JPH0638192B2 - Musical sound generator - Google Patents

Description

TECHNICAL FIELD The present invention relates to a musical sound generating apparatus suitable for use in an electronic musical instrument system and the like, and more particularly to improvement of a sound source control section.

SUMMARY OF THE INVENTION The present invention is provided with first and second tone generators, and transfers input performance information to the second tone generator when it cannot be processed by the first tone generator to control musical tone generation. By doing so, it is possible to easily cope with the expansion of the sound source section.

[Prior Art] Conventionally, as a sound source section having a plurality of channels for generating musical tones, a sound source section of a PCM (Pulse Code Modulation) type, an FM
(Frequency modulation) type is well known, for example, PC
In the M type, a plurality of channels are temporally divided, and in the FM type, a plurality of channels are spatially divided. Then, in any of the systems, the input performance information is received indiscriminately, a plurality of channels (for example, 8) are checked for the presence of an empty channel, and the input performance information is assigned to the empty channel to generate a musical tone. Was being generated.

[Problems to be Solved by the Invention] According to the above-mentioned conventional technique, the number of tones that can be simultaneously pronounced is
Limited by the number of channels. For example, if the number of channels is eight, up to eight sounds can be sounded simultaneously, but more than nine sounds cannot be sounded simultaneously.

In recent years, the componentization of electronic musical instruments has progressed, and a musical instrument system has been constructed by combining a keyboard, a sequencer, a music computer, a tone generator unit, and the like. In this type of musical instrument system, there is often a demand for increasing the number of channels for generating musical tones according to the addition of keyboards and the like.

In order to meet such a demand, it is conceivable to add a sound source section or a sound source unit, but there is a disadvantage that the number of musical tones that can be simultaneously sounded cannot be increased by simply adding more. That is, assuming that a plurality of sound source units having a plurality of channels are provided and certain performance information is input, the performance information is unconditionally received for each sound source unit to perform a musical sound generation process. , A plurality of tones having pitches corresponding to the performance information are generated in parallel. Since these plural sounds have the same pitch, they are practically one sound,
For example, even if two sound source sections with eight channels are provided, the maximum number of musical tones that can be simultaneously sounded is eight.

In such a case, in order to increase the number of tones that can be sounded simultaneously, the configuration or processing of the sound source control unit may be changed to match the increased number of channels (for example, 16). However, it is very inconvenient to make such a change each time the expansion is performed.

[Means for Solving the Problems] An object of the present invention is to provide a sound source control method that can easily cope with the addition of a sound source section or a sound source unit.

A musical tone generating apparatus according to the present invention comprises: (a) a first channel having a plurality of channels for generating musical tones.
And a second sound source section, (b) input means for inputting performance information, and (c) a first sound source section for transferring the performance information input by this input means to the next sound source section when the own sound source section cannot process it. Mode instructing means for instructing each of the sound source units of the first and second sound source units which one of a mode and a second mode in which the performance information cannot be transferred to the next sound source unit when the performance information cannot be processed (D) determining means for determining whether or not the performance information input by the input means can be processed by the first sound source section, and (e) performance information related to the determination when the determining means determines that the performance information can be processed. The generation of the musical sound in the first sound source section is controlled on the basis of the
The control means for controlling the tone generation in the second tone generator section based on the performance information related to the determination only when the mode is instructed.

[Operation] According to the configuration of the present invention, when the performance information cannot be processed by the first tone generator, the tone generation is controlled by transferring it to the second tone generator. Even if the number is increased to two, the configuration or processing of the sound source control unit does not have to be changed. In addition, the maximum number of musical tones that can be sounded simultaneously can be reliably increased to the total number of channels of both sound source units.

Moreover, in the first mode, the first tone generator produces a musical tone when the first tone generator can process the sound, and the second tone generator when the first sound generator cannot process the musical tone. In the second mode, the performance data is controlled not to be transferred to the second tone generator even when the first tone generator cannot process the data. Since it can be performed for each sound source unit, the following operational effects can be obtained.

(1) In the configuration of the present invention, two sound source units are required, such as the first and second sound source units, but assume that there is only one sound source unit, for example. At that time, if the tone generator is set to the first mode, if the processing is impossible, the performance information is transferred to the next tone generator. However, in this case, since there is no second sound source section, no musical sound related to the performance information is generated. In other words, it is a first-come first-served sounding assignment process. Further, if the tone generator section is set to the second mode, the performance data is not transferred to the second tone generator section even if the tone generator section cannot process the tone generator section. Become.

(2) If there are two sound source units, if the first sound source unit is set to the first mode and the second sound source unit is also set to the second mode, then 2
It is a first-come-first-served pronunciation allocation process using one sound source section. In addition, the first sound source unit is set to the first mode and the second sound source unit is set to the second mode.
By setting this mode, it is possible to perform a process that is substantially equivalent to the tone-earning assignment process with the last-arrival priority. That is, the second
Since the tone generator section of No. 2 is set to the second mode, the performance data is not transferred to the next tone generator section, so that the tone-earning assignment processing with the second-arrival priority can be performed.
As a whole, it is substantially equivalent to performing the tone-earning assignment process with the second-arrival priority, and the tone-generating process relating to new performance information is not ignored.

[Embodiment] FIG. 1 shows the overall structure of a musical tone generating apparatus according to an embodiment of the present invention. In this musical tone generating apparatus, the allocation of musical tone control information to channels and the generation of musical tones are performed. It is controlled by a microcomputer.

Overall Configuration (FIG. 1) A musical instrument or musical instrument group 14, a sequencer (automatic musical instrument) 16, and a music computer 18 are connected to a bus 10 via an input interface 12.

The musical instrument group 14 is M musical instruments such as a music synthesizer.
14 (1) to 14 (M), each musical instrument is connected to the bus 10 via the input interface 12. Each instrument is provided with a keyboard and various controls, and as controls related to the implementation of the present invention, a tone designating control, a control for setting musical tone parameters such as volume and effect, and the number of channels. A designation operator, a sound source unit number designation operator, a control mode designation operator, and the like are provided. Also on the keyboard,
A key switch and a touch sensor are provided for each key.

The musical instrument group 14 may be a single electronic musical instrument including a plurality of keyboards such as an upper keyboard, a lower keyboard, and a pedal keyboard, and the above-described various operators. In this case, if a tone color can be designated for each keyboard, one musical instrument is defined for each keyboard. This also applies to the case where one keyboard is divided into a plurality of key ranges and a tone color can be designated for each key range. Therefore, in these cases, one electronic musical instrument includes M musical instruments.

The sequencer 18 performs an automatic performance based on, for example, performance information stored in a memory, and the performance information can be used instead of or together with the performance information from the keyboard of the musical instrument or musical instrument group 14. Further, the sequencer 16 may be provided with various operators as described above, and by doing so, the sequencer 16 is also treated as one musical instrument.

The music computer 18 conforms to the so-called MIDI (Musical Instrument Digital Interface) standard, is capable of inputting information corresponding to the above-mentioned various operators, and can be connected to one or more keyboards. For example, performance information can be input. Therefore, the computer 18 is also a musical instrument or musical instrument group
There may be a case where it is treated as one musical instrument as described with reference to 14, and a case where it is treated as M musical instruments.

The bus 10 includes a central processing unit (CPU) 20, a program memory 22, a working memory 24, and a tone color parameter memory 26.
And Q sound source units 28 (1) to 28 (Q) are also connected.

The CPU 20 executes various processes such as channel assignment and tone generation in accordance with a program stored in a program memory 22 composed of a ROM (Read Only Memory). Details of these processes will be described with reference to FIGS.
It will be described later with reference to FIG.

The working memory 24 is a RAM (random access memory).
Memory) and includes a storage area used as a register or the like when the CPU 20 performs various processes.
Registers such as i, j, q, and A described later are included in the memory 24.

The timbre parameter memory 26 is composed of a ROM or a RAM and stores timbre parameter data for a large number (greater than M) of timbres. The tone color parameter data for one tone color is composed of parameter data necessary for tone color control, such as total level, attack rate, decay rate.

The tone generator units 28 (1) to 28 (Q) are of the FM type as an example, and each unit has eight channels for generating musical tones. The units 18 (1) to 28 (Q) have the same configuration, and the configuration of the unit 18 (1) will be described below as a representative with reference to FIG.

The sound system 30 includes an output amplifier, a speaker, etc., and is adapted to convert analog musical tone signals from the sound source units 28 (1) to 28 (Q) into sound.

Configuration of tone generator unit (FIG. 2) FIG. 2 shows the configuration of the tone generator unit 28 (1). The unit bus B ₁ has a channel assignment register (CH
ASR) group 32 and channel status register (CHST
R) group 34 and sound source control information register (TGCR) group 36
A tone control information memory (CONTM) group 38, a tone control information register (CONTR) group 40, and a performance information register (PLAYR) group 42 are connected.

The channel allocation register group 32 includes M channel allocation registers CHA corresponding to M musical instruments (timbres), respectively.
Each register includes SR, and each register has storage cells for 8 bits corresponding to channels 1 to 8 as shown in FIG. A "1" or "0" is stored in each memory cell, thereby indicating whether or not there is a timbre assignment to the corresponding channel, respectively.

The channel status register group 34 includes M channel status registers CHSTR corresponding to M musical instruments, and each register corresponds to eight channels corresponding to channels 1 to 8 as shown in FIG. It has a storage unit. The key code KC or 0 is stored in each storage unit, and represents the busy or unused state (empty state) of the corresponding channel. The key code KC is predetermined for each key of the keyboard and is included as pitch data in the performance information. In addition, "1" is used to indicate whether the channel is in use or not.
Alternatively, “0” may be stored.

The sound source control information register group 36 includes M sound source control information registers TGCR corresponding to M musical instruments, and each register stores control mode designation data and control parameter data as shown in FIG. It is supposed to be done.

The musical tone control information memory group 38 includes M musical tone control information memories CONTM corresponding to M musical instruments, each memory being composed of RAM. As shown in FIG. 6, the tone color number data and the modulation control data are stored. , Volume control data, panpot control data, portamento control data, detune control data, pitch bend control data, etc. are stored. Here, the pan pot control data is for controlling the sound image localization when using multiple speakers, and the detune control data is for obtaining the chorus effect or flanger effect by subtly shifting the tone frequency. is there.

The tone control information register group 40 includes eight tone control information registers CONTR respectively corresponding to eight channels, and each register includes tone color parameter data, modulation control data, volume control data, as shown in FIG. Panpot control data, etc. are stored. Here, the tone color parameter data is read from the tone color parameter memory 26 in accordance with the designated tone color (tone color number data), and the data below the modulation control data is
It is transferred from the memory corresponding to the designated tone in the memory group 38. By setting the tone color parameter data in one or a plurality of registers in the register group 40, it becomes possible to assign a tone color to one or a plurality of channels corresponding to the registers.

The performance information register group 42 includes eight performance information registers PLAYR corresponding to eight channels, and each register is turned on / off (O) as shown in FIG.
(N / OFF) status information, key code KC, and initial touch data are stored.
When the ON / OFF status information is ON (“1”), it indicates that a musical tone should be generated, and when it is OFF (“0”), it indicates that the musical tone should be stopped. The key code KC is used to control the pitch of a musical tone. The initial touch data represents the strength of key depression and is used to control the envelope of a musical tone.

The tone forming circuit 44 constitutes a tone generator with the register groups 40 and 42, and includes eight channels for tone generation. For example, tone color parameter data corresponding to a piano tone color and tone parameter associated therewith are stored in the tone control information register CONTR corresponding to channels 1 to 3, and ON status information is stored in the performance information register PLAYR corresponding to channel 1, for example. Key code K
When C and the initial touch data are stored, the digital tone signal of the piano tone color is formed on the channel 1 of the tone forming circuit 44. The pitch of this digital tone signal is determined by the key code KC of the register PLAYR, the envelope is controlled according to the initial touch data of the register PLAYR, and the volume, effect, etc. are registered in the register CONTR.
It is controlled according to the volume control data, the detune control data, and the like. In this case, since the piano timbres are assigned to the three channels, up to three musical tones of the piano timbres can be simultaneously pronounced.

Digital musical tone signals formed for each channel in this manner is a process of adding a plurality of channels, an analog tone signal MS ₁ via a digital / analog conversion processing
Is output from the tone forming circuit 44. Then, the musical tone signal MS ₁ is supplied to the sound system 30 and is sounded as a musical tone.

Main Routine (FIG. 9) FIG. 9 shows the processing of the main routine. First, at step 50, initial setting processing is performed in response to power-on, and various registers and the like are initialized. For example, in the M memories of the memory group 38, the musical tone control information of the corresponding musical instruments is set, and the register groups 32, 34, 36, 40 and 42 are set.
Clear each register of. In this case, register group 32,
The 36 and 40 registers may be set with appropriate initial information so that they can be played immediately.

Next, in step 52, it is determined whether there is a channel allocation request. The channel assignment request is generated for each musical instrument based on the operation of the sound source unit number designating operator and the channel number designating operator, and the musical instrument number, the unit number, and the number of channels are supplied as input information.

If there is a channel ratio request (Y) in the determination in step 52, the process proceeds to step 54, and channel allocation processing as described later with reference to FIG. 10 is performed. Then, the process proceeds to step 56. If there is no channel allocation request (N), the process proceeds to step 56 without passing through step 54.

In step 56, it is determined whether there is a sound source control request. The sound source control request is generated based on the operation of the sound source unit number designating operator and the control mode designating operator for each musical instrument, and the input information includes musical instrument number, unit number, control mode value, control parameter, etc. Is supplied.

If there is a sound source control request (Y) in the determination of step 56, the process proceeds to step 58, and sound source control information processing as described later with reference to FIG. 11 is performed. Then, the process proceeds to step 60. Also,
If there is no sound source control request (N), the process proceeds to step 60 without passing through step 58.

In step 60, it is determined whether there is a musical tone control request. The tone control request is generated based on the operation of the tone generator unit number designating operator and the tone color designating operator and / or the operator for setting a tone parameter such as volume and effect for each musical instrument. For example, a musical instrument number, a unit number, a tone color number and / or a tone parameter are supplied.

If there is a tone control request (Y) in the determination of step 60, the process proceeds to step 62, and tone control information processing as described later with reference to FIG. 12 is performed. Then, the process proceeds to step 64. Also,
If there is no tone control request (N), the process proceeds to step 64 without passing through step 62.

In step 64, it is determined whether there is a performance request (key-on or key-off). Performance requests can be made by operating the keyboard and / or
Alternatively, it is generated based on the read operation from the memory (for example, in the case of the sequencer 16), and the input information is
The instrument number, key code KC, initial touch amount, etc. are supplied. In this case, if the initial touch amount is 0, it means that the key is off.

If there is no performance request (N) in the determination at step 64, the process returns to step 52 and the above processing is repeated. If there is a performance request (Y), the process proceeds to step 66.

In step 66, it is determined whether the key is on. Then, if the key is on (Y), the routine proceeds to step 68, where key-on processing as described later with reference to FIG. 13 is performed. If it is not key-on (N), the process proceeds to step 70, and key-off processing as described later with reference to FIG. 14 is performed.

After step 68 or 70 is completed, the process returns to step 52, and the above-described processing is repeated.

Channel Assignment Processing (FIG. 10) The channel assignment processing of FIG. 10 is performed when a channel assignment request is made to a particular tone generator unit from a particular instrument. , And the unit number (any one of 1 to Q) related to the allocation request in the register q. For convenience, if the instrument number is i and the unit number is q,
The reason described below with reference to the drawings is that the register corresponding to the musical instrument number i is used for the sound source unit of the unit number q.

Next, at step 82, the channel assignment register CHASR _i corresponding to the musical instrument number _i is cleared. As a result, if there is an assigned channel, the bit corresponding to that channel becomes "0". And
Go to step 84.

In step 84, it is determined whether the number of requested channels is 0. If the result of this determination is 0 (Y), processing returns to the routine of FIG. If it is not 0 (N), step
Go to 86.

In step 86, M channel allocation registers CHA
The empty channels and the number thereof are _obtained by referring to SRT ₁ to _M. Then, the process proceeds to step 88.

In step 88, it is determined whether the number of empty channels is 0. If this determination result is affirmative (Y), the register CH
8 among ASR 1 to _M registers other than CHASR _i
This means that all channels are assigned (no empty channels), and the process returns to the routine of FIG.
If the determination result of step 88 is negative (N), there is an unassigned empty channel, and the process proceeds to step 90.

In step 90, it is determined whether the number of empty channels is equal to or larger than the required number of channels. If the result of this determination is negative (N), it means that there is a shortage of empty channels, and the number of empty channels is set as the required number of channels in step 92. That is, the number of required channels is reduced so as to match the number of empty channels, and then the process proceeds to step 94. Also, step 90
If the determination result of is affirmative (Y), step 92
Without moving to step 94.

In step 94, the empty channel corresponding bits of the register CHASR _i are set to “1” for the number of requested channels in order from the smallest channel number, for example. As a result, one or more channels are reserved for the musical instrument of musical instrument number i.

Next, at step 96, the channel status register CHSTR _i corresponding to the musical instrument number _i is cleared. As a result, of the newly secured channels, none of the channels is in the unused state. Further, by turning off the register corresponding to the previously assigned channel among the performance information registers PLAYR _{1 to 8} for ₈ channels, the sound being generated is stopped. And
Go to step 98.

In step 98, referring to the register CHASR _i , the tone control information in the tone control information memory CONTM _i corresponding to the musical instrument number i is stored in the register corresponding to the currently assigned channel among the tone control registers CONTR ₁ to 8 for 8 channels. Are loaded as illustrated in FIG. As a result, for example, channels 1 to 3 of the sound source unit 28 (1)
Is assigned a piano tone color and a musical tone parameter related thereto. After step 98, the routine returns to the routine shown in FIG.

According to the processing of FIG. 10 described above, 8
The same tone or different tones can be assigned to one channel, including the associated tone parameters.

Sound Source Control Information Processing (FIG. 11) The sound source control information processing of FIG. 11 is performed when a sound source control request is issued from a particular musical instrument to a particular sound source unit. The instrument number related to the control request is set and the register q
The unit number related to the control request is set in.

Next, at step 102, the tone generator control information is loaded into the tone generator control information register TGCR _i corresponding to the musical instrument number i in the tone generator unit of the unit number q. And
It returns to the routine of FIG.

In the processing of FIG. 11, the contents of the sound source control information loaded into the register TGCR _i are set so as to enable the processing of FIG. That is, in the process of FIG. 13, it is determined whether the input performance information can be processed by a certain sound source unit and the tone generation of the sound source unit and the next sound source unit is controlled, so that the control mode is designated. There is a need.
As an example, the control mode value can be set to 0 to 2 and the control content corresponding to each value can be defined as follows. Control mode value Control content 0 Do not turn to the next unit 1 Turn to the next unit when the current unit cannot process 2 Make new performance information and turn to the next unit Register TGCR _i Either of the control mode values is set as control mode designation data. Further, in the case of the control mode value 2, for example, the key code value is changed to create new performance information, so that data indicating the change width is set as control parameter data.

When the control mode value is 1, it is possible to reliably increase the maximum number of musical tones that can be sounded simultaneously to the total number of channels of the plurality of sound source units. That is, in the method in which the even and odd key codes are selected and received by the first and second sound source units, respectively, there is no problem when performance information that meets the selection conditions is supplied, but for example, When some even-numbered key codes KC are supplied, the second sound source unit does not sound, and the increase in the number of sounds is uncertain. However, the method of turning to the next unit when the own unit cannot process the sound can surely increase the number of tones generated in any case.

When the control mode value is 2, it is possible to perform modulation or the like by appropriately determining the change width. If, for example, three sound source units are provided and the pitch-changed performance information is turned from the first unit to the second unit and from the second unit to the third unit, chords can be generated. further,
By changing the instrument number and turning it to the next unit, it is possible to produce sounds of the same pitch with different tones.

Musical tone control information processing (Fig. 12) The musical tone control information processing of Fig. 12 is performed when a musical tone control request is issued from a specific musical instrument to a specific sound source unit. The instrument number related to the control request is set and the register q
The unit number related to the control request is set in. Here, if the musical instrument number is i and the unit number is q, the process described below with reference to FIG. 12 is performed using a register or the like corresponding to the musical instrument number i with respect to the sound source unit of the unit number q. .

Next, at step 112, the inputted musical tone control information is stored in the musical tone control information memory CONTM _i corresponding to the musical instrument number i. Then, the process proceeds to step 114.

In step 114, the assigned channel is detected by referring to the channel assignment register CHASR _i corresponding to the instrument number i.

Thereafter, in step 116, it is determined whether the tone color number data is updated in the register CONTM _i (tone color change). If the result of this determination is affirmative (Y), the procedure moves to step 118, and if negative (N), the procedure moves to step 120.

In step 118, the tone color parameter corresponding to the new tone color number data is read from the memory 26 and loaded into the register corresponding to the assigned channel among the tone control information registers CONTR ₁ to 8 for 8 channels. And
It returns to the routine of FIG.

In step 120, the updated tone control information (tone parameters such as volume and effect) in the memory CONTM _i is loaded into the register corresponding to the assigned channel among the registers CONTR _1-8 . Then, the process returns to the routine of FIG.

According to the processing of FIG. 12, some or all of the settings of the tone color, volume, effect, etc. in the assigned channel can be changed for each sound source unit. When the channel assignment process of FIG. 10 is performed after the process of FIG. 12 is completed (the channel assignment request is issued after the tone control request is issued), the updated tone color, volume, Control information such as effects can be assigned.

Key-on process (Fig. 13) The key-on process of Fig. 13 is performed when a key-on request is made from a specific musical instrument.

First, in step 130, the musical instrument number related to the key-on request is set in the register i and the register q is set to 1. Then, in step 132, an empty channel is searched for by referring to the channel assignment register CHASR _i and the channel state register CHSTR _i respectively corresponding to the musical instrument number i in the sound source unit of q = 1.

Next, in step 134, it is determined whether there is an empty channel. If this determination result is affirmative (Y), step 13
Move to 6 and decide the channel j to be used from the empty channels. Then, in step 138, j of the register CHSTR _i is
After the key code KC is loaded into the channel, the performance information register PLAYR of the j-th channel is loaded in step 140.
Load performance information into _j . As a result, a tone signal having a pitch corresponding to the input key code KC is generated from the sound source unit of q = 1.

Thereafter, in step 142, it is determined whether the control mode value is 2, and if the determination result is negative (N), the process returns to the routine of FIG.

When the determination result of step 142 is affirmative (Y), the process proceeds to step 144 and KC change processing is performed. In this process, the value of the key code KC in the input performance information is changed according to the control parameter to create new performance information.

Next, in step 146, it is determined whether q is equal to Q.
At the stage when the processing of the sound source unit of q = 1 is finished as described above, the determination result of step 146 becomes negative (N),
Go to step 148.

In step 148, the value of q is incremented by 1. Then, returning to step 132, the above-described processing is performed for the sound source unit of q = 2.

By the way, when the determination result in step 134 is negative (N), it means that the sound source unit with q = 1 cannot process the process, and the process proceeds to step 149.

In step 149, it is determined whether the control mode value is 1. If this determination result is affirmative (Y), the process proceeds to step 148 via step 146 and q = 2. And step
Returning to 132, the above processing is performed for the sound source unit of q = 2.

If the determination result of step 149 is negative (N), the process proceeds to step 142, and if the control mode value is not 2, the process returns to the routine of FIG. This is the case when the control mode value is 0. That is, when the control mode value is 0, the tone generator unit with q = 1 generates a musical tone if there is an empty channel for the instrument number i, but if there is no empty channel, the process of the next tone generator unit is not performed.

If the control mode value is 1 or 2, the remaining sound source units are processed until q = Q.
The determination result of 6 is affirmative (Y), and the process returns to the routine of FIG.

When the control mode value is 1, it is determined whether or not there is an empty channel for the instrument number i for each sound source unit as described above, and if there is an empty channel, it is processed by its own unit, and if not, it is passed to the next unit. The number can be reliably increased.

When the control mode value is 2, it is determined whether or not there is an empty channel for the musical instrument number i for each sound source unit as described above, and if there is, it is processed by its own unit and new performance information is created by changing KC or the like. Then, as it is turned to the next unit, it is possible to generate modulated tones and chords.

When a plurality of keys are simultaneously pressed in the musical instrument having the musical instrument number i, key-on requests corresponding to the respective keys are sequentially received, and the process of FIG. 13 is performed for each key-on request. Therefore, if a tone generator unit or a different tone generator unit receives a key code KC corresponding to a plurality of key depressions and there are a plurality of empty channels, a plurality of tone signals corresponding to the plurality of key codes KC are almost simultaneously generated from these channels. Is generated.

Key-off process (Fig. 14) The key-off process of Fig. 14 is performed when a key-off request is made from a specific musical instrument. First, at step 150, the instrument number related to the key-off request is set in the register i and the register is set. Set 1 to q. Then, in step 152, channel 1 is selected in the sound source unit with q = 1 by setting register j to 1.

Next, in step 154, the channel assignment register CH corresponding to the musical instrument number i in the tone generator unit of q = 1.
Channel status register CHST corresponding to the j-th bit content ("1" or "0") of ASR _i and musical instrument number i
The contents of the j-th channel of R _i (0 or KC) are multiplied, and the obtained multiplication data is loaded into the register A. This is a process for checking whether or not there is an assignment for each channel and whether or not it is in use. The register A is loaded with the key code KC from the register CHSTR _i only when there is an assignment and in use. . After this, step 15
Go to 6.

In step 156, it is determined whether the contents of the register A and the entered key code KC match. If the result of this determination is negative (N), there is no allocation or busy, and the process moves to step 158.

In step 158, it is determined whether j is 8. J as above
At the stage where 1 is set to 1, the determination result of step 158 becomes negative (N), and the process proceeds to step 160. This step 160
Then, the value of j is incremented by 1. Then, returning to step 154, the above-mentioned processing is performed for channel 2.
Such processing is repeated until j = 8 as long as the determination result of step 156 is negative.

If the determination result of step 156 is affirmative (Y), it means that the musical tone corresponding to the input key code KC is being sounded on the assigned channel j, and the routine proceeds to step 162.
In this step 162, 0 is set to the j-th channel of the register CHSTR _i . This is to show that it is not used. Then, the process proceeds to step 164.

At step 164, the performance information register PLAYR _i of the j-th channel in the tone generator unit with q = 1 is set to the OFF status. As a result, the musical tone being sounded on channel j is stopped. After this, the process moves to step 166.
Also, when the determination result of step 158 is affirmative (Y) (when none of the eight channels is allocated or used in the sound source unit of q = 1), the process proceeds to step 166.

In step 166, it is checked whether q is equal to Q and it is determined whether all units have been processed. When the processing of the sound source unit of q = 1 is completed as described above, the determination result of step 166 becomes negative (N), and the process proceeds to step 168.

In step 168, the value of q is incremented by 1. And q
The above processing is performed for the tone generator unit of = 2.
After that, if the remaining sound source units are processed until q = Q, the determination result of step 168 becomes affirmative (Y), and the process returns to the routine of FIG.

When a plurality of keys are simultaneously released in the musical instrument having the musical instrument number i, the key-off requests corresponding to the respective keys arrive in sequence, and the processing of FIG. 14 is performed for each key-off request. Therefore, the musical tones corresponding to the key release are stopped almost at the same time.

[Advantages of the Invention] As described above, according to the present invention, it is possible to easily deal with an increase / decrease in the number of sound source units and increase the number of sounds that can be simultaneously produced up to the total number of channels of a plurality of sound source units. The effect that the upgrade of the musical instrument system can be easily achieved is obtained.

In the first mode, when the first tone generator section can process, the first tone generator section generates a musical sound, and when the first tone generator section cannot process, the second tone generator section receives performance information. In the second mode, the performance data is controlled not to be transferred to the second sound source unit even when the first sound source unit cannot process the data. Since each sound source unit can be independently operated, it is possible to obtain various effects such that various tone allocation control such as first-arrival priority and last-arrival priority can be performed.

[Brief description of drawings]

FIG. 1 is a block diagram showing the configuration of a musical tone generating apparatus according to an embodiment of the present invention, FIG. 2 is a block diagram showing an example of the configuration of a tone generator unit, and FIG. 3 shows the contents stored in a channel assignment register. FIG. 4 shows an example of stored contents of a channel state register, FIG. 5 shows an example of stored contents of a sound source control information register, and FIG. 6 shows stored contents of a tone control information memory. FIG. 7 is a diagram illustrating the stored contents of the musical tone control information register, FIG. 8 is a diagram illustrating the stored contents of the performance information register, FIG. 9 is a flowchart showing the main routine, and FIG. FIG. 11 is a flowchart showing a subroutine of channel assignment processing, FIG. 11 is a flowchart showing a subroutine of sound source control information processing, and FIG. 12 is a subroutine of tone control information processing. Flowcharts, FIG. 13 is a flowchart showing a subroutine of key-on processing, FIG. 14 is a flowchart showing a subroutine of the key-off processing. 10 ... bus, 12 ... input interface, 14 ... instrument or group of instruments, 16 ... sequencer, 18 ... music computer, 20 ... central processing unit, 22 ... program memory, 24 ... working memory, 26 ...... Tone parameter memory, 28 (1) to 28 (Q) …… Sound source unit, 30 …… Sound system, 32 …… Channel allocation register group, 34…
Channel state register group, 36 Sound source control information register group, 38 Music tone control information memory group, 40 Music tone control information register group, 42 Performance information register group, 44 Music tone forming circuit.

Claims (1)

[Claims] Claims: (a) first and second sound source sections each having a plurality of channels for tone generation, (b) input means for inputting performance information, and (c) input by this input means. Either the first mode in which the performance information is transferred to the next sound source unit when it cannot be processed by the own sound source unit, or the second mode in which the performance information is not transferred to the next sound source unit when the own sound source unit cannot process Mode instructing means for instructing each of the sound source sections of the first and second sound source sections, and (d) determining means for determining whether the performance information input by the input means can be processed by the first sound source section. (E) When the determination means determines that processing is possible, the tone generation in the first sound source section is controlled based on the performance information relating to the determination, and when it is determined that processing is not possible, the mode instruction means Regarding the first sound source section, the first
And a control means for controlling the generation of a musical sound in the second sound source section based on the performance information related to the determination only when the mode is designated.