filter 52, and its frequency characteristics are controlled according to a filter constant CF.

The output from the low-pass filter 52 is supplied to a multiplier 54 and multiplied by a second multiplication coefficient MP2, and is supplied to a 1 multiplier 56 and multiplied by a third multiplication coefficient MP3,
Furthermore, it is supplied to a multiplier 58 and multiplied by a fourth multiplication coefficient MP4.

The multiplication outputs of the multipliers 54 and 5B are outputted by the adder 60, respectively.
and 62, while the multiplication output of multiplier 58 is
The signal is supplied to a reverb circuit 64.

The reverberation circuit 64 may have the configuration shown in FIG. 7, for example. In the circuit of FIG. 7, input data IN is supplied to a delay circuit DL via an adder ADD, and the output of this delay circuit DL is supplied to an adder ADD via a multiplier MPL. The delay time of the delay circuit DL is set according to the delay control data RvDl, the multiplication coefficient data RVD2 of the data RVD is supplied to the multiplier MPL, the output of the delay circuit DL is multiplied, and the reverberation is performed from the delay circuit DL. The output data OUT where the effect has been applied is taken out.

The output of reverb circuit 64 is provided to adders 80 and 62 and summed with the outputs of multipliers 54 and 56, respectively.

The output of adder 60 is a digital musical tone signal SRI for the right channel, and is supplied to adder 6B. Also,
The output of adder 62 is a digital tone signal SLI for the left channel and is supplied to adder 70.

The adder 8B receives right channel digital tone signals SR2 and SR3 from the parameter control units CN2 and CN3.
is supplied and added to signal SR+. Further, left channel digital tone signals SL2 and SL3 are supplied to the adder 70 from the parameter control units CN2 and CN3, and are added to the signal SLI.

The addition output of the adder 66 is converted by a D/A converter 88 into an analog tone signal AS (R) for the right channel. Further, the addition output of the adder 70 is transmitted to the D/A converter 72
is converted into an analog musical tone signal AS(L) for the left channel.

According to the circuit configuration of FIG. 6, in the multiplier 50, the first
As shown in Figure 5 (A), the multiplication coefficient MPI of the instrument is
By changing it according to the coordinate normalized value PV, it becomes possible to move the sound image of the performance base in the front and back direction. In the low-pass filter 52, the filter constant CF that determines the cutoff frequency is changed according to the y-coordinate normalized value Py of the instrument as shown in FIG. This allows you to simulate subtle changes in tone.

In the multipliers 54 and 56, the second and third multiplication coefficients MP2 and MP3 are applied to the X of the musical instrument as shown in FIG. 5(D).
In the 0 multiplier 58, which can move the sound image of the musical instrument in the left-right direction by changing it according to the coordinate normalized value P, the fourth multiplication coefficient MP4 is set as shown in FIG. 5(B). By changing it according to the y-coordinate normalized value P, it is possible to simulate a change in the magnitude of the reverb effect according to the position of the instrument in the front-rear direction of the performance base.

In this embodiment, adders 60, 82, 88, and 70 are provided to electrically mix the controlled musical tone signals and then emit the sound from two speakers, but more speakers are provided to control the signal. It is also possible to spatially mix the already completed musical tone signals, and in this way, the mixing adder can be omitted as appropriate.

Register Group 22 Among the registers belonging to the register group 22, those related to the implementation of the present invention are listed below.

(1) Mode register MOD...This is set to one of the values 0 to 2, where 0 is normal performance mode, l is instrument position device setting mode, and 2 is the base tone of the performance. Each represents a performance mode that involves reproducing a scene (hereinafter simply referred to as a reproduction performance mode).

(2) Switch number register SNO: This is set to the number n (one of 1 to N) of the turned-on switch among the performance station selection switches H5S.

(3) Switch flags 5FLI to 5FLH: These flags correspond to the first to Nth performance station selection switches H3S, respectively, and 1 is set in the flag corresponding to the switch that is turned on.

(4) Start address register ADRO"ADR3...
These registers are located at the starting address H in FIG.
ADo=HAD3 is set.

(5) x-coordinate register PX: This is where the X-coordinate normalized value Px is set.

(6) y-coordinate register PY: This is where the y-coordinate normalized value Pv is set.

(7) Control variable register i: This is where the control variable i is set.

Main routine (Figure 8) Figure 8 shows the flow of processing of the main routine.
This routine starts when the power is turned on.

First, in step 80, an initialization routine is executed to initialize various registers. Then, the process moves to step 82.

At step 82, MOD is set to 0 to set the normal performance mode. Furthermore, the light emitting element PML is turned on based on MOD-0.

Next, in step 84, it is determined whether the value of MOD is 0 or 2 (performance mode), and if the result of this determination is affirmative (Y), the process moves to step 8B.

In step 8B, the keyboard circuit 12 determines whether there is a key-on event on any of the keys, and if the result of this determination is affirmative (Y), the process moves to step 88, where a sound generation process is performed, that is, the key on which the key-on event occurred is A key-on signal and key data corresponding to the pressed key are supplied to a sound source corresponding to the pressed key, and a musical tone corresponding to the pressed key is generated.

When the process of step 88 is completed or the determination result of step 86 is negative (N), the process moves to step 90, and it is determined whether there is a key-off event on any of the keys. If this determination result is positive (Y), step 92
Then, a mute process is performed, that is, a key-off signal and key data corresponding to the key release are supplied to the sound source corresponding to the keyboard where the key-off event occurred, and the musical tone corresponding to the released key starts attenuating.

When the process of step 82 is completed or step 84
Alternatively, if the determination result in step 90 is negative (N), the process moves to step 94, and it is determined whether there is an on event in any of the performance group selection switches H3S. If the result of this determination is affirmative (Y), the process moves to step 96, and an HSS ON subroutine is executed as described later with reference to FIG.

When the process of step 96 is completed or the determination result of step 94 is negative (N), the process moves to step 3B and other processes (for example, processes corresponding to setting operations for tone, volume, etc.) are performed. .

After this, the process returns to step 84 and the subsequent processes are repeated in the same manner as described above.

H5S ON Subroutine (FIG. 9) FIG. 9 shows a H5S ON subroutine. In step 100, the number n ftS N O of the switch H5S that has been turned on is set. And step 1
Move to 02.

In step 102, it is determined whether the value of MOD is 2 (reproduction rr4 performance mode), and if the result of this determination is affirmative (Y), the process moves to step 104. In step 104, SNO
The flag S F L corresponding to the number n set in
It is determined whether n is 1 (whether the sound field of the performance key corresponding to number n is being reproduced). If this judgment result is positive (Y), step 1
Move to 06.

In step 106, MOD is set to O and P
Turn on ML. Also, set O to 5FLI to 5FLN, turn off all H5L, and then
Return to the routine shown in the figure. This is a case where the switch HSS of number n is turned on while the sound field of the performance base corresponding to number n is being reproduced. In this case, the reproduction performance mode is canceled and the mode returns to the normal performance mode.

If the determination result in step 102 or 104 is negative (N), the process moves to step 108, where MOD is set to 1 and PML is turned off. As a result, if step 108 is reached from step 102, the mode will be shifted from normal performance mode to instrument position setting mode, and if step 104 is reached to step 108, the mode will be shifted from reproduction performance mode to instrument position setting mode. become.

Next, in Stella 7'lIO, S F L n is set to 1, and the corresponding light emitting element H5L is turned on. Further, O is set in the seven lags SFL other than S F L n, and the corresponding light emitting elements HSL are turned off. As a result, the selection of the musical instrument corresponding to the turned-on switch H3S is indicated by lighting of the light emitting element corresponding to number n.

After this, the process moves to step 112.

In step 112, display/control data regarding the performance base corresponding to number n is transferred from the floppy disk device 24 to the RA.
Transfer to M2G and write, then move to step 114 and write the start address HADO"HA as shown in FIG.
Set D3 to ADRo to ADR3, respectively. Then, the process moves to step 116.

In step 11G, the initial display is performed on the display panel 34A. That is, the performance hall name data HNMD and the performance base symbol data H3YD are read from the RAM 20 among the performance base related data corresponding to the number n, and the display panel 34A is displayed based on these data. The performance venue name HNM and performance key symbol H3Y are displayed at predetermined positions. Here, data HN
When reading the MD, the start address of the HNMD is specified by adding 3 to the start address HADo set in ADRo, and the number of bytes Ko of the HNMD is read. In addition, when reading data HSYD, [HAD.

+3] and Ko, the start address of H5YD is specified, and the number of bytes LO of H5YD is read.

Following the display of HNM and HSY, instrument name data INMD, instrument symbol data l5YD, and instrument position data (data representing X+, y+, etc.) for three instruments are read from the RAM 20 among the instrument related data corresponding to number n, Based on these data, the instrument name INM and instrument symbol ISY are displayed in the instrument display frame F for each instrument position on the display panel 34A.
It is displayed surrounded by LM. Here, if we describe instrument l as a representative example of data reading for each instrument, AD
By adding 3 to the start address HAD+ set in H+, the start address of I NMD is specified, and I
Reading of the number of bytes K1 of NMD is performed. Also,
By adding 1 to [HAD++3], the start address of 15YD is specified, and the number of bytes L1 of ISYD is read. Furthermore, [HAD++3++
By adding L+ and M+ to 1, the start address of the musical instrument position data is specified, and data representing xl and yl are read out sequentially.

Thereafter, in step 11B, a sound image initialization subroutine is executed as shown in FIG. 1O. and,
At step 120, a sound image movement subroutine is executed as will be described later with reference to FIG. 11, and then the process returns to the routine of FIG.

Sound image initialization subroutine (Fig. 10) Fig. 1O shows the sound image initialization subroutine, and step 122
Now, reverb control data RVD is read from the RAM 20 and set in the reverb circuit B4. When reading data RVD, H5 is added to [HADo +3+Ko].
YD(7) By adding the number of bytes Lo, the start address of the RVD is specified, and reading of the number of bytes MO of the RVD is performed.

Next, in step 124, the control variable i is set to 1. Then, the process moves to step 12B, and it is determined whether i>3.

If this determination result is negative (N), the process moves to step 12B.

In step 128, the timbre designation data TSD of the musical instrument i is read from the RAM 20 and set in the i-th tone source TGi. When reading data TSD, [HAD+
After step 128, the start address of the TSD is specified by adding the number of bytes L+ of ISYD to +3+ and +1, and the number of bytes M of the TSD is read.
Proceed to step 130.

In step 130, a characteristic setting subroutine is executed as described below with reference to FIG. Then, in step 132, the value of i is incremented by 1, and then the process returns to step 12B, and the subsequent processing is repeated until i>3.

When i>3, it means that the timbre setting process and characteristic setting process for the three instruments have been completed, and in response to the affirmative determination result in step 12B (Y), the process returns to the routine of FIG. 9.

Sound image movement subroutine (Figure 11) 1st! The figure shows the sound image movement subroutine.Step! At step 40, it is determined whether there is musical instrument position data (coordinate values x, y) from the touch panel 34B, and if the determination result is positive (Y), the process moves to step 142.

In step 142, the control variable i is set to 1. and,
Proceeding to step 144, it is determined whether the coordinate values x and y are within the instrument display frame FLM of instrument i. If this determination result is affirmative (Y), the process moves to step 146.

Sta/P 14B Te is RAM 20 (7) storage area
i.

Write the coordinate values x and y in Yi respectively. Then, the process moves to step 148, and the display position of the musical instrument i on the display panel 34A is changed according to the coordinate values of Xi and Yi.

Thereafter, in step 150, a characteristic setting subroutine is executed as will be described later with reference to FIG.
Determine whether there is data from B. If this determination result is affirmative (Y), the process returns to step 1413 and the subsequent processes are repeated in the same manner as described above.
If you change the touch position while touching , the contents of X i and Y E are rewritten in accordance with the change in the touch position, and the display position of instrument i on the panel 34A is also changed.

If the determination result in step 152 is negative (N), the process returns to step 140 and the subsequent processing is carried out in the same manner as described above.

For example, after setting the position of instrument l as described above,
When you touch the panel 34B to set the position of musical instrument 2, you will go to step 144 via steps 14G and 142, but the determination result of step 144 at this time is that x and y are within the instrument display frame FLM of musical instrument 2. So,
The result is negative (N), and the process moves to step 154.

In step 154, the value of i is increased by 1. and,
Proceeding to step 15B, it is determined whether i>3.

In this example, since i=2, the determination result in step 156 is negative (N), and the process returns to step 144.

At step 144, since X, 7 is within the FLM of musical instrument 2, the determination result is affirmative (Y). Thereafter, the position of the musical instrument 2 can be changed by performing the processes from step 148 onwards in the same manner as described above.

After this, in order to set the position of instrument 3, move to panel 3.
If you touch 4B, you will go through steps 140 and +42 to step 144, and then go through steps 154 and 158.
Once the process has been completed twice, the determination result in step 144 becomes affirmative (Y), and the position of the musical instrument 3 can be changed by performing the processes from step 148 onwards in the same manner as described above.

If you touch a location on the panel 34B that does not correspond to any of the instrument display frames FLM, step 154
If it passes through three times, the judgment result of step 156 is self-sufficient (Y).
Then, the process returns to step 140. Further, if the panel 36B is not touched, the determination result in step 140 is negative (N), and the process moves to step 15B. In step 158, it is determined whether there is an on event in the performance mode switch FMS, and if not (N), the process returns to step 140.

If the switch FMS is turned on after or before setting the position of one or more of the instruments 1 to 3 as described above, step 158
The determination result becomes affirmative (Y), and the process moves to step ieo.

In step 180, MOD is set to 2, and
The light emitting element PML is turned on. Then, the process returns to the routine shown in FIG. As a result, the instrument position setting mode is shifted to the reproduction performance mode, and manual performance (or automatic performance) can be performed while reproducing the sound field of the selected performance base.

Note that the newly set instrument positions (the contents of Xi and Yi after being rewritten) in steps 148 to 152 may be transferred to a floppy disk in the device 24 and stored therein.

Characteristic setting subroutine (Fig. 12) Fig. 12 shows a characteristic setting subroutine. In step 170, the coordinate value X stored in Xi is divided by the length W shown in Fig. 3. The normalized value Px obtained by dividing the coordinate value y stored in Yi by the length H shown in FIG. 3 is set in PY.

Next, in step 172, the contents of PX and PY (PX and PV) are converted into five types of tone parameter control information PD (first to fourth multiplication coefficients MPI-MP4) using the ROM 18 as described in FIG. and filter constant CF), and these pieces of information are respectively set in the controlled sections of the parameter control circuit 44 as shown in FIG.

As a result, in the case of Figure 1O, the sound field of the selected performance base is reproduced based on the read data from RAM2G, and in the case of Figure 11, the sound field of the selected performance base is reproduced. It is reproduced based on the position setting by the musical instrument position setting device 34.

After step 172, the process returns to the one element routine (FIG. 10 or 11).

In the above embodiment, the position of the instrument is specified using the touch panel, but the position of the instrument may be specified using controls such as volume and switches instead of the touch panel. Although the combination of performance base and instrument can be selected separately, it is also possible to select the performance base and the instrument separately.Furthermore, when this invention is applied to automatic performance, it is possible to select a combination of performance information stored in memory. By including instrument position information in appropriate locations, the sound image may be moved as the automatic performance progresses.

[Effects of the Invention] As described above, according to the present invention, since the sound field is reproduced according to the position of the instrument in the performance hall, it is possible to enjoy the effect of enjoying a performance full of realism. On top of that,
Additional effects include that when a setting operation means is used as the instrument position specifying means, the operation becomes easier, and when a preset means is used, the configuration becomes simpler.

[Brief explanation of the drawing]

FIG. 1 is a block diagram showing the configuration of an electronic musical instrument according to an embodiment of the present invention, FIG. 2 is a plan view showing the arrangement of operators, and FIG. 3 is a top view of a musical instrument position setting device 34. FIG. 4 is a diagram showing the format of display/control data. 5(A) to 5(D) are diagrams showing stored information in the ROM 18, FIG. 6 is a circuit diagram of the parameter control circuit 44, FIG. 7 is a circuit diagram of the reverb circuit 84, and FIG. 9 is a flowchart showing a subroutine for turning on the performance venue selection switch H5S; FIG. 10 is a flowchart showing a subroutine for initializing a sound image; FIG. 11 is a flowchart showing a subroutine for moving a sound image. FIG. 12 is a flowchart showing a characteristic setting subroutine. 10... Bus, 12... W* circuit, 14... Operator group, 1B... Central processing unit, 18... Read only memory, 20... Random access memory, 22... Register group, 24... Floppy disk device, 26... Display panel interface, 2
8...Touch panel interface, 30...Sound source interface, 32...External input interface, 34...Musical instrument position setting device, 34A...Display panel, 34B...Touch panel, 36...Assignment circuit , 3B, 40.42...first to third sound sources, 4
4...Parameter control circuit, 48R, 48L...Output amplifier, 48R, 48L...Speaker.

Claims (1)

[Claims] (a) Instrument position specifying means for generating instrument position information representing the position of the instrument in a desired performance hall; (b) A plurality of musical tones necessary to reproduce a sound field according to the instrument position. Conversion means for converting the instrument position information into musical sound parameter control information for each musical sound parameter; (c) sound source means for generating a musical sound signal having a tone corresponding to the instrument in the performance hall; (d) this (e) control means for controlling a plurality of parameters corresponding to the plurality of musical tone parameters of the musical tone signal generated from the sound source means in accordance with the plurality of musical tone parameter control information from the conversion means; and (e) control by the control means. a musical sound generating device comprising a sound generating means for reproducing a sound field corresponding to the position of an instrument in the performance hall by sounding the generated musical sound signal through a plurality of sound generation channels.