JPH07319474A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To freely control the delay feeling and to improve the playing effect by delaying the start of sound generation of musical sound signal by either one of two musical sound signal penerating circuits and variably controlling delay time. CONSTITUTION:In two musical sound signal generating circuits 20 and 21, musical sound signals are respectively generated in a digital form having tone colors in accordance with tone color information with pitches corresponding to a key code KC given by a buffer register 18. Moreover, each circuit 20 and 21 respectively generates musical sound signals having pitches corresponding to common specified pitches in accordance with the code KC. In this case, the start of sound generation of musical sound signals in either one of the circuits is delayed with respect to another one and a delayed double playing effect is realized. Wherein, in accordance with the selected tone color, whether on not the delaying is applied and which circuit is to be delayed may be controlled. The delay feeling is freely controlled by variably controlling the delay time.

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 which is provided with two tone signal generating circuits of different tone signal generating systems and which combines tone signals generated by the two tone signal generating circuits.

[0002]

2. Description of the Related Art Two tone signal generating circuits having two tone signal generating circuits of different tone signal generating systems are provided with a common pitch and corresponding to the same nominal tone color selected by a player or the like. An electronic musical instrument in which a musical tone signal is generated from each of them and the both musical tone signals are combined is disclosed in Japanese Patent Laid-Open No. 58-102296.
No. Here, the first tone signal generation circuit has a memory storing a plurality of cycles of tone waveforms corresponding to various tone colors, and generates a tone signal by reading out a plurality of period tone waveforms corresponding to a selected tone color. To do. The second tone signal generation circuit generates a tone signal corresponding to the selected tone color by executing a frequency modulation type tone synthesis operation. The first tone signal generating circuit generates a tone signal at the rising portion of the sound in which the tone waveform changes intricately, and the second tone signal generating circuit generates a tone signal at the subsequent sustaining portion. Are combined to synthesize one musical tone signal.

[0003]

However, in the prior art, since the musical tone signals of both musical tone signal generating circuits are simply shared by the rising portion and the sustaining portion of the tone, in terms of tone synthesis. It lacked controllability, and the obtained performance effect was monotonous. The present invention has been made in view of the above points, and in an electronic musical instrument that synthesizes musical tones by combining musical tone signals output from a plurality of musical tone signal generating circuits of different musical tone signal generating systems, musical tone synthesis with rich controllability is achieved. The purpose is to make it possible and to enrich the playing effect.

More specifically, it is an object of the present invention to provide an electronic musical instrument capable of realizing a delayed overdue effect in which one of the first and second tone signal generating means delays the start of tone signal generation as compared with the other. . Another object of the present invention is to provide an electronic musical instrument capable of variably controlling the delay time. Another object of the present invention is to provide an electronic musical instrument in which a key-on pulse for instructing the start of sounding is properly distributed to the first and second tone signal generating means.

[0005]

An electronic musical instrument according to the present invention comprises a pitch designating means for designating a pitch of a musical tone to be generated,
First tone signal generating means for generating a tone signal having a pitch corresponding to the pitch designated by the pitch designating means, and a tone signal having a pitch corresponding to the pitch designated by the pitch designating means A second musical tone signal generating means for generating a musical tone signal in accordance with a musical tone signal generating method different from that of the first musical tone signal generating means, and one of the first and second musical tone signal generating means starts to generate a musical tone signal from the other. It also has a delay means to delay. The electronic musical instrument according to the present invention further comprises time control means for variably controlling the delay time in the delay means. Also,
The electronic musical instrument according to the present invention comprises means for generating a key-on pulse for instructing the start of sounding in response to the pitch designation by the pitch designating means, and the key-on pulse for the first and second tone signal generating means. Key-on pulse distributing means for distributing to both or one of them and for starting the generation of the musical sound signal by the musical sound signal generating means to which the key-on pulse is distributed.

[0006]

The musical tone signal corresponding to the common designated pitch is generated from the first and second musical tone signal generating means, whereby the duo effect can be realized. In that case, the delaying effect can be realized by delaying the start of tone generation of the tone signal in one of the first and second tone signal generating means with respect to the other by the delaying means. As an embodiment,
Depending on the selected tone color, control may be performed by the delay means to determine whether or not to delay and which is delayed. By doing so, a delayed overlapping effect corresponding to the tone color can be realized.

Further, by performing the variable control of the delay time by the time control means, the feeling of delay can be freely controlled and the performance effect can be enhanced. This delay time may also be automatically variably controlled according to the selected tone color. When the key-on pulse distributing means distributes the key-on pulse to either or both of the first and second musical tone signal generating means, the musical-tone signal generating means to which the key-on pulse is distributed starts generating a musical tone signal. To be done. By distributing the same key-on pulse, when both musical tone signal generating means start sounding at the same time, the sounding start timings of both can be synchronized, and the phase shift can be prevented. When the delay control is performed by the delay means, the key-on pulse is distributed to the tone signal generating means which starts sounding first, and the tone signal generating means which starts sounding with a delay starts sounding by the output of the delay means. To control.

[0008]

Embodiments of the present invention will now be described in detail with reference to the accompanying drawings. (Description of Overall Configuration of Embodiment) In FIG. 1, a keyboard 10 is provided with a plurality of keys for designating the pitch of a musical tone to be generated, and includes a key switch circuit composed of key switches corresponding to each key. . The operation panel section 11 includes a tone color selector 12 for tone color selection and control, and various other operators such as an operator for volume setting / control, an operator for pitch control, and an operator for effect selection. In this embodiment, a key pressing / release key detection scanning process of each key on the keyboard 10, an ON / OFF operation detection scanning process of each operator, switch, selector and the like in the operation panel unit 11 and a pressed key sound allocating process are performed. Various processes are executed according to a software program by a microcomputer. The microcomputer unit includes a CPU (central processing unit) 13, a program and data ROM (read only memory) 1
4. Includes data and working RAM (random access memory) 15.

Various kinds of data based on the sound key assignment processing result and the on / off operation detection result of each operator, switch, selector, etc. in the operation panel section 11 are given to the tone generator section 17 through the interface 16. . An example of various data given to the tone generator 17 via the interface 16 is a key code KC indicating a key assigned to each sounding channel.
A key-on signal KON indicating whether or not the key continues to be pressed, a key-on pulse KONP corresponding to the rising edge of the key-on signal KON (at the start of key depression), and a falling edge of the key-on signal KON (key release). The key-off pulse KOFP corresponding to the time) and various tone color information for realizing the selected tone color.

The tone generator section 17 includes a buffer register 18 for temporarily taking in various data provided through the interface 16, a timing control circuit 19 for generating timing signals and clock pulses for controlling various operations, and a musical tone. Two tone signal generation circuits 20 and 21 having different signal generation methods, a delay key-on and crossfade control circuit 22, an envelope generation unit 23, and multipliers 24 and 25 for giving an envelope.
And an adder 2 for adding the musical tone signals output from both musical tone signal generating circuits 20 and 21 given via the multipliers 24 and 25.
6 and. The output of the adder 26 is digital /
After being converted into analog by the analog converter 27, it is given to the sound system 28.

First and second tone signal generation circuits 20, 2
Reference numeral 1 digitally generates a tone signal having a pitch corresponding to the key code KC given via the buffer register 18 in a tone color corresponding to tone color information. generally,
The tone signal generating circuits 20 and 21 nominally generate tone signals having a common tone color, but the actual tone color differs depending on the difference between the tone signal generation methods of the two, and whether or not there is a change in tone color over time. Or the form thereof may be appropriately changed, and in any case, the quality of the generated sound is determined by the dual tone signal generation circuit 2
0 and 21 are appropriately different. Further, each of the tone signal generating circuits 20 and 21 generates a tone signal having a pitch corresponding to a common designated pitch according to the key code KC, but it is necessary between the tone signal generating circuits 20 and 21. Accordingly, a proper pitch shift or pitch or scale shift may be applied. For example, each tone signal generation circuit 20, 21
The tuning, transposing, vibrato, glide, pitch control, etc. may be controlled independently.

As an example, the first tone signal generation circuit 20
The tone signal generating method in (1) includes a storage unit that stores in advance a plurality of waveform data of musical tone waveforms corresponding to various tone colors. The waveform data of the musical tone waveform corresponding to the selected tone color is read from the storage unit and the read waveform is read. A tone signal is generated based on data, and this method is abbreviated as "PCM method" for convenience. Further, the tone signal generation system in the second tone signal generation circuit 21 is to generate a tone signal by executing a frequency modulation type tone synthesis operation, and this system is abbreviated as "FM system" for convenience.

The delay key-on and cross-fade control circuit 22 controls the "delay key-on" control and the "cross-key" control in accordance with the combination mode when the tone signals generated by the tone signal generation circuits 20 and 21 are combined for tone synthesis. It is for performing "fade" control.
“Delay key on” means that the musical tone signal corresponding to the designated pitch is generated by the first and second musical tone signal generating circuits 20 and 21.
In the case where the overtone effect is realized by the above, the beginning of the tone signal in one of the first and second tone signal generation circuits 20 and 21 is delayed compared to the other, thereby delaying the overtone effect. It is to be.
“Crossfade” refers to a case where one of the first and second tone signal generating circuits 20 and 21 produces a tone signal first and then the other tone signal is produced to produce a tone signal.
The control is to gradually attenuate the preceding tone signal and gradually raise the following tone signal in the switching period. By performing this "crossfade" in combination with the "delay key on", that is, by performing the "crossfade" after the desired "delay key on", it is possible to smoothly switch the tone signal at any sounding stage. .

When the circuit elements in the delay key-on and cross-fade control circuit 22 are classified by function, the delay time in "delay-key-on" and the "cross-fade" will be described.
The time setting and key for performing key scaling control for setting / controlling the time length of the switching period (referred to as a crossfade time) in (1) and variably controlling these times according to the pitch of the generated sound. A scaling control unit 29 and a state control unit 30 for controlling states in delay key-on and crossfade control
And a crossfade waveform creating section 31 for creating a weighted waveform for crossfade. In the embodiment described below, the time setting and key scaling control unit 29
The function of is realized by partially sharing the hardware in the first tone signal generation circuit 20. Specifically, the time counting hardware circuit in the time setting and key scaling control unit 29 is shared with the phase address counting hardware circuit in the first tone signal generating circuit 20.

The envelope generator 23 generates envelope signals PEG and FEG for setting the amplitude envelopes of the tone signals output from the tone signal generators 20 and 21, respectively. The envelope signals PEG and FEG are obtained by weighting a normal envelope signal in response to key depression and key release with a cross-fade weighting waveform generated from the cross-fade waveform creating section 31 of the delay key-on and cross-fade control circuit 22. It was done.

(Description of Sound Generation Mode) Musical tone signal generation circuit 2
For example, there are the following five combinations modes, that is, tone generation modes, when the tone signals generated at 0 and 21 are combined to synthesize a tone. For easy understanding, FIG. 2 shows a typical example of the envelope signals PEG and FEG of the tone signal generating circuits 20 and 21 in each tone generation mode. The tone signals of both tone signal generation circuits 20 and 21 are mixed at a rate according to the shapes of the envelope signals PEG and FEG.

1) Simple mixed mode (FIG. 2a) The simple mixed mode is a PCM tone signal generation circuit 20.
This is a mode in which the tone signal generation circuit 21 of the FM system and the FM tone signal generation circuit 21 generate tone signals almost at the same time. Achieve the usual doublet effect. The abbreviation for this mode is MIX. 2) FM delay key-on mode (FIG. 2b) In the FM delay key-on mode, the PCM tone signal generation circuit 20 starts sounding first, and the FM tone sound signal generation circuit 21 starts sounding later than that. This is a mode in which sounds are repeated. Achieves the delayed playing effect.
Variable control of the delay time is possible. The abbreviation for this mode is FMD.

3) PCM delay key on mode (see FIG. 2)
c) The PCM delay key-on mode is a mode in which the FM tone signal generating circuit 21 starts sounding first, the PCM tone signal generating circuit 20 starts sounding later than that, and thereafter the sound is repeated. . Achieves the delayed playing effect. Variable control of the delay time is possible. The abbreviation for this mode is PCMD. 4) FM delay key on & crossfade mode (FIG. 2d) In this mode, the PCM tone signal generation circuit 20 starts sounding first, and the FM tone signal generation circuit 21 starts sounding later than that. Along with the control for gradually raising the tone signal of the following FM tone signal generation circuit 21, the preceding PCM tone signal generation circuit 20
By gradually attenuating the tone signal of, the effect of switching the tone is realized. Variable control of the delay time and variable control of the switching period, that is, the crossfade time are possible. The abbreviation for this mode is FMDX.

5) PCM delay key-on & cross-fade mode (FIG. 2e) In this mode, the FM tone signal generating circuit 21 starts sounding first, and the PCM tone signal generating circuit 20 sounds later than that. By starting the control and gradually raising the tone signal of the following PCM tone signal generating circuit 20, and gradually controlling the tone signal of the preceding FM tone signal generating circuit 21,
Achieve the effect of switching the pronunciation. Variable control of the delay time and variable control of the switching period, that is, the crossfade time are possible. The abbreviation for this mode is PCMDX.

(Description of timbre information) An example of timbre information corresponding to one selected timbre is shown in FIG.
Such tone color information is, for example, data R for each tone color.
The one stored in the OM 14 and corresponding to one tone color selected by the tone color selector 12 is read from the ROM 14 and given to the tone generator section 17. The data included in the tone color information corresponding to one tone color will be described below. The sound generation mode data is data for designating the sound generation mode, and includes the above five modes MIX to P.
Specify one of CMDX. The delay rate data DRATE sets the delay time in the "delay key on" control.

Crossfade rate data XRATE
Is for setting the crossfade time in the "crossfade" control. The delay rate key scaling data DKSD is data that specifies a key scaling characteristic when the delay time in the “delay key on” control is variably controlled (key scaling control) according to the pitch. The crossfade rate key scaling data XKSD is data that specifies key scaling characteristics when the crossfade time in the "crossfade" control is variably controlled (key scaling control) according to the pitch. As an example, the key scaling property is
Four types of "0%", "25%", "50%", and "100%" are prepared. Key scaling data DKSD and X
KSD designates one of them.

As a sound source in the PCM system tone signal generating circuit 20, a waveform memory in which waveform data of a plurality of tone waveforms corresponding to various tones are stored in advance is used.
As an example, it is assumed that a plurality of periodic waveforms of a rising portion of a sound and a plurality of periodic waveforms of a continuous portion are stored at consecutive addresses. In the tone color parameters for the PCM tone signal generation circuit 20, the start address data SAD is
It is data indicating the first address of the multiple-period waveform of the rising portion of the sound. The repetitive address data RAD is data indicating the first address of the plural-period waveform of the sustain portion. The end address data EAD is data indicating the last address of the plural-period waveform of the continuous part. In the PCM tone signal generating circuit 20, a plurality of periodic waveforms of a rising portion of a sound starting from a start address are read once, and then a plurality of periodic waveforms of a sustain portion stored between a repeating address and an end address are repeatedly read. As a result, a musical tone signal is generated.

In the tone color parameters for the FM tone signal generating circuit 21, the algorithm and parameter data FMP include data for designating a computation algorithm for tone modulation frequency modulation computation and computation parameter data such as a modulation index. The envelope parameter data PENV and FENV are stored in the respective tone signal generation circuits 2
This is data for setting the characteristics of the envelope waveform signal at 0 and 21, respectively.

(Explanation of Key Scaling Characteristics) FIG. 4 shows 4
Types of key scaling characteristics "0%", "25%", "50"
% ”And“ 100% ”. The horizontal axis is pitch, and the vertical axis is time. The time DL is a time determined by the delay rate data DRATE or the crossfade rate data XRATE itself, and is, so to speak, a time without scaling.

"0%" means that the time is DL for any pitch.
The characteristic is that the key scaling is not performed. "100%" is a property that results in a key scaling of twice or 1/2 time per octave (ie, one octave raises time to 1
This is a key scaling characteristic that becomes / 2 and the time doubles when it is lowered by one octave. "50%" means "100
This is a key scaling characteristic showing a gradient of about 1/2 of the gradient of the key scaling characteristic of "%". "25%" means "10
This is a key scaling characteristic showing a gradient of about 1/4 of the gradient of the key scaling characteristic of "0%". A predetermined pitch is defined as the reference pitch RKC, and the reference pitch RKC
In any of the key scaling characteristics, the scaling is 0, that is, the delay rate data DRATE or the crossfade rate data X without scaling is applied.
As shown in the figure, each key scaling characteristic is set so that the time DL is as RATE.

(PCM tone signal generator 20) FIG. 5 shows a detailed example of the PCM tone signal generator 20. For simplification of description, an example in which the number of sound generation channels is 1 is shown. The PCM tone signal generation circuit 20 of FIG. 5 employs a pitch synchronization method for synchronizing the pitch of the tone to be generated and the sampling frequency. Here, in order to form a pitch-synchronized tone signal, the information "P number" is used as an example. The "P number" is a number indicating the number of sample points in one cycle in a tone waveform having a tone frequency to be realized.

The P number memory 32 stores in advance the "P number" corresponding to the 12 note names in a predetermined reference octave. Of the key codes KC given from the buffer register 18, the note code NC indicating the note name is given to the P number memory 32, and the P number corresponding to the note code NC is read. The note clock generation circuit 33 inputs the P number from the P number memory 32 and performs a frequency division operation according to the P number to generate a note clock pulse NCK having a frequency corresponding to the note name of the musical tone to be generated. Occur. Key code K
An octave code OC indicating an octave of C is input to the decoder 34 and decoded for each octave. The output of the decoder 34 is given to the selection control inputs SA to SD of the selector 35, and the data input A to the selector 35 is input.
Octave rate data “1” given to D,
Select "2", "4", "8". The octave rate data is numerical data corresponding to an octave-related frequency ratio, and a larger value corresponds to a higher octave.

The octave rate data ORD output from the selector 35 is input to the gate 36. The gate 36 is enabled when the note clock pulse NCK supplied from the note clock generation circuit 33 is "1" (at the time of pulse generation), and outputs the octave rate data ORD. Therefore, from the gate 36, the key code KC
The octave rate data ORD having a numerical value corresponding to the octave of is repeatedly output in synchronization with the generation timing of the note clock pulse NCK corresponding to the note name of the key code KC. This octave rate data ORD
And the repetition frequency in synchronization with the generation timing of the note clock pulse NCK establishes the tone frequency corresponding to the pitch of the key code KC.

The octave rate data ORD output from the gate 36 is given to the adder 39 of the counter 38 via the A input of the selector 37. The selector 37 selects the A input when the timing signal T1 is "1" and is "0".
In case of, B input is selected. The counter 38 has an adder 39
And a two-stage shift register 40 that is shift-controlled by a clock pulse φ, and a gate 41. The output of the adder 39 is given to the shift register 40, and the output of the shift register 40 is given to the other input of the adder 39 via the gate 41. As shown in FIG.
The clock pulse φ has a frequency twice that of the timing signal T1, and the counter 38 performs a time division operation in two time slots, and performs a double operation as a counter having different functions. That is, in the time slot in which the timing signal T1 is "1", the octave rate data ORD given through the A input of the selector 37 is repeatedly added (accumulated) to function as a "phase address counter". In this case, from the counter 38,
A phase address signal that changes at a rate according to the pitch of the key code KC is output. On the other hand, in the time slot in which the timing signal T1 is “0”, the rate data ΔRD for time counting given through the B input of the selector 37.
Is repeatedly added (accumulated), and "time counter"
Function as. As will be described later, the function of the counter 38 as the “time counter” is to count the delay time and “crossfade” in the “delay key on” control.
Used for counting crossfade time in control.

The output of the shift register 40 is the latch circuit 4
Given to 2. The latch circuit 42 uses the timing signal T1.
When is "1", the output of the shift register 40 is latched. Therefore, the phase address signal generated by the counter 38 functioning as a “phase address counter” is latched by the latch circuit 42. The phase address signal latched by the latch circuit 42 is given to the adder 43 as a relative phase address signal. Start address data SAD and repeat address data RA corresponding to the selected tone color
D is provided to the selector 44. Initially state signal S
The start address data SAD is sent to the selector 4 by T1.
4 is selected and given to the adder 43. This adder 4
The output of 3 is applied to the address input of the waveform memory 45.

As described above, the waveform memory 45 stores in advance waveform data of a plurality of musical tone waveforms corresponding to various tones, and a plurality of periodic waveforms of a rising portion and a continuous portion of a tone per tone color. Are stored at consecutive addresses. Initially, the relative phase address signal generated by the counter 38 and the start address data SAD are added to sequentially read the data of the plural period waveforms at the rising portion of the sound. The waveform data read from the waveform memory 45 is given to the multiplier 24 (FIG. 1) as an output tone signal of the PCM tone signal generating circuit 20. On the other hand, the address signal AAD given from the adder 43 to the address input of the waveform memory 45 is also given to the state control unit 30 and used to control the read state of the waveform memory 45.

(Control of Waveform Reading State) State Control Unit 3
A detailed example of 0 is shown in FIG. In FIG. 7, the flip-flop 46 outputs state signals ST1 and ST2 for controlling the read state of the waveform memory 45. The key-on pulse KONP is applied to the set input S of the flip-flop 46 via the gate 47 and the OR circuit 48.
, The set output Q becomes "1", and the state signal ST1 becomes "1" at first. Therefore, in the selector 44 of FIG. 5, as described above, the start address data SAD is first selected and the waveform memory 45 is selected.
From, a plurality of periodic waveforms of the rising portion of the sound are read out.

Repeated address data RAD and end address data EAD are applied to the A and B inputs of the selector 49, respectively. The selector 49 selects the repetitive address data RAD when the state signal ST1 is "1", and selects the end address data EAD when the state signal ST2 is "1". Therefore, initially, the repetitive address data RAD is output from the selector 49. The output of the selector 49 is input to the comparator 51 via the A input of the selector 50. The timing signal T1 of the selector 50 is "1".
, That is, at the timing when the counter 38 (FIG. 5) is used for phase address counting, the A input is selected,
Repetitive address data RAD is input to the comparator 51.

The selector 52 is connected to the other input of the comparator 51.
The output of is given. The selector 52 inputs the address signal ADD from the adder 43 (FIG. 5) to the A input, and when the timing signal T1 is "1", selects it and outputs it. Therefore, the comparator 51 compares the current waveform read address with the repetitive address data RAD when the timing signal T1 is "1", that is, when the counter 38 (FIG. 5) is used for counting the phase address. . When both match, "1" is output as the match signal EQ. The coincidence signal EQ and the timing signal T1 are input to the AND circuit 520, and the output of the AND circuit 520 is given to the reset input R of the flip-flop 46.

Therefore, when a plurality of periodic waveforms of the rising portion of the sound are being read, that is, the state signal ST1 is "1".
At this time, when the waveform read address reaches the address of the repeat address data RAD, the flip-flop 46 is reset, and the state signal ST2 of the reset output is reset.
Switches to "1" and the state signal ST1 switches to "0" (see FIG. 8).

In the selector 44 of FIG. 5, when the state signal ST2 becomes "1", the repeated address data RA
D is selected, and the adder 43 adds the repetitive address data RAD to the relative phase address signal supplied from the latch circuit 42. On the other hand, the coincidence signal EQ and the timing signal T1 are applied to the AND circuit 53 of FIG. 5, the output of the AND circuit 53 is inverted by the NOR circuit 54, and the result is given to the control input of the gate 41 of the counter 38. Therefore, when the absolute address data added as the offset address data by the adder 43 is switched to the repeated address data RAD, the gate 41 is disabled and the relative phase address value up to that point in the counter 38 is cleared. After that, the counter 38 restarts counting the relative phase address from 0.

In the selector 49 of FIG. 7, the state signal S
The end address data EAD is selected by "1" of T2. Therefore, when the state signal ST2 is "1", the comparator 51 compares the current waveform read address with the end address data EAD at the phase address count timing. When they match, the match signal EQ becomes "1", and the relative phase address count value in the counter 38 of FIG. 5 is cleared to 0. In this way, the waveform read address is repeatedly changed from the address corresponding to the repetitive address data RAD to the address corresponding to the end address data EAD, and the plurality of periodic waveforms of the sound continuation portion are repeatedly read (see FIG. 8).

(Delay key-on and crossfade time setting and key scaling control) A detailed example of the time setting and key scaling control unit 29 is shown in FIG.
The control unit 29 originally has a counter for counting time, which is not shown in FIG.
8 are shared. In FIG. 9, the control unit 29 sends octave rate data ORD ′ output from the gate 36 of FIG. 5 at the timing of the note clock pulse NCK to the adder 56 via the line 55 as pitch data for key scaling. input. Further, the multiplier 57 of the control unit 29 outputs rate data ΔRD for time counting, and the rate data ΔRD is given to the B input of the selector 37 of FIG. When T1 is "0", the selector 37
And is given to the counter 38. Therefore, the counter 38 functions as a counter for counting the rate data RTD in the time slot where the timing signal T1 is "0" and for counting the delay time of the delay key-on or the crossfade time.

Delay rate data DRATE and crossfade rate data XRA corresponding to the selected tone color
TE is input to the selector 58, and the delay rate data DRAT is initially set in accordance with the delay state signal DST.
When E is selected and the delay time of "delay key on" ends, the crossfade rate data XRATE is selected according to the crossfade state signal XST. Basically, the output of the selector 58 is given to the counter 38 (FIG. 5) as rate data ΔRD via the multipliers 59 and 57. However, the multipliers 59 and 57 are provided with coefficient data for key scaling the delay time and the crossfade time, and the output data (DRATE or XRATE) of the selector 58 is scaled by this coefficient data. Is rate data △
It becomes RD.

The delay rate key scaling data DKSD and the crossfade rate key scaling data XKSD corresponding to the selected tone color are decoded by the decoders 60 and 6.
1 and are decoded respectively. Decoder 60,6
The output of 1 is input to the selector 62, the output of the decoder 60, that is, the data indicating the key scaling characteristic curve for "delay key-on" is selected by the delay state signal DST, and the output of the decoder 61, that is, the data by the crossfade state signal XST. Data is selected that indicates a key scaling characteristic curve for "crossfade". Of the four decoded outputs output from the selector 62, a signal instructing the key scaling characteristic of “0%” and a signal instructing the key scaling characteristic of “100%” are transmitted via the OR circuit 63 to the selector 6
A signal indicating the key scaling characteristic of "50%" is input to the A selection control inputs SA of 4 and 65, and a signal indicating the key scaling characteristic of "25%" is input to the B selection control input SB of the selectors 64 and 65. It is applied to the C selection control inputs SC of 64 and 65, respectively.

The selector 64 selects "0%" or "100".
When the key scaling characteristic of "%" is instructed, the numerical value "1" is selected, when "50%" the numerical value "1/2" is selected, and when "25%" the numerical value "1/4" is selected. Select. The selector 65 selects the numerical value “0” when the key scaling characteristic of “0%” or “100%” is instructed, the numerical value “1” when the key scaling characteristic is “50%”, and “25”.
In case of "%", select the numerical value "3". The output of the selector 64 is input to the multiplier 59. The output of the selector 65 is input to the adder 56 and added to the octave rate data ORD 'on the line 55. The output of the adder 56 is given to the A input of the selector 66. The numerical value “1” is input to the B input of the selector 66. The selector 66 is selectively controlled by a signal instructing the key scaling characteristic of "0%" output from the selector 62. In the case of "0%", that is, when the key scaling is not performed, the B input " 1 "is always selected, and in other cases, that is, when key scaling is performed, the output of the adder 56 having A input is selected. The output of the selector 66 is the multiplier 5
Given to 7.

With the above configuration, the rate data ΔRD in each key scaling characteristic is determined according to the following equation. The basic rate data RATE is DRATE
Or XRATE. In the case of “0%” ΔRD = 1 × 1 × RATE = RATE In the case of “25%” ΔRD = (ORD ′ + 3) × (1/4) × RATE In the case of “50%” ΔRD = (ORD ′ + 1) × (1/2) × RATE In case of “100%” ΔRD = ORD ′ × 1 × RATE = ORD ′ × RATE

In the above equation, octave rate data O
RD 'has a numerical value corresponding to an octave at the pulse generation timing of the note clock pulse NCK, and is "0" otherwise. In the above equation, it is assumed that the weight of the octave rate data ORD 'is "1" in a predetermined reference octave. That is, the value of the octave rate data ORD used in the actual phase address count is "1" in the first octave, "2" in the second octave, "4" in the third octave, and "8" in the fourth octave. If there is,
Octave rate data used for key scaling O
For example, if the reference octave is the second octave, RD ′ has a weight of “1/2” in the first octave, “1” in the second octave, “2” in the third octave, and “4” in the fourth octave. Is treated.

Further, as an example, it is assumed that the note clock pulse NCK is always generated at each sampling timing at the reference pitch. For example, if the note name of the reference pitch is B, the note clock pulse NCK of the note name B becomes "1" at each sampling synchronization. In that case, the note clock pulses NCK of the pitch names A #, A, G #, G ... D, C #, C lower than that are appropriately thinned.

In the case of the reference pitch, for example, the note name B of the second octave, the solution of the above equation is ORD '= 1,
In any case of “0%”, “25%”, “50%”, and “100%”, ΔRD = RATE, and the time DL is as set by the basic rate data DRATE or XRATE (see FIG. 4). ). For note names other than the note name of the reference pitch, due to the missing pulse of the note clock pulse NCK, the octave rate data ORD 'is not added in the sampling cycle of the missing pulse, and the multiplication coefficient for the rate data RATE is taken in that sampling cycle. However, "25%" is 3/4, and "50%" is 1 /
2, it becomes 0 at "100%". In this way, in the sampling cycle in which the octave rate data ORD 'is given and the sampling cycle in which it is not given, the rate data ΔRD
Since the multiplication coefficient of is different and the probability thereof is different depending on the note name, the rate of change of the count value when the rate data ΔRD is cumulatively counted is different for each pitch, and the key scaling control as shown in FIG. Will be realized.

Rate data Δ with key scaling control
The RD is added to the B input of the selector 37 of FIG. The output of the counter 38 is given to the B input of the selector 52 of FIG. 7 as the time count data CNT, and the timing signal T1 is selectively output at the timing of “0”, and the comparator 51 is output.
Entered in. At the timing when the timing signal T1 is "0", the maximum value data of all bits "1" is given to the other input of the comparator 51 via the B input of the selector 50. Therefore, the time count data CNT of the counter 38
When reaches the maximum value, the coincidence signal EQ of the comparator 51 becomes "1". As is apparent, the larger the value of the rate data ΔRD input to the counter 38, the faster the count data CNT increases and the shorter the time to reach the maximum value.

The state control of "delay key on" and "crossfade" is performed by the counter 67 of FIG. The counter 67 is reset by the key-on pulse KONP. The decoder 68 decodes the output of the counter 67, the delay state signal DST when the count value is “0”, the crossfade state signal XST when the count value is “1”, and the hold state signal HS when the count value is “2”.
Output T. When the hold state signal HST is "0", the AND circuit 69 is enabled, and the output of the AND circuit 70 is given to the count input of the counter 67. The AND circuit 70 is supplied with the coincidence signal EQ output from the comparator 51 and the inverted signal of the timing signal T1.

Therefore, when the key is pressed, the delay state signal DST first becomes "1", and the "delay key on" control is instructed (see FIG. 10). As a result,
The selectors 58 and 62 of the
TE and delay rate key scaling data DKSD
Is selected, and rate data ΔRD for “delay key-on” control is obtained according to the key scaling calculation described above.

Rate data ΔRD for delay key-on
When the count value CNT of the counter 38 reaches the maximum value by the repeated addition of, the coincidence signal EQ is generated as described above. The AND signal 71 of FIG.
, The delay state signal DST and the inverted signal of the timing signal T1 are input, and when the count value CNT reaches the maximum value in the delay state, the condition of the AND circuit 71 is satisfied, and the delay key-on pulse DKONP is generated (see FIG. 10). ). At the same time, the output of the AND circuit 70 becomes "1" and the counter 67 is counted up. At the same time, the output of the AND circuit 72 of FIG. 5 becomes “1”, and the output of the NOR circuit 54 becomes “0” by being added to the NOR circuit 54 via the OR circuit 73, and the gate 41 of the counter 38 is disabled. Count value CNT of counter 38
Is cleared. When the count value of the counter 67 becomes “1”, the delay state signal DST becomes “0”.
And the crossfade state signal XST becomes "1" (see FIG. 10).

In this way, the "delay key on" control ends, and the "crossfade" control starts. The time during which the delay state signal DST is "1", that is, the time from the generation of the normal key-on pulse KONP to the generation of the delay key-on pulse DKONP is the delay time in the "delay key-on" control. As described above, this delay time is basically set by the delay rate data DRATE, and is key-scaled by the delay rate key scaling data DKSD and the pitch of the generated sound. In the "crossfade" control state,
The crossfade rate data XRATE and the crossfade rate key scaling data XKSD are selected by the selectors 58 and 62 of FIG. 9, and the rate data ΔRD for the “crossfade” control is obtained according to the above-mentioned key scaling control.

When the count value CNT of the counter 38 reaches the maximum value by repeatedly adding the crossfade rate data ΔRD, the coincidence signal EQ is generated as described above. As a result, the counter 67 of FIG. 7 is counted up, the crossfade state signal XST becomes “0”, and the hold state signal HST becomes “1” (FIG. 1).
0). Thus, the "crossfade" control ends. The time when the crossfade state signal XST is "1" is the crossfade time. As described above, the crossfade time is basically set by the crossfade rate data XRATE, and is key-scaled by the crossfade key scaling data XKSD and the pitch of the generated sound.

(Creation of key-on pulse according to tone generation mode) In FIG. 7, the state control unit 30 instructs the PCM system tone signal generation circuit 20 to start tone generation by the PCM.
It has a function of creating a key-on pulse PKONP and an FM key-on pulse FKONP for instructing the start of sound generation in the FM tone signal generation circuit 21 according to the sound generation mode.

A normal key-on pulse KONP generated in response to the start of key pressing is input to the gate 47,
The output of the gate 47 is output as a PCM key-on pulse PKONP via the OR circuit 48 and is also given to the set input S of the flip-flop 46. The control input of the gate 47 is a simple mixed mode signal MIX or FM delay key-on mode signal FMD or FM delay key-on & crossfade mode signal FM.
DX is provided via the OR circuit 74. When these modes are selected as the tone generation modes, the PCM tone signal generation circuit 20 starts to sound in response to the actual start of key pressing (see FIGS. 2a, 2b and 2d). When any of the signals MIX, FMD and FMDX indicating that the mode is selected is "1", the gate 47 is opened and the key-on pulse KONP is output as it is as the PCM key-on pulse PKONP.

The key-on pulse KONP is applied to the gate 7
5 and the output of the gate 75 is the OR circuit 7
It is output as an FM key-on pulse FKONP via 6. The control input of the gate 75 is a simple mixed mode signal MIX or a PCM delay key-on mode signal PC.
The MD or PCM delay key-on & crossfade mode signal PCMDX is given through the OR circuit 77. When these modes are selected as the tone generation modes, in the FM system tone signal generation circuit 21,
Since the pronunciation starts in response to the actual start of key pressing (Fig. 2
c, e), the gate 75 is opened when any one of the signals MIX, PCMD, PCMDX indicating that these modes are selected is "1", and the key-on pulse KO
The NP is output as it is as the FM key-on pulse FKONP.

The delay key-on pulse DKONP output from the AND circuit 71 is input to the gates 78 and 79 when the delay time in "delay key-on" has elapsed. To the control input of the gate 78, the PCM delay key-on mode signal PCMD or the PCM delay key-on & crossfade mode signal PCMDX is given via the OR circuit 80. The output of the gate 78 is latched by the latch circuit 81 in synchronization with the timing signal T1, and the PCM key-on pulse PKO is output via the OR circuit 48.
It is output as NP. In the case of the PCM delay key-on mode or the PCM delay key-on & crossfade mode, since the tone generation in the PCM tone signal generation circuit 20 starts after the delay time elapses (see FIGS. 2c and 2e), these modes are selected. In this case, the delay key-on pulse DKONP (see FIG. 10) is output as the PCM key-on pulse PKONP.

The FM delay key-on mode signal FMD or the FM delay key-on & crossfade mode signal FMDX is input to the control circuit of the gate 79 as the OR circuit 82.
Given through. The output of the gate 79 is the latch circuit 8
It is latched in synchronism with the timing signal T1 at 3 and is output as the FM key-on pulse FKONP through the OR circuit 76. In the case of the FM delay key-on mode or the FM delay key-on & crossfade mode, since the tone generation in the FM tone signal generation circuit 21 starts after the delay time elapses (see FIGS. 2a, 2b and 2d), these modes are selected. The delay key-on pulse DKONP (see FIG. 10), the FM key-on pulse FKO
Output as NP. The latch circuits 81 and 83 are
It is provided to match the timing of each key-on pulse PKONP, FKONP with the channel timing for generating a tone signal.

The PCM key-on pulse PKONP is a PC
It joins the NOR circuit 54 (FIG. 5) to clear the contents of the counter 38 in the M-system tone signal generating circuit 20, and disables the gate 41 of the counter 38. Also,
The FM key-on pulse FKONP is added to the FM-system tone signal generating circuit 21, and similarly clears the contents of the phase address counter. Also, both key-on pulse PKON
P and FKONP join the envelope generator 23 and direct the generation of an envelope signal.

(FM tone signal generation circuit 21) FIG.
Reference numeral 1 schematically shows an example of the FM tone signal generation circuit 21. For simplification of description, an example in which the number of sound generation channels is 1 is shown. F number memory 84
Is the "F number" that is a numerical value proportional to the frequency of each pitch
Is stored in advance for each tone pitch, and the F number of the musical tone to be generated is read according to the key code KC given from the buffer register 18 (FIG. 1). The read F number is given to the adder 86 of the phase address counter 85. The phase address counter 85 includes an adder 86, a one-stage shift register 87 that is shift-controlled by the timing signal T1, and a gate 88. The output of the adder 86 is given to the shift register 87, and the output of the shift register 87 is given to the other input of the adder 86 via the gate 88. Gate 88
Is controlled by a signal obtained by inverting the FM key-on pulse FKONP, and the phase address counter 8
Clear the contents of 5 once. After that, in the phase address counter 85, the F number is repeatedly added every sampling period, and the phase address signal is output from the counter 85. The FM arithmetic circuit 89 is a circuit for executing frequency modulation arithmetic for tone synthesis, and inputs the phase address signal from the counter 85, the algorithm and the parameter data FMP, and executes frequency modulation arithmetic based on them.
The tone signal synthesized by the FM operation circuit 89 is the multiplier 2
5 (FIG. 1) and is multiplied by the envelope signal FEG.

(Sound Generation Control According to Sound Generation Mode) FIG. 12 shows a detailed example of the crossfade waveform generating section 31 and an example of the envelope generating section 23. In the crossfade waveform creation section 31, the crossfade waveform data for controlling the tone amplitude in the PCM tone signal generator circuit 20 and the tone amplitude control in the FM tone signal generator circuit 21 are controlled in accordance with the selected tone generation mode. And crossfade waveform data for. The crossfade waveform data for PCM is output from the selector 93 for PCM and input to the multiplier 97 of the envelope generator 23,
PC generated from the envelope generator 95 for PCM
The envelope signal for M is multiplied. The FM crossfade waveform data is output from the FM selector 94 and input to the multiplier 98 of the envelope generator 23.
The envelope signal for FM generated from the envelope generator 96 for FM is multiplied. The outputs of the multipliers 97 and 98 are output from the envelope generator 23 as envelope signals PEG and FEG which are weighted by the crossfade waveform, and are given to the multipliers 24 and 25 of FIG. 1, respectively.

In the envelope generator 95 for PCM,
PCM key-on pulse PKONP, envelope parameter PENV for PCM, key-off pulse KOFP, P
CM delay key on & crossfade mode signal PC
MDX is provided and an envelope waveform signal is generated based on these. In the envelope generator 96 for FM,
An FM key-on pulse FKONP, an envelope parameter FENV for FM, a key-off pulse KOFP, an FM delay key-on & crossfade mode signal FMDX are given, and an envelope waveform signal is generated based on these.

In the example of FIG. 12, the crossfade waveform creating section 31 uses the time count data CNT for crossfade in the counter 38 of FIG. 5 as crossfade waveform data. In the crossfade control, the characteristic that gradually raises the musical sound uses the increase curve of the count data CNT as it is, and the characteristic that gradually attenuates the musical sound is created by inverting the binary value of the count data CNT and converting it to the decreasing curve. To do.

Count data CNT output from counter 38 in FIG. 5 is applied to gate 90. The gate 9
0 is released by the crossfade state signal XST or the hold state signal HST provided via the OR circuit 91. As a result, the count data CNT for "delay key on" is blocked by the gate 90, and the count data CNT for "cross fade" is passed through the gate 90. Count data C output from the gate 90
NT is given to the A input of the PCM selector 93 and to the B input of the FM selector 94. Further, the count data CNT output from the gate 90 is inverted in each bit by the inversion circuit 92, and its output is PCM.
It is supplied to the B input of the selector 93 for use with the A input of the FM selector 94. Selector 93, 9
The maximum value, that is, data of all bits "1" is input to the C input of 4, and the minimum value, that is, all bits of "0" is input to the D input.
Data is input. Signals MIX, PCMD, P for instructing a tone generation mode are input to the control inputs of the selectors 93, 94.
CMDX, FMD, FMDX and state signals DST, X
ST and HST are AND circuits 99 to 112 and OR circuit 1
13-116.

The crossfade waveform generation mode and the tone generation control mode according to each tone generation mode are as follows. 1) Simple mixed mode (FIG. 2a) When the simple mixed mode is selected, the signal MIX becomes "1", and the selectors 93 and 94 select the C input. As a result, the outputs of the selectors 93 and 94 are all "1" at all times, and the outputs of the envelope generators 95 and 96 are directly output as the envelope signals PEG and FEG. Therefore, as shown in FIG. 2a, the PCM tone signal generating circuit 20 and the FM tone signal generating circuit 21 are arranged.
At the same time, tone generation control is performed to generate a musical tone.

2) FM delay key-on mode (see FIG. 2)
b) When the FM delay key-on mode is selected, the signal FMD becomes "1", and the selector 93 always selects the C input. In the selector 94, the delay state signal D
When ST is "1", the D input is selected, and when ST is "0", the C input is selected. As a result, the output of the selector 93 is always all "1", and the output of the envelope generator 95 is directly output as the envelope signal PEG. At this time, the PCM key-on pulse PKONP is generated in response to the normal key-on pulse KONP, and the envelope signal PEG rises as the key is pressed. On the other hand, the selector 94
Then, all "0" are selected during the delay time, and all "1" are selected after the delay time has elapsed. Further, the FM key-on pulse FKONP is generated in response to the delay key-on pulse DKONP, and at the end of the delay time, the envelope signal F
EG rises. Therefore, as shown in FIG.
The M-system tone signal generation circuit 20 starts sounding first, and FM
In the tone signal generating circuit 21 of the method, the sound generation is started later than that, and thereafter, the sound generation control is repeated.

3) PCM delay key on mode (see FIG. 2)
c) When the PCM delay key-on mode is selected, the signal PCMD becomes "1", and the selector 94 always selects the C input. The selector 93 selects the D input when the delay state signal DST is "1", and selects the C input when the delay state signal DST is "0". As a result, the output of the selector 94 is always all "1", and the output of the envelope generator 96 is directly output as the envelope signal FEG. At this time, the FM key-on pulse FKONP is generated in response to the normal key-on pulse KONP, and the envelope signal FEG rises as the key is pressed. On the other hand, the selector 93 selects all "0" during the delay time and selects all "1" after the delay time elapses. The PCM key-on pulse PKONP is a delay key-on pulse DKO.
It occurs corresponding to NP, and the envelope signal PEG rises at the end of the delay time. Therefore, as shown in FIG. 2c, the FM tone signal generation circuit 21 starts sounding first, and the PCM tone signal generation circuit 20 starts sounding later than that. Done.

4) FM delay key on & cross fade mode (FIG. 2d) When the FM delay key on & cross fade mode is selected, the signal FMDX becomes "1" and the selector 9
In the case of 3, C when the delay state signal DST is "1"
Select the input, select the B input when the crossfade state signal XST is "1", and hold state signal H
When ST is "1", D input is selected. As a result, the PCM crossfade waveform data output from the selector 93 maintains all "1" during the delay time and gradually attenuates from all "1" to all "0" during the crossfade time. However, after the crossfade ends, all “0” is maintained. Also, PCM key-on pulse PKO
NP is generated in response to the normal key-on pulse KONP, and the envelope signal PEG rises as the key is pressed.

The selector 94 selects the D input when the delay state signal DST is "1", selects the B input when the crossfade state signal XST is "1", and selects the hold state signal HST when "1". Select C input. As a result, the FM crossfade waveform data output from the selector 94 maintains all "0" during the delay time and all "0" during the crossfade time.
Gradually rises toward all "1" and maintains all "1" after the crossfade. The FM key-on pulse FKONP is the delay key-on pulse DKO.
It occurs corresponding to NP. In the FM envelope generator 96, when the FM delay key-on & crossfade mode signal FMDX is "1", the key-on pulse FK is generated.
It is assumed that an envelope waveform signal that immediately rises to the maximum level is generated in response to ONP. As a result, the envelope signal FEG output from the multiplier 98 rises with a curve corresponding to the crossfade rising waveform from the selector 94 after the delay time has elapsed. Therefore, as shown in FIG. 2d, the tone generation of the PCM tone signal generation circuit 20 is started first, and the tone generation of the FM tone signal generation circuit 21 is started later, and the subsequent F
The control is performed such that the tone signal of the M tone signal generation circuit 21 is gradually raised and the tone signal of the preceding PCM tone signal generation circuit 20 is gradually attenuated.

5) PCM delay key-on & cross-fade mode (FIG. 2e) When the PCM delay key-on & cross-fade mode is selected, the signal PCMDX becomes "1", and in the selector 94, the delay state signal DST becomes "1". , The C input is selected and the crossfade state signal XST
Is "1", the A input is selected, and when the hold state signal HST is "1", the D input is selected. This allows
The FM crossfade waveform data output from the selector 94 maintains all "1" during the delay time, and gradually attenuates from all "1" to all "0" during the crossfade time, After the fade ends, it keeps all "0". Also, FM key-on pulse FKON
P is generated in response to the normal key-on pulse KONP,
The envelope signal FEG rises with the key depression.

The selector 93 selects the D input when the delay state signal DST is "1", selects the A input when the crossfade state signal XST is "1", and selects the hold state signal HST when "1". Select C input. As a result, the PCM output from the selector 93
The crossfade waveform data for use maintains all "0" during the delay time and all "0" during the crossfade time.
Gradually rises toward all "1" and maintains all "1" after the crossfade. The PCM key-on pulse PKONP is the delay key-on pulse DK.
It occurs in response to ONP. In the PCM envelope generator 95, when the PCM delay key-on & crossfade mode signal PCMDX is "1", an envelope waveform signal which immediately rises to the maximum level in response to the key-on pulse PKONP is generated. As a result, the envelope signal PE output from the multiplier 97
G rises with a curve corresponding to the crossfade rising waveform from the selector 93 after the delay time has elapsed. Therefore, as shown in FIG. 2e, the FM tone signal generation circuit 21 starts sounding first, the PCM tone signal generation circuit 20 starts sounding later, and the subsequent PCM tone signal is generated. Control is performed to gradually raise the tone signal of the generating circuit 20, and control to gradually attenuate the tone signal of the preceding FM tone signal generating circuit 21.

(Modification) In the above embodiment, the key scaling characteristic of the delay rate or the crossfade rate is set according to the selected timbre, but the present invention is not limited to this. You may make it possible to select arbitrarily by the selection means. Also,
The basic value of the delay rate or the crossfade rate is also set according to the selected timbre in the above embodiment, but the present invention is not limited to this, and can be arbitrarily selected by an appropriate rate selection means. Good.

The tone generation mode is also automatically set according to the selected tone color, but the present invention is not limited to this, and may be arbitrarily selected by appropriate selecting means. The counting of the delay time or the crossfade time is not limited to the count of the increment value data, but may be the count of the variable frequency clock pulse or the count of the combination of the variable frequency clock pulse and the increment value data. Alternatively, the number of periods of the tone waveform may be counted.

In the above embodiment, the key scaling of the delay rate or the crossfade rate is performed for each individual pitch, but this may be performed for each appropriate tone range. In this specification, performing key scaling according to a pitch is an expression that also includes performing key scaling in a predetermined range. Also,
The key scaling control of the delay time or the crossfade time is not limited to the variable control of the count rate, but may be the variable control of the target arrival value of the count value according to the pitch. Further, in the above embodiment, the rising crossfade waveform and the falling crossfade waveform have the same time length, but they may be different. Further, the change of the rising crossfade waveform and the falling crossfade waveform is not limited to linear, and may be an exponential or logarithmic characteristic or other characteristics.

First and second tone signal generation circuits 20, 2
The sound source system or the tone signal generation system in 1 is not limited to the above-mentioned one, and any system may be used. For example, the first
The waveforms stored in the waveform memory of the tone signal generation circuit 20 are not limited to the waveforms of the rising portion and the sustaining portion of the sound, but may be all waveforms from the rising of the sound to the end of the sound. Also,
The encoding format of the stored data in the waveform memory is PCM
Not limited to (pulse code modulation) format, DPCM (difference P
CM), ADPCM (adaptive differential PCM), DM (delta modulation), ADM (adaptive delta modulation), or the like. Further, any algorithm may be used for the frequency modulation calculation algorithm in the second tone signal generation circuit 21. Further, the tone synthesis modulation calculation in the second tone signal generation circuit 21 is not limited to the frequency modulation calculation, and an appropriate modulation calculation such as an amplitude modulation calculation or an amplitude modulation calculation using a time window function may be used. In addition, the second tone signal generation circuit 2
A tone synthesis method other than the modulation operation type may be used as 1.

The pitch of the generated sound in each tone signal generation circuit does not have to be completely the same, and may be appropriately deviated. For example, transposition and pitch adjustment may be performed independently for each musical tone signal generating circuit, or musical tones that are shifted by an appropriate frequency may be generated. Further, the number of tone signal generation circuits is not limited to two, and more may be provided. Further, the number of sounding channels in each tone signal generating circuit is not limited to one and may be plural.

The following is a summary of some of the present invention and its embodiments. (1) Pitch specifying means for specifying the pitch of the musical tone to be generated,
First tone signal generating means for generating a tone signal having a pitch corresponding to the pitch designated by the pitch designating means, and a tone signal having a pitch corresponding to the pitch designated by the pitch designating means A second musical tone signal generating means for generating a musical tone signal in accordance with a musical tone signal generating method different from that of the first musical tone signal generating means, and one of the first and second musical tone signal generating means starts to generate a musical tone signal from the other. An electronic musical instrument equipped with a delaying means for delaying. (2) Tone selection means is provided, and the first and second tone signal generation means generate tone signals having the tones selected by the tone color selection means in accordance with respective tone signal generation methods. The electronic musical instrument according to the above item 1, wherein control according to the timbre selected by the timbre selection means is performed by the delay means and control is performed as to which is delayed. (3) pitch specifying means for specifying the pitch of the musical sound to be generated,
First tone signal generating means for generating a tone signal having a pitch corresponding to the pitch designated by the pitch designating means, and a tone signal having a pitch corresponding to the pitch designated by the pitch designating means A second musical tone signal generating means for generating a musical tone signal in accordance with a musical tone signal generating method different from that of the first musical tone signal generating means, and one of the first and second musical tone signal generating means starts to generate a musical tone signal from the other. An electronic musical instrument comprising delay means for delaying the delay time and time control means for variably controlling the delay time in the delay means. (4) Tone selection means is provided, and the first and second tone signal generation means generate tone signals having tone colors selected by the tone color selection means according to respective tone signal generation methods. The electronic musical instrument according to the item 3, wherein the time control means controls the delay time according to the tone color selected by the tone color selection means. (5) The electronic musical instrument according to Item 3, wherein the time control means includes a selection means for arbitrarily selecting the delay time. (6) The time control means includes means for supplying time data for setting the delay time, and the delay means is
To the time counting means for setting the delay time by repeatedly counting according to the time data, and to the tone signal generating means to be sounded first, a sounding start command is given first, and then the tone to be sounded next. The electronic musical instrument according to the above 3, wherein the signal generating means includes means for giving a sounding start command when the counting of the delay time is completed by the time counting means. (7) The first tone signal generating means includes a counting circuit for repeatedly counting data corresponding to the designated pitch and generating phase address information, and the time counting means counts this counting circuit. Item 7. The electronic musical instrument according to Item 6, which is divided and used.

(8) Pitch designating means for designating a pitch of a musical tone to be generated, and first musical tone signal generation for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means. Means and second tone signal generating means for generating a tone signal having a pitch corresponding to the tone pitch designated by the tone pitch designating means according to a tone signal generating method different from that of the first tone signal generating means. Means for generating a key-on pulse for instructing start of sounding in response to the pitch designation in the pitch designating means, and the key-on pulse is distributed to both or either of the first and second tone signal generating means. And an electronic musical instrument having key-on pulse distributing means for starting the generation of a musical sound signal by the musical sound signal generating means to which the key-on pulse is distributed. (9) It further comprises delay means for controlling the start of tone generation of the tone signal in one of the first and second tone signal generating means as compared with the other, and the key-on pulse distributing means performs the delay control by this delay means. If the key-on pulse is distributed to the tone signal generating means which starts sounding first, and if the delay control is not performed, the key-on pulse is distributed to both tone signal generating means. Electronic musical instrument described.

[0077]

As described above, according to the present invention, it is possible to realize the delayed multiple effect in which the tone generation start of the tone signal in one of the first and second tone signal generation means is delayed later than the other. Further, by variably controlling the delay time, the sense of delay can be freely controlled, and the playing effect can be enhanced. Further, by distributing the same key-on pulse, when both musical tone signal generating means start sounding at the same time, it is possible to synchronize the sounding start timings of both musical sound signal generating means and prevent a phase shift. Further, when the delay control is performed by the delay means, the key-on pulse can be appropriately distributed to the tone signal generating means which starts the sound generation first. As described above, according to the present invention, there is an excellent effect that it is possible to synthesize musical sounds with rich controllability and to enrich playing effects.

[Brief description of drawings]

FIG. 1 is a block diagram schematically showing the overall configuration of an embodiment of an electronic musical instrument according to the present invention.

FIG. 2 is an explanatory diagram showing a typical example of selectable sounding modes in the embodiment.

FIG. 3 is a view exemplifying contents of various timbre information corresponding to one timbre in the embodiment.

FIG. 4 is a graph exemplifying a key scaling characteristic of a delay time or a crossfade time in the example.

5 is a diagram showing a first tone signal generation circuit (PC
The block diagram which shows the detailed example of (M method).

FIG. 6 is a timing chart showing an example of clock pulses and various operation timings in the same embodiment.

7 is a block diagram showing a detailed example of a state control unit in FIG.

FIG. 8 is a timing chart illustrating an example of waveform reading control in the first tone signal generation circuit.

9 is a block diagram showing a detailed example of a time setting and key scaling control unit in FIG.

FIG. 10 is a timing chart showing an operation example of delay key-on and crossfade control.

11 is a diagram showing a second tone signal generation circuit (F
The block diagram which shows an example of (M method).

12 is a block diagram showing an example of a crossfade waveform creation unit and an envelope generation unit in FIG.

[Explanation of symbols]

 10 keyboard 11 operation panel section 12 tone color selector 17 tone generator section 20 first tone signal generation circuit 21 second tone signal generation circuit 22 delay key-on and crossfade control circuit 23 envelope generation section 24, 25 multiplier 26 adder 27 Digital / analog converter 29 Time setting and key scaling control unit 30 State control unit 31 Crossfade waveform creation unit

 ─────────────────────────────────────────────────── ─── Continuation of the front page (72) Inventor Tokio Ogi 10-1 Nakazawa-machi, Hamamatsu City, Shizuoka Prefecture Yamaha Stock Company

Claims (3)

[Claims] 1. A pitch designating means for designating a pitch of a musical tone to be generated, and a first musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means. Second musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means according to a musical tone signal generating method different from that of the first musical tone signal generating means, An electronic musical instrument comprising delay means for delaying the start of tone generation of a tone signal in one of the first and second tone signal generation means than the other. 2. A pitch designating means for designating a pitch of a musical tone to be generated, and a first musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means. Second musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means according to a musical tone signal generating method different from that of the first musical tone signal generating means, An electronic musical instrument comprising: delay means for delaying the start of tone generation of a tone signal in one of the first and second tone signal generation means, and a time control means for variably controlling the delay time in the delay means. 3. A pitch designating means for designating a pitch of a musical tone to be generated, and a first musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means. Second musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch designated by the pitch designating means according to a musical tone signal generating method different from that of the first musical tone signal generating means, A means for generating a key-on pulse for instructing the start of sounding in response to the pitch designation by the pitch designating means, and the key-on pulse is distributed to both or one of the first and second musical tone signal generating means. , An electronic musical instrument comprising key-on pulse distribution means for starting the generation of a tone signal by the tone signal generation means to which the key-on pulse is distributed.