JPH0451296A - Musical sound synthesizing device - Google Patents

Abstract

PURPOSE:To synthesize a musical sound while reproducing the feature of a musical sound generation source by resetting the delay in a filter for reflected wave arithmetic when a musical sound which is different from the sound source for a last musical sound is outputted and not resetting the delay when the same musical sound is outputted. CONSTITUTION:A reflection coefficient supply part 200 resets unit delay devices 161 - 163 to zero when an input reset mode signal (e) is ON (High). When the input reset mode signal (e) is OFF (Low), on the other hand, the unit delay devices 161 - 163 keep on holding their values. A driving part 120, a conversion part 121, a key-ON processing part 123, and unit delay devices 161 - 163 and multipliers 171 - 174 of a delay part 220 synthesize a musical sound corresponding to a reference clock, so progressive wave pressure qo is outputted from a terminal 190 as the musical sound which is affected by a reflected wave differing with a pitch. Further, reflected wave pressure qi which is outputted from a terminal 191 is inputted to the conversion part 121.

Description

DETAILED DESCRIPTION OF THE INVENTION [Industrial Application Field] The present invention relates to an electronic musical instrument, and particularly to a musical tone synthesizer capable of synthesizing and outputting a musical tone having a performance effect similar to that of a musical instrument.

[Conventional technology]

In recent years, digital sound synthesis methods have been introduced to electronic musical instruments, and the quality of synthesized sounds has improved significantly. Input methods have also become more diverse, including keyboards, wind instrument shapes, and guitar shapes. There is. In these electronic musical instruments, the number of musical tone synthesizers constituting the sound source section, ie, the number M of sound generation channels, is expressed by the so-called polyphony. If the number of output musical tones exceeding the number M of musical tone synthesizers is specified, one of the musical tone synthesizers currently generating sound is stopped, and then a new tone is output. Such control, which is necessary, is normally performed by a sound generation control section (so-called channel assigner).

Such functions are detailed in, for example, Japanese Patent Laid-Open No. 48-74827 or Japanese Patent Laid-Open No. 51-58938.

In addition, as a musical tone synthesis method, a method based on the so-called PCM method is often used, which stores the musical sound waveform of a natural musical instrument as it is and reproduces it at a speed proportional to the pitch to be reproduced. Many tone synthesis methods have been proposed that correspond to the actual pronunciation forms of musical instruments.

Such functionality is described, for example, in the literature (“On the
cillation of musical i
nstruments, M, E.

McIntyre R,T, Schumacber
Co-authored by J. Woodhouse.

J, ^coust, Soc, Am 74 (
5), Noves+ber 1983 pag
e1325-1345) or Special Publication No. 58-5
Publication No. 8679, and literature ('εxtensions
of the Karplus-3strong Pl
ucked-3tring Algorithm,
David A.

Co-authored by Jaffe Julius O, Sm1th, C
computer Music Journal, vol1
7.2. Summer 1983+ page56~
69th record! It is detailed below.

Hereinafter, the above-mentioned electronic musical instrument and musical tone synthesis device will be explained with reference to the drawings.

FIG. 5 shows the configuration of a conventional electronic musical instrument. Fifth
In the figure, 20 is a pitch instruction section, 21 is a pronunciation instruction section, 2
2 is a sound source section, 111 to 118 are musical tone synthesis devices, 100 is a sound generation control section, and 105 is a sound system.

The operation of the electronic musical instrument configured as described above will be described below.

First, the pitch of the sound to be output is input to the pitch instruction section 20. The pitch instruction section 20 may have an input form such as a keyboard, a wind instrument shape, or a guitar shape. The pitch instruction unit 20 inputs the pitch instruction based on the position of the pressed key when the input form is a keyboard, according to the combination pattern of the pressed keys when the input form is a wind instrument, or according to the combination pattern of the pressed keys when the input form is a guitar. The pitch (so-called note name) of the musical tone to be output is determined based on the position (fret) at which the string is pressed, and pitch data is output to the sound generation control section 100.

The pronunciation instruction unit 21 is configured to input pronunciation instructions in response to key presses and key releases when the input format is a keyboard, to the start and stop of exhalation in the case of a wind instrument shape, or to strings in the case of a guitar shape. In response to the start and stop of vibration, on/off information of the musical tone to be output, that is, a key-on signal regarding the start and stop of musical tone generation is output to the sound generation control section 100.

When the input form is, for example, a six-string guitar as shown in FIG. 7, the sound generation instruction section 21 is composed of the same number of microphones or vibration pickups as the sound source, that is, the number of strings (six).

In addition, in FIG. 7, 300 is a fingerboard, 301 to 306
are the first to sixth strings, 311 is the first fret, 312 is the second fret, and 313 is the third fret.

FIG. 6 shows a block diagram of the pronunciation instruction section 21 in FIG. 5. In FIG. 6, 400 is a pronunciation determining section;
406 is a sense section.

Sense units 401 to 4 composed of vibration pickups, etc.
06 is the six strings of the guitar in Figure 7, that is, the first string 30
0 provided corresponding to the 1st to 6th strings 306, respectively.
The pronunciation determination unit 400 outputs a key-on signal to turn on the pronunciation when the vibration level of each string detected by each of the sense units 401 to 406 exceeds a predetermined level Lon, and when the vibration level of each string detected by each of the sense units 401 to 406 exceeds a predetermined level Lon. At this time, a key-off signal for turning off the sound generation is output to the sound generation control section 100.

Furthermore, the pronunciation determination section 400 outputs data specifying the sense section that detected the pronunciation to the pitch instruction section 20. , determines the pitch from the guitar fret 7 input, which is the input of the guitar shape, to specify the pitch,
For example, when the sense section 405 of the fifth string 305 in FIG. 7 is on, the data Sn (=5
) is sent to the pitch instruction section 20, and the pitch instruction section 20 generates a note signal specifying the note name C3, for example, if the sense section specifying data Sn input when the third friend 313 is on is 5. An instruction is given to the control unit 100.

Note that the pronunciation determining section 400 can also output a so-called touch signal, which is a signal instructing the intensity of the musical tone to be output in accordance with the intensity of the input when the pronunciation is turned on.

The pronunciation control section 100 includes a pitch instruction section 20 and a pronunciation instruction section 21.
In response to the input from , musical tone information such as pitch data and signals for instructing the start and stop of sound generation are output to the selected musical tone synthesizer. 8 musical tone synthesis bags in the sound source section 22! 1
There are various methods for selecting one musical tone synthesizer from 11 to 118.

In the simplest method, the sound generation control unit 100 stores the musical tone synthesizer that was previously selected to output a musical tone, and when selecting a new musical tone synthesizer, it selects the next musical tone synthesizer after the stored musical tone synthesizer. A musical tone synthesizer is selected, musical tone information is outputted, and information specifying the musical tone synthesizer is stored. Here, the pronunciation control unit 100 first instructs the selected musical tone synthesizer to rapidly stop pronunciation, and then outputs performance information after a predetermined period of time has elapsed. .

Alternatively, since there are six sound sources in a six-string guitar, based on data specifying the sense sections 401 to 406 output from the sound generation instruction section 21 to the pitch instruction section 20 in correspondence with each one, A musical tone may be assigned to a specific musical tone synthesizer 111 to 118 corresponding to the sound generation control section 100.

The musical tones output from the musical tone synthesizers 111 to 118 are sent to a sound system 1 consisting of an amplifier, speakers, etc.
At 05, the sound is emitted as an acoustic signal.

As described above, the designated number L of musical tones to be output (L>M
), the number of sound generation channels (8 (M)) is efficiently used.

The above-mentioned musical tone synthesis device will be described below with reference to the drawings.

FIG. 11 shows the configuration of a conventional musical tone synthesis device. Before explaining FIG. 11, the principle will be explained with reference to FIGS. 8 to 10.

FIG. 8 shows a cross-sectional view of the clarinet. In FIG. 8, the left end A corresponds to the mouthpiece, and its reed portion is covered by the mouth having an oral cavity pressure q. It is assumed that all tone holes are closed.Due to the pressure difference between the 0 oral cavity pressure q and the pipe pressure q just below the reed, an airflow with a flow velocity f is generated near the reed. The airflow at a flow rate f forms a traveling wave pressure qo (=f-z) via the characteristic impedance 2 inside the pipe. The traveling wave pressure q0 is from the left end A to the right end B (open end) in Fig. 8.
The zero reflected wave pressure q, at which radiation and reflection occur at the right end B after traveling up to
The zero reflected wave pressure ql, which can be obtained by incorporating the reflection coefficient "(1)" as shown in the figure, travels inside the pipe from the right end B to the left end A, and the pressure inside the pipe immediately below the lead q (= By varying qa + q,), the ninth
From the relationship shown in the figure, a flow velocity f determined by the oral cavity pressure q and the intraductal pressure q occurs near the reed.

By repeating these actions, the clarinet's sound will be repeated.

Since the clarinet is a quarter-wavelength tube, the reflection coefficient r (t) in Figure 1O is the reflection coefficient from the left end A to the right end B, and then from the right end B, since the clarinet is a quarter-wavelength tube. Accordingly, the round trip path 2N from the right end B to the left end A
It can be seen that the reflection peak is concentrated at a time length T/2 corresponding to .

FIG. 9 shows the relationship between the pipe internal pressure q just below the lead and the flow velocity f. Note that ql corresponds to the pressure required to overcome the restoring force of the reed and close the gap between the reed and the mouthpiece.

In FIG. 11, 120 is a drive section, 121 is a conversion section,
122 is a delay section, and 123 is a key-on processing section.

The operation of the musical tone synthesis apparatus configured as described above will be explained below.

First, a note signal J indicating the pitch of the musical tone to be output, a cow-on signal a indicating the timing of sound generation, and a touch signal S indicating the intensity of the output musical tone are input to the musical tone synthesizer. Then, in response to turning on the key-on signal a, the key-on processing section 123 causes the delay section 122 to perform reset 7).
After outputting signal C, and after a predetermined period of time has elapsed, drive section 120. An on signal d is output to each section of the converting section 121 and the delay section 122, and the operation of each section is started. The driving unit 120 outputs data q, which is initial touch when the musical tone to be output is a percussive sound such as a piano, or aftertouch when the musical tone is a non-percussive sound such as a clarinet, and the on signal d output from the key-on processing unit 123. When the on signal d is off, it outputs a zero value.

The data q may be scaled to an appropriate value as the output of the drive section 120.

The conversion unit 121 is configured as shown in FIG. 12, for example. In FIG. 12, 130 is an F (q) table,
131 is a multiplier, and 132 and 133 are adders.

In the converter 121 configured as described above, the traveling wave pressure q0 output immediately before and the reflected wave pressure q output from the delay unit 122 are added by the adder 133, and the pipe pressure q immediately below the lead becomes F. (Q) Output to table 130. The F (q) table 130 outputs the flow velocity f corresponding to the input pipe pressure q according to the relationship shown in FIG. The flow velocity f output from the F(CI) table 130 is calculated by the characteristic impedance 2 of the pipe in the multiplier 131.
After being multiplied by the adder 132, the reflected wave pressure qz
is added to the traveling wave pressure q, which is then output.

The delay section 122 is configured as shown in FIG. 13, for example. In FIG. 13, 160 is a reflection coefficient generating section;
1 to 163 are unit delays, 171 to 174 are multipliers, 1
65 is an accumulator.

The delay section 122 resets the unit delays 161 to 163 to zero according to the reset signal C output from the key-on processing section 123, and on the other hand resets the unit delays 161 to 163 to zero.
0 is the first calculated based on the tube shape of the clarinet.
The reflection coefficient r (t) as shown in Figure 0 is used as the reference clock C.
It is assumed that the reflection coefficient r(i-cf) obtained by sampling every f(Sec) is calculated based on equation (1) and then supplied to each of the multipliers 171 to 174. However, i=o, 1.2. ..., 2N.

r(i-cf) = A-Exp (-B(i-cf
-T) ) = (1) In equation (1), A and B are constants determined by the assumed reflection characteristics of the tube. N is the number of unit delays shown in 161-163, and is a positive integer that is 1 less than the number of multipliers 171-174. Here, if the lowest tone output by the clarinet is, for example, 100 (Hz) and the frequency of the reference clock Cf is 20 (KHz), then the number N of unit delay devices is (2) in the case of a quarter I wavelength tube. It can be determined as in Eq.

N-(1/2) ・(1/100 (Hz) ”)
・20000 [Hz)-100...(2) In the delay section 122, the coefficient control for forming the pitch corresponding to the note signal j is performed in the reflection coefficient generation section 160, where each note signal J is equal to each tone. After calculating and generating hr(i-cf) corresponding to the high time period T, these are supplied to the multipliers 171 to 174.

When the on signal d is output from the key-on processing section 123, the delay section 122 starts calculating the reflected wave pressure q8 with respect to the traveling wave pressure q0 output from the conversion section 121.

As described above, the traveling wave pressure q0 outputted from the terminal 180 in FIG.
Reflected wave pressure q output from 81.

will be output as an input to the converter 121.

Note that in order to quickly output the digital musical tone output from the terminal 180 in FIG. 13, it may be output from the terminal 185.

Furthermore, musical tones are synthesized for other musical instruments such as violin strings and pipe organs by the same operation as for the clarinet described above.

[Problem to be solved by the invention]

However, according to the above conventional configuration, each musical tone synthesis bag! 111 to 118 can reproduce the tonal characteristics of a specific instrument such as a violin or clarinet through synthesis, but the image of the tone throughout the multiple musical tones played does not match the image of the specific instrument. It had become a thing.

In other words, even if a single note sounds like the tone of a guitar, when the same string is played in succession, it is often difficult to believe that it is a guitar.

An object of the present invention is to provide a musical tone synthesis device capable of synthesizing musical tones while reproducing not only the timbre of a single tone but also the characteristics of the sound source of a musical instrument.

[Means for Solving the Problems] A musical tone synthesis device of the present invention includes a conversion section, a filter, and a reflection coefficient supply section.

The converter outputs a traveling wave component from the drive input to the musical instrument and the reflected wave component.

The filter has a delay that allows selection of reset, reset, and non-reset according to an output instruction, and calculates and outputs a reflected wave component with respect to a traveling wave component.

The reflection coefficient supply unit supplies the reflection coefficient to the filter according to an output instruction.

[Effect]

According to the configuration of this invention, based on the sound generation mechanism of the musical instrument,
When synthesizing a musical sound while calculating and generating a traveling wave component and a reflected wave component, if the sound source of the instrument that outputs the musical sound according to the output instruction is different from the sound source of the musical sound that was output immediately before, the reflection The delay in the filter for wave calculation is reset, and the sound source of the musical instrument to be output is
When outputting the same musical tone as the sound source of the musical tone output immediately before, it is possible to avoid resetting the delay in the filter for calculating reflected waves.

〔Example〕

An embodiment of the present invention will be described below with reference to the drawings.

FIG. 1 shows a block diagram of a musical tone synthesizer according to an embodiment of the present invention.

In FIG. 1, 220 is a delay section, and 201 is a memory. Note that 120 is a drive section, 121 is a conversion section, and 123 is a key-on processing section, which have the same configuration as the conventional example.

FIG. 2 shows a block diagram of the delay section 220 and memory 201 in FIG. 1.

In FIG. 2, 200 is a reflection coefficient supply section, and 202 is a filter. In addition, 161 to 163 are unit delay devices, 1
71 to 174 are multipliers, and 165 is a summer accumulator, which have the same structure as the conventional example.

Wind instruments such as the clarinet and flute generally control the pitch by changing the length of the tube, but at the same time the shape of the tube also changes, which causes the timbre of the musical sound to differ depending on the pitch. become. For example, when all the keys of a clarinet are pressed, a musical tone with a fundamental tone that corresponds to a quarter wavelength of the entire length of the tube is output, but when there are keys that are not pressed, that is, there are openings, for example, , a fundamental musical tone with a quarter wavelength from the reed to the aperture is output, but the tone is also affected by the shape from the aperture to the bell.

In this example, an impulse is generated at the mouthpiece of a wind instrument, and the response obtained for each fingering of each pitch (=J) of the instrument is measured at the mouthpiece, and the impulse response rJ (1) is sampled in the same manner as in the conventional example, and stored as is in the memory 201 as a reflection coefficient set. It is assumed that the number of reflection coefficients in each reflection coefficient set is at least equal to the number K of reflection coefficients in the reflection coefficient set necessary for synthesizing the lowest tone of the instrument to be output. Here, the number of reflection coefficients required to synthesize the lowest note has a relationship as shown in equation (3) based on the pitch FL (Hz) of the lowest note and the reference clock Cf (See).

K≧1/(FL-Cf)...(3)
In equation (3), k is the word length of one period of the lowest tone when the sampling period is the reference clock Cf, and since the reflection coefficients are distributed around k, it is desirable that the number of reflection coefficients be about 2. .

The reflection coefficient supply unit 200 outputs a note signal J (J-1, 2
, ..., 32) is input, the storage start address ADR3O (=
Since the reflection coefficients for words are read from J- to -K (Word) and the corresponding reflection coefficients are sent to K multipliers 171 to 174, the reflected waves with different characteristics for each note signal J are generated. Pressure q8 is calculated and output.

Below, the reflection coefficient supply section 200 will be explained in FIGS. 2 to 4.
This will be explained with reference to the figures.

FIG. 3 shows a block diagram of the reflection coefficient supply section 200 in FIG. 2.

In FIG. 3, 250 to 252 are registers, 253 are switches, 254 and 266 are inverters, 255 is an AND circuit, 256 is a multiplier, 257 to 260 are adders, 2
61 to 263 are latches, and 265 is a NAND circuit.

Incidentally, FIG. 4 shows a timing chart of each part of the reflection coefficient supply section 200.

Each part of the reflection coefficient supply unit 200 is an AND circuit 2 determined from a clock CLOCLl, .
It is assumed that the operation is performed at a timing that is an integral multiple of the clock output from 55. Note that the calculation in the filter 202 is performed by multipliers 171, 172, 173 . ...,
In the order of 174, the clocks CLO, CLI, . . . , CL
(K-1) shall be implemented in accordance with (K-1).

First, when the key-on processing section 123 outputs the reset signal C, the register 250 receives the input note signal J.
From there, address data ADR5O calculated by adder 257 and multiplier 256 as described above is initialized. At the same time, register 251 and register 252 are initialized to 0 and (K-1), respectively. Additionally, latches 261 to 263 are also initialized to 0. memory 20
1 is address data A output from the register 250
Outputs the reflection coefficient DATAO corresponding to DR5O. The switch 253 stores the reflection coefficient DATAO in the register 251.
The 0th latch 261 according to the value “0” indicated by the contents of
The content “DATAO” of the latch 261 becomes a valid multiplication value in the 0th multiplier 171 of the filter 202.

It is assumed that the multiplier 171 multiplies the input qo and outputs the result to the reset accumulator 165 before the contents of the latch 261 are updated.

Next, according to clock CLI, register 250 and register 251 each increase by 1 to become ADR3I and 1, and register 252 decreases by 1 (K-
2), the memory 201 is
The reflection coefficient DATAI stored at address ADR3I of
is now sent to the latch 262, and the content "DATAI" of the latch 262 becomes a valid multiplication value in the first multiplier 172 of the filter 202. In the 0 multiplier 172, the content of the latch 262 is updated. Before, unit delay device 161
The content of is multiplied and the result is output to the accumulator 165, where it is accumulated.

By repeating the above operations, ADR3 (K
DATA (K-1) stored in -1) is filter 2
When a valid multiplication value is obtained in the (K-1)th multiplier 174 of 02, the value of the register 252 becomes O and a zero flag is output, so that the clock is not output from the AND circuit 255, so the reflection coefficient The supply unit 200 ends its reflection coefficient supply operation. Similarly here,
Before the contents of latch 263 are updated, multiplier 174
The content of the unit delay unit 163 is multiplied and the result is output to the accumulator 165.The accumulator 165 accumulates the reflected wave pressure 9 and outputs it from the terminal 190. become.

As described above, the reflection coefficient supply section 200 sequentially sends out K reflection coefficients within one reference clock Cf at a timing twice as high as the reference clock Cf.

When the input reset mode signal e is on (H4gh), the reflection coefficient supply unit 200 outputs a NAND signal.
Since the output of the circuit 265 turns on (Low) the zero reset signal g in synchronization with the ON (Low) of the reset signal C output from the key-on processing section 123, the unit delays 161 to 163 turn on the zero value. will be reset to On the other hand, the input reset mode signal e is off (Lo
w), zero reset signal g is off (H4gt+
), the unit delay units 161 to 153 continue to hold their values.

The driving section 120, the converting section 121, the key-on processing section 123, the unit delay units 161 to 163 of the delay section 220, and the multipliers 171 to 174 perform musical tone synthesis corresponding to the reference clock Cr by operations similar to conventional ones. , terminal 1
From 90 onwards, the traveling wave pressure q0 is output as a musical tone that is influenced by reflected waves that vary depending on the pitch. Further, the reflected wave pressure q outputted from the terminal 191 is outputted as an input to the conversion section 121.

By selectively using the reset mode signal e based on data specifying the sound source inputted from a known sound generation control section (not shown), the musical tone data that was output immediately and held in the delay section 220 can be output as is or It becomes possible to reset and start a new pronunciation. That is,
In the case of sound generation by the same sound source as the musical tone outputted immediately before, by starting a new generation without resetting the delay section 220, a new musical tone influenced by the musical tone outputted immediately before is synthesized. That will happen.

In this embodiment, the example of a wind instrument has been explained. For example, in the case of a clarinet, there is one sound source, and therefore an electronic musical instrument can be configured with only one musical tone synthesizer, but for string instruments Similarly, for other musical instruments such as percussion instruments, for example, in the case of a six-string guitar, it is possible to construct an electronic musical instrument using six musical tone synthesizers.

The reflection coefficient is calculated for each condition that forms the pitch of each instrument.
It can be constructed by storing in the memory 201 an impulse response rj(1) reflected at the driving point when an impulse is input to the driving point as a reflection coefficient set corresponding to the pitch.

In addition, when an electronic musical instrument is configured with a smaller number of musical tone synthesizers than actual sound sources, it is possible to use different musical tone synthesizers in the same way as before, but musical tones from the same sound source are the same musical tones. It is also possible to instruct the synthesizer to produce sound, and such control is made possible by appropriately using the reset mode signal e.

As described above, according to this embodiment, corresponding to each pitch,
Since the same number of reflection coefficient sets with different reflection characteristics are read out from the memory 201 as in the case of an actual musical instrument,
It is possible to synthesize high-quality musical tones by using filters 202 with an appropriate number of stages for each musical instrument without calculating the reflection coefficient cent.

[Effects of the Invention] The musical tone synthesis device of the present invention, when synthesizing a musical tone while generating a traveling wave component and a reflected wave component based on the sound generation mechanism of the musical instrument, the musical tone synthesis device of the present invention can generate a musical tone based on the sound generation mechanism of the musical instrument. , when outputting the same musical tone as the sound source of the musical tone output just before,
Since a new musical tone synthesis is started without resetting the delay for calculating reflected waves, it is possible to synthesize a musical tone that retains the influence of the musical tone output immediately before.

[Brief explanation of the drawing]

FIG. 1 is a block diagram of a musical tone synthesizer according to an embodiment of the present invention, FIG. 2 is a block diagram showing the structure of the delay section and memory in FIG. 1, and FIG. 3 is a block diagram of the reflection coefficient supply section in FIG. 2. A block diagram showing the configuration, FIG. 4 is an operation timing diagram of the reflection coefficient supply section in FIG. 2, FIG. 5 is a block diagram of a conventional electronic musical instrument, and FIG. 6 is a configuration diagram of the sound generation instruction section in FIG. 5. , Figure 7 is an external view of a guitar fingerboard, Figure 8 is a cross-sectional view of a clarinet, Figure 9 is a diagram of the relationship between pressure and flow velocity near the reed, Figure 10 is a reflection coefficient characteristic diagram, and Figure 11 is a conventional diagram. Block diagrams of example musical tone synthesis devices, FIGS. 12 and 13
The figure is a block diagram of each part in a conventional example. 121... Conversion unit, 200... Reflection coefficient supply unit, 2
02... Filter, 220... Delay section, C... Reset signal, e... Reset mode signal Seven-

Claims (1)

[Scope of Claims] A conversion unit that outputs a traveling wave component from a drive input to the musical instrument and a reflected wave component, and a delay that allows selection of reset or non-reset according to an output instruction, A musical tone synthesis device comprising: a filter that calculates and outputs a reflected wave component; and a reflection coefficient supply unit that supplies a reflection coefficient to the filter according to an output instruction.