JPH0485597A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To offer an electronic musical instrument which has a controller suitably generating the musical sound of a rubbed string instrument, etc., by generating a musical sound signal according to a bow pressure signal and a bow speed signal. CONSTITUTION:The electronic musical instrument is equipped with a string equivalent member which has conductivity, a rod member similar to the bow of a natural rubbed string musical instrument, and hair, and the bow member 5 provided with a strain detecting means 19 at the engagement part between the hair of the bow member 5 for performance by engaging the hair with the string equivalent member converts the output of the strain detecting means 19 into the bow pressure signal. A resistance member 27 is provided almost in parallel to the hair of the bow member 5 and when the string equivalent member is engaged with the resistance member 27, the bow position signal corresponding to the engagement position is generated and converted into the bow speed signal. Then the musical sound signal is generated according to the bow pressure signal and bow speed signal. The bow member equipped with the hair equivalent to the bow of the natural rubbed string instrument is used to enable a player who is skilled in the performance of the natural rubbed string instrument to easily operate this electronic musical instrument.

Description

[Detailed description of the invention]

[Industrial Field of Application] The present invention relates to an electronic musical instrument, and particularly to an electronic musical instrument having a performance controller suitable for generating musical sounds of a bowed string instrument. [Prior Art] Physical model sound sources have been proposed for the f source circuit and L7 of electronic musical instruments, as well as FM sound sources, waveform memory type sound sources, and the like. In the physical model 1 source, for example, when simulating a stringed instrument, a closed-loop circuit or the strings of a stringed instrument are simulated, and the characteristics of the circuit or musical sound parameters such as bow speed, bow pressure, pitch, and timbre are used. ). In a physical model sound source that electrically simulates the musical sound generation operation of such a musical instrument, musical tone parameters equivalent to those used to control musical tones in a natural musical instrument are required. Examples of such performance input devices for physical sound sources include devices that provide bow speed and bow pressure for stringed instruments, devices that provide amp sure and sweating for wind instruments, and the like. Since musical tone formation in electronic musical instruments is performed electrically, the performance input means may be of any type as long as it can form electrical signals. Therefore, even when generating musical tones on a stringed instrument, the pitch of the musical tones may be generated using the keys on the keyboard, L7.
However, it is desirable for those who are proficient in playing stringed instruments to also be able to play electronic stringed instruments. Furthermore, since electronic musical instruments can generate various musical tones, it is also desirable to be able to generate musical tones corresponding to other types of musical instruments using performance input equivalent to one type of natural musical instrument.
7. [Invention or Problem to be Solved IME In bowed string instruments, which are natural musical instruments, the pitch of the musical tone is determined by the first finger position on the fingerboard, and the musical tone is mainly determined by the bow pressure of the action of rubbing the string with the bow, the bow hesitation, and the pitch. Determined by equipment etc. In conventional electronic musical instruments, a keyboard is mainly used as a performance input means. However, when using a keyboard, it is extremely difficult to arbitrarily generate musical tone parameters for these bowed string instruments. An object of the present invention is to provide an electronic musical instrument having a controller suitable for generating musical tones such as a bowed string instrument. [Means for Solving the Problems] An electronic musical instrument according to the present invention includes a main body having an electrically conductive temporary equivalent member, a rod member similar to a bow of a naturally bowed stringed instrument, and a hair, and the hair is connected to the temporary equivalent member. a bow member for playing in unison, the bow member being provided with a strain detection means at the engagement portion between the bristles and the rod member; a means for converting the output of the strain detection means into a bow pressure signal; including a resistance member disposed substantially parallel to the bristles of the bow member, and when the temporary equivalent member and the resistance member are engaged,
Bow position detection means for generating a device signal corresponding to the engagement position; means for converting the fifth bow position first detection signal into a bow speed signal;
It has a sound source circuit that generates a musical tone signal based on a bow pressure signal and a bow speed signal. [Function] By using a bow member having hairs equivalent to those of the bow of a naturally bowed stringed instrument, those who are proficient in playing naturally bowed stringed instruments can easily operate the electronic musical instrument. By using an electrically resistive member placed substantially parallel to the bristles of the bow member, the device can easily be generated as an electrical signal. The speed signal can be obtained from this device signal. Since strain detection means is provided at the joint between the bristles of the bow member and the rod member, a bow pressure signal can be obtained from the force acting on the bristles. Based on these bow pressure signals and bow speed signals, it is possible to generate musical sounds such as those of bowed string instruments. Embodiment FIG. 1 shows the overall configuration of an electronic musical instrument according to an embodiment of the present invention. The electronic musical instrument includes a performance information input section 1, a musical tone parameter processing section 2, and a physical model sound source section 3. The performance information input unit 1 includes a fingerboard equivalent part 4, a main body having a temporary equivalent member 6 of the string rubbing part, and a bow 5 equipped with a detection member, corresponding to a natural bowed string instrument. In the example, the fingerboard equivalent part 4 and the temporary equivalent member 6
Since it is formed of a single member, a pedal 7 is provided for switching the pitch range corresponding to the switching of the strings of a naturally bowed stringed instrument.The musical tone parameter processing section 2 processes musical tone parameters. , conversion, correction, recording, reproduction, S collection, etc. 5 is formed by, for example, a microcomputer, a personal computer, etc. It processes the electrical signals generated by the performance information input section 1 and generates tone parameters. The physical model sound source section 3 has a closed loop circuit including a nonlinear circuit 8 for simulating the operation of the string rubbing section and delay circuits 9a and 9b for simulating the vibration of a string of controlled length. The musical sound signal of a bowed string instrument is generated by changing the speed, voltage, pitch, etc. By converting the musical sound parameters, it is also possible to generate the musical sound of a wind instrument, etc. with the same configuration. In the case of a wind instrument, , ampsure is used instead of rotational speed, voltage is used instead of bow, etc. Below, each part of the electronic musical instrument shown in Figure 1 will be explained in more detail. Figures 2 (A) and (B) are FIG. 2 (A) shows the structure of the fingerboard-equivalent part of the performance information manual section.The fingerboard-equivalent part 4 is, for example, a neck of the musical instrument body whose external shape is equivalent to that of a bowed string instrument of a natural musical instrument. As shown on the right side of the figure, there is a ribbon controller 11 extending in the length direction of the fingerboard, and a ribbon controller 11 that is arranged parallel to the ribbon controller and can be contacted at any position. The ribbon controller 11 is provided with a contact conductor 12. The ribbon controller 11 has a length of about 50 cm and a resistance band of about 5Ω. #The touch conductor 12 is grounded via a protective resistor 13 of approximately IKΩ.The terminal between the pieces of the ribbon controller 11 is connected to a terminal of, for example, 5V. It is connected to a power source, and the terminal on the bobbin winding side is open. With such a configuration, the contact conductor 12 is, for example,
If the ribbon controller 11 is touched at two places, just like a natural musical instrument, the one closer to the inner piece of the two contact points will be effective. The power supply voltage is divided by the resistance between the contact point of the ribbon controller 11 and the bridge and the protection resistor 13, and the divided voltage is supplied to the output terminal 14. FIG. 2(B) shows the relationship between the voltage of the electric signal obtained from the portion corresponding to the fingerboard as shown in FIG. 2(A) and the finger pressing position 1. The horizontal axis represents the pressing finger position 7, and the distance from the bobbin winding side is X. The ribbon axis represents the output voltage Eout. It is assumed that a power supply voltage of +5■ is connected to the piece-side terminal of the ribbon controller 11. In this manner, by pressing the fingerboard equivalent portion 4 with a finger, an electric signal is generated according to the position of the finger. Due to the arrangement of the ribbon controller 11, the presence of the protective resistor 13, etc., the bow pressure signal obtained is not linearly proportional to the finger pressing position, and as shown in the figure, the increase increases as the value of X increases. . By processing this electrical signal, the pitch of the generated musical tone can be controlled. 3(A) and 3(B) show the voltage detection section of the bow 5 of the performance information input section 1. FIG. 3 (A> shows the configuration of the bow hair attachment section. The end portion 17 of the four hairs 16, on which the hairs 16 are stretched like a bow of a natural musical instrument, is connected to the hand-side mounting portion 20 of the bow 5 via a metal plate 18. On the surface, a pair of strain gauges 19a, 1
9b is attached. When the bristles 16 of the bow 5 are pressed against the string-corresponding part, the bristles 16 are displaced toward the wood of the bow according to the force.8At this time, force acts on the metal plate 18 connected to the bristles 16. . This force deforms the metal plate 18, causing the strain gauges 19a, 1.
9b generates an electrical signal. An example of a strain detection circuit using a strain gauge is shown in FIG. 3(B). The detection circuit constitutes a resistor bridge 79 circuit, and one of the resistors 19a and 191) of the strain gauge forms a voltage dividing circuit. Reference resistors 21a, 21b form the other voltage divider circuit. ! A constant voltage E is applied to the pressure supply terminals 22a and 22b.
, the operational amplifier OP1 detects a difference signal between the voltages generated at the two voltage dividing terminals 23a and 23b. When no force acts on the strain gauges 19a, 19b -C, the two voltage dividing terminals 23a, 23b produce exactly the same voltage, and the output voltage is 0°.The bow 5 presses against the string corresponding part. strain gauges 19a, 1
When 9b is deformed, a signal 5 corresponding to the bending is detected. Note that the bridge circuit shown in Figure 3 (B) does not generate an output voltage when the strain gauges 19a and 19b hs show exactly the same change.With this circuit configuration, the elongation of the strain gauges can be ignored. However, only bending is detected. As the metal plate 18, a metal plate having a thickness of, for example, about 1°5 is used, and the output voltage of the rotation voltage detection circuit 25 is designed to generate a voltage 18 in the range of, for example, -5V to +5V. In this way, the bow madness signal is obtained. 4(A), (A2), (B1), and (B2) show the number device detection section of the bow 5 of the performance information input section 1. Figure 4 (
A1) shows the side of the hand part of the bow. As explained with reference to FIG. 3(A), when the bow 5 is attached to the hand side, the bow 5 is attached to the part 20 through the metal plate 18 to which the strain gauge 19 is attached. There is. A resistance wire 27 or a metal plate 28 is attached to the end 17 of this hair 16, and a rubber member 2
9.1! The attachment is removed via a tool 25a. As shown in FIG. 4 (A2), the other end of the resistance wire 27 is attached to the tip of the bow 5 via a fitting 25b. That is, the resistance wire 27 is attached to the metal plate 28, and the attachment is done using the tool 25.
The metal plate 28 is held with a rubber member 29 interposed therebetween. FIGS. 4(Bl) and (B2) are bottom views of the bow 5 viewed from the bottom side. The resistance wire 27 is stretched above the bristles 16 in the figure in parallel with the bristles 2. When a constant voltage is applied between both ends of the resistance wire 27, when a stringed instrument is actually played, the upper wood of the bow is closer to the stem. Use with the lower main part lying slightly towards the part. For this reason, as shown in the figure, the resistance wire 27 is connected to the main part 16 of the bow and the small part 1. ．． M and place it to make bow hair 1
The arrangement of the resistance wire 27 shown in Figure 8, in which the resistance wire 27 touches the strings before 6, is for bows such as bows and basses, where the instrument body is placed on the floor, and for violins and violas, where the instrument body is lifted. The distance M between the resistance wire and the hair of the bow, which is preferably stretched on the opposite side, is approximately several millimeters. The rubber portion 29 is used on one side of the resistance wire 27 to prevent the resistance wire 27 from stretching and becoming loose during performance. FIG. 5 shows the detection mechanism of the device when a bow as shown in FIG. 4 is used to perform a performance operation by sliding the temporary corresponding portion of the main body. 6 is made of a conductor such as a metal rod, and its electrical resistance can be ignored. A resistance wire 27 is stretched across the bow 5 in parallel with the hair 16, and a constant voltage is applied between both ends of the resistance wire 27. When the bow 5 is operated and brought into contact with the temporary equivalent member 6, the resistance wire 27 comes into contact with the temporary equivalent member 6, and a partial pressure is generated at that position! The temporary equivalent member 6 extracts sweat as a signal, and this t-pressure signal is extracted via the operational amplifier OP2. Electric I+ signal is resistance wire 27
It changes according to the digit 1 and lights up depending on the output voltage,
You can know the device that represents the tip of the bow, etc. Note that the fourth string equivalent member 6 is connected to a negative voltage source -2 whose voltage is not divided by resistors 1) 1 and R2. Therefore, when the bow 5 is not in contact with the temporary equivalent member 6, a negative voltage is generated as an output mill. The resistance wire 27 has a diameter of about 0.1211i, for example.
It can be formed from a resistance wire with a length of about 50 CIm and a resistance value of about 50Ω. As an output voltage, a voltage of, for example, about 0 to 5 cm is generated. For example, in a violin, which is a natural musical instrument, there are four strings, and in an electronic musical instrument, the temporary equivalent member 6 is a single member. For this reason, when changing the pitch of a musical tone generated by switching strings, the user depresses the betarua and selects the string using the depressing lid. For example, a signal with 128 levels from O to 127 is generated depending on the amount of depression5, and this area is divided corresponding to four strings to generate pitches corresponding to the 211 strings. A mechanism that gives a click feeling at the switching position of the four strings may be provided, and four switches may be used. In this way, musical tone parameters such as pitch, number, rotation pressure, etc. are generated, and the manner in which these musical tone parameters are changed by playing operations is different from the way similar parameters change in natural musical instruments. For example, the relationship between the pressed finger position and the output voltage in the portion corresponding to the fingerboard is non-linear, as shown in FIG. 2(B). In order to generate an accurate pitch signal using such non-linear characteristics, first convert the detected output voltage HEout into a cover that changes linearly by 1 for each finger press position 2x, and then Calculate the string length from to finger pressing position yt [2. Generate a 2 key code corresponding to this string length to form a pitch signal.8. These processes can also be performed by calculations using mathematical formulas. This may be done using a table, or it may be possible to express vibrato or voltament based on another control signal for pitch processing. It is also necessary to correct the signal obtained from the oscillator detection section shown in FIG. 3, which may use conversion using other methods. FIG. 6 shows the characteristics of the voltage detection section. As shown in the figure, the strain gauge 19 is provided on the hand side of the bow 5. Therefore, the amount of deformation that occurs in the strain gauge 19 changes depending on which part of the resistance wire 27 comes into contact with the temporary equivalent portion. The graph in Figure 6 shows the resistance line 2 for a constant force of 50 (M!-).
7 shows the change in the value of the bow pressure signal depending on the bow position W. 2, #
1*11] shows the voltage field force, when the eye position is near the hand (round eye), the output signal is large, and as the eye becomes dead, the output signal decreases. Correcting the bow pressure signal having such characteristics using a linear curve 1. , ・For a constant bow angle, a nearly constant voltage output fa is generated regardless of the eye position. In one example, the correlation coefficient was 0°992 after correction using the linear regression 1ll-line.
Met. Cry 1 is caused by the mechanical contact between the resistance wire and the conductor, which can sometimes produce lick contact noise, especially at the moment when the bow and the temporary equivalent member come in contact with each other, or when they come into contact and separate. In order to reduce such noise, a filter or the like can be used. FIG. 7 shows a filter circuit for correcting the crying y1' signal. Raw eye position data a1 is supplied to a three-point median filter F1. The three-point median filter 1 is a filter that adopts the median value of the measured values at three consecutive points. For example, out of three consecutive human forces, the first one) is the largest, and the next value is also smaller.

[5 If the last one is in between, it outputs the output signal and 1, if it is static, it outputs the value of the later signal. In this way, °ζ3-point Menn filtered] is calculated by taking the central value of three consecutive measurements t, and calculating the output Tr at that time.
Output as l1. , 2-3 point median filter F
The output of 1 is supplied to the 3-point averaging circuit F2. Three-point average [111F2 takes three consecutive inputs and outputs the average value. In this way, the correction @A1 is formed, and by using the 43-point eye S, Ru. Furthermore, by using an average value filter, the effects of rapid changes are softened. Physical model sound sources often use differential values as parameters. For example, when considering the interaction between a bow and a temporary equivalent part, the eye position is also a musical sound parameter, but rotation speed is an even more important musical sound parameter. It is. Therefore, it is desirable to convert the eye position to a bow. Velocity can be obtained by differentiating the position with respect to time. In such a case, if you normally take the difference and perform a differential calculation, the speed accuracy tends to be extremely poor, and it is often impossible to obtain satisfactory musical tone parameters. FIG. 8 shows a circuit for converting from Cry 1 to Bow Ren.
First, the eye position correction data At is supplied to the difference circuit DF. The difference circuit DF takes the difference between continuous human input signals,
Generate difference column ■1. The difference sequence obtained in this way is supplied to the 3-point averaging circuit F3, and the average value V"1 of consecutive 3 points is taken. This average value is further used as the first-order IIR.
The output signal is supplied to the o-bus filter F4, and the previously output value and the currently obtained value are mixed at a constant ratio to form an output signal. Obtain rotational speed data v1. For example, 0.3 is used as the rover and filter coefficients. By using such a circuit, it is possible to provide usable arching distance data based on eye position data that includes noise. As described above, the converted and corrected performance information can be directly sent as parameters to the physical model sound source of the bowed string instrument. Also, in the case of physical model sound sources other than bowed string instruments,
The physical model sound source can be driven by converting it into parameters suitable for that sound source. Furthermore, performance information can be recorded and played back if necessary. Furthermore, it is also possible to compress the information I by recording parameters, compared to the case where the sound itself is recorded. Moreover, by editing the previously recorded performance information, it is also possible to correct mistakes that are unavoidable in live performances. It is also possible to synthesize performances that are impossible in reality. FIG. 9 is a circuit showing the main part of the physical model QB. This sound source circuit includes a speed signal and a pitch signal, which are musical tone parameters formed as described in F6. Signals, voltage compensation, etc. are supplied. The speed signal is input to the addition O1!7 path 52. In the case of a wind instrument, this corresponds to the ampsure or speed signal representing the five-breath pressure or the stance of the tsuka. This speed signal is a starting signal and is supplied to the nonlinear circuit 55 via the addition circuit 53 and the division circuit 54. The nonlinear circuit 55 is a circuit with nonlinear characteristics representing the nonlinear characteristics of a violin string. The nonlinear characteristic of nonlinear quantity &1155 includes two parts: a nearly linear region from the origin to a certain range and a region outside of that where the characteristics change.When the strings of a bowed string instrument such as a violin are scratched with a bow, While the bow speed is slow, the displacement of the string is approximately equal to the displacement of the bow, and the motion of the string can be expressed by the coefficient of static friction. In this case, it exhibits roughly linear characteristics. When the relative velocity of the bow to the string exceeds a certain value, the velocity of the bow and the displacement velocity of the string are no longer the same. 1, that is, the dynamic friction coefficient supports motion instead of the static friction coefficient. This switching from the static friction coefficient to the dynamic friction coefficient produces nonlinear characteristics. In FIG. 9, the output of a nonlinear circuit 55 having such nonlinear characteristics is supplied to two adder circuits 44 and 45 via a 5-multiplier circuit 56. The input-side division circuit 154 and the output multiplication circuit 56 of the non-linear circuit 55 receive the bow pressure signal C-+ and change the characteristics of the non-linear path 55. In addition, the voltage is seasonal. For wind instruments, it corresponds to Ampsure or point pressure. The input-side division circuit 54 divides the input signal by X' to change it to a smaller value. If there is a division circuit 54,
Even if a large input is received, the output will be as if it were a small input. The multiplier circuit 56 on the output side has four nonlinear circuits 55
The division [ii'l path 5
The characteristic 63a formed by the 4-way valve 4-type circuit 55 is increased to create a characteristic on the output side. Furthermore, in response to the same Yumishō signal,
Dividing the input first and multiplying the output later represents dividing by a coefficient CO in the divider circuit 54 and multiplying by the same coefficient CO in the multiplier circuit 56. In this case, the overall characteristic is that of a nonlinear circuit. It has a shape in which the characteristics when using only 55 are multiplied by CO on the horizontal and vertical axes. Note that the four nonlinear characteristics may be modified by receiving the scale 1 signal, which may be made to create a different shape by changing the coefficients of the multiplier circuit to be different from the coefficients of the divider circuit. Adding X circuits 44, 45, which may be further varied depending on the direction of bow movement, are provided within the semicircular signal paths 31a, 31b. A circulation signal path 31, which is a combination of two semi-circulation signal paths, constitutes a closed loop that circulates musical tone signals corresponding to the strings of a bowed stringed instrument. In the first string, the vibration is reflected at both ends and moves back and forth. In wind instruments, the vibration reciprocates within the resonator. This is approximated by a closed loop in which the signal circulates. This circular signal path includes two M extension circuits 32, 33, two LPF (low pass filters) 34, 35, two attenuation circuits 38, 39, two multiplication circuits 42, 43, delay [+! ] Paths '32 and 33 represent the pitch, receive the product of the pitch signal and the coefficient α to 2(1-α), and provide a predetermined delay time. Circulating signal path 31. The basic pitch of a musical tone is determined by the signal circulation (a, 31L) and the total delay time until it returns to its original position. That is, mainly two delay circuits 32.
The sum of the 33 delay times, toza×1α+(1−α)]−pitch, determines the basic bit. -The force delay circuit measures the distance from the point of contact between the bow and the string to the bridge, and the other delay circuit measures the distance from the point of contact between the bow and the string to If! , corresponds to the distance to the pressed finger position. It should be noted that the pitch is almost determined by the delay circuit 2.33 or by other elements included in the circulating signal paths 1 and 2, such as 1. I'F 34.35, damping control 3
8.39 etc. (, a delay occurs. Strictly speaking, it is the sum of all the delay times included in these loops that determines the pitch of the generated musical tone. LPF34.35 is a circulating waveform. 1. Generate a timbre signal by changing the frequency characteristics of the signal to simulate the vibration characteristics of various strings (by selecting a timbre switch on the instrument body, etc.); ,,,,,, PP
34 and 35 and switch its characteristics to simulate the desired sound of a bowed string instrument. As vibrations propagate through the string, the vibrations are gradually attenuated.The four damping controls 38 and 39 simulate the amount by which the vibrations propagating through the string are attenuated. Multipliers 42 and 43 correspond to the reflection of vibrations at the fixed end of the string,
The reflection coefficient is multiplied by -1. That is, assuming reflection at the fixed end without attenuation, the amplitude of the string is changed to an opposite phase. The attenuation of the amplitude in the 6 reflections whose coefficient -1 indicates this anti-phase reflection is incorporated into the amount of attenuation of the attenuation controls 38 and 39. In this way, the circulating signal paths 31d, 3 corresponding to the strings
],, The movement of the strings of a bowed string instrument is simulated by the circulation of vibrations over the strings. In addition, the motion of the strings of a bowed string instrument has a steresis characteristic. In order to simulate this, the output of the multiplier circuit 56 is passed through the LPF 58 and the multiplier circuit 59 to 1tl&i
It is fed back to the input side of the FR155. i,..., P F 58 is for preventing feedback loose oscillation. Now, let the input from the adder circuit 52 to the adder circuit 53 be u and 1
, the input from the feedback path to the adder circuit 53 is V, and the amplification factor of the division circuit #I54, the nonlinear circuit 55, and the multiplier circuit 56 is A, then the output W of the multiplier circuit 56 is (u + v) A =: Represented by w. LPF58
and the gain of the negative feedback circuit including the multiplication circuit 59 is B (negative value), then the feedback amount V is expressed as v = w B. If we rearrange the two equations for this, we get 5, (u + - w
B) A = w2. ”, w = u A /< 1
．． - A B ). In the case of no feedback, that is, B==O, -w=uA, and the input U is simply multiplied by the coefficient A and output. When applying negative feedback with a gain of B, in order to obtain the same output, it is necessary to apply (1-A B ) times as much input (B is negative) as in the case of B=0. −If the monthly input exceeds the open chain and then decreases again,
Since the output W is small, the amount fed back v=Bw
In other words, even if the magnitude of the signal input to the nonlinear circuit 55 is the same, the amount of negative feedback is smaller in the dynamic friction coefficient region than in the static friction coefficient region, so the amount of negative feedback is smaller from the adding circuit 52 to the adding circuit The input U to 53 will be a small value. Addition time #t5 when the input of the nonlinear circuit 55 reaches the threshold value
Considering the magnitude of the input υ from 2, when the input increases, the coefficient of static friction dominates 1, and in response to a large output, strong negative feedback is received, so this switching occurs at a larger input, but when the input decreases, the coefficient of kinetic friction dominates. Since the coefficient dominates and corresponds to a small output, and the negative feedback lid is small, switching occurs at smaller input values. The magnitude of bisteresis is the power X[
It is controlled by the gain of D#s9. In this way, according to the musical tone signal forming circuit shown in FIG. 9, the movement of the strings of a bowed stringed instrument can be simulated, and the basic waveform of a musical tone can be created. As shown in FIG. 9, the output signal is taken from any point on the circulating signal path 31 and supplied to the sound system through a formant filter 6 which simulates all the characteristics of the body of a stringed instrument. The formant filter 61 can also change its characteristics upon receiving the tone signal. In this way, a desired musical tone f/s can be generated. The present invention has been explained above in accordance with the embodiments, and the present invention is not a by-product of these embodiments, for example, the case where a single member is used as a fingerboard-equivalent member and a string-equivalent member has been explained.
It is possible to use four or more fingerboard-equivalent parts and string-equivalent parts to suit natural musical instruments, it is also possible to detect finger pressing positions by means other than resistance, and various other changes, improvements, and combinations are possible. This will be obvious to those skilled in the art. 3. Effects of the Invention] As described above and as described above, according to the present invention, a performance operation can be performed using a bow member equivalent to a bow of a natural musical instrument, and therefore a performance similar to that of a natural musical instrument can be performed. Those who have mastered the playing techniques of bowed string instruments can immediately start playing with this electronic musical instrument.

[Brief explanation of the drawing]

FIG. 1 is a schematic diagram showing the overall configuration of an electronic musical instrument according to an embodiment of the present invention. FIGS. Figure (A> is a schematic diagram showing the configuration, Figure 2 (
B) is a graph showing the characteristics, Figures 3 (A,
) is a side view showing the configuration of the hair attachment part. Figure 3 (I() is a circuit diagram of the detection circuit 4. Figure 4 (A1), (A2) (8,1) (B2) is
The bow position detection section of the bow in the performance information input section is set to small (7 Fig. 4 (A)
1) is a side view showing the side surface of the hand portion, FIG. 4 (A2) is a side view 9 showing the side surface of the tip portion, FIG. 4 (B1) is a bottom view showing the bottom surface of the hand portion, and FIG. 4 (B2) is a side view showing the side surface of the hand portion. ) is a bottom view showing the bottom of the tip, Figure 5 is a schematic diagram of the bow position detection mechanism, and Figure 6 is
FIG. 7 is a circuit diagram showing the bow position correction mechanism. Fig. 8 is a circuit diagram showing the conversion from 2 bow position 1 to rotation speed, and Fig. 9 is a circuit diagram showing the main part of the physical model sound source. Performance information input section Musical sound parameter processing section Physical model sound source section Fingerboard equivalent section Temporary bow equivalent member Pedal tip metal plate Strain gauge Resistance wire Rubber member

Claims (3)

[Claims] (1) A bow member comprising a main body having a conductive string-equivalent member, a rod member and bristles similar to the bow of a naturally bowed stringed instrument, and for playing by engaging the bristles with the string-equivalent member; , a bow member having a strain detecting means provided at the engagement portion between the bristles and the rod member; a means for converting the output of the strain detecting means into a bow pressure signal; and a bow member disposed substantially parallel to the bristles of the bow member. a bow position detection means, the bow position detecting means including a resistance member having a resistance member, and generating a bow position signal corresponding to the engagement position when the string equivalent member and the resistance member are engaged; and converting the bow position detection signal into a bow speed signal. and a sound source circuit that generates a musical tone signal based on the bow pressure signal and the bow speed signal. (2) The sound source circuit further includes pitch specifying means for specifying the pitch of a musical tone to be generated and generating a pitch signal, and the sound source circuit inputs the bow pressure signal, the bow speed signal, and the pitch signal. based on,
The electronic musical instrument according to claim 1, wherein the electronic musical instrument generates a musical tone signal. (3) The electronic musical instrument according to claim 2, further comprising means for generating a switching signal for switching the pitch range, and wherein the pitch specifying means changes the pitch signal based on the switching signal.