JPH0333279B2 - - Google Patents

Description

[Detailed description of the invention]

``Industrial Application Field'' The present invention relates to electronic musical instruments, and more particularly to a musical tone pitch setting device used to change the pitch of generated musical tones. ``Prior Art'' Conventionally, in pitch setting devices for electronic musical instruments, as a method for changing the pitch of a musical tone from a standard pitch, for example, a frequency number corresponding to a standard pitch generated in response to a key operated on a keyboard is used. A known method is to convert the reference frequency number by multiplying it by data representing the pitch change amount, and to set the pitch of the generated musical tone based on the converted frequency number (see Japanese Patent Laid-Open No. 178494/1983). ). "Problems to be Solved by the Invention" However, the method described above requires multiplication every time a key is pressed, and therefore requires a high-speed multiplier. It takes time, and the onset of pronunciation tends to be delayed. This invention was made in view of the above-mentioned circumstances, and has a simple configuration that does not require a high-speed multiplier.
Moreover, it is an object of the present invention to provide a tone pitch setting device for an electronic musical instrument that can change the pitch in a short time. "Means for Solving the Problem" The present invention provides a pitch specifying means for specifying the pitch of a musical tone to be generated, and a pitch specifying means for setting the pitch of the pitch corresponding to each of at least 12 note names. a first storage means that stores M sets (M≧1) of frequency information, each corresponding to a predetermined pitch change amount; and a pitch storage means that selectively specifies N types (N>M) of pitch change amounts. According to the change amount designation means and the pitch change amount instructed by the pitch change amount designation means,
a selection means for selecting one of the M sets of frequency information in the first storage means; and converting and outputting the set of frequency information selected by the selection means according to the pitch change amount. a converting means, a second storing means for storing a set of frequency information converted by the converting means, and a pitch corresponding to the pitch specified by the pitch specifying means in the second storing means; reading means for reading out frequency information,
The present invention is characterized in that the read frequency information is used to set the pitch of the musical tone to be generated. "Embodiment" Hereinafter, an embodiment of the present invention will be described with reference to the drawings. [1] Overall configuration Figure 1 is a block diagram showing the overall configuration.
In this figure, 1 is the keyboard, 2 is the operation panel,
3 is a microphone for collecting external sounds,
4 is a musical tone forming circuit. This musical tone forming circuit 4
The sampler samples external sounds picked up by the microphone 3 and stores them in an internal musical tone memory, and forms musical tones (referred to as sampling sounds) based on the stored sampling data. It also produces orchestral sounds and rhythm sounds, similar to ordinary electronic musical instruments. Then, the formed musical tone signals are mixed and output to the sound system 5. 6 controls each part of the device
It is a CUP (central processing unit) and is connected to each part via a bus line 7. 8 is a ROM in which programs and data are stored; 9 is a RAM;
Reference numeral 10 denotes a tempo clock generation circuit that generates a tempo clock TC that controls the timing of generation of the rhythm sound. [2] Operation mode This electronic musical instrument has the following operation modes. Sampling Mode This mode is a mode in which external sounds picked up by the microphone 3 are sampled and stored in the musical tone memory within the musical tone forming circuit 4. Play Mode There are the following two modes of operation when the operator plays the keyboard. a Sampled Sound Keyboard Mode In this mode, the keyboard 1 generates both orchestral sounds and sampled sounds in response to operations in the entire key range. b Sampled sound base mode In this mode, all the keys on keyboard 1 are virtually divided into treble and bass sides, for example, with the F# ₃ note as the boundary. The melody key range. When a key in the melody key range is operated, an orchestral sound is generated, while when a key in the accompaniment key range is operated, a bass sound based on a sampled sound is generated. Note that, in reality, chords (chord tones) are also generated simultaneously in response to key operations in the accompaniment key range, but this point is omitted in this embodiment. Note that the rhythm sound is generated only when generation of the rhythm sound is instructed by the rhythm switch on the operation panel 2. Further, when rhythm sound generation is not instructed, the above-mentioned bass sound is not generated either. Furthermore, in this electronic musical instrument, the pitch of the sampled sound mentioned above can be changed freely. [3] Details of the configuration of each part (i) Operation panel 2 FIG. 2 is a diagram showing the configuration of the operation panel 2. In this figure, 12 is a sampling switch for selecting sampling mode/play mode, 13 is an LED that lights up when the sampling mode is set, 14 is a start switch for instructing the start of sampling, and 15 is for instructing repeat sound, which will be described later. The repeat switch 16 is an LED that lights up when repeat generation is instructed. 17U,
17D are pitch change switches for setting the pitch change amount of the sampled sound;
8 is a switch for selecting the sampled sound keyboard mode/sampled sound base mode, 19 is the volume for adjusting the volume of the sampled sound, 20 is a tone selection switch for selecting the tone of the orchestral sound, and 21 is for selecting the type of rhythm. 22 is a volume for adjusting the volume of orchestral sounds, 23 is a rhythm switch that instructs generation/stop of rhythm sounds, 24 is an LED that lights up when rhythm sound generation is instructed, 25 is a rhythm sound This is the volume for adjusting the volume. (ii) Musical tone forming circuit 4 FIG. 3 is a block diagram showing the structure of the musical tone forming circuit 4. In this figure, 30 is an interface connected to the bus line 7 via a terminal T1, 31 is an orchestra sound forming circuit, and 32 is a rhythm sound forming circuit. 33,
34 and 35 are a mode register, a key-on register, and a repeat register, each of which is written by the CPU 6;
This is a bit register. 36 is an FN register into which a frequency number FN, which will be described later, is written by the CPU 6, 37 is a flip-flop set by the CPU 6, and 38 is a differential circuit that outputs a pulse signal at the falling edge of the input signal. 39 and 40 are a start address register and an end address register, respectively, and the musical tone memory GM shown in the figure
Data indicating the youngest address A1 (usually "0") and the final address A2 of , respectively, are set by the CPU 6 when the power is turned on. 41
is a gate circuit and its enable terminal
“Open” when “1” signal is supplied to EN;
It becomes "closed" when a "0" signal is supplied. 4
2 is an accumulator that accumulates the output of the gate circuit 41 at the timing of a clock pulse φ of a constant period; 43 is a differential circuit that outputs a pulse signal at the rising edge of the input signal;
44 is a change detection circuit that outputs a pulse signal P1 every time the output of the accumulator 42 changes, 45 is an adder circuit that adds the output of the accumulator 42 and the output of the start address register 39, and 46 is the output of the adder circuit 45. This is a comparison circuit that compares the output of the end address register 40 and outputs a match signal EQ (a "1" signal) when the two match. 47 is the microphone 3 supplied via the terminal T2.
An A/D (analog/digital) conversion circuit that converts the output (analog signal) of 47 into digital data and outputs it, GM is a tone memory in which the output (sampling data) of the A/D conversion circuit 47 is stored. This musical tone memory GM
, AD is an address terminal, WP is a write pulse terminal, R/W is a read/write terminal, and DATA is a data terminal. This musical tone memory GM, when a “1” signal is supplied to the read/write terminal R/W,
When a pulse signal of "1" is supplied to the write pulse terminal WP, the data obtained at the data terminal DATA is written into the address indicated by the address data applied to the address terminal AD, and the read/write terminal R/ When a "0" signal is supplied to W, the data in the address indicated by the address data applied to the address terminal AD is read and output. 48 is an envelope generating circuit.
As shown in FIG. 4, this envelope generating circuit 48 becomes data "1" when the output signal KON of the key-on register 34 rises to a "1" signal, and thereafter holds the data "1" and sends a signal. This is a circuit that outputs envelope data ED that gradually decreases to "0" after the KON signal falls to "0". 4
9 is a multiplication circuit that multiplies the output of the musical tone memory GM and the envelope data ED; 50 is a D/A (digital/analog) conversion circuit that converts the output of the multiplication circuit 49 into an analog signal; A sampled sound is obtained as the output of 50. 22, 25, 1
Reference numeral 9 denotes a volume adjustment volume provided on the operation panel 2, which controls the orchestra sound signal output from the orchestra sound forming circuit 31, the rhythm sound signal output from the rhythm sound forming circuit 32, and the D/A conversion circuit. The sampled sound signals output from 50 are each supplied to a mixing circuit 51 via these volumes 22, 25, and 19, mixed there, and then supplied to the sound system 6 via a terminal T3. (iii) ROM8 FIG. 5 is a diagram showing each memory set in the ROM8. In this figure, M
(0) to M(12) are each 12 types of frequency numbers.
Frequency number memory where FN is stored, 8a
8b is a rhythm pattern memory in which rhythm patterns used when forming rhythm sounds are stored;
8c is a bass pattern memory in which bass patterns used when forming bass sounds are stored.
is a program memory in which programs for the CPU 6 are stored. (iv) ROM9 FIG. 6 is a diagram showing registers and memories set in the RAM9. The data written to each register is as follows. NKC: Key code of the most recently pressed key KCREG: Key code of the sampled sound currently being sounded MODE: Sampling mode → “1” Play mode → “0” KB: Sampled sound base mode →
“1” Sampling sound keyboard mode → “0” PC (pitch counter), SFT, FMN: Pitch control data TPCTR (tempo counter): Rhythm sound control data RPT: When repeat sound is set → “1” Repeat sound is disabled setting Time → “0” RHY: Rhythm on → “1” Rhythm off → “0” TYPE: Chord type of chord ROOT: Root of chord Also, FMEM is the frequency used when reading musical tone memory G and the frequency number is stored. Number memory and TEMP are temporary storage memories in which various data are temporarily stored. [4] Frequency number FN Writing of musical tone memory GM in Figure 3/
The read address is this frequency number.
Made based on FN. That is, the frequency number FN in the FN register 36 is accumulated in the accumulator 42, and this accumulated value is supplied to the address terminal AD of the musical tone memory GM via the sequential addition circuit 45. In this case, since the cumulative cycle φ of the accumulator 42 is constant, when the value of the frequency number FN is small, the frequency of the waveform read from the musical tone memory GM becomes small, while on the other hand, when the value of the frequency number FN is large At this time, the frequency of the waveform read from the musical tone memory GM becomes large. That is, the frequency number FN determines the reading frequency of the musical tone memory GM, and similarly determines the writing frequency (sampling frequency) when writing to the musical tone memory GM. Incidentally, in this embodiment, the reading frequency of the memory GM in the play mode described above is basically the frequency shown in FIG. 7, corresponding to the pitch of the key. Furthermore, the frequency (sampling frequency) at the time of memory writing is the frequency surrounded by a broken line in the figure. and,
Twelve frequency numbers FN corresponding to the respective frequencies of the twelve keys C# ₄ to _C5 shown within the broken lines are stored in advance in the frequency number memory M(6) of the ROM 8 shown in FIG. In this case, the frequency numbers FN corresponding to frequencies outside the broken line in FIG. 7 can be easily calculated from the 12 frequency numbers FN inside the broken line. That is, for example, the readout frequency of 2KHz when _C2 note is generated is 1/2 of the readout frequency of 4KHz when _C3 note is generated, and the readout frequency of 4KHz when _C3 note is generated is 8KHz when _C4 note is generated. It is 1/2 of that. The same applies to other frequencies. (Frequency differs by 1/2 for every octave.) Therefore, the frequency number FN corresponding to the frequency outside the broken line can be easily obtained by bit-shifting the frequency number FN inside the broken line. In this example, the sampling frequency is only the frequency within the broken line, but the memory
The GM readout frequency can be changed as shown in FIG. 7, as described below. [5] How to change the reading frequency of musical tone memory GM In this example, 100 cents (semitone)
It is divided into 13 equal parts, and the readout frequency can be changed in units of 1 STEP = approximately 7.7 cents. That is, when the operator presses the pitch change switch 17U on the operation panel 2 (Fig. 2) once, twice, etc., the readout frequency changes from the fundamental frequency shown in Fig. 7.
As a result, the pitch of the sampled sound increases as 1STEP, 2STEP..., and when the pitch change switch 17D is pressed once, twice..., the readout frequency decreases as 1STEP, 2STEP... It's becoming like that. This change in read frequency is performed as follows. The diagram inside the symbol SNM in FIG. 8 is a diagram again showing the frequency number memories M(0) to M(12) shown in FIG. 5. As shown in this figure, the memory M(6) stores frequency numbers FN corresponding to the readout frequencies of C# ₄ to _C5 (see inside the broken line frame in Figure 7). In (7), each note name (C#~
C) is stored corresponding to..., memory M
In (12), the read frequency of memory M (6) is set to 6 steps.
A frequency number FN corresponding to the raised frequency is stored in correspondence with each note name. Also, memory M(5)
The read frequency of memory M(6) is set in 1 step.
A frequency number FN corresponding to the frequency lowered by 6 steps is stored in memory M(0), and a frequency number FN corresponding to the frequency lowered by 6 steps from the readout frequency of memory M(6) is stored in memory M(0). There is. When "6" is set in register PC (Figure 6), the frequency number in memory M(6)
FN is transferred to the memory FMEM shown in FIG. 6, and the tone memory GM (FIG. 3) is read out based on the frequency number FN in the memory FMEM.
In this case, the sampling frequency and the readout frequency are the same, so a sampling temperature without pitch shift is generated. Here, the phrase "sampling frequency and readout frequency are the same" means that, for example, when sampling is performed using the _D3 key, the readout frequency based on pressing the _D3 key becomes the same as the sampling frequency. Next, when the operator presses the pitch change switch 17U once, "7" is set in the register PC, and the frequency number FN in the memory M(7) is transferred to the memory FMEM.
In this case, the frequency number in this memory FMEM
The musical tone memory GM is read out based on FN, and therefore 1 STEP from the time of sampling.
A high pitch sampled sound is generated. Also,
The operator operates the pitch change switch 17D,
When "5" is set in register PC, memory M
The frequency number FN in (5) is set in the memory FMEM, and this allows 1 STEP from the time of sampling.
A low pitch sampled sound is generated. The same applies when 8 to 12 or 0 to 4 are set in the register PC. Next, if the data in the register PC is “13” or more (PC≧13) and if the data is “−1” or less (PC≦−
Case 1) will be explained. For example, PC=13
In this case, the frequency shown in table M(0)+1 in Figure 8, that is, the read frequency of memory (6), is
Frequency number FN corresponding to the frequency raised by 7 steps
must be stored in the memory FMEM. By the way, raising the frequency of memory M(6) by 7 steps means raising the frequency of memory M(0) by 13 steps. In other words, the frequency of each note name in memory M(0) is increased by 100 sets (semitones). ) means to raise. To create a table M(0)+1 in which each frequency in memory M(0) is raised by a semitone, each frequency in memory M(0) is raised by one level (a semitone higher), as shown in Figure 9. ) and write it to the table M(0)+1, and also write it to the memory M(0).
It is sufficient to double the frequency of the top row (pitch name C#) of the table M(0)+1 and write it to the bottom row (pitch name C) of table M(0)+1. Here, the above-mentioned "double" means raising the frequency by one octave. Thus, table M(0)+1 is simply created by shifting the frequency numbers FN in memory M(0). Similarly, when PC=14, 15...25, the required tables M(1)+1, M(2)+1...M(12)+1
are easily created by shifting the frequency numbers FN in the memories M(1), M(2)...M(12), respectively. In addition, the tables M(0)+2 to M(12)+2 required when PC=26 to 38 are each stored in memory M
It can be created by shifting the frequency number FN within (0) to M(12) twice, and it can be created in the same way even when the data in the register PC becomes larger. FIG. 10 shows the correspondence between the data in the register PC and the table. In addition,
This table is for convenience of explanation, and it goes without saying that an actual data table is not provided. On the other hand, if the data in register PC is "-1", table M(12)-1 shown in FIG. 8 is required. This table, as shown in Figure 11,
The frequency number FN in the memory M(12) is shifted down by one step and written into the table M(12)-1, and the frequency number FN in the bottom row of the memory M(12) is multiplied by 1/2 and written into the table. It is created by writing in the top row of M(12)-1. The same holds true for PC≦−2 (see FIG. 10). In this embodiment, as shown in FIG. 10, PC=103 is set as the maximum value of PC. If the value of PC becomes larger than this, D/A in Figure 3
This is because the processing of the conversion circuit 50 cannot catch up in time. [6] Overall operation The operation of the circuit shown in FIGS. 1 and 3 will be explained in each of the above-mentioned modes with reference to the processing flowcharts of the CPU 6 shown in FIGS. 12 to 20. Sampling Mode In this case, the operator first sets this mode by operating the sampling switch 12 (FIG. 2). When the sampling switch 12 is pressed, the CPU 6 detects this and performs the sampling switch on event process shown in FIG. That is, first, proceed to step SS1 and set the register MODE.
Invert the data (1 bit) in (Figure 6),
Next, when the data in the register MOODE is “1”, the lighting command for LED13 is set to “0”.
In this case, a light-off command is output to the operation panel 2 (steps SS2 to SS4). Then the register
Data in MODE to mode register 33
(Fig. 3) and write (step
SS5), returns to standby state. Here, register
“1” in MODE and mode register 33
If "0" is written, it means that the sampling mode has been set, and if "0" is written, it means that the play mode has been set. Further, which mode is set can be detected by turning on/off the LED 13. Next, the operator presses one of the keys C# ₄ to _C5 on the keyboard 1 that corresponds to the pitch of the sound to be sampled. When a key on the keyboard 1 is pressed, the CPU 6 detects this and proceeds to key-on event processing shown in FIG. 13. In this key-on event processing, first
In SK1, write the key code KC of the pressed key into register NKC. Next, the process advances to step SK2, and it is determined whether the data in the register MODE is "0" or not. In this case, the determination result is "NO"(MODE="1"), and therefore the process advances to step SSK3. step
In SK3, key code KC in register NKC
Note detection, that is, detection of which note name within one octave corresponds to the key code KC.
Next, when proceeding to step SK4, step SK3
The frequency number FN corresponding to the note detected in is read from the memory M(6) shown in FIG. 8, transferred and written to the NF register 36 (FIG. 3). Then, it returns to the standby state. Next, the operator sets the microphone 3 and presses the start switch 14. When the start switch 14 is pressed,
The CPU 6 proceeds to the start switch on event process shown in FIG. 14, sets the flip-flop 37 (FIG. 3), and then returns to the standby state. When flip-flop 37 is set,
The output of the OR gate 60 rises to "1", and at this rise, the differentiating circuit 43
A pulse signal is output from the OR gate 61.
is supplied to the reset terminal of the accumulator 42 via the . As a result, the accumulator 42 is reset. Furthermore, when the flip-flop 37 is set, since the output signal MD of the mode register 33 is "1" (sampling mode) at this time, the output of the AND gate 62 becomes "1", and this "1" signal is transmitted to the OR gate. Gate circuit 41 via 63
supplied to As a result, the gate circuit 41
is opened, and the frequency number FN in the FN register 36 is supplied to the accumulator 42, where it is successively accumulated at the timing of the clock pulse φ.
Then, this accumulation result and data indicating address A1 in the start address register 39 are added in an adder circuit 45, and this addition result is added to the address terminal AD of the musical tone memory GM.
supplied to On the other hand, every time the output of the accumulator 42 changes, the change detection circuit 44 outputs a pulse signal P1, and the tone memory GM
is supplied to the light pulse terminal WP of. As a result, data output from the A/D conversion circuit 47 (data obtained by A/D converting the output of the microphone 3) is sequentially written into the tone memory GM. When the output of the adder circuit 45 matches the data indicating address A2 in the end address register 40, a match signal EQ (“1” signal) is output from the comparison circuit 46, and the reset terminal R of the flip-flop 37 is output.
supplied to As a result, the flip-flop 37 is reset, its output rises to a "0" signal, and at this fall,
A pulse signal (sampling end signal) SE is output from the differentiating circuit 38. Then, this signal SE is transmitted via the interface 30.
Supplied to CPU6. CPU6 uses this signal
After receiving SE, the process proceeds to the sampling termination process shown in FIG. 15. In this process, first,
Write "0" into the register MODE (step SE1), then transfer and write the data in the register MODE to the register 33 (step SE2). This will automatically set you to play mode. Next, a command to turn off the LED 13 is output (step SE13), and the process returns to the standby state. a Sampling sound keyboard mode In this case, the operator first selects the LED1 by using the sampling switch 12 (Fig. 2).
3 off (if LED 13 is on), then switch 18 on the keyboard
Insert into KB side. This will cause the register
"0" is set in MODE and mode register 33, and "0" is set in register KB (FIG. 6). Next, the operator sets the pitch of the sampled sound. That is, first, press the pitch change switches 17U and 17D at the same time,
Next, if you want to raise the pitch, switch 1
If you want to lower 7U, press switch 17D by the number of steps you want to change. Pitch change switch 17U or 17D
When is pressed, CPU6 detects this and
The process advances to switch 17U on-event processing or switch 17D on-event processing shown in FIG. In the switch 17U on event processing, first step SH1
At , it is determined whether or not the switches 17D are pressed at the same time. If the result of this judgment is "YES", step SH2
Proceed to and write "6" into register PC (Figure 6). As a result, "no pitch deviation"
is set (see Figure 8). Also, if the judgment result of step SH1 is "NO",
Proceed to step SH3 and increment the data in register PC. Then, proceed to step SH4. On the other hand, Switch 17D
In the on-event process, first, in step SH6, it is determined whether or not the switches 17U are pressed at the same time. and,
If the result of this judgment is "YES", the process advances to step SH2, and if the result is "NO", the process advances to step SH7. At step SH7,
Decrement the data in register PC,
Then, proceed to step SH4. step
In SH4, the data in register PC is set to "13".
Divide by. Next, when the process advances to step SH8, it is determined whether the data in the register PC is positive or zero. If the result of this judgment is "YES", proceed to step SH9,
Write the value obtained by subtracting the quotient of step SH4's division from "7" to register SFT (Figure 6), and if "NO", step SH10
Then, the value obtained by subtracting the quotient of the division at step SH4 from "8" is written to the register SFT. Next, when proceeding to step SH11, if the remainder of the division at step SH4 is positive or zero, the remainder is directly stored in register FMN.
(Figure 6), and if the remainder is negative,
The next value is stored in register FMN according to that value.
write to. -1→12 -2→11 ... -12→1 Here, the following table shows examples of data written to registers SFT and FMN corresponding to the data in register PC.

[Table] By the way, as mentioned above, for example,
= 14, the memory M(1) shown in FIG.
It is necessary to write the frequency number FN of the table M(1)+1 shifted upwards into the memory FMEM shown in FIG. Also, for example, PC
= -1, the frequency number of table M(12)-1, which is obtained by shifting memory M(12) downward once
It is necessary to write FN to memory FMEM. That is, the registers shown in Table 1
The data in FMN specifies which of memories M(0) to M(12) will be used when writing to memory FMEM, "SFT-7" indicates the number of shifts, and "SFT-7" indicates the number of shifts. Each sign indicates the direction of shift. From the above, CPU6 is
Following the processing of SH11, the following processing is performed. That is, when the process first proceeds to step SH12, it is determined whether the data in the register SFT is negative data or not. If the result of this judgment is "YES", the process advances to step SH13.
At step SH13, register SFT,
Set "0" and "12" respectively in FMN. Here, the negative data in register SFT means that the data in register PC is 104 or more. As mentioned above, in this embodiment, the PC
Since the maximum value of is set to 103, all cases of 104 or more are treated as PC=103. Step SH13 is this process. On the other hand, if the determination result at step SH12 is "NO", step SH13 is skipped and the process proceeds to step SH14. step
At SH14, the frequency numbers FN (12) in the memories M(0) to M(12) corresponding to the data in the register FMN are read out and written into the temporary memory TEMP (FIG. 6). Next, proceed to step SH15, and step
Temporary memory in SH14 processing
The frequency number FN stored in TEMP,
Perform a shift operation using the circuit and direction indicated by the value of "SFT-7". Here, "shift operation"
Of course, it is assumed that the above-mentioned double or 1/2 times operation is also included. Next, proceeding to step SH16, the result of the shift operation at step SH15 is written into the memory FMEM (FIG. 6). Then, it returns to the standby state. The above is the pitch change switch 17U, 1
This is the processing of the CPU 6 based on the operation of the 7D. When the above-described mode setting and pitch setting are completed, the operator next sets whether or not to cause repeat sound generation using the repeat switch 15. Here, repeat sound generation refers to repeatedly reading sampling data in the musical tone memory GM (FIG. 3) while a key is pressed to form a musical tone. When this repeat sound is not specified, regardless of the length of time the key is pressed,
Musical tone memory GM corresponding to key operations
The data within is read out only once, and musical tone formation is performed. When the operator presses the repeat switch 15, the CPU 6 detects this and performs the repeat switch on event process shown in FIG. 17. That is, first, in step SR1,
Invert the data (1 bit) in register RPT (Figure 6) and then
The data in repeat register 35 (third
(Fig.) and write it. Next, when the data in register RPT is “1”, LED1
6 is output to the operation panel 2, and when it is "0", a light off command is output to the operation panel 2 (step SR2).
~SR4)) and return to standby state. Here, when "1" is set in register RPT and repeat register 35, repeat sound generation is designated. After completing each of the above settings, the operator plays the keyboard. Hereinafter, circuit operations based on key operations will be explained. First, when a key is pressed, the CPU 6 detects this, proceeds to step SK1 in FIG. 13, and writes the key code KC of the pressed key into the register NKC. Next, step SK2
Proceeding to step , it is determined whether the data in the register MODE is "0" or not. In this case, the determination result at step SK2 is "YES" and the process advances to step SK5. At step SK5, it is determined whether the data in register KB (FIG. 6) is "1" or not. In this case, the determination result is ``YES'' (sampling sound keyboard mode), and the process therefore advances to step SK6. In step SK6, processing for assigning sounds to orchestral sounds is performed. That is, the orchestra sound forming circuit 31 (third
The sound of the pressed key is assigned to an empty channel among the plurality of sound sound channels provided in the figure). Note that this assignment is
This is done using temporary memory TEMP. That is, a storage area corresponding to each sound generation channel is provided in advance in the memory TEMP. And CPU6 is
When a sound is assigned to a channel, "1" is written in the memory area corresponding to that channel, and "0" is written in that memory area when canceling the assignment as described later.
Write. Next, when proceeding to step SK7, enter the key code KC in the register NKC,
It is output to the orchestra sound forming circuit 31 together with a key-on signal indicating key-on and channel data indicating an assigned channel. As a result, a musical tone signal corresponding to the pressed key is formed in the same sound channel, and the sound signal is generated from the sound system 5. Next, when proceeding to step SK8, the key code KC in register NKC is registered.
Write in KCREG. Next, step
When proceeding to SK9, the note with the key code KC in the register NKC is detected, and then the frequency number FN corresponding to the detected note is detected from the frequency number memory FMEM (Figure 6).
Read out. Next, proceeding to step SK10, the octave of the key code KC in the register NKC is detected, and the frequency number FN is shifted based on the detection result (see item [4] above). Next, proceeding to step SK11, the frequency number FN obtained by the shift process of step SK10 is transferred to the FN register 36 (Fig. 3) and written.
Furthermore, "1" is transferred and written to the key-on register 34 (FIG. 3). Then, it returns to the standby state. Next, the operation of the musical tone forming circuit 4 after the completion of each of the above-mentioned processes by the CPU 6 will be explained. First, when the process of step SK11 is completed, the mode register 33 is set to "0".
is written. Also, assume that the data in the repeat register 35 is "0" at this time. In this case, the output signal MD of the register 33 and the output signal RP of the register 35 both become "0", and therefore the outputs of the inverters 65 and 66 both become "1". Also, at this time, the output signal EQ of the comparison circuit 46 is "0", so the inverter 6
The output of 7 is "1". As a result, the output of the AND gate 68 becomes "1", and this "1" signal is supplied to the gate circuit 41 via the OR gate 63, thereby opening the gate circuit 41. Next, enter the frequency number FN in the FN register 36.
is set (step SK11), and then "1" is set in the key-on register 34, and the output signal KON of the register 34 rises to a "1" signal. As a result, the accumulator 42 is reset via the OR gate 60, the differentiating circuit 43, and the OR gate 61, and the envelope data
ED rises to "1". Furthermore, when the frequency number FN is set in the FN register 36 and supplied to the accumulator 42 via the gate circuit 41, the same number
FN is successively accumulated in the accumulator 42, data indicating the address A1 in the register 39 is added to this accumulation result, and this addition result is supplied to the address terminal AD of the musical tone memory GM. As a result, the sampling data is sequentially read from the musical tone memory GM, and the multiplication circuit 49 adds envelope data to the read data.
ED is multiplied, this multiplication result is converted into an analog signal in the D/A conversion circuit 50, and this analog signal is sent to the mixing circuit 5.
1 to a sound system 5 to generate sampled sounds. Next, when the output of the adder circuit 45 matches the data indicating the address A2 in the end address register 40, the comparison circuit 46 outputs a signal EQ (a "1" signal). As a result, the output of the inverter 67 becomes a "0" signal, and therefore the output of the OR gate 63 becomes a "0" signal. As a result, the gate circuit 41 becomes closed and its output becomes "0". When the output of the gate circuit 41 becomes "0", the accumulator 42
There is no longer any output change, and reading of data in the musical tone memory GM is therefore stopped. Next, when "1" is set in the repeat register 35, the output of the AND gate 69 becomes "1" continuously as long as the signal MD is "0". As a result, the gate circuit 41 is continuously opened, and the frequency number FN in the FN register 36 is constantly supplied to the accumulator 42. Also, the output signal KON of the key-on register 34 is “1”
When it becomes a signal, the output of the AND gate 71 becomes a "1" signal, and this "1" signal is supplied to the AND gate 72, and the AND gate 7
2 is in the open state. As a result, musical tone memory
When the coincidence signal EQ is output when one set of data in the GM has been read out, this coincidence signal EQ is supplied to the reset terminal R of the accumulator 42 via the AND gate 72 and the OR gate 61, and as a result, Accumulator 42 is reset. Thereafter, accumulation is performed again in the accumulator 42, and as a result, the musical tone memory
The data in the GM is read again and this process is repeated during key-on. Next, when the operator releases the key, CPU6
detects this and performs the key-off event processing shown in FIG. That is, first, the process proceeds to step SO1, and it is determined whether the data in the register MODE is "0" or not. In this case, the judgment result is "YES" and the process advances to step SO2. Incidentally, if the determination result at step SO1 is "NO", that is, in the case of the aforementioned sampling mode, no processing is performed when the key is turned off. next,
In step SOO2, it is determined whether the data in register KB is "1" or not. In this case, the judgment result is “YES” (sampled sound keyboard mode), and the step
Proceed to SO3. In step SO3, the channel assignment of the orchestral sound of the key that has been turned off is canceled. Next, in step SO4, channel data indicating the channel to which the turned-off key is assigned and a key-off signal indicating the key-off are output to the orchestra sound forming circuit 31, respectively. As a result, the orchestral sound of the key shifts to an attenuated state and the sound generation stops. next,
Proceeding to step SO5, it is determined whether the key code KC of the turned-off key is the same as the key code KC in the register KCREG.
If the result of this judgment is "YES", the process advances to step SO6, where "0" is transferred and written to the key-on register 34, and the process returns to the standby state. Key-on register 3
When "0" is written to the register 4, the output signal KON of the same register 34 becomes "0", and this "0" signal is sent to the envelope generating circuit 48.
supplied to As a result, from then on, the envelope data ED gradually becomes smaller, and therefore,
The sampled sound gradually decays. on the other hand,
If the determination result at step SO5 is "NO", step SO6 is jumped and the process returns to the standby state. Note that the processing when the determination result at step SO5 is "NO" means the following. That is, in this embodiment, the sampled sound is generated only for the most recently pressed key.
Furthermore, the key code KC of the most recently pressed key is stored in the register KCREG (step SK8 in FIG. 13). Therefore, if the determination result in step SO5 is "NO", this means that the released key is not the most recently pressed key, and in this case, the key-off process for the sampled sound is not performed. b Sampling sound base mode In this case, the operator first uses the sampling switch 12 (Fig. 2) to
Turn off the light at 3 to enter play mode, then turn switch 18 to the gate BASS side.
As a result, "0" is set in register MODE and mode register 33, and "1" is set in register KB (FIG. 6). Next, the operator sets the pitch of the sampled sound, and then uses the repeat switch 15 to set whether or not to repeat the sound. Next, the operator turns on the LED 24 by operating the rhythm switch 23. When the operator presses the rhythm switch 24, the CPU 6 detects this and performs the rhythm switch on event process shown in FIG. 19. That is, first, in step SZ1,
Invert the data (1 bit) in register RHY (Figure 6). Then register RHY
When the data in is "1", a command to turn on the LED 24 is output to the operation panel 2, and when it is "0", a command to turn off the light is output to the operation panel 2 (steps SZ2 to
SZ4). Next, register TPCTR (Figure 6)
Write "0" into the memory and return to the standby state. Here, “1” is written in register RHY.
When is set, the generation of rhythm and bass sounds is specified. After completing each of the settings described above, the operator plays a musical tone. When a keyboard key is pressed by the operator, the CPU 6 proceeds to the process shown in FIG. 13 described above, and proceeds to step SK12 via steps SK1, SK2, and SK5. At step SK12, register NKC is set at step SK1.
It is determined whether the key code KC written in is smaller than or equal to the key code KC of the F# ₃ note. If the result of this judgment is "NO", that is, if the pressed key is a key in the melody range mentioned above, the process proceeds to step SK13, where the orchestral sound generation assignment process is performed, and then the process proceeds to step SK14. Then, the key code KC in the register NKC, the key-on signal, and the data indicating the assigned channel are output to the orchestral sound forming circuit 31. This results in
An orchestral sound corresponding to the pressed key is generated. Note that the processing at steps SK13 and SK14 is the same as the processing at steps SK6 and SK7 described above. On the other hand, if the determination result at step SK12 is "NO", that is, if the key code KC in the register NKC is a key in the accompaniment key range, the process advances to step SK15.
In step SK15, all the keys that are in the on state in the accompaniment key range at that time are detected,
Based on the key code KC of the key, the chord type and root note of the accompanist (chord) are detected, and the detected chord type and root note are stored in registers TYPE and ROOT (6th
Write in the figure). Then, it returns to the standby state. In this way, when a key in the accompaniment key area is pressed, the CPU 6 writes to the registers TYPE and ROOT. And hereafter these registers TYPE,
Based on the data in ROOT, a bass sound is created using sampled sounds. This process will be explained below. First, the tempo clock generating circuit 10 shown in FIG.
TC is always output to CPU6. CPU6
Every time this tempo clock TC is received,
The tempo clock processing shown in FIG. 20 is performed. That is, first, the process proceeds to step ST1, and it is determined whether the data in the register RHY is "1" or not. If the result of this determination is "NO" (no instruction has been given to produce rhythm sounds), the process returns to the standby state. Further, if the determination result in step ST1 is "YES", the process advances to step ST2.
At step STT2, register TPCTR
Increment the data in (tempo counter). Next, proceed to step ST3.
Rhythm pattern pro memory 8a (Figure 5)
Rhythm selection switch 21 (Figure 2) among multiple rhythm patterns stored in
register from the rhythm pattern corresponding to the rhythm type set by
A pattern corresponding to the sound generation timing indicated by the data in TPCTR is read out and output to the rhythm sound forming circuit 32. The rhythm sound forming circuit 32 drives a rhythm sound source based on the supplied pattern to form a rhythm sound signal, and outputs it to the sound system 5 via the mixing circuit 51. Next, the CPU 6 proceeds to step ST4 and determines whether the data in the register KB is "0" or not. and,
If the result of this judgment is "NO", that is, if the sampling sound base mode is valid, the process returns to the standby state. Thereby, rhythm sounds can be generated even in the sampling sound keyboard mode. on the other hand,
If the determination result in step ST4 is "YES", proceed to step ST5. Step ST5
Now, the base pattern memory 8b (Fig. 5)
The rhythm type and register selected by the rhythm selection switch 21 from among the plurality of bass patterns stored in the
A pattern corresponding to the sound timing indicated by the data in the tempo counter TPCTR is read out from the base patterns corresponding to each chord type stored in TYPE.
Next, when you proceed to step ST6,
Based on the pattern read in ST5, it is determined whether or not it is the bass sound generation timing. If the result of this judgment is "NO", the process returns to the standby state, and if the result is "YES", the process proceeds to step ST7. In step ST7,
The key code KC of the bass note to be produced is determined based on the root note stored in the register ROOT and the read bass pattern, and then this key code KC is converted into a frequency number FN in the same manner as in the case described above. (See steps SK9 and SK10 in FIG. 13), transfer this frequency number FN to the FN register 36 (FIG. 3) and write it. Next, when proceeding to step ST8, the key-on register 34 is first cleared (written "0").
Immediately after that, "1" is written, and the state returns to the standby state. Frequency number FN and “1” are stored in registers 36 and 34, respectively.
Once written, the musical tone forming circuit 4
In this step, a sampled sound (in this case, a bass sound) is formed in the same manner as in the case described above, and is produced by the sound system 5. In this way, each time the tempo clock TC is output from the tempo clock generating circuit 10, a rhythm sound and a sampling sound (bass sound) are formed. Next, in this sampling sound base mode, when the pressed key is released, the CPU 6 detects this and proceeds to the process shown in FIG. 18. In this process, first, the judgment result of step SO1 is "YES",
Since the judgment result at step SO2 is "NO", the process advances to step SO7. step
In SO7, the key code of the released key
Determine whether KC is less than or equal to the F# ₃ note key code. If the result of this judgment is "YES", that is, if the released key is a key in the accompaniment key range, the process advances to step SO8. Step SO8
First, all keys in the on state are detected in the accompaniment key range, then the chord type and root note are detected based on the key code KC of the same key, and the detected chord type and root note are stored in the register TYPE. ,
Write to ROOT. Then, it returns to the standby state. Note that the process at step SO8 is performed because the chord may change due to the release of a key in the beat key range. On the other hand, if the judgment result at step SO7 is "NO", that is, if the released key is a key in the melody range, then step
Proceeding to step SO9, the assignment of the sound produced by the released key (orchestral sound) is canceled, and then proceeding to step SO10, data indicating the channel to which the released key is assigned and the key-off signal are sent to the orchestral sound forming circuit 31. (Figure 3). Then, it returns to the standby state. The details of one embodiment of the present invention have been described above. In addition, a synchro start switch is provided in place of the start switch 14, and sampling is not started immediately after this switch is pressed, but the system is in a standby state, and sampling is started when a signal input from the microphone 3 is detected. Good too. Further, in the above embodiment, the output of the A/D conversion circuit 47 is stored as is in the musical tone memory GM, but the output of the A/D conversion circuit 47 is
The code may be converted using a method such as DPCM or ADPCM, stored in the musical tone memory GM, and returned to the original data when read out. In this case, the memory GM capacity can be reduced. Furthermore, although pitch adjustment is performed using pitch change switches 17U and 17D, other methods such as a dial type may be used instead. Further, in the above embodiment, pitch adjustment is performed in units of approximately 7.7 cents, but this may be performed in units of any number of sets. Further, although the above embodiment is designed to be controlled by software, it may be controlled by dedicated hardware. Further, in the above embodiment, the key code of the pressed key is output to the orchestra sound forming circuit 31, but instead of this, the frequency number FN may be output. Further, although the above embodiment is a case in which the present invention is applied to a musical tone forming section using a sampling method, the present invention can also be applied to a case where musical tones are formed by a method other than the sampling method. "Effects of the Invention" As explained above, according to the present invention, musical tones are changed in accordance with the pitch specified by the pitch specifying means and in response to the pitch change amount specified by the pitch change amount specifying means. When outputting frequency information for setting the pitch, there is no need for a high-speed multiplier or the like as in the conventional case, and there is an effect that the frequency information can be outputted in a short time with a simple configuration. Further, according to the present invention, even when the frequency information is output by software,
It can be processed in a shorter time than conventional methods, and as a result, there is no risk of delay in the rise of musical tones. Further, according to the present invention, when forming frequency information corresponding to the pitch change amount designated by the pitch change amount designation means, the frequency information in the first storage means is read out, and the read frequency information Since the frequency information is converted and then written to the second storage means, it is possible to significantly reduce the capacity of the storage means for storing frequency information corresponding to the amount of pitch change.

[Brief explanation of the drawing]

FIG. 1 is a block diagram showing the overall configuration of an embodiment of the present invention, FIG. 2 is a diagram showing an example of the configuration of the operation panel 2, FIG. 3 is a block diagram showing an example of the configuration of the musical tone forming circuit 4, and FIG. The figure shows the waveform of envelope data ED in relation to signal KON, and Figure 5 shows the waveform of envelope data ED in relation to signal KON.
Figure 6 is a diagram showing an example of the memory contents of ROM8.
FIG. 7 is a diagram showing an example of the memory contents of RAM 9. FIG. 7 is a diagram showing the basic read/write frequency of musical tone memory GM. FIGS. 8 to 11 are diagrams for explaining the pitch change method. FIG. 12 20 are flowcharts for explaining the processing of the CPU 6. 1...Keyboard, 2...Operation panel, 4...Tone forming circuit, 6...CPU, 8...ROM, 9...
RAM, GM...music memory. 17U, 17D...
...Pitch change switch.

Claims (1)

[Scope of Claims] 1. (a) Pitch specifying means for specifying the pitch of a musical tone to be generated; (b) A set for setting the pitch of a musical tone corresponding to each of at least 12 note names. (c) selecting N types (N>M) of pitch change amounts; (d) a pitch change amount designating means for specifying a pitch change amount in accordance with the pitch change amount designated by the pitch change amount designation means; (e) When the amount of pitch change matches the amount of pitch change of one set of frequency information selected by the selection means, outputting the one set of frequency information as is, and (f) a second memory for storing the set of frequency information converted by the converting means; (g) reading means for reading out frequency information corresponding to the pitch specified by the pitch specifying means in the second storage means, and using the read frequency information. A musical tone pitch setting device for an electronic musical instrument, which sets the pitch of a musical tone to be generated.