JPH0720864A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To enable replacement with a natural timbre by setting not only the sensitivity of modulation such as vibratos, but also minimum modulation depth, and performing replacement with an existent confirmed variation according to a past history even unless a timbre corresponding to an accepted variation is present when the specification of variation is accepted from the outside. CONSTITUTION:Musical performance information is received from the outside through a MIDI interface 1. A musical sound synthesizing circuit 6 generates a musical sound signal corresponding to an indication from a CPU 2. Once effect data are received from the outside, the CPU 2 sets the sound volume levels of a dry sound and respective effect sounds in an effect circuit 7 according to the effect data. The external effect data include data for an effect that this electronic musical instrument does not have. The sound volume levels for obtaining proper balance are set even when effect data on sound volume levels for celeste and phaser-that the musical instrument does not have.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument, and more particularly to a technique suitable for being applied to an electronic musical instrument which receives and operates various data by MIDI.

[0002]

2. Description of the Related Art Conventionally, there are known general electronic musical instruments in which only the sensitivity of modulation such as vibrato can be set. However, none of them can set the minimum modulation depth.

Further, in a general electronic musical instrument, it is usual to set various setting states and operate based on the setting states. Then, there was an electronic musical instrument capable of returning the setting state to the initial setting in response to a specific operation. However, in this case, all the states returned to the initial settings, and there was nothing that did not return the specific information to the initial settings.

Japanese Laid-Open Patent Publication No. 59-197090 discloses a technique for converting tone control information fetched from the outside into tone control data for controlling the characteristics of the tone that can be generated by the tone generating means. There is. In this, when a tone color that cannot be produced by the electronic musical instrument is accepted, it is replaced with some tone color and produced.

However, there are some tone colors of musical instruments that can be replaced and some tone colors that are not suitable for replacement. In the technique disclosed in the above publication, all tone colors have been replaced, so these considerations have not been taken into consideration.

In order to share music data among different models, it is desirable to assign a common tone color to a specific tone color number. However, since each model has an individual tone generation method and individual performance, it is possible that each model has a tone color unique to that model. Further, regarding a timbre common to the models, it is conceivable that a high-grade model has a plurality of timbre variations among them.

Here, when attempting to reproduce music data of a high-class model using a model with few timbres, it is possible that there is no corresponding timbre number, but even if the timbres are replaced among variations, there is a problem. Does not occur. However, with regard to the timbre peculiar to the model, when replaced, a completely different musical sound is generated, which may hinder the reproduction of the music data.

Also, regarding the replacement of the timbre of the variation, it is not known what kind of variation each model has. Therefore, it is conceivable that the simple variation always replaces the same variation.

[0009]

SUMMARY OF THE INVENTION It is an object of the present invention to provide an electronic musical instrument capable of setting the minimum modulation depth of modulation such as vibrato. It is another object of the present invention to provide an electronic musical instrument that can prevent only specific information from being returned to the initial setting when the setting state of the electronic musical instrument is returned to the initial setting.
Furthermore, it is an object of the present invention to provide an electronic musical instrument that realizes a natural tone color replacement by selecting only the tone color corresponding to the variation as the replacement target and further selecting the replacement target according to the past history at the time of replacement.

[0010]

In order to achieve this object, the present invention provides a means for storing a modulation sensitivity and a minimum modulation depth corresponding to a tone color of a musical tone to be generated, a means for setting a tone color, and a modulation. A means for receiving information, a modulation sensitivity corresponding to a set tone color, a minimum modulation depth, and means for determining a total modulation amount based on the modulation information, and a musical tone modulated according to the total modulation amount. And a means for imparting an effect.

An electronic musical instrument that operates based on various setting states, including setting storing means for storing the various setting states, and setting changing means for changing the setting states in response to a player's instruction. , Means for returning the various setting states to the initial state in response to a player's instruction, and only predetermined information when the content of the setting storage means is returned to the initial state in response to the instruction to return to the initial state. And a means for prohibiting returning to the state.

Further, in an electronic musical instrument having a tone color group common to different models, a tone color group peculiar to each model, and a variation of the tone color group common to different models, a means for receiving designation of the tone color group and its variation from the outside. When there is no timbre corresponding to the accepted variation, a means for replacing and sounding the variation confirmed to exist according to the past history is provided.

[0013]

According to the above construction, not only the sensitivity of modulation such as vibrato but also the minimum modulation depth can be set. In addition, when returning the setting state of the electronic musical instrument to the initial setting,
It is possible not to return only specific information such as master tuning to the initial settings. Furthermore, if an electronic musical instrument having a tone group that is common between models, a tone group that is unique to each model, and a variation of the tone group that is common between models is accepted from the outside when it is specified Even if there is no timbre corresponding to the variation, the variation can be replaced with the confirmed variation in accordance with the past history and can be pronounced.

[0014]

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

FIG. 1 shows a block configuration of an electronic musical instrument according to an embodiment of the present invention. This electronic musical instrument includes a MIDI interface 1, a CPU (central processing unit) 2, a ROM
(Read-only memory) 3, RAM (random access memory) 4, operation panel 5, tone synthesis circuit 6, effect circuit 7, sound system 8, and bus line 9
Is equipped with.

The MIDI interface 1 is a MIDI interface.
This is an interface for transmitting and receiving performance information to and from an external MIDI device according to the (Musical Instrument Digital Interface) standard. The CPU 2 controls the operation of the entire electronic musical instrument. CPU3 in ROM3
Stores programs executed by, and various control data. The RAM 4 is provided with working areas such as various registers and flags.

The operation panel 5 includes various operators for the user to operate. The tone synthesis circuit 6 generates a tone signal based on an instruction from the CPU 2. The effect circuit 7 inputs the musical tone signal output from the musical tone synthesis circuit 6 as an original sound, adds various effects, and outputs it. The sound system 8 emits a musical tone in accordance with the musical tone signal to which the effect has been added, which is output from the effect circuit 7. The bus line 9 is a bidirectional bus line that connects these units.

FIG. 2 shows a block configuration of the effect circuit 7. The effect circuit 7 of this embodiment includes a reverb circuit 11, a tremolo circuit 12, a chorus circuit 13, multipliers 21 to 24, and adders 31 to 33. Circuits for applying individual effects such as the reverb circuit 11 and the tremolo circuit 12 are collectively referred to as an effect applying circuit. The effect circuit 7 is provided independently for each MIDI channel, but may be shared by time division processing.

The original tone signal from the tone synthesis circuit 6 is
It is input to the four multipliers 21 to 24 and multiplied by a predetermined multiplier. The multiplier 21 is for adjusting the volume level of the original sound (dry sound) to which no effect is added. The multiplier 22 is for adjusting the volume level of the effect sound to which the reverb circuit 11 applies reverb. The multiplier 23 is for adjusting the volume level of the effect sound to which the tremolo circuit 12 adds tremolo. The multiplier 24 is for adjusting the volume level of the effect sound to which the chorus circuit 13 applies the chorus.

The dry sound and the effect sounds thus adjusted in volume level are added by the adders 31 to 33 and output to the sound system 8 as a final effect-added musical sound signal.

Next, an outline of the operation of the electronic musical instrument of this embodiment will be described.

This electronic musical instrument receives performance information from the outside via the MIDI interface 1. The received performance information is stored in a predetermined MIDI buffer.
The CPU 2 scans the MIDI buffer and, if there is data, performs processing according to the data.

For example, when the note data (performance data including pitch data, key-on / off data, etc.) is received, the CPU 2 once writes the note data in the note buffer, and thereafter, the note synthesizer 6 writes the note data. An instruction is given to generate a tone signal corresponding to the data. The tone synthesis circuit 6 generates a tone signal in response to an instruction from the CPU 2.

The multipliers of the multipliers 21 to 24, that is, the volume levels of the dry sound and each effect sound are also determined according to the effect data given from the outside.
That is, when the effect data is received from the outside, C
The PU 2 sets the volume level of the dry sound and each effect sound in the effect circuit 7 according to the effect data.

Here, among the effect data given from the outside, there are also effects data which are not provided in this electronic musical instrument. For example, the effect circuits 11 to 13, the multipliers 21 to 24, and the adders 31 to 3 of FIG.
In addition to 3, a further effect circuit which is a celeste circuit 41 and a phasor circuit 42, multipliers 51 and 52,
In addition, other electronic musical instruments including the adders 61 to 63 may create effect data.

At this time, in the effect data,
The effect data for setting (adjusting) the volume level of the celeste or phasor effect sound is included, and the volume level of the dry sound is set assuming that the celeste or phasor effect sound is output. .

Therefore, the received effect data (effect data including volume level setting data for the celeste and phasor) is used as it is, and the dry circuit in the effect circuit 7 of the electronic musical instrument of the present embodiment having no celeste circuit or phasor circuit is used. When the volume level of the sound and effect sound is set, the volume level of the dry sound becomes small, and the effect balance as a whole is lost.

Therefore, in the electronic musical instrument of this embodiment, it is possible to obtain a proper effect balance even when the effect data including the volume level setting data for the celeste or phasor which is not provided in the own device is received. , The volume level is set as follows.

As effect data, "BnH + 5
When "AH + Vd" is received "BnH" is a control change code, and each part of the electronic musical instrument can be controlled in accordance with the following 2 bytes of data. A MIDI channel number from "0" to "F" can be designated in "n". Also, H indicates hexadecimal notation. In this way, the following effects can be specified for each MIDI channel. Therefore, although not particularly specified, each register is also prepared for each MIDI channel.

"5AH" is a code indicating that the following data is the dry send level Vd. The default value of the dry send level Vd is 7FH. However, the range of the level value is 00H to 7FH. "5 AH
When "+ Vd" is received, the CPU 2 corrects the dry send level Vd according to the level of the other effect sound set at that time, and sets the volume level of the dry sound according to the corrected value. .

Specifically, to the dry send level Vd,
Of the reverb, tremolo, chorus, celeste, and phasor, the equivalent volume of the send level of the effect (cereste and phasor in this embodiment) having no reception capability is added. That is, if the send level of an arbitrary effect having no reception capability is Ve, the total dry send level is calculated by the following equation.

[0032] ^{L = 20log {(Vd 4 +} ΣVe 4/16) 1/2 / 127 2} ... (1)

Here, L is the total dry sound volume level (dB), and ΣVe ⁴ is the sum of the power of each of the send levels of the effects having no receiving capability (that is, not equipped) raised to the fourth power. This dry level L
To the effect circuit 7, and the multiplier 2
Set a multiplier of 1.

However, if the total sound volume exceeds 0 dB, it is regarded as 0 dB. Also, (Vd ⁴ + ΣVe ⁴ /
16) When ^1/2 = 0, L = -∞ (volume zero). For the volume below the lower limit of the dynamic range of the dry send amount, the lower limit shall be substituted.

As effect data, "BnH + 5
When "BH + V" is received "5BH" is a code indicating that the following data is the reverb send level V. When this effect data is received, the CPU 2 calculates the reverb level L by the following equation, sends the reverb level L to the effect circuit 7, and sets the multiplier of the multiplier 22 according to this value.

[0036] ^{L = 20log (V 2/127} 2) ... (2)

Effects other than reverb, that is, tremolo, chorus, celeste, and phasor are set at the level calculated by the equation (2) as in the above. However, the code "5BH" is "5C"
"H", "5DH", "5EH" and "5FH".

Of course, when the effect data for the unequipped effect is received as described above and above, the send level V of the received effect is stored (only for use as Ve). No settings are made to the effect circuit.

In the above and above, when V = 0, L = -∞ (volume zero). The volume level of the return sound of each effect is set so that when the send level value is maximum, the volume level is about -12 dB with respect to the dry sound. For the volume below the lower limit of the dynamic range of the send amount, the lower limit shall be substituted.

The default value of the send level V of each effect is 40H for reverb and 00H for other effects.

Next, the operation of the electronic musical instrument of this embodiment will be described in detail with reference to the flow charts of FIGS.

FIG. 3 shows the main routine of this electronic musical instrument. When the power source of this electronic musical instrument is turned on, first, initialization is performed in step S1. Next, step S
In step 2, MIDI interface processing is performed, in step S3, sound generation processing is performed, in step S4, panel processing is performed, and in step S5, other processing is performed. Then, it returns to step S2 and repeats the subsequent processes.

FIG. 4 shows the MIDI interface processing routine of step S2 of FIG. First, step S
In step 11, the MIDI buffer is scanned. The received data is stored in the MIDI buffer. In step 12, it is determined whether event data is stored in the MIDI buffer. When the event data is not stored, the process directly returns.

If event data is stored in the MIDI buffer in step S12, the event handling process shown in FIG. 5 and subsequent steps is executed in step S13 according to the event. After executing each event handling process, the processed event data is deleted from the MIDI buffer in step S14, the process returns to step S11, and as long as the event data remains in the MIDI buffer, the processes of steps S11 to S14 are performed. repeat.

FIG. 5 shows an effect processing routine called from step S13 of FIG. In the following routine, processing is independently performed for each MIDI channel. First, in step S21, it is determined whether or not the effect data in the MIDI buffer is data instructing dry level setting (in the above case). If the data indicates the setting of the dry level, the dry level setting process is performed in step S22, and the process returns.

If it is not the data instructing the setting of the dry level in step S21, it is determined in step S23 whether or not the effect data is the data instructing the setting of the reverb level (in the above case). If the data is the data for instructing the reverb level setting, the reverb setting process is performed in step S24 and the process returns.

If the data does not indicate the reverb level setting in step S23, it is determined in step S25 whether or not the data indicates the tremolo level setting.
When the data is for instructing the tremolo level setting,
In step S26, the tremolo setting process is performed and the process returns.

If the data is not data instructing the setting of the tremolo level in step S25, it is determined in step S27 whether or not the data is instructing the setting of the chorus level.
If the data is for setting the chorus level,
In step S28, the chorus setting process is performed and the process returns.

If it is not the data instructing the setting of the chorus level in step S27, it is determined in step S29 whether it is the data instructing the setting of the celeste level.
When the data is to instruct the setting of Celeste level,
In step S30, the celeste setting process is performed and the process returns.

If the data does not indicate the setting of the celeste level in step S29, it is determined in step S31 whether or not the data indicates the setting of the phasor level.
If the data is for setting the phasor level,
A phasor setting process is performed in step S32, and the process returns. If the data does not instruct the setting of the phasor level in step 31, other effect processing is performed in step S33, and the process returns.

FIG. 6 shows the dry level setting processing routine of step S22 of FIG. First, step S41
Then, it is checked whether or not the own effect circuit 7 is equipped with reverb, tremolo, chorus, celeste, and phasor. Next, in step S42, the received dry send level data is set in the register Vd.

In step S43, the level of the effect that is not equipped is set in the register Vei.
In this embodiment, since the celeste and phasor are not equipped, the celeste level at the present time is set in the register Ve1 and the phasor level is set in the register Ve2.

Next, in step S44, L = 20log {(Vd 4 + ΣVei 4/16) 1/2 / 1
27 ² } is calculated. This is the calculation of the above formula (1). In this embodiment, ΣVei ⁴ becomes Ve1 ⁴ + Ve2 ⁴ .
When the total volume exceeds 0 dB, it is set to 0 dB.

Next, in step S45, the above L is set to the dry level and sent to the effect circuit 7. As a result, the multiplier of the multiplier 21 is set according to the dry level L. After step S45, the process returns.

FIG. 7 shows the reverb setting processing routine of step S24 of FIG. First, in step S51, the received reverb send level data is set in the register V. Next, in step S52, the send level V
Is stored as a reverb level in a predetermined register. Here, the reverb level is stored because it is used as the level of the effect that is not provided in step S43 of FIG. 6 described above, when the reverb is not provided in the effect circuit of the own device.

Next, in step S53, it is determined whether or not the effect circuit 7 of the own machine is equipped with reverb. If the reverb is not equipped, return as it is. When reverberation is equipped computes ^{L = 20log (V 2/127} 2) in step S54.
This is the calculation of the above formula (2).

Then, in step S54, the calculation result L is sent to the effect circuit 7 as a reverb level. As a result, the multiplier of the multiplier 22 is set according to the reverb level L. It returns after step S55.

The tremolo setting process of step S26, the chorus setting process of step S28, and the step S3 of FIG.
The Celeste setting process of 0 and the phasor setting process of step S32 are the same as the reverb setting process of FIG. 7 described above. That is, the send level of each effect received is set in the register V, stored in a predetermined register and stored, and it is further determined whether or not the own machine is equipped with each effect such as a tremolo. As in steps S54 and S55, the level L is calculated by the equation (2) and sent to the effect circuit 7 as the level of each effect.

In this embodiment, since the celeste and the phasor are not provided, the processes corresponding to steps S54 and S55 are not executed in the celeste setting process of step S30 and the phasor setting process of step S32.

Next, other processing routines called from step S13 of FIG. 4 will be described with reference to FIGS. 8 to 12. Before that, the registers used in those processing routines will be described.

(1) BSL [i]: This is a register for storing the LSB of bank select for each MIDI channel. The argument i indicates the MIDI channel. (2) BSM [i]: This is a register that stores the MSB of the bank select for each MIDI channel. Argument i
Indicates a MIDI channel. (3) KC: A register for storing a key code. (4) KEV: This is a register for storing whether a key event (key-on or key-off) is stored.

(5) KV: This is a register for storing the key velocity. (6) LSD [i]: A temporary storage register for the bank select LSB for each MIDI channel. The argument i indicates the MIDI channel. (7) M: A register for storing master tuning data. (8) MCH: A register that stores the MIDI channel number. (9) MSD [i]: A temporary storage register of the bank select MSB for each MIDI channel. The argument i indicates the MIDI channel.

(10) mtun: A register for storing the final calculated value of master tuning. (11) mvol: A register that stores the final calculated value of the master volume. (12) PC [i]: A register that stores the program change number for each MIDI channel. Argument i
Indicates a MIDI channel. (13) PD [i]: A temporary storage register of the program change number for each MIDI channel. Argument i
Indicates a MIDI channel. (14) TCH: A register for storing an empty channel number.

(15) VD [i]: A temporary storage register for vibrato data for each MIDI channel. The argument i indicates the MIDI channel. (16) VDE: This is a register for storing the final calculated value of the vibrato data for each MIDI channel. (17) VMin: This is a register for storing the minimum modulation depth of vibrato for each tone color. (18) VSens: a register for storing the sensitivity of vibrato for each tone color.

(19) LBSL [i]: This is a register for storing the LSB of the bank select which was soundable at the end of each bank select MSB = 00H for each MIDI channel. The argument i indicates the MIDI channel. (20) LPC [i]: This is a register for storing the last program change number of each MIDI channel that can be sounded with the bank select MSB = 7FH. The argument i indicates the MIDI channel. (21) USER: MSB = 00H as melody tone
When other than is selected, it indicates whether the timbre is prepared for the instrument.

Note that all of these registers are initialized to 0 at initialization.

FIG. 8 shows an exclusive processing routine called from step S13 of FIG. The exclusive processing routine is executed when an exclusive message is received from the MIDI interface.

First, in step S61, it is determined whether or not the exclusive data in the MIDI buffer is data instructing master tuning setting. If the data is data for instructing master tuning setting, the received master tuning data is set in the register M in step S62. However, the range of data is 00
H to FFH. The default value is 7FH.

Next, in step S63, the final calculated value mtun for master tuning is calculated based on the value of the register M. The mtun takes a value of -100 when the data in the register M is 00H and a value of about 100 when the data is 7FH. By interpreting this as a cent value, master tuning is set within the range of the first and second half sounds centering on the standard pitch. It can be performed.

Further, in step S64, the value of the register mtun is output to the tone synthesis circuit. Then, it returns to step 14 of FIG. In the tone synthesis circuit, mtu
The master tuning may be changed at the time when the value of n is received, or the master tuning may be changed based on a newly-accepted sound.

If the data does not instruct master tuning setting in step S61, in step S65,
It is determined whether or not the data is an instruction to set the master volume. If it is the data instructing the setting of the master volume, the received data of the master volume is set in the register mvol in step S66. However, the data range is 00H to 7FH.

Next, in step S67, the value of the register mvol is output to the tone synthesis circuit. Since the master volume is data that should be processed in real time, the volume of each channel changes when it is sent to the tone synthesis circuit. Then, it returns to step 14 of FIG.

If the data is not the data instructing the master volume setting in step S65, it is determined in step S68 whether the data is data instructing the system initialization. If the data is data for instructing system initialization, various settings other than master tuning are initialized in step S69.

Here, when performing an ensemble performance with a general natural musical instrument or a natural musical instrument that receives a MIDI signal, it is necessary for the performer to finally tune between the musical instruments. Generally, these tunings take time, but once adjusted, there is no need to readjust for a certain period of time. On the other hand, the initialization of the system is relatively frequently used, for example, to prevent unnecessary settings before sending new data at the turn of a song. Therefore, here, the initialization is limited to the master tuning data. The following information is set in the initialization.

・ Dry send level ← 7FH ・ Effect level ← 00H ・ Master tuning ← 7FH ・ Master volume ← 7FH ・ Program change ← 00H ・ Bank select MSB ← 00H ・ Bank select MSB ← 7FH (MIDI 10ch only) ・ Bank select LSB ← 00H ・ Vibrato data ← 00H

Then, the process returns to step S14 in FIG.

If the data is not data instructing initialization in step S68, other exclusive processing is performed in step S70, and then step S14 in FIG.
Return to.

FIG. 9 shows the bank select processing routine called from step S13 of FIG. The bank select processing routine is executed when a bank select signal is received from the MIDI interface. The bank select has MSB and LSB. The bank select MSB is used for switching between a melody tone color, a rhythm tone color, and a user tone color. Bank Select LSB is
It represents the melody tone and the extension of the user area.

First, in step S81, the received MIDI channel number of bank select is set in the register MCH. In step S82, it is determined whether the received bank select signal is MSB side data. If the data is on the MSB side, step S83
Then, the received bank select data is stored in the temporary storage register MSD of the bank select data MSB provided for each MIDI channel. Then return.

In step S82, the received bank select signal is not the data on the MSB side (that is, LSB).
Side data), the received bank select data is stored in the register LSD in step S84. Then return.

Here, the actual bank selection is carried out when the program change signal described later is received. Therefore, each bank select data is stored in the temporary storage registers MSD and LSD.

FIG. 10 shows a program change processing routine called from step S13 of FIG. The program change processing routine is executed when program change data is received from the MIDI interface.

First, in step S91, the MIDI channel number of the received program change is set in the register MC.
It is set to H and the program change number itself is set in the temporary storage register PD [MCH] for program change data. In step S92, the received bank select data and program change data are temporarily transferred to the registers BSM [MCH] and BSL [MC] for transmitting sound sources.
H] and PC [MCH].

Then, in step S93, it is determined whether or not the bank select MSB assigned to the MIDI channel is 7FH. A value of 7FH indicates that a rhythm tone color is assigned to the MIDI channel. As described below, the interpretation of the program change and bank select signals differs depending on the rhythm tone and the melody tone.

If a melody tone color is assigned to the MIDI MCH channel, in step S94,
Depending on the bank select MSB, bank select LSB, and program change PD of the MCH channel,
Refer to the melody tone color table. In the melody tone color table, the address of the storage area of the actual tone data is written, and it is possible to judge from this whether or not the tone color exists.

In step S94, it is determined whether or not a timbre exists, and if it exists, the data in each temporary storage register is written in the data storage registers BSM, BSL, PC for each regular MIDI channel in step S95. Then, the process returns to step S13 in FIG. In this way, when the designated tone color is possessed, the tone is produced.

In step S95, the bank select MS
It is determined whether B is 00H. If it is 00H, the specified tone color is 1 in the tone color set common to all models.
Therefore, the tone color replacement processing in step S96 and subsequent steps is performed.

Even in musical instruments that use tone colors common to different models, not all tone colors are available due to differences in performance. When using a tone set common to all models,
A tone color is selected by a program change, and a tone color variation is selected by the LSB of bank select. Therefore, for high-performance models, LS
Due to the expansion of B, a wide variety of variations are provided, but it is conceivable that a low-priced model has only one tone color set.

However, even in such a case, if a tone color according to the same program change number is generated, a tone color that is not so unnatural is generated. Therefore,
When the designated tone color is one of the tone color sets common to the models, the last confirmed tone color set of the bank select LSB is sounded as follows.

In step S96, it is determined whether there is a corresponding tone color based on the determination in step S94. If there is a timbre, a musical tone can be generated based on each information set in step S92, so no change is made, and in step S97, BSL is set as the last confirmed bank select LSB number. Register LBSL
Set to. Then return.

If it is determined in step S96 that there is no timbre, the flow advances to step S98 to replace the bank select LSB of the information set in step S92 with the LBSL set in step S97. Then return. In this way, bank select M
When SB is 00H, the tone color set is replaced by the bank select LSB.

If the bank select MSB is not 00H in step S95, it indicates that a tone color set unique to each model has been selected instead of a tone color set common to all models.
In this case, the tone color cannot be replaced like the tone color common to different models. Therefore, if there is a timbre, sound is produced with that timbre, and if there is no timbre, at least no sound is produced. Further, in order to prevent wasteful use of sounding channels, the sounding channels may not be assigned themselves.

In step S99, the register USER is set according to the determination result of step S94. The register USER is used in the tone generation processing (FIG. 13) described later. When USER = 0, the tone generation channel is not assigned.

Returning to step S93, if it is determined that the MSD is 7FH, the process proceeds to step S100, where M
Whether or not a corresponding musical tone exists in the rhythm tone color table is checked according to the register BSM storing the bank select LSB of the IDI MCH channel and the register PD temporarily storing the program change number.

With respect to the rhythm tone color as well, like the melody tone color bank select LSB, a variation can be selected by a program change.

If it is determined in step S101 that there is a tone color, a tone is generated according to the program change number PC set in step S92, but the tone is set in step S102 for replacement of the tone color. The saved PC is stored in the LPC. If it is determined that there is no timbre, in step S103, the program change number set in step S92 is set to
Replace with the program change number LPC that is confirmed to sound. Then return.

As described above, the bank select MSB is
The most comprehensive selection is made, such as switching between melody sounds and rhythm sounds and switching of special tone sets for each model. In particular, the bank select MSB = 00H indicates a tone color common between models, and the others indicate a tone color peculiar to the model. Therefore, in the case of a common tone color between models, by selecting the bank whose pronunciation has been confirmed immediately before that, the tone color replacement is actually performed as follows.
Improper timbre switching can be prevented by replacing the timbre with no sound. Since the bank select LSB is a variation within the timbre of the same system, even if the bank select LSB is changed, it does not cause much inconvenience.

In addition, the rhythm tone color (bank select MSB
= 7FH), the timbre is selected by the program change and the key code without using the selection by the bank select LSB. Here, also in the program change of the rhythm tone color, the tone color is replaced like the bank select LSB of the melody tone color.

FIG. 11 shows a vibrato processing routine called from step S13 of FIG. The vibrato processing routine is executed when the vibrato data is received from the MIDI interface.

In the vibrato processing routine, step S
At 111, the MIDI channel number of the received program change is set in the register MCH, the vibrato data is set in the register VD [MCH], and the process returns to step S14 in FIG.

In this example, the received vibrato data is only stored in the register at the time of reception, and what is actually referred to as the vibrato information is when the sound of the corresponding MIDI channel is accepted. Is. However, the vibrato information may be sent to the tone synthesis circuit in the vibrato processing so that the vibrato processing can be performed in real time.

FIG. 12 shows a note event processing routine called from step S13 of FIG. The note event processing routine is executed when note event data is received from the MIDI interface.

First, in step S121, the MIDI channel number of the received program change is set in the register MCH, and the key code, velocity, and key event information are registered in registers KC, KV, and KE, respectively.
Set to V. Key-on KON or key-off KOFF is entered in KEV. Then, in step S122,
The set information is stored in the note buffer, and the process returns to step S14 in FIG.

As described above with reference to FIGS. 5 to 12, the data input to the MIDI interface is processed by the MIDI interface processing routine of FIG. 4 according to its contents. When there is no more data to be processed in the MIDI buffer, the process returns to step S3 of FIG. 3 to perform sound generation processing.

FIG. 13 is a tone generation processing routine called from step S3 of FIG. In the tone generation processing routine, first in step S131, each data written in step S122 of FIG. 12 is read from the note buffer.

Next, in step S132, it is determined whether the read event is a KON event. K
If it is determined that the event is an ON event, step S1
At 33, it is determined whether USER is 1. USER is 1
If not (that is, USER = 0), the timbre is not prepared for the musical instrument, so the process proceeds to step S143 so that the MIDI channel is not assigned. When USER is 1, the process proceeds to step S134.

In step S134, a sound generation available channel for sounding the key-on event is secured. Here, the secured channel number is stored in the register T
Set to CH. In step S135, it is determined whether or not the rhythm tone color is designated (BSM = 7FH) for the MIDI channel designated for sound generation. B
When SM is other than 7FH, it indicates that the melody tone color is assigned to the designated MIDI channel. In this case, the process proceeds to step S136.

In step S136, tone data is read from the melody tone color list in accordance with each bank select data and program change data. The musical tone data read here is a storage address of a waveform of each tone color, envelope information, vibrato information, effect information, and volume balance information.

Next, in step S137, the read vibrato sensitivity is set in the register Vsens, and the minimum modulation depth is set in the register VMin. In step S138, VDE is calculated as an actual vibrato value based on these values, and step S139 is performed.
Outputs the vibrato information to the tone synthesis circuit. It progresses to step S141 after step S139.

In step S135, BSM is 7FH.
If it is determined that the rhythm tone color is assigned, it means that the rhythm tone color is assigned. In this case, in step S140,
The tone data is read from the rhythm tone color list according to the program change data and the key code, and the process proceeds to step S141.

The musical tone data thus read out is output to the musical tone synthesizing circuit in step S141. As a result, the generation of musical sound starts.

Returning to step S133, if the event is not the key-on event KON, that is, key-off, the process proceeds to step S142, and the key-off signal is sent to the corresponding tone generation channel. After that, step S143
Proceed to.

In steps S143 and S144, the processed note buffer data is cleared, and if the data still remains in the note buffer, the process returns to step S131 to continue the process.

[0114]

As described above, according to the present invention, not only the sensitivity of modulation such as vibrato but also the minimum modulation depth can be set. Further, when the setting state of the electronic musical instrument is returned to the initial setting, only specific information such as master tuning can be prevented from being returned to the initial setting. Furthermore, since only the timbre corresponding to the variation is set as the replacement target and the replacement target is selected according to the past history at the time of replacement, natural replacement of the timbre can be realized.

[Brief description of drawings]

FIG. 1 is a block configuration diagram of an electronic musical instrument to which an effect imparting device according to an embodiment of the present invention is applied.

FIG. 2 is a block diagram of an effect circuit.

FIG. 3 is a flowchart showing a main routine of the electronic musical instrument of the embodiment.

FIG. 4 is a flowchart of a MIDI interface processing routine.

FIG. 5 is a flowchart of an effect processing routine.

FIG. 6 is a flowchart of a dry level setting routine.

FIG. 7 is a flowchart of a reverb setting processing routine.

FIG. 8 is a flowchart showing an exclusive processing routine.

FIG. 9 is a flowchart of a bank select processing routine.

FIG. 10 is a flowchart of a program change processing routine.

FIG. 11 is a flowchart of a vibrato processing routine.

FIG. 12 is a flowchart of a note event processing routine.

FIG. 13 is a flowchart of a pronunciation processing routine.

[Explanation of symbols]

1 ... MIDI interface, 2 ... CPU (central processing unit), 3 ... ROM (read only memory), 4 ... R
AM (random access memory), 5 ... Operation panel, 6
... Sound synthesis circuit, 7 ... Effect circuit, 8 ... Sound system, 9 ... Bass line, 11 ... Reverb circuit, 12 ...
Tremolo circuit, 13 ... Chorus circuit, 21-24 ... Multiplier, 31-33 ... Adder, 41 ... Celeste circuit, 42 ...
Phaser circuits, 51, 52 ... Multipliers, 61-63 ... Adders.

Claims (3)

[Claims] 1. A means for storing a modulation sensitivity and a minimum modulation depth corresponding to a tone color of a musical tone to be generated, a means for setting a tone color, a means for receiving modulation information, and a modulation corresponding to the set tone color. An electronic device comprising: a unit for determining a total modulation amount based on the sensitivity, the minimum modulation depth, and the modulation information; and a unit for applying a modulation effect to a musical sound according to the total modulation amount. Musical instrument. 2. An electronic musical instrument that operates based on various setting states, including setting storage means for storing the various setting states, and setting changing means for changing the setting states in response to a player's instruction. , Means for returning the various setting states to the initial state in response to a player's instruction, and only predetermined information when the contents of the setting storage means are returned to the initial state in response to the instruction to return to the initial state. An electronic musical instrument comprising means for prohibiting returning to a state. 3. An electronic musical instrument having a tone color group common to different models, a tone color group peculiar to each model, and a variation of the tone color group common to different models, and means for receiving designation of the tone color group and its variation from the outside. An electronic musical instrument, characterized in that, when there is no timbre corresponding to the accepted variation, it is replaced with a variation whose existence has been confirmed according to the past history and sounded.