JPH06214563A - Musical sound signal generating device - Google Patents

Abstract

PURPOSE:To reproduce the sound of a natural musical instrument by simulating its resonance process by the musical sound signal generating device which is used in various electronic musical instruments. CONSTITUTION:This device is equipped with the reverberation adding unit consisting of variable reverberation adding units 68-1 and 68-2 which consist of 12 delay loops, phase shifters 172-1 and 172-2 which shift the phases of the outputs of the variable reverberation adding units 68-1 and 68-2, and radiation characteristic adding units 69-1 and 69-2 which limit the band, and the source signal of an electronic musical instrument is inputted to the variable reverberation adding units 68-1 and 68-2, whose outputs are inputted to a variable sound image localization expander 171; and the output of the sound image localization expander 171 and the signal generated by shifting the phase of the source signal by the variable phase shifters 172-1 and 172-2 are added. Control values of the variable reverberation adding units 68-1 and 68-2 are generated from pedal information and pronounciation information. The respective variation parts are controlled to obtain a feeling of the waving of reverberation, a feeling of reverberation corresponding to a range, and an extent feeling.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a musical tone signal generator for generating a musical tone signal imitating a musical tone of a natural musical instrument having a plurality of sounding vibrating bodies such as piano strings and a resonance device such as a soundboard. It is a thing.

[0002]

2. Description of the Related Art In recent years, a musical tone signal generator analyzes a vibration waveform of each sounding vibrating body of a natural musical instrument, and based on the analysis result, a musical tone signal waveform imitating the vibration waveform by a method such as a calculation method and a filtering method. Are synthesized and output as a tone signal. Another device is to pick up the vibration of each of the sounding vibrating bodies, store the waveform data representing the picked up vibration waveform, respectively, and specify and read out the corresponding waveform by a pitch specifying means such as a keyboard. I am trying to output.

In any of the above devices,
The generated tone signal corresponds only to the vibration of each sounding vibrating body. In the same tone sound vibration, the vibration of one sounding vibrating body vibrates another sounding vibrating body and Since the effect that the resonance device resonates is not added, there is a drawback in that the above-described musical tone of the natural musical instrument cannot be better imitated. A conventional tone signal generator for solving these problems is disclosed in, for example, Japanese Patent Laid-Open No. 63-267999.

A conventional tone signal generator is shown in FIG. 17 and will be described below. FIG. 17 is a block diagram showing an electronic musical instrument to which a conventional tone signal generator is applied. This electronic musical instrument has a key switch circuit 11. The key switch circuit 11 is composed of a plurality of key switches corresponding to each key of a keyboard (not shown), and each key switch opens and closes in response to pressing and releasing of each key. A key depression detection circuit 12 is connected to the key switch circuit 11, and the key detection circuit 12 is connected to the key detection circuit 12.
Detects the pressing and releasing of each key by detecting the opening and closing of each key switch, and outputs the key information related to the pressing and releasing of the key. The output of the key press detection circuit 12 is connected to the key press assignment circuit 13. The key-depression assigning circuit 13 has a number of key information storage channels equal to the number n of tone forming channels described later (for example, n is a natural number of about 2 to 20). The key code KC representing the selected key and the KON representing the key release state of the key are assigned and stored in any of the key information storage channels, and the assigned and stored key code KC and key-in signal KON are stored in the key information. Time-division output is performed at the channel timing corresponding to the channel.

The output of the key press assigning circuit 13 is connected to the tone signal generating circuit 20. The tone signal generator 20 includes a distribution circuit 21 and n tone forming channels 22-1, 22.
2, ..., 22-n, and the distribution circuit 21 outputs the key code KC and the key-on signal KO, which are time-divisionally output from the key depression allocation circuit 13 in synchronization with the channel timing.
N is converted into a static signal at each channel timing, and tone forming channels 22-1, 22-2, ...
-, 22-n respectively. Music formation channel 22
-1, 22-2, ..., 2-n are calculation methods (for example, F
A digital tone signal TS representing a tone waveform of a piano or the like is synthesized by a method such as M calculation) or a waveform memory method, and is synthesized and output according to a key-on signal KON from the distribution circuit 21.

In this case, as shown in FIG. 19, the synthesized digital sound signal TS has already been given an amplitude envelope, and at least the rising portion of the musical sound has a key sound corresponding to the key code KC. It contains non-harmonic components that have a non-integer multiple relationship with high frequencies.

Music tone forming channels 22-1, 22-2
The outputs of 22-n are connected to the adders 31, and the adders 31 are connected to the respective channels 22-1, 22-2,
The digital signals TS from 22-n are added and output. The output of the adder 31 is connected to the D / A converter 32, and the D / A converter 32 converts the input digital musical tone signal into an analog musical tone signal and outputs it. D /
The output of the A converter 32 is connected to the sound system 33. The sound system 33 is composed of an amplifier, a speaker and the like, and generates a musical tone corresponding to the analog musical tone signal from the D / A converter 32.

Further, the tone forming channels 22-1, 22
Outputs of -2, ..., 22-n are multipliers 41-
, 41-2, ..., 41-n are connected to one input. These multipliers 41-1, 41-2, ...
, 41-n are connected to the respective other inputs of envelope waveform signal generators 42-1, 42-2, ..., 42-n. Each envelope waveform signal generator 42-
, 42-n output a digital envelope signal EG (see FIG. 19) for extracting only the rising edge of the digital musical tone signal in response to the key-on signal KON supplied from the distributor 21. To do. The outputs of the multipliers 41-1, 41-2, ..., 41-n are connected to an adder 43, and the adder 43 outputs the multiplier 41-
, 41-n, the digital tone signal TS and the digital envelope signal EG are respectively multiplied, and the multiplication results are summed and output.

The output of the adder 43 is a reverberation adding circuit 50.
It is connected to the. As shown in FIG. 18, the reverberation adding circuit 50 includes twelve delay circuits 51-1, 51-2, ... Corresponding to respective note names C, C #, D, ..., B of 12 scales.
., 51-12. Delay circuits 51-1 and 51-
2, ..., 51-12 are, for example, note names C, C #, D,
..., each of which is composed of a shift register which has a number of stages which is inversely proportional to the pitch frequency corresponding to B and which shifts the stored data at a constant rate, and the input data is in the lowest key range of the keyboard. Each note name C, C #, D, ...
.... Adders 52-1, 52-2, ... To the respective inputs of the delay circuits 51-1, 51-2, ..., 51-12 which delay and output a pitch frequency corresponding to B. .., 52-12 are connected, and adders 52-1, 52-2, ...
52-12 is a digital tone signal from the adder 43 (see FIG. 17) and the delay circuits 51-1, 51-2, ...
Multipliers 53-1, 53-2, ...
53-12 and the digital musical tone signals are added to each other, and each delay circuit 51-1, 51-2, ..., 51-1 is added.
2 inputs each. Multipliers 53-1 and 53-2,
..., 53-12 are delay circuits 51-1, 51-2, ...
.., 52 by multiplying the digital tone signals from 51-12 by a predetermined coefficient
-12 is supplied to each delay circuit 51-
, 51-2 corresponding to feedback gains. Then, the delay circuits 51-1 and 51-
2, ..., 51-12, adders 52-1, 52-2,
..., 52-12 and multipliers 53-1, 53-2,
..., 53-12 by each combination, each note name C, C
12 circulating memory circuits corresponding to #, D, ..., B are configured, and these circulating memory circuits are delay circuits 51-
If the pitch frequency corresponding to each reciprocal of each delay time of 1, 51-2, ..., 51-12, that is, each pitch name C, C #, D, ..., B is f0, it is shown in FIG. Thus, the frequencies f0, 2f0, 3f that have an integral multiple relationship with the same pitch frequency f0
0, 4f0, ... Comb filter characteristics having resonance peaks at positions.

Delay circuits 51-1, 51-2, ..., 5
Each output of 1-12 is connected to the adder 54, and the adder 54
Outputs the sum of the input digital tone signals. The output of the adder 54 is connected to the tone filter 56 via the all-pass filter 55.

The tone filter 56 is composed of, for example, a low-pass filter, and the all-pass filter 5 is used.
The frequency characteristic of the digital musical tone signal inputted via 5 is slightly modified and outputted. The output of the tone filter 56 is connected to one input of the adder 31 (see FIG. 17).

The operation of the conventional tone signal generator having the above structure will be described below. When any key is pressed on the keyboard and the key switch in the key switch circuit 11 corresponding to the pressed key is closed, the key press detecting circuit 12 closes the switch, thereby depressing the key. Is detected and the key information relating to the key depression is supplied to the key depression allocation circuit 13. The key-push allocation circuit 13 outputs the key code KC and the key-on signal KON representing the key pressed based on the key information to the tone signal generation circuit 20 in a time-division manner.

In the tone signal generation circuit 20, the distribution circuit 21 uses the key code KC and the key-on signal KON.
Tone forming channels 22-1, 22-2, ..., 2
2-n of the tone generation channels 22-i (i is an integer from 1 to n) corresponding to the assigned channel, and the tone generation channels 22-i are supplied with the supplied key codes KC and KON ( 19), a digital tone signal TS (see FIG. 19) having a key pitch represented by the key code KC is formed and output. The digital tone signal TS is supplied to the adder 31 and the adder 3
1 outputs the digital musical tone signal TS to the D / A converter 32 together with the digital musical tone signals supplied from the other musical tone forming channels 22-1, 22-2, ..., 22-n. The D / A converter 32 converts the supplied digital musical tone signal into an analog musical tone signal and supplies it to the sound system 33, from which a musical tone corresponding to the analog musical tone signal is generated.

On the other hand, the key-on signal KON output from the distribution circuit 21 is also supplied to the envelope waveform generator 42-i corresponding to the assigned channel. The envelope waveform generator 42-i outputs a digital envelope signal EG as shown in FIG. 19 to the multiplier 41-i, which in turn converts the digital tone signal TS from the tone forming channel 22-i. The digital envelope signal EG is multiplied and output to the adder 43. As a result, the digital signal TS of the rising portion of the digital musical tone signal TS is supplied to the adder 43, and the adder 43
Is the same digital tone signal TS as other multipliers 41-1, 4
, 41-n are supplied to the reverberation applying circuit 50 together with the digital musical tone signals supplied from 1-2 ,.

The digital tone signals thus supplied to the reverberation applying circuit 50 are delayed by the delay circuits 51-1 and 51-.
2, ..., 51-n, adders 52-1, 52-2, ...
.., 52-n and multipliers 51-3, 53-2, ..
, 53-n are supplied to twelve circulating memory circuits, which circulate and store the digital tone signals. In this case, the circulation memory circuit has frequency characteristics (see FIG. 20) having a plurality of resonance peaks at frequency positions having an integer multiple relationship with the pitch frequencies of the pitch names C, C #, D, ..., B. Since the digital tone signal TS that is provided and input contains anharmonic components that are not in an integral multiple relationship with the pitch frequency of the depressed key, each circulating memory circuit of the supplied digital tone signal is included. The frequency components that do not correspond to the resonance peaks of the above are rapidly attenuated, but the frequency components that correspond to the resonance peaks, that is, the frequency components that have an integral multiple relationship with the pitch frequency of not only the depressed keys but also the depressed keys are reverberation signals. Remains as. This reverberation signal is also supplied to the adder 31 via the adder 54, the all-pass filter 55, and the tone filter 56, and the tone forming channels 22-1, 22 are formed.
.., 22-n are directly output together with the digital tone signal TS, the tone system 33 outputs the tone with the reverberation signal.

As can be understood from the above operation, according to the above-mentioned conventional example, the reverberation applying circuit 50 includes the tone signal generating circuit 20.
By using the anharmonic component contained in the rising portion of the digital tone signal TS output from, the frequency component having an integer multiple relationship with the key pitch frequency other than the key pressed by the keyboard is continuously generated. In a natural musical instrument having a plurality of vibrating vibrating bodies such as piano strings and a resonance device such as a soundboard, for example, vibration of one vibrating vibrating body slightly vibrates another vibrating vibrating body and On the other hand, since it means that the resonance device resonates better, it is possible to obtain a musical sound that better imitates the musical sound of a natural musical instrument such as the piano.

[0017]

However, in the above-mentioned conventional configuration, the anharmonic component and the harmonic component are mixed and simultaneously generated at the rising portion of the digital tone signal TS generated by the tone signal forming channel 22-n. There is. In order to extract a signal containing many anharmonic components from the digital musical tone signal TS, the digital musical tone signal TS and the digital envelope signal EG are respectively multiplied by the multiplier 41-n. As a result, the rising portion of the digital musical sound signal TS can be extracted, but the calculation load is large.

Further, in a natural musical instrument (a piano in this case), two to three plural strings are used to form a musical tone having a specific note name. These strings are in principle tuned to have the same resonance frequency. However, it is a well-known fact that in order to make the tone of a piano more beautiful, it is better to tune these strings by a few cents rather than strictly tuning them to the same frequency. . Due to this aggressive detune, in the piano, there are many resonance peaks with slightly different frequencies near the pitch frequency of each note name. Also, in the vicinity of the frequency position where there is an integer multiple relationship of the pitch frequency of each pitch name, similarly,
There are many resonance peaks with slightly different frequencies.

However, the twelve circulating memory circuits that make up the conventional reverberation applying circuit 50 have respective note names C, C #, D, and
.., B has a plurality of resonance peaks only at frequency positions having an integral multiple relationship with the pitch frequency of B, and therefore cannot sufficiently mimic the tone color formation process peculiar to the piano caused by the above-mentioned detune.

Furthermore, natural musical instruments (piano in this case) are arranged to be able to produce musical tones in the range of about 7 octaves. This is equivalent to the existence of a plurality of resonators composed of strings and soundboards having different octave relationships for the same note name.

Moreover, the tuning of the piano is not perfectly evenly tuned from the lowest pitch range to the highest pitch range according to the pitch frequency obtained by a mathematical method such as so-called equal temperament. That is, it is a well-known fact that human auditory psychology is satisfied by tuning to a low pitch in the low range and a high pitch in the high range based on a so-called tuning curve.
Therefore, if the same note name has a different octave relationship,
The resonance frequencies of the resonators that form these musical tones are not exactly in an integral multiple relationship and are slightly different.

However, in the twelve circulating memory circuits which constitute the conventional reverberation applying circuit 50, the note names C, C #,
Since the ridges exist only at frequency positions that have an integer multiple relationship with the pitch frequencies of D, ..., B, the tone formation process peculiar to the piano caused by the detune due to the difference in the octave relationship described above is sufficiently performed. Cannot be imitated.

Furthermore, in a natural musical instrument (a piano in this case), the decay speed of the reverberation sound is different between the low tone and the high tone. That is, when focusing on the fundamental tone of a certain musical tone, the decay rate of the reverberation sound due to the low-pitched strings is smaller than the decay rate of the reverberation sound due to the high-tone strings.

However, the rising portion of the digital tone signal TS generated by the tone signal forming channel 22-n is applied to the conventional reverberation applying circuit 50 regardless of the tone range. For this reason, the above-described attenuation characteristics of reverberant sounds that differ for each sound range cannot be imitated sufficiently.

For a natural musical instrument (a piano in this case),
The position where the reverberant sound is generated is spread in a plane due to the direction in which the strings are stretched and the shape of the soundboard, and the sound is not emitted intensively from only one point on the piano.

However, the output of all the tone forming channels 22-n is applied to the input of the conventional reverberation applying circuit 50 regardless of the sounding position of the natural musical instrument, and the reverberation signal is supplied from one place by the sound system 33. The sound is being emitted. For this reason, it is not possible to sufficiently reproduce the expansiveness and depth of the reverberation component of a natural musical instrument.

Further, the digital musical tone signal TS generated by the musical tone signal forming channel 22-n is directly output from the same position as the reverberation signal without any acoustic processing, but in an ordinary electronic musical instrument, The digital musical tone signal TS generated from the musical tone signal forming channel is set to a musical tone in a state where no pedal operation is performed (that is, no reverberation is given by strings other than the own string), and the digital musical tone signal TS is localized and sound image. Is often a relatively clear signal. On the other hand, the reverberation signal is generally a signal with unclear localization and sound image. Therefore, when the output from the reverberation applying circuit 50 is effective, the localization of the output of the tone forming channel 22-n and the clarity of the sound image impede the reverberation feeling formed by the reverberation applying circuit 50.

The present invention solves the above-mentioned problems of the prior art. It is possible to easily control the non-integer-order and integer-order reverberation levels, and the resonance frequency is slightly deviated between different strings. The reverberation sound is realized by adding reverberation sound corresponding to each range, and when the reverberation sound is added, the localization of the direct sound is ambiguous and the sound image of the reverberation sound is expanded to reverberate the sound. It controls so that it is emphasized, and in order to obtain a natural reverberation sound with a small number of strings, the low-pass filter limits the radiation characteristic band, and controls the reverberation addition content according to the pedal depression state and the number of key depressions, It is an object of the present invention to provide a musical tone signal generator capable of reducing the feeling of noise by limiting the amount of anharmonic components.

[0029]

In order to achieve this object, the tone signal generator of the present invention is a tone signal corresponding to a designated note name, and has a pitch frequency and an integer multiple corresponding to the note name. First and second musical tone signals that include a harmonic component having a relation and an anharmonic component not having an integral multiple relation in a predetermined ratio
And the third and fourth tone generating means for generating tone signals mainly containing anharmonic components that are not in an integral multiple relation with the pitch frequency, and the outputs of the first and third tone generating means. A first mixing means for adding at a predetermined addition ratio, a second mixing means for adding outputs of the second and fourth musical sound generating means at a predetermined addition ratio, and a musical sound output from the first mixing means. A signal is input, and there are resonance peaks at frequency positions that differ from each other by a predetermined amount from a plurality of frequency positions that are in an integer multiple relationship with each pitch frequency corresponding to a plurality of pitch names, respectively.
Further, the first variable reverberation applying unit or the first variable composite reverberation applying unit in which the frequency position of the resonance peak and the sharpness of resonance are variable, and the musical tone signal output from the second mixing unit are input, and a plurality of sounds are input. There is a resonance peak at a frequency position that differs by a predetermined amount from a plurality of frequency positions that have an integer multiple relationship with each pitch frequency corresponding to the name, and the frequency position of the resonance peak and the resonance sharpness are variable. The second variable reverberation applying unit or the second variable composite reverberation applying unit and the musical tone signals output from the first and second mixing units are input, and the first and second variable phase shifts in which the phase shift amount is variable. Means, and first, second, third and fourth radiation characteristic imparting means to which the musical tone signals reverberated by the first and second variable reverberation imparting means or the variable composite reverberation imparting means are input,
The variable sound image enlarging means, into which the musical tone signals given the characteristics by the first and second radiation characteristic giving means are inputted, and the amount of sound image enlargement is variable, and the musical tone signals generated from the first and second variable phase shifting means. , The first and second outputs of the tone signals generated by the third and fourth tone generating means and the first and second outputs of the variable sound image enlarging means are added at a predetermined ratio according to the addition control value, and output. And a second variable addition output means.

Further, the variable reverberation applying means is constituted by a plurality of variable resonators constituted by a circular memory having an input musical tone signal with a delay time corresponding to each pitch period corresponding to a plurality of note names, and The delay time and feedback amount of this variable resonator are variable.

Alternatively, the variable composite reverberation applying means is composed of a plurality of variable composite resonators constituted by a circular memory having a delay time corresponding to each pitch period of the input musical tone signal corresponding to a plurality of note names. Moreover, the delay time and the feedback amount of this variable composite resonator are made variable.

Further, the variable composite resonator is provided with an intermediate output means in the delay device for forming the delay time thereof, the reverberation characteristic defined by the feedback constant of the reverberation effect applying means and the delay time, the addition level of the variable addition means, The control unit has a control unit that temporally changes the sound image expansion amount of the variable sound image expansion unit and the phase shift amount of the variable phase shift unit according to the pedal information and the pronunciation information.

[0033]

According to the present invention, with the above-mentioned structure, the harmonic component and the integer multiple relation, which are in the integral multiple relation with the pitch frequency corresponding to the designated note name, are generated from the first and second tone generating means for generating the tone signal. A non-harmonic component which is not present in a predetermined ratio is included to generate a stereo tone signal composed of a direct sound and a resonance sound which are sources of a reverberation signal.

At the same time, the third and fourth musical tone generating means also generate stereo musical tone signals composed of anharmonic components and hammer tones which have no integral multiple relation with the pitch frequency.

Further, the musical tone signals generated from the first and second musical tone generating means are input to the first and second variable reverberation applying means or the variable composite reverberation applying means, respectively.

As described above, since the tone signal including the desired component is generated from each individual tone generating means, the component included in the signal applied to each variable reverberation applying means or each variable composite reverberation applying means is adjusted. Calculation is unnecessary.

Further, the output of the first tone generating means and the third
And a second mixer for adding the outputs of the second and fourth musical sound generating means at a predetermined adding ratio. Since the stereo components are mixed by the mixer, the ratio of the direct sound, the resonance sound, and the hammer sound, which are the sources of the reverberation signal, can be optimized.

Further, the musical tone signals generated by the first and second musical tone generating means or the first and second mixing means are added with different reverberation characteristics by the variable reverberation imparting means or the variable composite reverberation imparting means.

The first and second variable reverberation applying means or variable composite reverberation applying means differ from each other by a predetermined amount from a plurality of frequency positions that are in integral multiple relation with each pitch frequency corresponding to a plurality of note names. Resonance peaks are provided at the frequency positions, and the first and second variable reverberation applying means or the variable composite reverberation applying means have resonance peaks at different frequency positions.

As a result, in the vicinity of the frequency position of the natural musical instrument (piano in this case), which has an integral multiple relationship with the pitch frequency of a certain specific pitch, there are a plurality of resonance peaks with slightly different frequencies. Can be realized. This means imitating the tone formation process peculiar to a piano, which is caused by a subtle difference in tuning between a plurality of strings and a plurality of octaves.

By controlling the resonance sharpness and the position of the resonance peak of the plurality of variable reverberation applying means or the variable composite reverberation applying means, it is possible to give different reverberation applying means different attenuation speeds. become. Furthermore, by limiting the input component of each reverberation imparting unit for each range (in this case, stereo division), it is possible to reproduce the difference between the decay speed of the reverberation sound due to the bass string and the decay speed of the reverberation sound due to the high tone string.

Moreover, since the variable reverberation applying means and the variable composite reverberation applying means can change the position of the resonance peak and the sharpness of the resonance based on the pedal information and other pronunciation information, the pedal depression amount and the pedal depression amount can be changed. By changing the reverberation characteristic according to the number of pronunciations, the reverberation characteristic of a natural musical instrument that dynamically changes with time can be better imitated.

Further, by outputting the respective outputs of the plurality of variable reverberation applying means or the variable composite reverberation applying means from a position adapted to the position where the reverberation sound is generated, the sense of spread and depth of the reverberation component possessed by the natural musical instrument can be obtained. , Can be better imitated.

For a natural musical instrument (a piano in this case),
The fact that the position of the reverberation sound spreads in a plane depending on the direction in which the strings are stretched and the shape of the soundboard is also realized by imitating the sound emission of multiple points on the piano by multiple reverberation applying circuits. To do.

Further, the digital tone signal TS generated by the tone signal forming channel is localized and the sound image is processed into an indefinite signal according to the pedal operation, and the sound image of the reverberation sound is expanded by the sound image expanding means to reverberate. The feeling can be made clearer.

Further, the reverberation at each radiation position can be appropriately expressed by setting the characteristics of the radiation characteristic imparting means to different radiation characteristics depending on the corresponding sound range.

[0047]

DETAILED 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 of an electronic musical instrument to which the musical tone signal generator according to the first embodiment of the present invention is applied. This electronic musical instrument has a key switch circuit 11. The key switch circuit 11 is composed of a plurality of key switches corresponding to each key of a keyboard (not shown), and each key switch opens and closes in response to pressing and releasing of each key. A key press detection circuit 12 is connected to the key switch circuit 11,
The detection circuit 12 detects the open / close state of each key switch to detect the key press / release of each key, and outputs the key information regarding the key press / release. The output of the key depression detection circuit 12 is the key depression assignment circuit 1
Connected to 3. The key-depression assigning circuit 13 has a number of key information storage channels equal to the number n of tone forming channels described later (for example, n is a natural number of about 2 to 20), and based on the key information from the key-depression detecting circuit 12, the detection is performed. The key code KC representing the selected key and the KON representing the key release state of the key are assigned and stored in any of the key information storage channels, and the assigned and stored key code KC and key-in signal KON are stored in the key information. Time-division output is performed at the channel timing corresponding to the channel.

The output of the key press assigning circuit 13 is connected to the tone signal generating circuit 20. The tone signal generator 20 includes a distribution circuit 21 and n tone forming channels 22-1, 22.
2, ..., 22-n, and the distribution circuit 21 outputs the key code KC and the key-on signal KO, which are time-divisionally output from the key depression allocation circuit 13 in synchronization with the channel timing.
N is converted into a static signal at each channel timing, and tone forming channels 22-1, 22-2, ...
-, 22-n respectively. Music formation channel 22
-1, 22-2, ..., 22-n are for synthesizing digital musical tone signals TS representing musical tone waveforms of a piano or the like by a method such as an arithmetic method (for example, FM arithmetic), a waveform memory method, etc. The composite output is performed according to the key-on signal KON from.

In this case, as shown in FIG. 19, the synthetically output digital musical tone signal TS has already been given an amplitude envelope, and has a key pitch high frequency corresponding to the key code KC, an integral multiple and a non-integer. It contains harmonic components that are in a double relationship.

In this embodiment, the key-on signal KON is simultaneously applied to the four tone forming channels for each tone generation command issued by the key switch circuit.

At this time, the output tone signals of the two tone forming channels out of the four tone forming channels are stereo signals having the direct sound and the resonance sound as components, and the remaining two are composed of components such as hammer sounds. It is a stereo signal.

Musical tone forming channels 22-1, 22-2
, 22-n are connected to the grouper 117, and the grouper 117 outputs each channel 22.
-1, 22-2, ..., 22-n from each digital signal TS into four series, that is, L-side anharmonic system Li, L
The side-harmonic system Lh, the R-side anharmonic system Ri, and the R-side harmonic system Rh are grouped by summing and output.

This Lh is the sum of the above-mentioned direct sound and the stereo signal having the resonance sound as the component on the L side, and this Rh is the sum of the above-mentioned direct sound and the stereo signal having the resonance sound as the component on the R side. , Li is the sum of the stereo signals having the hammer sound as the component on the L side, and Ri is the sum of the stereo signals having the hammer as the component on the R side.

On the other hand, this electronic musical instrument has a pedal switch circuit 115. The pedal switch circuit 115 is composed of a plurality of pedal switches corresponding to a plurality of pedals (not shown) such as sustain, sostenuto, and software, and each pedal switch opens and closes according to the pedal operation of each pedal. A pedal detection circuit 116 is connected to the pedal switch circuit 115. The detection circuit 116 detects the operation state of each pedal by detecting the opening / closing of the pedal switch and outputs pedal information related to the operation. The output of the pedal detection circuit 116 is input to the sound image control value generation circuit 111, the addition control value generation circuit 112, the phase shift control value generation circuit 113, and the reverberation control value generation circuit 114.

To the sound image control value generation circuit 111, the addition control value generation circuit 112, the phase shift control value generation circuit 113, and the reverberation control value generation circuit 114, the number of tones detected by the tone number detection circuit 118 is also input.

The tone number detection circuit 118 detects the tone number at each time point by receiving tone generation end flags EEF from the tone forming channels 22-1, 22-2, ..., 22-n.

The number of tones generated at each time point detected by the tone number detection circuit 118 is supplied to the sound image control value generation circuit 111, the addition control value generation circuit 112, the phase shift control value generation circuit 113, and the reverberation control value generation circuit 114. It

In the sound image control value generation circuit 111, the addition control value generation circuit 112, the phase shift control value generation circuit 113, and the reverberation control value generation circuit 114, the sound image control value, the addition control value, and the shift control value are transferred in accordance with the tone generation number and the pedal information. A phase control value and a reverberation control value are generated.

Outputs of the sound image control value generation circuit 111, the addition control value generation circuit 112, the phase shift control value generation circuit 113, the reverberation control value generation circuit 114, and the grouper 117 are connected to the reverberation adding circuit 60. The configuration of the reverberation applying circuit 60 is shown in FIG.

The reverberation adding circuit 60 includes a grouping unit 11
The output signals of the outputs Li, Lh, Rh, and Ri of 7 are applied through the input terminals 61, 62, 63, and 64, respectively, and the input signals are subjected to variable reverberation through the mixing circuit 201-1 and the mixing circuit 201-2, respectively. Adding circuits 68-1 and 68-2
And is output as a reverberation signal.

The variable reverberation applying circuits 68-1, 68-2
A variable resonance circuit used for the above is shown in FIG. The variable resonance circuit is generated by the reverberation control value generation circuit 114 and is input to the input terminal 7
The variable delay circuit 71 whose delay amount is controlled by the reverberation control value F input via the input terminal 7 and the output of the variable delay circuit 71 are input by the reverberation control value generation circuit 114 via the input terminal 75. A multiplier 73 for multiplying the reverberation control value Q
The adder 72 is configured to add the output of the multiplier 73 and the input of the variable resonance circuit input from the input terminal 74 to form the input of the variable delay device. This reverberation control value Q corresponds to the feedback gain of the variable resonance circuit, and determines the sharpness of resonance.

The variable delay device 71 is an all-pass filter (not shown) connected in series with a delay device (not shown).
The reverberation control value F obtained via the input terminal 77 is the filter coefficient of the all-pass filter.

This delay device is composed of a shift register, and the number of stages of the shift register is almost inversely proportional to the pitch frequency corresponding to the pitch name.

The variable reverberation applying circuits 68-1 and 68-2 are formed by combining the 12 variable resonance circuits corresponding to the respective note names C, C #, D, ..., B. Figure 4
Shown in. Variable reverberation applying circuits 68-1 and 68- shown in FIG.
Reference numeral 2 denotes twelve variable resonance circuits 81-1 and 81-2 corresponding to twelve scales corresponding to respective note names C, C #, D, ...・
.., 81-12. The variable delay device that constitutes each variable resonance circuit has the number of stages that are inversely proportional to each pitch frequency corresponding to each pitch name C, C #, D, ..., B.

These variable resonance circuits 81-1 and 81-
2, ..., 81-12, the reciprocal of each delay time, that is, the pitch frequency corresponding to each note name C, C #, D, ..., B is f0, as shown in FIG. Frequencies f0 + ε, 2 (f0 + ε), 3 which have an integral multiple neighborhood relationship with the high frequency f0
(f0 + ε), 4 (f0 + ε), ... Has a comb filter characteristic having a resonance peak at the position.

Variable resonance circuits 81-1, 81-2, ...
, 81-12 are output by adders 82-1 and 82-2,
..., 82-11, and adders 82-1 and 82
Reference numerals -2, ..., 82-11 add the input digital musical tone signals and output the summed output signals from the output terminal 83.

The tone signal Lh applied from the grouping unit 117 to the reverberation adding circuit 60 is a variable reverberation adding circuit 68-1.
To the variable reverberation applying circuit 68-2.
Entered in.

The variable reverberation applying circuit 68-1 has 12 variable resonance circuits corresponding to 12 scales corresponding to the note names C, C #, D, ..., B in the lowest keyboard range. However, the variable reverberation applying circuit 68-2 is the variable reverberation applying circuit 68-2.
Each note name C, C in the key range one octave higher than -1
12 corresponding to 12 scales corresponding to #, D, ..., B
It has a variable resonance circuit. Variable reverberation adding circuit 68-1
And 68-2 are respectively output from the radiation characteristic applying circuit 69.
-1 and 69-2.

The radiation characteristic imparting circuits 69-1 and 69
-2 is composed of, for example, an all-pass filter and a low-pass filter, and is a variable reverberation applying circuit 68-
The digital tone signal frequency characteristics input from 1 and 68-2 are slightly modified and output. Radiation characteristic imparting circuit 6
The outputs of 9-1 and 69-2 are connected to the sound image enlarging circuit 171. The configuration of the sound image enlarging circuit 171 is shown in FIG.

The outputs of the radiation characteristic imparting circuits 69-1 and 69-2 are input through the input terminals 93 and 94 to delay devices 91- and 91-, respectively.
2, 91-2. Delay devices 91-1 and 91-2
Are each composed of a shift register that forms a delay time of several milliseconds to 30 milliseconds. Delay device 91-
1, the output of the delay device 91-2 is the multiplier 96-
1, 96-2. Multipliers 91-1 and 96
-2 to the other input, the sound image control value generated by the sound image control value generation circuit 111 via the input terminal 95 is input terminal 17
Given through 8. The multiplication outputs of the multipliers 96-1 and 96-2 are connected to the adders 97-1 and 97-2, respectively. The outputs of the radiation characteristic imparting circuits 69-1 and 69-2 are connected to the other inputs of the adders 97-1 and 97-2 via input terminals 93 and 94, respectively. The outputs of the adders 97-1 and 97-2 are output terminals 98 and 99, respectively, and multipliers 175-1 and 175-2 (see FIG. 2).
It is connected to the. The addition control value generated by the addition control value generation circuit 112 is applied to the other inputs of the multipliers 175-1 and 175-2 via the input terminal 66.

On the other hand, the outputs of the mixing circuits 201-1 and 201-2 are input to the variable phase shifters 172-1 and 172-2, and the configuration of this variable phase shifter is shown in FIG. This phase shifter is composed of an all-pass filter, and y (n) =-a, where x (n) is the signal applied from the input terminal 106 and y (n) is the output value of the output terminal 108.・ X (n) ＋ x (n-1) ＋ a ・
It is configured to be y (n-1). In this a, the phase shift control value generated by the phase shift control value generator 113 is input terminal 1
It is given via 07. Reference numeral 101 is a delay device that realizes the delay in the above difference equation, 102 and 103 are multipliers that multiply the phase shift control value a, and 104 and 105 are adders.

The tone signals phase-shifted by the phase shifters 172-1 and 172-2 are added by adders 173-1 and 173-2, respectively.
(See FIG. 2). This adder 173-1,1
Musical sound signals Li and Ri input via the input terminals 61 and 64 are input to the other input of the 73-2, respectively.

The outputs of the adders 173-1 and 173-2 are the adders 174-1 and 174-2, respectively, and the multiplier 175-
1, 175-2 and the output, and output terminals 176, 1
D / A converter (see FIG. 1) 32-
1, 32-2, and the D / A converter 32-
Reference numerals 1 and 32-2 convert the input digital musical tone signals into analog musical tone signals and output them. D / A converter 3
The outputs of 2-1 and 32-2 are the sound system 33-1 and
33-2. Sound system 33-
Reference numerals 1 and 33-2 are composed of amplifiers, speakers and the like, and generate musical tones corresponding to the analog musical tone signals from the D / A converters 32-1 and 32-2. The speaker is installed in the electronic musical instrument so as to correspond to the generation position of the musical sound and the reverberation sound in the natural musical instrument.

The operation of the musical tone signal generating apparatus of this embodiment having the above-described structure will be described below.
When any key is pressed on the keyboard and the key switch in the key switch circuit 11 corresponding to the pressed key is closed, the key press detecting circuit 12 closes the switch, thereby depressing the key. Is detected and the key information relating to the key depression is supplied to the key depression allocation circuit 13. The key-push allocation circuit 13 outputs the key code KC and the key-on signal KON representing the key pressed based on the key information to the tone signal generation circuit 20 in a time-division manner.

In the tone signal generation circuit 20, the distribution circuit 21 uses the key code KC and the key-on signal KON.
Tone forming channels 22-1, 22-2, ..., 2
2-n of the tone generation channels 22-i (i is an integer from 1 to n) corresponding to the assigned channel, and the tone generation channels 22-i are supplied with the supplied key codes KC and KON ( 19), a digital tone signal TS (see FIG. 19) having a key pitch represented by the key code KC is formed and output.

Musical tone forming channels 22-1, 22-2
, 22-n are connected to the grouper 117, and the grouper 117 outputs each channel 22.
-1, 22-2, ..., 22-n from each digital signal TS into four series, that is, L-side anharmonic system Li, L
The side-harmonic system Lh, the R-side anharmonic system Ri, and the R-side harmonic system Rh are combined into a group and output to the reverberation applying circuit 60.

The digital musical tone signal thus supplied to the reverberation applying circuit 60 is mixed by the mixing circuits 201-1 and 20-1.
Variable resonance circuits 81-1, 81-2, ...
.., 81-12, adders 82-1 and 82-2, ...
, 82-11 are supplied to the first and second variable reverberation adding circuits 68-1 and 68-2, respectively.

First and second variable reverberation applying circuit 68-
1, 68-2 are frequency characteristics having a plurality of resonance peaks separated from each other by a predetermined frequency with respect to a frequency position having an integer multiple relationship with the pitch frequency of each pitch name C, C #, D, ..., B ( (See FIG. 10), and the digital tone signal TS input through the grouper 117 has a harmonic component having an integer multiple relationship with the pitch frequency of the key pressed and an anharmonic component having no integer multiple relationship. Since the components are included, the variable reverberation applying circuit 68-of the frequency components of the supplied digital musical tone signal
Although the frequency components corresponding to the resonance peaks of 1 and 68-2 are attenuated quickly, they have an integral multiple relationship with the frequency components corresponding to the resonance peaks, that is, the pitch frequencies of not only the depressed keys but also the depressed keys. The frequency component remains as a reverberation signal.

At this time, the first variable reverberation applying circuit 68-1
Since the second variable reverberation circuit 68-2 and the second variable reverberation applying circuit 68-2 form the resonance peaks corresponding to the note names of one octave in the lowest pitch range and one octave above the lowest pitch range, respectively. The reverberation applying circuit 68-1 forms reverberation in a string corresponding to one octave in the lowest pitch range. Similarly, in the second variable reverberation applying circuit 68-2, reverberation is generated in a string for one octave above the lowest pitch range by one octave.

First and second variable reverberation applying circuit 68-
1 and 68-2 change the characteristics of the variable resonator groups forming the respective variable reverberation applying circuits 68-1 and 68-2 based on the reverberation characteristic values supplied from the reverberation control value generating circuit 114. That is, when the sustain pedal is not pressed, the variable resonators 81-1 to 81-1 are
The delay time of the variable delay unit 71 that composes 2 is set to each note name C, C
The reverberation control value is given so as to be shifted by about 20 cents to 50 cents with respect to frequency positions having an integer multiple relationship with the pitch frequencies of #, D, ..., B. As a result, the first and second variable reverberation imparting circuits 68-1 and 68-2 among the harmonic components having an integral multiple relation with the pitch frequency of the input musical tone signal and the nonharmonic components having no integral multiple relation, It works to emphasize only non-integer multiple components. The reverberant sound obtained by this is the resonance sound on the piano soundboard whose resonance frequency does not match the string exactly, and the resonance frequency that is damped by the damper felt and the resonance frequency is different from the resonance frequency at the time of sounding. It becomes the imitation of the string that is.

Even when the sustain pedal is not pressed, the variable resonators 81-1 to 81-1 are increased as the number of sound generations obtained from the sound number detection circuit 118 increases.
The delay time of the variable delay unit 71 forming −12 is shifted by about 10 cents to 20 cents with respect to the frequency position having an integral multiple relationship with the pitch frequency of each pitch name C, C #, D, ..., B. The reverberation control value is given as follows. As a result, the first and second variable reverberation applying circuits 68-1 and 68-2 are inharmonic components that are in an integral multiple relationship with the pitch frequency of the input musical tone signal and that are not in an integral multiple relationship. Acts to emphasize both of the ingredients. The reverberant sound thus obtained imitates the resonance sound of the piano soundboard and the resonance of the sounding string that is in a resonable state due to an increase in the number of keys pressed.

Further, when the sustain pedal is depressed, the variable resonators 81-1 to 81- are driven according to the time constant determined by the number of sound generations obtained from the number of sound generation detection circuit 118.
12, the delay time of the variable delay unit 71 constituting
The reverberation control value is gradually changed so as to be shifted by several cents to 10 cents with respect to the frequency positions having an integral multiple relationship with the pitch frequencies of C #, D, ..., B.

At the same time, the feedback constants of the variable resonators 81-1 to 81-12 are gradually changed to about 0.96 to 0.98 to sharpen the resonance peak (see FIG. 7).

As a result, the first and second variable reverberation applying circuits 68-1 and 68-2 emphasize the harmonic components having an integral multiple relation with the pitch frequency of the input musical tone signal. The characteristics gradually change as shown in FIG. The reverberant sound obtained by this is a simulation of the resonance of the strings that have become resonable by releasing the damper felts of all the strings.

Moreover, the first variable reverberation applying circuit 68-1
Of the variable resonators 81-1 to 81-12 at the frequency positions having an integer multiple relationship with the pitch frequency of each pitch name C, C #, D, ..., B. On the other hand, when it is shifted by several cents to 10 cents, the delay time of the variable delay device 71 that constitutes the variable resonators 81-1 to 81-12 of the second variable reverberation applying circuit 68-2 is set to each note name C, C. #,
The frequency positions having an integral multiple relationship with the pitch frequencies of D, ..., B are shifted by about 1 to 5 cents relative to the setting of the first variable reverberation applying circuit 68-1.

With this, it is possible to imitate the undulating feeling of the timbre caused by the complicated detuned relationship formed by the strings of each note name that spans a plurality of strings or a plurality of octaves.

Further, by making the feedback constants given to the variable resonators constituting the first and second variable reverberation imparting circuits 68-1 and 68-2 not the same, the reverberation time different depending on the pitch can be better imitated. it can.

First and second variable reverberation applying circuit 68-
The outputs of 1 and 68-2 are the radiation characteristic applying circuits 69-, respectively.
In 1 and 69-2, phase processing and amplitude frequency characteristic processing corresponding to radiation characteristics from the vibrating body to the air are performed.

The radiation characteristic imparting circuits 68-1, 68-2
As for the amplitude frequency characteristic of, a low pass filter having a cutoff frequency of about 3 kH and a damping characteristic of about 6 dB / OCT is used for 68-1, and a cutoff frequency of about 2 kHz is used for 68-2 and a damping characteristic of about 12 dB / OCT. Is used as a low-pass filter. By varying the cutoff frequency in this way, a natural musical instrument (a piano in this case) imitates the difference in timbre between the high frequency range and the low frequency range.

Furthermore, the sound image localization circuit 171 expands the sound image localization of the outputs of the first and second radiation characteristic imparting circuits 69-1 and 69-2. This sound image enlarging circuit 171
FIG. 11 shows the principle of sound image localization expansion by the method.

As can be seen from FIG. 11 (a), in normal L / R speaker reproduction, the sound image localization becomes small because the components of the opposite channel exist in the L and R listening positions in a mixed manner.

On the other hand, as shown in FIG. 11 (b), by adding the canceling components in advance, the mixing of the opposite channel at each listening position is eliminated, and the reverberation component of each channel is added. That is, the sound image is enlarged.
In order to do this properly, the delay amount of the cancellation component and the addition level are adjusted.

Therefore, in the present embodiment, the expansion of the sound image localization is realized by realizing an appropriate amount of delay by the delay devices 91-2 and 91-2 and performing cross addition at an appropriate level. Therefore, it is possible to control the expansion amount of the sound image localization by controlling the addition level.
In this embodiment, the sound image control value generated by the sound image control value generation circuit 111 via the input terminal 95 is the multipliers 96-1, 9.
This control is realized by being supplied to 6-2.

The sound image control value generated by the sound image control value generating circuit 111 is generated as follows.

That is, when the sustain pedal is not depressed, the addition level is made relatively small (0.01
Even if the sustain pedal is not pressed, the number-of-sounds detection circuit 118 is set.
As the number of pronunciations obtained from the number increases, the addition level is set to a relatively high level (about 0.05 to 0.1).
When the sustain pedal is pressed, the optimum value (about 0.1 to 1) is set in accordance with the time constant determined by the number of sound generations obtained from the number of sound generation detection circuit 118.

As a result, a sound image suitable for each reverberation generation state can be obtained. On the other hand, the tone signals Lh and Rh input through the input terminals 62 and 63 are input to the variable phase shifter 1
This phase shifter, which is input to 72-1 and 172-2, is configured by an all-pass filter, and the phase shift amount is changed by the phase shift control value generated by the phase shift control value generator 113. To do. The phase shift control value generated by the phase shift control value generator 113 is generated as follows.

That is, when the sustain pedal is not depressed, the phase shift amount of the variable phase shifter 172-1
The difference between the phase shift amounts of 2-2 is set to be almost 0, and even when the sustain pedal is not pressed, the shift is made as the number of sound generations obtained from the sound number detection circuit 118 increases. Phase difference gradually increases (0 to 90 degrees)
When the sustain pedal is pressed, the phase shift difference gradually increases from 90 degrees to 18 degrees in accordance with the time constant determined by the pronunciation number obtained from the pronunciation number detection circuit 118.
It is set so as to reach 0 degree (see FIG. 9).

As a result, the localization of the signal to which no sound effect is added can be made unclear according to the state of each reverberation, and as a result, the reverberation can be emphasized.

The output of the sound image enlarging circuit 171 is the output terminal 9
Multipliers 175-1 and 175-through 8 and 99, respectively.
Connected to 2. The addition control value generated by the addition control value generation circuit 112 is given to the other inputs of the multipliers 175-1 and 175-2 via the input terminal 66.

The addition control value generated by this addition control value generation circuit 112 is generated as follows.

That is, when the sustain pedal is not depressed, the addition level is set to a relatively small value of about 0.01 to 0.05, and even when the sustain pedal is not depressed. , Pronunciation number detection circuit 118
When the sustain pedal is depressed, the addition level is set to a relatively large value of about 0.05 to 0.1 as the number of pronunciations obtained from The addition control value is gradually set to about 0.1 to 0.5 according to the time constant determined by the number of pronunciations (see FIG. 8).

As a result, it is possible to better imitate the state of reverberation of a natural musical instrument in which the reverberation gradually increases as the number of reverberation generating elements increases.

The output of the reverberation applying circuit 60 is the output terminal 17
D / A converter (see FIG. 1) 32 via 6 and 177
-1, 32-2 connected to the D / A converter 32-
Reference numerals 1 and 32-2 convert the input digital musical tone signals into analog musical tone signals and output them. D / A converter 3
The outputs of 2-1 and 32-2 are the sound system 33-1 and
33-2. Sound system 33-
Reference numerals 1 and 33-2 are composed of amplifiers, speakers and the like, and generate musical tones corresponding to the analog musical tone signals from the D / A converters 32-1 and 32-2. Since the tone forming channels 22-1, 22-2, ..., 22-n are directly output together with the digital tone signals TS, the sound system 33 produces the tone to which the reverberation signal is added.

As can be understood from the above operation, according to the above-described embodiment, the reverberation applying circuit 60 includes the tone signal generating circuit 20.
By using the anharmonic and harmonic components contained in the digital tone signal TS output from, the frequency components having an integral multiple relationship with the key pitch frequency other than the key pressed by the keyboard are continuously generated. This means that in a natural musical instrument having a plurality of sounding vibrating bodies such as piano strings and a resonance device such as a soundboard, the vibration of one sounding vibrating body causes other sounding vibrating bodies to vibrate slightly, and Since it means that the resonance device resonates better against the vibration, it is possible to obtain a musical sound that better imitates the musical sound of a natural musical instrument such as the piano.

As described above, according to this embodiment, by providing the means for freely setting the amount of deviation from the accurate pitch, the position of the resonance peak of the variable reverberation applying circuits 68-1, 68-2 is provided. It is possible to easily control the resonance amount of the harmonic and anharmonic components, and by making the reverberated signal a stereo signal, it is possible to improve the timbre as an electronic musical instrument and to add a reverberation component suitable for each stereo channel. I have to.

In order to realize the difference between the reverberation components corresponding to the left and right channels, the variable reverberation adding circuit 68-
The characteristics of 1 and 68-2 are not the same. As a result, the waviness of the reverberant sound generated by natural musical instruments is also realized.

Further, the variable phase shifters 171-1 and 172-
2 is used to obscure the localization of the reverberated signal. As a result, the reverberation component can be emphasized.

Further, the radiation characteristic imparting circuits 69-1, 69
By not making the characteristics of -2 the same, the characteristics of the radiated sound at each radiation position are approximated, and unnecessary resonance sound is eliminated to reduce the feeling of noise.

Further, a sound image enlarging circuit 171 is provided to emphasize the reverberant sound. Furthermore, natural addition of reverberation is possible by adding directly to the hammer sound without adding reverberation.

Further, since the respective control values of the reverberation applying circuit 60 are changed by the pedal and performance information, the reverberation state of the natural musical instrument which dynamically changes with the performance can be imitated very well.

In the first embodiment, the variable delay device 7
Although 1 is an all-pass filter, it may be realized by switching the number of stages of the shift register or changing the transfer clock.

The variable reverberation applying circuits 68-1, 68-
The configuration of No. 2 is not limited to this embodiment, and may be realized by a digital filter or the like having the same impulse response characteristic.

FIG. 12 is a block diagram of an electronic musical instrument to which the musical tone signal generator according to the second embodiment of the present invention is applied. It is a block diagram of a musical tone signal generator.
In the figure, 11 is a key switch circuit, 12 is a key press detecting circuit, 13 is a key press assigning circuit, 20 is a tone signal generating circuit,
21 is a distribution circuit, 22-1, 22-2, ..., 22-
n is a tone forming channel, 117 is a grouper, 11
5 is a pedal switch circuit, 116 is a pedal detection circuit, 1
11 is a sound image control value generation circuit, 112 is an addition control value generation circuit, 113 is a phase shift control value generation circuit, 114 is a reverberation control value generation circuit, 118 is a tone number detection circuit, and 32-1, 32-
2 is a D / A, 33-1 and 33-2 are sound systems, and the above is the same as the configuration of FIG.

The difference from FIG. 1 is that the configuration of the reverberation applying circuit 60 and D / A of 32-3 and 32-4 newly provided so as to be connected to the reverberation applying circuit 60, and 33-3, 33-.
4 sound system.

The structure of the reverberation applying circuit 60 is shown in FIG. In FIG. 13, 61, 62, 63, 64, 65,
66 and 67 are input terminals, 172-1 and 172-2 are variable phase shifters, 173-1, 173-2, 174-1 and 174.
-2 is an adder, 175-1 and 175-2 are multipliers, 17
6, 177 are output terminals, 69-1 and 69-2 are radiation characteristic imparting circuits, which are similar to those in FIG.

The difference from FIG. 2 is that the variable reverberation circuit 68 is
-1 and 68-2, instead of the variable composite reverberation applying circuits 178-1 and 178-2, and the radiation characteristic addition for processing the outputs of these variable composite reverberation applying circuits 178-1 and 178-2. The point is that the circuits 69-3 and 69-4 and their output terminals 179 and 180 are provided.

This variable composite reverberation applying circuit 178-1, 1
Variable composite resonance circuit 191-1 to 19-1 used in 78-2
91-12 is shown in FIG. Variable composite resonance circuit 191-
1 to 191-12 are reverberation control values F generated by the reverberation control value generation circuit 114 and input through the input terminal 188.
And a reverberation control value Q generated by the reverberation control value generation circuit 114 and input to the output of the variable delay circuit 188 via the input terminal 185.
The multiplier 183 for multiplying by Output becomes the second output of the variable composite resonance circuit via the output terminal 187, and
It becomes an input of the variable delay device 189. The output of the adder 182 becomes the first output of the variable composite resonance circuit via the output terminal 186. The reverberation control value Q corresponds to the feedback gain of the variable composite resonance circuits 191-1 to 191-12.

The variable delay device 189 is an all-pass filter (not shown) connected in series with a delay device (not shown).
The reverberation control value F obtained via the input terminal 185 is the filter coefficient of the all-pass filter.

The delay device and the delay device 181 are composed of a shift register, and the total number of stages of the shift register is almost inversely proportional to the pitch frequency corresponding to the note name.

12 variable composite resonance circuits 191-1 to 191-12 corresponding to each note name C, C #, D, ..., B.
The variable composite reverberation circuit 178-
1, 178-2 are configured. This is shown in FIG. Variable composite reverberation applying circuits 178-1 and 178- shown in FIG.
Reference numeral 2 denotes 12 variable compound resonance circuits 191-1, 191-2 corresponding to 12 scales corresponding to respective note names C, C #, D, ...
..., 191-12. Each variable composite resonance circuit 1
The delay units (sum of the delay unit of the variable delay unit 189 and the delay unit 181) configuring 91-1 to 191-12 are each pitch name C,
Each of the pitch frequencies corresponding to C #, D, ..., B has a number of stages that are inversely proportional.

These variable composite resonance circuits 191-1, 1
.., 191-12, i.e., the pitch frequency corresponding to each pitch C, C #, D, ..., B is f0, as shown in FIG. , Frequency f0 + ε, 2 (f0 which has an integral multiple neighborhood relationship with the same pitch frequency f0
+ [Epsilon], 3 (f0 + [epsilon]), 4 (f0 + [epsilon]), ... Comb filter characteristics having resonance peaks at positions.

These variable composite resonance circuits 191-1, 1
The first outputs of 91-2, ..., 191-12 are connected to the adders 192-1, 192-2, ..., 192-11, and the adders 192-1, 192-2 ,. ., 192
Reference numeral -11 sums up the input digital tone signals and outputs it from the output terminal 83.

These variable composite resonance circuits 191-1, 1
The second outputs of 91-2, ..., 191-12 are connected to the adders 193-1, 193-2, ..., 193-11, and the adders 193-1, 193-2 ,.・ 、 193
-11 adds the input digital musical tone signals and outputs the summed signal from the output terminal 197.

The tone signal Lh applied to the reverberation adding circuit 60 from the grouping unit 117 is the variable composite reverberation adding circuit 17.
8-1 and the tone signal Rh is input to the variable reverberation circuit 1
It is input to 78-2.

The variable composite reverberation applying circuit 178-1 is provided for each note name C, C #, D, ... In the lowest key range on the keyboard.
., 12 variable resonance circuits corresponding to 12 scales corresponding to B, and the variable composite reverberation applying circuit 178-2 is a note name in the key range one octave higher than the variable composite reverberation applying circuit 178-1. 12 corresponding to C, C #, D, ..., B
It has 12 variable resonance circuits corresponding to the scales. The outputs of the variable reverberation applying circuits 178-1 and 178-2 are connected to radiation characteristic applying circuits 69-3 and 69-4, respectively.

The radiation characteristic imparting circuits 69-3 and 69
-4 is composed of, for example, an all-pass filter and a low-pass filter, and is a variable composite reverberation applying circuit 1
The digital tone signal frequency characteristics input from 78-1 and 178-2 are slightly modified and output. The outputs of the radiation characteristic imparting circuits 69-3 and 69-4 are output terminals 179.
And 180 through D / A converters 32-3, 32-
4 and sound systems 33-3 and 33-4.

The operation of the musical tone signal generator having the above-described structure will be described below. The operation of the second embodiment differs from that of the first embodiment only in the handling of the variable composite reverberation applying circuits 178-1 and 178-2 and the second output of these variable composite reverberation applying circuits.

Variable composite reverberation applying circuits 178-1 and 178
-2 uses a plurality of variable composite resonance circuits as described above. The first output of these variable composite resonance circuits has exactly the same physical characteristics as the output of the variable resonance circuit used in the first embodiment, and a description thereof will be omitted here.

Variable composite reverberation applying circuits 178-1 and 178
The second output of -2 is the essence of this embodiment.
The second output of the variable composite reverberation adding circuits 178-1 and 178-2 is the sum of the second outputs of the variable composite resonating circuits.
The first output and the second output of the variable composite resonance circuit correspond to both ends of a string of a natural musical instrument (a piano in this case). That is, if the first output is the end point on the side closer to the piano player, the second output corresponds to the end point on the side farther from the piano player (see FIG. 16). Therefore, the second outputs of the variable composite reverberation applying circuits 178-1 and 178-2 are P
It will simulate the reverberations of the 3 and P4 positions.

Therefore, the radiation characteristic imparting circuit 69-3,
69-4 gives the radiation characteristic at the corresponding position, and the D / A converters 32-3 and 32-4, and the sound system 33-.
By emitting the sound at the corresponding position of the natural musical instrument via 3, 33-4, it is possible to simulate the planar expansive feeling of the case of the piano and generate a musical sound with a sense of depth.

As described above, according to this embodiment, by providing the variable composite reverberation applying circuits 178-1 and 178-2 using a plurality of variable composite resonance circuits 191-1 and 191-2, the depth of the natural musical instrument can be increased. It is now possible to add reverberation sounds that correspond to the direction (both ends of the string or both ends of the soundboard), and in a natural musical instrument (in this case, a piano), the position where the reverberation sound is generated is the direction in which the string is stretched and the resonance. Depending on the shape of the plate, it is possible to reproduce that it is spread out in the plane and is emitted from multiple points on the piano at the same time.

In the second embodiment, the outputs of the radiation characteristic imparting circuits 69-3 and 69-4 are not specifically controlled, but the sound image and the reverberation imparting amount are controlled in the same manner as in the first embodiment. May be provided.

Also, in the second embodiment, the D / A converters 32-3 and 32-4, and the sound system 33-.
Without using 3, 33-4, the transfer characteristics from the positions of P3 and P4 are superimposed, and D / A converters 32-1, 32-2,
Also, it may be reproduced as a virtual sound image from the sound systems 33-1 and 33-2.

The variable composite reverberation applying circuit 178-1,
The configuration of 178-2 is not limited to that of this embodiment, and may be realized by a digital filter or the like having the same impulse response characteristic.

[0136]

As described above, the present invention is a musical tone signal corresponding to a specified note name, and is not in an integral multiple relationship with a harmonic component having an integral multiple relationship with a pitch frequency corresponding to the note name. First and second musical tone generating means for generating a musical tone signal containing a harmonic component in a predetermined ratio, and third and fourth musical tone signals generating a musical tone signal mainly containing an anharmonic component having no integral multiple relation with the pitch frequency. Of the musical tone generating means and the musical tone signal generated from the first musical tone generating means are input, and differ from each other by a predetermined amount from a plurality of frequency positions each having an integer multiple relationship with each pitch frequency corresponding to a plurality of note names. Generated from the first variable reverberation applying means or the first variable composite reverberation applying means and the second musical sound generating means, each of which has a resonance peak at each frequency position, and the frequency position and resonance sharpness of the resonance peak are variable. Input musical tone signal , There are resonance peaks at frequency positions that differ from each other by a predetermined amount from the multiple frequency positions that have an integer multiple relationship with each pitch frequency corresponding to multiple pitch names, and the resonance peak frequency position and resonance sharpness. Is input to the second variable reverberation applying means or the second variable composite reverberation applying means, and the tone signals generated from the first and second tone generating means, and the first and second variable phase shift amounts are input. 2 variable phase shift means, and 1st, 2nd, 3rd and 4th radiation characteristic impartation to which the musical tone signal reverberated by the 1st and 2nd variable reverberation imparting means or the variable composite reverberation imparting means is input. Means and the musical tone signals given the characteristics by the first and second radiation characteristic giving means, and are generated from the variable sound image enlarging means and the first and second variable phase shifting means whose sound image enlarging amount is variable. The musical tone signal and the third And a first variable which outputs the tone signal generated by the fourth tone generating means and the first and second outputs of the variable sound image enlarging means at predetermined ratios according to the control signal. And a variable reverberation means comprising a plurality of variable resonators configured by a circular memory having a delay time corresponding to each pitch period corresponding to a plurality of note names. In addition, the delay time and the feedback amount of the variable resonator are made variable, or the variable composite reverberation means is used to set the delay time corresponding to each pitch period of the input musical tone signal corresponding to a plurality of note names. The variable composite resonator is composed of a plurality of variable composite resonators configured by circulating memory, and the delay time and feedback amount of the variable composite resonator are variable, and the variable composite resonator has an intermediate delay device that forms the delay time. Equipped with output means The reverberation characteristics defined by the feedback constant of the reverberation effect imparting means and the delay time, the addition level of the variable adding means, the sound image expansion amount of the variable sound image expanding means, and the phase shift amount of the variable phase shifting means are used as pedal information and pronunciation information. By providing a configuration having a control unit that changes in accordance with time, the first and second tone generation units that generate tone signals have an integer multiple relationship with the pitch frequency corresponding to the designated note name. A harmonic signal that does not have an integral multiple relation with a certain harmonic component is included in a predetermined ratio, and a musical tone signal composed of a direct sound and a resonant sound that is the source of the reverberation signal is generated in stereo, and at the same time, the third and fourth The musical tone generating means also generates a stereo musical tone signal composed of anharmonic components not having an integral multiple relationship with the pitch frequency, a hammer sound, etc., and further generated from the first and second musical tone generating means. Inputting a sound signal to the first and second variable reverberation unit or variable complex reverberation unit, respectively.

As described above, since the tone signal including the desired component is generated from each individual tone generating means, the component included in the signal applied to each variable reverberation applying means or each variable composite reverberation applying means is adjusted. Is unnecessary, and the tone signals generated from the first and second tone generating means have different reverberation characteristics added by the first and second variable reverberation applying means or the variable composite reverberation applying means. Is
The first and second variable reverberation imparting means or the variable composite reverberation imparting means shifts to a frequency position that differs by a predetermined amount from a plurality of frequency positions that have an integer multiple relationship with each pitch frequency corresponding to a plurality of pitch names. Since each has a resonance peak, and the first and second variable reverberation applying means or the variable composite reverberation applying means have resonance peaks at different frequency positions from each other, a specific sound of a natural musical instrument (in this case, a piano) is generated. In the vicinity of the frequency position, which has an integer multiple relation to the pitch frequency of the name, it is possible to realize a state where there are multiple resonance peaks with slightly different frequencies. This is because of the delicate tuning of multiple strings and multiple octaves. It means that it is possible to imitate the tone formation process peculiar to the piano that occurs due to the shift,
By controlling the resonance sharpness and the position of the resonance peak of the plurality of variable reverberation applying means or the variable composite reverberation applying means, it becomes possible to give different attenuation speeds to the respective reverberation applying means. Furthermore, by limiting the input components of each reverberation adding means for each range (in this case, stereo division), it is possible to reproduce the difference between the decay rate of the reverberation sound due to the low-pitched strings and the decay rate of the reverberation sound due to the high-pitched strings. The variable reverberation imparting means and the variable composite reverberation imparting means can change the position of the resonance peak and the sharpness of the resonance with the pedal information and other pronunciation information. By changing the characteristics, it is possible to better imitate the reverberation characteristics of a dynamic time-varying natural musical instrument.Furthermore, each output of multiple variable reverberation means or variable composite reverberation means is adapted to the reverberation sound generation position. By releasing the sound from the specified position, it is possible to better imitate the expansiveness and depth of the reverberation component of a natural musical instrument. In the case of the piano)
So, the reverberation sound generation position spreads in a plane depending on the direction in which the strings are stretched and the shape of the soundboard, and it is also possible to imitate the sound emission of multiple points on the piano by multiple reverberation applying circuits. In addition, the digital tone signal TS generated by the tone signal forming channel is localized, the sound image is processed into an unclear signal according to the pedal operation, and the sound image of the reverberation sound is expanded by the sound image expanding means. The reverberation can be made clearer, and the effect is excellent in practical use.

[Brief description of drawings]

FIG. 1 is a block diagram showing a configuration of an electronic musical instrument to which a musical tone signal generator according to a first embodiment of the present invention is applied.

FIG. 2 is a block diagram showing an internal configuration of a reverberation applying circuit in the first embodiment.

FIG. 3 is a block diagram showing an internal configuration of a variable resonance circuit according to the first embodiment.

FIG. 4 is a block diagram showing an internal configuration of a variable reverberation applying circuit in the first embodiment.

FIG. 5 is a block diagram showing an internal configuration of a variable sound image enlarging circuit in the first embodiment.

FIG. 6 is a block diagram showing an internal configuration of a variable phase shift circuit according to the first embodiment.

FIG. 7 is a waveform chart showing a variation example of the feedback amount of the variable resonance circuit according to the first and second embodiments of the present invention.

FIG. 8 is a waveform diagram showing an example of changes in the addition level of the reverberation effect in the first and second embodiments.

FIG. 9 is a waveform diagram showing an example of changes in the phase shift difference of the variable phase shift circuits in the first and second embodiments.

FIG. 10 is a frequency characteristic diagram showing an example of a resonance peak when reverberation is added in the first and second embodiments.

FIG. 11 is a principle diagram of a sound image localization enlarging circuit in the first and second embodiments.

FIG. 12 is a block diagram showing the configuration of an electronic musical instrument to which the musical tone signal generating apparatus according to the second embodiment of the present invention is applied.

FIG. 13 is a block diagram showing an internal configuration of a reverberation imparting circuit according to the second embodiment.

FIG. 14 is a block diagram showing an internal configuration of a variable composite resonance circuit according to the second embodiment.

FIG. 15 is a block diagram showing an internal configuration of a variable composite reverberation applying circuit according to the second embodiment.

FIG. 16 is an explanatory view showing the relationship between the output of the variable composite resonance circuit and the piano which is a natural musical instrument in the second embodiment.

FIG. 17 is a block diagram showing a configuration of an electronic musical instrument to which a musical tone signal generator according to a conventional example is applied.

FIG. 18 is a block diagram showing an internal configuration of a reverberation applying circuit in the conventional example.

FIG. 19 is a waveform chart showing an example of waveforms in the conventional example.

FIG. 20 is a frequency characteristic diagram showing an example of a resonance peak when reverberation is added in the conventional example.

[Explanation of symbols]

11 key switch circuit 12 key press detection circuit 13 key press allocation circuit 20 tone signal generation circuit 21 distribution circuit 22-1 to 22-n tone formation channel 32-1 to 32-4 D / A converter 33-1 to 33- 4 sound system 60 reverberation applying circuit 61-67, 74, 75, 77, 178, 81, 82,
93-95, 106, 107, 184, 185, 188
Input terminals 68-1, 68-2 Variable reverberation characteristic imparting circuit 69-1 to 69-4 Radiation characteristic imparting circuit 71,189 Variable delay device 72, 82-1 to 82-11, 97-1, 97-2, 1
04, 105, 173-1, 173-2, 174-1
174-2, 182, 192-1 to 192-11, 19
3-1 to 193-11 Adder 73, 96-1, 96-2, 102, 103, 175-
1, 175-2, 183 Multipliers 76, 83, 98, 99, 108, 176, 177, 1
86, 187, 197 output terminals 81-1 to 81-12 variable resonator 101, 181 delay device 111 sound image control value generation circuit 112 addition control value generation circuit 113 phase shift control value generation circuit 114 reverberation control value generation circuit 115 pedal switch Circuit 116 Pedal detection circuit 117 Grouper 118 Sound number detection circuit 171 Variable sound image enlargement circuit 172-1, 172-2 Variable phase shifter 178-1, 178-2 Variable composite reverberation imparting circuit 191-1 to 191-12 Variable Composite resonator 201-1, 201-2 mixed circuit

Claims (19)

[Claims] 1. A first, a second, a third and a fourth tone generator which generate a tone signal corresponding to a designated note name, and a tone generated from said first and second tone generators. First and second variable reverberator whose characteristics are controlled by a reverberation control value F and a reverberation control value Q, respectively, and reverberation characteristics of the first and second variable reverberator are controlled. The reverberation control value generator for generating the reverberation control value F and the reverberation control value Q, and the tone signals generated from the first and second tone generators are input, and the phase shift amount is the phase shift amount. A first and a second variable phase shifter controlled, a phase shift control value generator that generates a phase shift control value that controls a phase shift amount of the first and second variable phase shifters, and The first and second tones to which the musical tone signals reverberated by the first and second variable reverberators are input. And a second radiation characteristic imparting device, a variable sound image magnifying device having the sound image signals whose characteristics have been imparted by the first and second radiation characteristic imparting devices inputted, and whose sound image enlarging amount is controlled by a sound image control value, A sound image control value generator that generates a sound image control value that controls the sound image expansion amount of the variable sound image expander, and first and first that control the amplitude of each of the first and second outputs of the sound image expander with an addition control value. A second level converter, an addition control value generator for generating the addition control value, an output of the first variable phase shifter, a tone signal generated from the third tone generator, and the first tone generator. A first adder for adding the output of the level converter; an output of the second variable phase shifter; a tone signal generated from the fourth tone generator; and an output of the second level converter. A tone signal including a second adder for adding Raw devices. 2. The first, second, third and fourth tone generators for generating tone signals corresponding to designated note names, and outputs of the first and third tone generators to predetermined values. A first mixer that adds at an addition ratio; a second mixer that adds the outputs of the second and fourth tone generators at a predetermined addition ratio; and a second mixer that generates from the first and second mixers. First and second variable reverberators whose characteristics are controlled by the reverberation control value F and the reverberation control value Q, respectively, and the reverberations of the first and second variable reverberators. A reverberation control value generator that generates a reverberation control value F and a reverberation control value Q that control characteristics, and the tone signals generated from the first and second mixers are input, and the phase shift control value shifts the tone signals. First controlled phase amount
And a second variable phase shifter, a phase shift control value generator that generates a phase shift control value that controls the amount of phase shift of the first and second variable phase shifters, and the first and second variable phase shifters. First and second radiation characteristic imparting devices to which musical tone signals reverberated by the variable reverberator are input, and sound image control by inputting the tone signals characteristically imparted by the first and second radiation characteristic imparting devices A variable sound image expander whose sound image expansion amount is controlled by a value, a sound image control value generator that generates a sound image control value that controls the sound image expansion amount of the variable sound image expansion device, and the first and first sound image expansion devices. First and second level converters that control the amplitude of each of the two outputs with an addition control value; an addition control value generator that generates the addition control value; an output of the first variable phase shifter; A tone signal generated from a third tone generator and the first level conversion Adder for adding the output of the second level converter, the output of the second variable phase shifter, the tone signal generated from the fourth tone generator, and the output of the second level converter A tone signal generating apparatus comprising: a first adder. 3. First, second, third and fourth tone generators for generating tone signals corresponding to designated tone names, and tones generated by the first and second tone generators. First and second variable composite reverberators whose signals are respectively inputted and whose characteristics are controlled by reverberation control value F and reverberation control value Q, and reverberation characteristics of said first and second variable composite reverberator. And a reverberation control value generator that generates a reverberation control value F and a reverberation control value Q, and the tone signals generated by the first and second tone generators are input and the phase shift control value shifts the phase. First and second variable phase shifters whose amounts are controlled; a phase shift control value generator that generates a phase shift control value that controls the amount of phase shift of the first and second variable phase shifters; Reverberated as the first and second outputs of the first variable composite reverberator First and third radiation characteristic imparting devices to which the input musical tone signal is input, and tones to which the reverberation is added and output as the first and second outputs of the second variable composite reverberation imparting device are input. A second and a fourth radiation characteristic imparting device, and a variable sound image expander in which the tone signal imparted with the characteristics of the first and second radiation characteristic imparting devices is inputted and whose sound image enlarging amount is controlled by a sound image control value. A sound image control value generator that generates a sound image control value that controls the sound image expansion amount of the variable sound image expander; and an amplitude of each of the first and second outputs of the variable sound image expander that is controlled by an addition control value. First and second level converters, an addition control value generator that generates the addition control value, an output of the first variable phase shifter, and a tone signal generated from the third tone generator Add the outputs of the first level converter 1 adder, and a second adder for adding the output of the second variable phase shifter, the tone signal generated from the fourth tone generator and the output of the second level converter. A musical tone signal generator characterized by being provided. 4. The variable reverberation generator has resonance peaks for a plurality of frequencies, and the frequency position and resonance index of the resonance peaks are controlled according to the reverberation control value F and the reverberation control value Q. 3. The musical tone signal generating apparatus according to claim 1, wherein the musical tone signal generating apparatus comprises the variable resonance filter according to claim 1. 5. The tone signal generator according to claim 1, wherein the reverberation characteristics of the first and second variable reverberators are different from each other. 6. The variable phase shifter is composed of an all-pass filter, and the phase shift control value is a filter coefficient of the all-pass filter. Musical tone signal generator. 7. The variable sound image expander includes first and second delay devices for delaying first and second inputs of the variable sound image expander, and a sound image at a delay output of the first and second delay devices, respectively. A first and a second multiplier for multiplying the control values respectively; a second adder for adding the output of the first multiplier and the input of the second delay device; and a second multiplier for the second multiplier. An output and a first adder for adding the input of the first delay device, wherein the outputs of the first and second adders are the first and second outputs of the variable sound image expander, respectively. The musical tone signal generator according to claim 1, claim 2 or claim 3. 8. The tone signal generator according to claim 1, wherein the level converter is composed of a multiplier for multiplying the input tone signal by the addition control value. 9. The reverberation control values F and bQ are generated by a reverberation control value generator according to pedal information and pronunciation information, and the reverberation control values F and bQ are generated.
The musical tone signal generator described in 1. 10. The musical tone according to claim 1, wherein the phase shift control value is generated by a phase shift control value generator according to pedal information and sound generation information. Signal generator. 11. The tone signal generation according to claim 1, wherein the sound image control value is generated by a sound image control value generator according to pedal information and sound generation information. apparatus. 12. The tone signal generation according to claim 1, wherein the addition control value is generated by an addition control value generator according to pedal information and sound generation information. apparatus. 13. The musical tone signal generator according to claim 3, wherein the first and second variable composite reverberators have different reverberation characteristics from each other. 14. The variable composite reverberation generator has resonance peaks for a plurality of frequencies, and the frequency position and resonance index of the resonance peaks are controlled according to the reverberation control value F and the reverberation control value Q. 4. The musical tone signal generator according to claim 3, wherein the musical tone signal generator comprises a plurality of variable composite resonance filters. 15. The variable resonance filter controls the existence position of a resonance peak at a predetermined frequency position corresponding to a plurality of note names according to the reverberation control value F and the reverberation control value Q, and sets the resonance index thereof. 5. The musical tone signal generating apparatus according to claim 4, wherein the musical tone signal generating apparatus comprises a plurality of variable resonators that are also controlled. 16. The variable composite resonance filter controls the existence position of a resonance peak at a predetermined frequency position corresponding to a plurality of note names according to the reverberation control value F and the reverberation control value Q, and its resonance index. 15. The musical tone signal generator according to claim 14, wherein the musical tone signal generator comprises a plurality of variable composite resonators that are also controlled. 17. The variable resonator has a delay amount of reverberation control value F.
And a variable delay device controlled by, a multiplier for multiplying the output of the variable delay device by a reverberation control value Q, an output of the level converter and an input of the variable resonator, and an input of the variable delay device. 16. An adder for
The musical tone signal generator described in 1. 18. The variable composite resonator is a variable composite delay device in which the delay amount is controlled by a reverberation control value F, and the variable composite delay device has an output tap in the middle stage of the delay, and the output of the variable delay device is provided. It comprises a multiplier for multiplying the reverberation control value Q, and an adder for adding the output of the level converter and the input of the variable composite resonator to the input of the variable delay device, the output of the adder being the first And the value of the middle delay stage is used as the second output. 19. The variable delay device is configured by an all-pass filter connected in series with the delay device, and the reverberation control value F is a filter coefficient of the all-pass filter. 18. The musical tone signal generator according to item 18.