JPH04299394A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To control variation in the mixing ratio of plural musical sound signals instinctively and sensually in real time. CONSTITUTION:This electronic musical instrument is provided with sound sources 9 and 10 which output different musical sound signal respectively, a voiced and voiceless sound analyzing circuit 8 which analyzes the voicing extent and voiceless extent of an externally inputted signal, a cross fade EG 11 which mixes the musical sound signals outputted by the sound sources 9 and 10 according to the analysis result of the voiced and voiceless sound analyzing circuit 8, and multipliers 12 and 13.

Description

[Detailed description of the invention]

0001

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument that generates musical tones that change in the same way as natural musical instrument tones.

BACKGROUND OF THE INVENTION Conventional electronic musical instruments read each piece of information at a predetermined speed from a plurality of waveform memories each storing information about musical waveforms with different tones, and change the mixing ratio of these pieces of information over time or by pressing a button. There are instruments that form musical tones by changing the ratio at a desired rate depending on the touch response of a key, etc. For details of this type of technology, please refer to the electronic musical instrument bulletin (Japanese Patent Publication No. 57, 1983), which the present applicant proposed earlier.
-31156).

0002

[Problems to be Solved by the Invention] However, in the conventional electronic musical instrument described above, when a sound is generated, the amplitude of the waveform output from one waveform memory is increased based on a preset increasing function. , the amplitude of the waveform output from the other waveform memory is simply reduced based on a preset reduction function, so the change in the mixing ratio of the plurality of musical tone signals described above is typical.

[0003] Therefore, there has been a drawback that changes in the mixing ratio of a plurality of musical tone signals cannot be sufficiently controlled in real time or intuitively and sensually. The present invention was made in view of the above-mentioned circumstances, and an object of the present invention is to provide an electronic musical instrument that can intuitively and sensually control changes in the mixing ratio of a plurality of musical tone signals in real time. There is.

0004

[Means for Solving the Problems] The present invention provides a plurality of sound sources each outputting a different musical tone signal, an analysis means for analyzing voiced and unvoiced intensities of signals inputted from the outside, and an analysis means for analyzing the voiced and unvoiced tones of signals inputted from the outside. The present invention is characterized by comprising a control means for mixing a plurality of musical tone signals outputted from the plurality of sound sources based on an analysis result.

[0005]

According to the present invention, the analysis means analyzes the voiced and unvoiced intensities of the signal inputted from the outside. Thereby, the control means mixes the plurality of musical tone signals output from the plurality of sound sources based on the analysis result of the analysis means.

[0006]

DESCRIPTION OF THE PREFERRED EMBODIMENTS An embodiment of the present invention will be described below with reference to the drawings. FIG. 1 is a block diagram showing the configuration of an electronic musical instrument according to an embodiment of the present invention. In this diagram, reference numeral 1 indicates a performance operator such as a keyboard, which is operated by a player to instruct pitch and pronunciation, etc.; 2 is performance operator 1
This is a performance operation detection circuit that detects the operation of the key-on signal KON, the key-off pulse signal KOFFP, and outputs data such as pitch information in response to the operation.

Further, reference numeral 3 denotes a setting operation section operated by the performer to set various setting parameters, and 4 a control section, which stores various setting parameters in an internal memory according to instructions from the setting operation section 3. etc., and transfer the setting parameters to each part of the device. 5 is an external signal input terminal into which an external signal such as an audio signal corresponding to the voice of the performer is input; 6 is an amplifier that amplifies the external signal;
Its gain is adjusted by

Furthermore, 7 is a low-pass filter (hereinafter referred to as LPF)/A/D converter that performs aliasing on the output signal of the amplifier 6 and converts it into a digital signal.
The cutoff frequency and the like are controlled by the control section 4. 8 is a voiced/unvoiced analysis circuit which performs processing such as detecting asynchrony and periodicity of the output signal of the LPF/A/D converter 7, and calculates the unvoiced tone level U and the voiced tone level V. Various methods have been proposed and known in the field of speech analysis to determine voiceless/voiced, such as combining parameters such as the modified correlation method, which is one of the pitch extraction methods, and PARCOR coefficients. may be used as appropriate (see Digital Audio Processing <P57 to P59>: written by Sadahiro Furui, published by Tokai University Press). The voiced/unvoiced analyzer 8 is configured with a DSP (digital signal processor) or the like in order to perform analysis in real time, and the program is stored in an internal or external ROM or RAM and is controlled by the controller 4. Keep it working.

In addition, 9 and 10 are sound sources, respectively, and a key-on signal K outputted from the performance operation detection circuit 2.
ON, a key-off pulse signal KOFFP, data such as pitch information, and a musical tone signal according to the setting parameters transferred from the control section 4 are output. Note that the sound source 9 is, for example, a sound source that generates an attack portion with many non-stationary components, and the sound source 10 is, for example, a sound source that generates a portion with many stationary components.

Reference numeral 11 is a crossfade envelope generator (hereinafter referred to as crossfade EG), which generates envelope signals ENV1 and 13 for controlling multipliers 12 and 13 that vary the amplitude of musical tone signals output from sound sources 9 and 10, respectively. Generates ENV2. 14
1 is a mixer for mixing and synthesizing the output signals of the multipliers 12 and 13, and 15 is a musical tone signal output terminal to which the output signal of the mixer 14, that is, the mixed and synthesized musical tone signal is output.

Next, FIG. 2 shows an example of a specific circuit of the cross-fade EG 11. In this figure, 16 is a comparator, and the voiced pitch V calculated in the voiced/unvoiced analysis circuit 8 is compared to the threshold value VTH of the voiced pitch V which is preset by the performer by operating the setting operation section 3. If it becomes more than “H”
A level signal CMPOUT is output. 17 is an OR gate, the key-off pulse signal KOFFP output from the performance operation detection circuit 2 is input to the first input terminal, and the initialization signal IC output from the control section 4 is input to the second input terminal. Ru. Reference numeral 18 denotes an OR gate to which the output signal CMPOUT of the comparator 16 is input to the first input terminal.

Reference numeral 19 denotes a D-type flip-flop, into which the key-on signal KON output from the performance operation detection circuit 2 is inputted to the data input terminal D, and the output signal of the OR gate 18 is inputted to the clock input terminal CK. The output signal of the OR gate 17 is input to the reset input terminal R. 2
0 is an inverter to which the output signal of the flip-flop 19 is input, 21 is an AND gate, the key-on signal KON output from the performance operation detection circuit 2 is input to the first input terminal, and the inverter is input to the second input terminal. Twenty output signals are input.

Further, reference numeral 22 denotes a variable delay circuit that delays the key-on signal KON, and the delay time is determined in accordance with a setting parameter DLY set in advance by the player operating the setting operation section 3. The variable delay circuit 22 is constituted by, for example, a shift register with a variable number of stages or a variable transfer clock, or a timer that outputs an "H" level signal after a predetermined time when an input signal becomes "H" level. Further, like the flip-flop 19, the output signal of the OR gate 17 is input to the reset input terminal R. Furthermore, the output signal of the variable delay circuit 22 is input to the second input terminal of the OR gate 18.

In addition, 23 is a D-type flip-flop, the key-on signal KON output from the performance operation detection circuit 2 is input to the data input terminal D, and the output signal of the variable delay circuit 22 is input to the clock input terminal CK. The output signal of the OR gate 17 is input to the reset input terminal R. 24 is an AND gate, the output signal of the flip-flop 23 is input to the first input terminal, and the delay control signal DLYON output from the control section 4 is input to the second input terminal. 25 is an OR gate, the output signal of the flip-flop 19 is input to the first input terminal, and the output signal of the AND gate 24 is input to the second input terminal.

Further, 26 and 27 are respectively envelope generators (hereinafter referred to as EG), and as shown in FIG. Outputs a shape envelope signal. Further, EG26 and EG27 each have a setting parameter EG1PAR set in advance by the performer operating the setting operation section 3.
The rising rate, falling rate, etc. are determined according to EG2PAR and EG2PAR.

Furthermore, 28 is an adder which adds the voiced pitch V calculated in the voiced/unvoiced analysis circuit 8 and the setting parameter VOL1 regarding the volume, which is preset by the performer by operating the setting operation section 3. do. 29 is a multiplier, which combines the envelope signal output from EG26 and adder 2.
and the output signal of 8. 30 is an envelope signal output terminal to which the output signal of the multiplier 29, that is, the envelope signal ENV1 is output.

In addition, 31 is an adder, which adds the unvoiced tone U calculated in the voiced/unvoiced analysis circuit 8 and the setting parameter VOL2 regarding the volume, which is preset by the performer by operating the setting operation section 3. do. 32 is a multiplier, which combines the envelope signal output from EG27 and adder 3.
1 output signal. 33 is an envelope signal output terminal to which the output signal of the multiplier 32, that is, the envelope signal ENV2 is output.

In such a configuration, when a performer presses and releases a certain key on the keyboard of the performance operator 1 and speaks into a microphone (not shown), the microphone converts the sound into an audio signal. After
The signal is input to the external signal input terminal 5 as an external signal. As a result, the sound source 9 can, for example, perform a Generates and outputs a musical tone signal with an attack part with many components, and outputs it to the sound source 1.
0, for example, generates and outputs a musical tone signal having a portion with many stationary components.

On the other hand, the amplifier 6 amplifies the audio signal with a gain adjusted by the control section 4 and outputs the amplified signal. Next, L
The PF/A/D converter 7 performs aliasing on the output signal of the amplifier 6 at a cutoff frequency controlled by the control unit 4, converts it into a digital signal, and outputs the digital signal. Then, the voiced/unvoiced analysis circuit 8 performs processing such as detecting asynchrony and periodicity of the output signal of the LPF/A/D converter 7, and calculates and outputs the unvoiced tone level U and the voiced tone level V. .

Next, the crossfade EG 11 uses the key-on signal KON and key-off pulse signal KOFFP output from the performance operation detection circuit 2, and the voiced pitch V and unvoiced pitch U calculated in the voiced/unvoiced analysis circuit 8. , the envelope signal ENV is generated by the operation described in detail later in accordance with the volume-related setting parameters VOL1 and VOL2 set in advance by the performer by operating the setting operation section 3.
1 and ENV2 are generated and output.

As a result, the musical tone signals output from the sound sources 9 and 10 have their respective amplitudes variably controlled in accordance with the envelope signals ENV1 and ENV2 in the multipliers 12 and 13, and then are mixed and synthesized in the mixer 14. , is output from the musical tone signal output terminal 15.

Next, the above-mentioned envelope signal ENV1
The operation of the crossfade EG11 shown in FIG. 2, which generates and outputs ENV2 and ENV2, will be explained. First, when the power is turned on to this electronic musical instrument, the control section 4 in FIG. Reset 22. In addition, variable delay circuit 2
If 2 is configured by a shift register, the signal being transferred is cleared, and if it is configured by a timer, time measurement is stopped and its value is reset.

As a result, the output signals of the flip-flops 19 and 23 and the variable delay circuit 22 are all "L".
” level. Therefore, the “L” level of the flip-flop 19
Since the output signal of the inverter 20 to which the output signal of the "level" is input becomes "H" level, the second input terminal of the AND gate 21 becomes "H" level, and the gate of the AND gate 21 is opened. It is assumed that the "H" level delay control signal DLYON output from the control section 4 is input to the second input terminal of the gate 24. Therefore,
The gate of ANDGATE 24 is open.

In such a state, as described above, when the performer presses a certain key on the keyboard of the performance operator 1 and speaks into the microphone (not shown), an output is generated from the performance operation detection circuit 2. key-on signal K
ON (see FIG. 4(b)) is connected to E via the AND gate 21.
It is input to G26 as signal EG1ON (see FIG. 4(e)), as well as to the data input terminals of flip-flops 19 and 23 and the signal input terminal of variable delay circuit 22.

[0025] As a result, EG26 receives input signal EG1.
At the timing of the rise of ON, the performer presses the setting operation section 3.
is operated to start outputting the envelope signal at a rising rate according to the preset setting parameter EG1PAR. Then, as time passes, the voiced pitch V output from the voiced/unvoiced analysis circuit 8 becomes equal to or higher than the threshold value VTH■ of the voiced pitch V set in advance by the performer by operating the setting operation section 3. (see FIG. 4(a)), and the comparator 16 is shown in FIG. 4(d).
) outputs the "H" level signal CMPOUT shown in FIG. In this case, the time T from when the key-on signal KON becomes "H" level until the voicing degree V becomes equal to or higher than the threshold value VTH is longer than the delay time Td set in the variable delay circuit 22. shall also be short.

Since the signal CMPOUT is input to the clock input terminal of the flip-flop 19 via the OR gate 18, an "H" level signal is output from the flip-flop 19 at the timing of the rise of the signal CMPOUT, and the signal is input to the inverter 20. is input. As a result, the second input terminal of the AND gate 21 becomes "L" level, and the gate of the AND gate 21 is closed.
The output signal EG1ON of 1 is as shown in FIG. 4(e).
It becomes "L" level. Therefore, EG26 receives input signal E
At the timing of the fall of G1ON, the performer operates the setting operation section 3 to set the setting parameter EG1P in advance.
Start attenuating the envelope signal at a falling rate according to the AR.

On the other hand, the "H" level output signal of the flip-flop 19 is also input to the first input terminal of the OR gate 25, so the output signal EG2ON of the OR gate 25 is as shown in FIG. 4(f). , becomes "H" level at the timing of the rise of the output signal of the flip-flop 19. As a result, the EG27 starts outputting an envelope signal at a rising/falling rate corresponding to the setting parameter EG2PAR set in advance by operating the setting operation section 3 by the performer at the timing of the rising edge of the input signal EG2ON.

When the player releases the previously pressed key on the keyboard of the performance operator 1, the performance operation detection circuit 2 outputs the key-on signal KON, which had been at the "H" level. 4(b), the key-off pulse signal KOFFP is output as shown in FIG. 4(c). As a result, the key-off pulse signal KOFFP resets the flip-flops 19 and 23 and the variable delay circuit 22 via the OR gate 17. This makes flip-flop 1
The output signals of 9 and 23 and the variable delay circuit 22 are all at "L" level. Therefore, flip-flop 1
Inverter 2 to which the "L" level output signal of 9 is input.
Since the output signal of 0 becomes "H" level, the second input terminal of AND gate 21 becomes "H" level, and the gate of AND gate 21 opens, but the key-on signal KON also becomes "L" level at the same time. Therefore, the output signal EG1ON of the AND gate 21 remains at the "L" level.

Furthermore, the second input terminal of the AND gate 24 is currently receiving the "H" level delay control signal DLYON output from the control section 4, and the AND gate 24
gates are open, but flip-flops 19 and 23 are reset;
Since the output signals of both have become "L" level, the output signal EG2ON of the OR gate 25 becomes "L" level, as shown in FIG. 4(f). Therefore, EG27 sets the setting parameter EG which is preset by the performer by operating the setting operation section 3 at the timing of the fall of the input signal EG2ON.
Start attenuating the envelope signal at a falling rate according to 2PAR.

By the way, in the operation explained above,
The time T from when the key-on signal KON becomes "H" level until the voicing degree V becomes equal to or higher than the threshold value VTH is shorter than the delay time Td set in the variable delay circuit 22. Next, a case will be described in which the "H" level delay control signal DLYON output from the control section 4 is input to the second input terminal of the AND gate 24, and the time T is longer than the delay time Td. . First, when the electronic musical instrument is powered on, the control unit 4 in FIG.
Also, the variable delay circuit 22 is reset.

As a result, the output signals of the flip-flops 19 and 23 and the variable delay circuit 22 are all "L".
” level. Therefore, the “L” level of the flip-flop 19
Since the output signal of the inverter 20 to which the output signal of the "level" is input becomes "H" level, the second input terminal of the AND gate 21 becomes "H" level, and the gate of the AND gate 21 is opened. Since the "H" level delay control signal DLYON output from the control section 4 is input to the second input terminal of the gate 24, the AND gate 2
Gate 4 is open.

In such a state, as described above, when the performer presses a certain key on the keyboard of the performance operator 1 and speaks into the microphone (not shown), an output is generated from the performance operation detection circuit 2. key-on signal K
ON (see FIG. 4(b)) is connected to E via the AND gate 21.
It is input to G26 as a signal EG1ON' (see FIG. 4(g)), as well as to the data input terminals of flip-flops 19 and 23 and the signal input terminal of variable delay circuit 22.

[0033] As a result, EG26 receives input signal EG1.
At the timing of the rise of ON, the performer presses the setting operation section 3.
is operated to start outputting the envelope signal at a rising rate according to the preset setting parameter EG1PAR. Then, when time Td has elapsed since the key-on signal KON was input, the variable delay circuit 22 outputs an "H" level signal.

Since the output signal of the variable delay circuit 22 is input to the clock input terminal of the flip-flop 19 via the OR gate 18, an "H" level signal is output from the flip-flop 19 at the timing of the rise of this signal. , is input to the inverter 20. As a result, the second input terminal of the AND gate 21 becomes "L" level, and the gate of the AND gate 21 is closed.
The output signal EG1ON' is, as shown in FIG. 4(g),
It becomes "L" level. Therefore, EG26 receives input signal E
At the timing of the fall of G1ON, the performer operates the setting operation section 3 to set the setting parameter EG1P in advance.
Start attenuating the envelope signal at a falling rate according to the AR.

On the other hand, since the output signal of the variable delay circuit 22 is also input to the clock input terminal of the flip-flop 23, an "H" level signal is output from the flip-flop 23 at the timing of the rise of this signal, and the AND It is output via gate 24. As a result, ORGATE 2
Since the second input terminal of the OR gate 25 becomes "H" level, the output signal EG2ON' of the OR gate 25 becomes "H" level, as shown in FIG. 4(h). Therefore, at the timing of the rise of the input signal EG2ON', the EG27 starts outputting the envelope signal at a rise rate according to the setting parameter EG2PAR set in advance by the player operating the setting operation section 3.

When the performer releases the previously pressed key on the keyboard of the performance operator 1, the performance operation detection circuit 2 outputs the key-on signal KON, which had been at the "H" level. 4(b), the key-off pulse signal KOFFP is output as shown in FIG. 4(c). As a result, the key-off pulse signal KOFFP resets the flip-flops 19 and 23 and the variable delay circuit 22 via the OR gate 17. This makes flip-flop 1
The output signals of 9 and 23 and the variable delay circuit 22 are all at "L" level. Therefore, flip-flop 1
Inverter 2 to which the "L" level output signal of 9 is input.
Since the output signal of 0 becomes "H" level, the second input terminal of AND gate 21 becomes "H" level, and the gate of AND gate 21 opens, but the key-on signal KON becomes "L".
” level, the output signal EG of the AND gate 21
1ON' remains at "L" level.

Furthermore, the delay control signal DLYON of the "H" level outputted from the control section 4 is currently input to the second input terminal of the AND gate 24.
gates are open, but flip-flops 19 and 23 are reset;
Since the output signals of both have become "L" level, the output signal EG2ON' of the OR gate 25 becomes "L" level, as shown in FIG. 4(h).

Therefore, EG27 receives input signal EG2ON
' At the timing of the falling edge of ', the performer presses the setting operation section 3.
is operated to start attenuation of the envelope signal at a falling rate according to the preset setting parameter EG2PAR. The envelope signal generated and output by the EG 26 through the operations described above is multiplied by the addition result of the adder 28, that is, the sum of the voicing degree V and the setting parameter VOL1 regarding the volume, in the multiplier 29.
Envelope signal E from envelope signal output terminal 30
Output as NV1.

On the other hand, the envelope signal generated and output by the EG 27 is multiplied by the addition result of the adder 31, that is, the sum of the unvoiced tone U and the setting parameter VOL2 regarding the volume, in the multiplier 32, and then the envelope signal is It is output from the signal output terminal 33 as an envelope signal ENV2.

As explained above, by analyzing the external signal,
Based on the detected unvoiced/voiced composition ratio, we can control the mixing ratio, amplitude envelope, etc. of musical sound signals output from multiple sound sources. can be controlled. For example, if the performer first pronounces "saa" when turning on the key, a noise will be produced at the beginning of the musical tone, and if the performer then pronounces "a", no noise will be produced. Therefore, musical sounds composed of steady and unsteady sounds with noise or non-integer overtones, such as the rise of a musical sound such as a flute, saxophone, violin, etc., can be defined as unvoiced/non-stationary sounds such as voices or other external sounds.
By controlling the mixing ratio of stationary sounds and non-stationary sounds in real time using the voiced composition ratio detection results, musical tones can be controlled freely and easily, improving expressiveness.

[0041] Similarly, when playing using this electronic musical instrument, normal tones and non-normal tones, for example, sounds that are normally played on a saxophone and more harmonics than usual are included to accent the song. Distorted sounds can also be controlled freely and easily. In addition, FM
If the above-described control is applied to control the modulation level of a sound source, the individual formant level in formant synthesis, etc., a wide variety of controls are possible.

In the embodiment described above, in addition to the condition that the voicing degree V of the external signal is equal to or higher than the threshold value VTH, the variable delay circuit 22 is used to attenuate the envelope signal output from the EG 26. The reason why the output of the envelope signal output from the EG 27 is started is as follows. That is, the musical tone signal output from the sound source 9 is a transient attenuated sound signal (for example, the attack part of a piano), and the musical tone signal output from the sound source 9 and the musical tone signal output from the sound source 10 are different from each other. When controlling to cross-fade temporally, by setting the delay time of the variable delay circuit 22 according to the sound generation time of the musical tone signal of the tone source 9, the musical tone signal output from the tone source 9 and the tone signal output from the tone source 10 can be This is because it is possible to avoid temporal separation of the output musical tone signal. In order to perform this operation, as described above, the controller 4 must
"level delay control signal DLYON may be output. However, if the voicing intensity V of the external signal becomes equal to or higher than the threshold value VTH within the delay time of the variable delay circuit 22, at that point the sound source 9 The respective volumes of the output musical tone signal and the musical tone signal output from the sound source 10 are controlled as appropriate, and a change in timbre is obtained.

In addition, when it is not necessary to take into consideration the temporal separation between the musical tone signal output from the sound source 9 and the musical tone signal output from the sound source 10, the "L" level delay is set by the control section 4. The control signal DLYON may be output. In this case, the mixing control of the musical tone signal output from the sound source 9 and the musical tone signal output from the sound source 10 is controlled according to the voiced tone V and the unvoiced tone U of the external signal.

[0044] In the above-described embodiment, an example was shown in which a performer's audio signal was input as an external signal, but the external signal is not limited to this, and may also be the performance sound of various musical instruments. Furthermore, in the above-mentioned embodiment, the envelope signals output from the EGs 26 and 27 are trapezoidal envelope signals with a simple rise at a constant level and a simple fall. However, the present invention is not limited to this. , envelope signals of other shapes may also be used. Furthermore, the envelope signals output from EGs 26 and 27 may have different shapes.

[0045]

As explained above, according to the present invention, it is possible to control changes in the mixing ratio of a plurality of musical tone signals intuitively and sensibly, and moreover, in real time.

[Brief explanation of drawings]

FIG. 1 is a block diagram showing the configuration of an electronic musical instrument according to an embodiment of the present invention.

2 is a circuit diagram showing an example of a specific circuit of the crossfade EG 11 of FIG. 1. FIG.

3 is a diagram showing an example of the waveform of an envelope signal output from EGs 26 and 27 in FIG. 2. FIG.

4 is a timing chart for explaining the operation of the circuits in FIGS. 1 and 2. FIG.

[Explanation of symbols]

1... Performance operator, 2... Performance operation detection circuit, 3... Setting operation section, 4... Control section, 5... External signal input terminal,
6... Amplifier, 7... LPF/A/D converter, 8... Voiced/unvoiced analysis circuit, 9, 10... Sound source, 11... Crossfade EG, 12, 13, 28, 31... Multiplier ,1
4... Mixer, 15... Musical tone signal output terminal, 16... Comparator, 17, 18, 25... OR gate, 19, 23...
...Flip-flop, 20...Inverter, 21, 24
...And gate, 22...Variable delay circuit, 26, 27
...EG, 28, 31... Adder, 30, 33... Envelope signal output terminal.

Claims (1)

[Claims] 1. A plurality of sound sources each outputting a different musical sound signal, an analysis means for analyzing voiced and unvoiced intensities of a signal inputted from the outside, and an analysis means for analyzing the voiced and unvoiced intensities of a signal inputted from the outside, An electronic musical instrument comprising: a control means for mixing a plurality of musical tone signals output from a sound source.