JPH08110778A - Electronic musical instrument - Google Patents

Abstract

PURPOSE: To quickly conduct the setting action of a MIDI reception channel. CONSTITUTION: When the MIDI channel message is transmitted from an external MIDI apparatus, a reception channel - dummy channel conversion table 40 is referred to for checking whether the transmitted channel message is set on the dummy channel or not. If the transmitted channel message is set on the dummy channel, a reception channel (dummy channel) tone number conversion table 41 is referred to, and the tone number is outputted.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to the setting of MIDI receiving channels in an electronic musical instrument capable of simultaneously producing a plurality of tones.

[0002]

2. Description of the Related Art Electronic musical instruments, such as a tone generator module and a keyboard, which are capable of producing a plurality of timbres at the same time and automatically playing a musical composition, have become widespread. Many of these electronic musical instruments have MIDI (Musical Instrument Digital Interface) terminals, and can be connected to other electronic musical instruments or automatic performance devices to transmit and receive performance information and the like. In the MIDI standard, the types of messages handled are roughly classified into channel messages and system messages. Performance information is included in the channel message, and the channel information is included in the data.

Note-on information will be specifically described as a typical example of performance information. According to the MIDI standard, note-on is composed of 3 bytes. For example, 9n 3C
It is expressed as 6F. "9" of 9n in the first byte
Represents note-on, and "n" represents a numerical value corresponding to the channel number. n takes a value of 0 to F (hexadecimal notation), but since the channel number is represented by 1 to 16, "n +
The channel number is a decimal notation of 1 ".

The second byte 3C (hexadecimal notation) represents a key code. "3C" is C3, which is the center "do" of the keyboard. "6F" in the 3rd byte represents velocity. Velocity has the meaning of key depression speed, but most sound sources use this value as a numerical value that represents the volume.

FIG. 2 shows an automatic musical instrument 20 and an electronic musical instrument 2.
1 is shown connected by MIDI. If the automatic performance device 20 outputs a note-on message to the electronic musical instrument 21, the electronic musical instrument 21 sounds the musical instrument assigned to the (n + 1) th channel with the key code of the second byte and the velocity value of the third byte. n
Which tone is assigned to channel +1
It is determined by the setting of the electronic musical instrument 21 that receives MIDI.

FIG. 3 shows the setting screen, in which the tone channel number can be selected to change the receiving channel. Reference numeral 30 indicates a tone color number, and 31 indicates a tone color name. Three
Reference numeral 2 indicates a MIDI receiving channel corresponding to a tone color, and 33 indicates a key range setting that allows sounding. With respect to the key code between "low" and "high", the tone color is sounded. The reception channel can be set to the same even if the timbre is different. With such a setting, a plurality of tones can be pronounced simultaneously with one note-on message. In FIG. 2, since the acoustic grand piano with tone number 01, the accordion with tone number 22 and the French horn with tone number 61 are set to be the same on the receiving channel 4ch,
If a note-on message 93 3C 6F is sent from the automatic performance device 20, these three tones will be sounded at the same time.

Since different tone colors are sounded at the same time by making the receiving channels the same, the idea of treating them as one tone color is born. This idea gives a degree of freedom to the timbre, and makes it possible to create a more creative timbre. It is well known that the tone color of a natural musical instrument differs slightly depending on the range, volume, performance style, etc., but it is difficult for an electronic musical instrument to faithfully reproduce this phenomenon. This is because it is difficult to create a sound source performance or a parameter that changes over a tone color change range. However, if you simulate a natural musical instrument in a narrow area, it will be much easier. Therefore, it is possible to adopt a method in which a plurality of timbres are divided in a certain range to create a dedicated sound, and sound is produced only in each range.

[0008]

As described above, when handling a plurality of timbres collectively, it is often necessary to change the receiving channel. In the above example, since the receiving channels assigned to the three tones must be changed one by one, there is a drawback that the operation becomes complicated. The present invention has been made in view of the above problems, and an object of the present invention is to quickly provide MID.
This is to enable the setting operation of the I reception channel.

[0009]

In order to solve the above problems, an electronic musical instrument according to the present invention has a setting means for setting common identification data for a plurality of timbres, the identification data and a MIDI receiving channel. Storage means for storing the correspondence between the ID data and the MIDI channel stored in the storage means;
DI receiving means, and when the MIDI data stored in the storage means and having a MIDI receiving channel corresponding to the identification data is received, the identification data set by the setting means is received as the corresponding MIDI receiving data. The feature is that it is processed as a channel.

[0010]

By setting the identification data in place of the MIDI channel, it is only necessary to change the MIDI receiving channel to which the identification data is assigned.

[0011]

EXAMPLE An outline of an example will be described with reference to FIG.
When a MIDI channel message is sent from an external MIDI device, the received channel-dummy channel conversion table 40 is referred to in order to check whether the sent channel message is set as a dummy channel. The dummy channel is a temporary channel that is temporarily set. if,
If it is set to the dummy channel, the reception channel (dummy channel) -tone color number conversion table 41 is obtained in order to obtain which tone color the dummy channel should affect.
To output the tone color number. When the received channel message is not set to the dummy channel by referring to the reception channel-dummy channel conversion table 40, the reception channel-dummy channel conversion table 40 is passed through and the reception channel (dummy channel ) -The timbre number conversion table 41 is referred to, and the timbre number is output.

The operator can change the reception channel-tone color number conversion table 41 and apply the channel message to a desired tone color with respect to the MIDI channel message sent. At this time, dummy channels can be assigned to a plurality of timbres instead of channel numbers 1 to 16. When a dummy channel is assigned, the receiving channel-dummy channel conversion table 40 is changed to set which receiving channel the dummy channel assigned in the receiving channel-tone color number conversion table 41 corresponds to.

FIG. 1 shows a circuit configuration of an electronic musical instrument according to an embodiment of the present invention. In this electronic musical instrument, generation of musical tones, effect addition, etc. are controlled by a CPU 1. CPU1, RAM2, ROM3, MI
DI terminal 4, MIDI I / F (interface) 5,
A display unit 6, a panel unit 7 including switches and switches, a sound source unit 8, a DSP 9 and the like are connected via an address / data bus 12.

The MIDI terminal 4 is a terminal for connecting an electronic musical instrument conforming to the MIDI standard, and is a MID such as a master keyboard or a wind instrument type wind controller.
I controller, automatic performance device, and various other MIDs
I equipment is connected. MIDII / F5 is hardware for transmitting and receiving MIDI data, and CPU1 is M
It is for making the IDI data accessible.

The CPU 1 executes various processes for generating musical tones, imparting effects, and the like according to programs stored in the ROM 3. CPU for generating musical tones
Reference numeral 1 reads MIDI data supplied from the MIDI terminal 4 via the MIDII / F5, performs data processing according to the type of the data, and performs processing for controlling the sound source unit 8, DSP 9, and the like.

The tone generator 8 has a plurality of tone channels for generating digital tone signals, and tone signals from these channels are supplied to the DSP 9 in a divided manner. A tone signal is generated according to the performance information from the MIDI terminal 5.

The DSP 9 adds various acoustic effects such as reverberation, chorus, distortion, and flanger to the tone signal from the sound source section 8 and outputs it to the DAC 10. DAC1
At 0, digital / analog conversion is performed, and the analog signal is sent to the sound system 11. Sound system 1
Reference numeral 1 is composed of an amplifier and a speaker. After amplifying an analog signal to a predetermined level, the speaker emits sound as acoustic energy.

FIG. 5 shows an LCD 50 which constitutes the display unit 6.
And various switches 51 to 53 forming the panel unit 7 are shown. 51 is a switch for changing the screen of the LCD 50,
Operate when switching screens. Reference numeral 52 denotes a cursor switch, which is a switch for moving the cursor vertically and horizontally. Reference numeral 53 is a switch for changing the numerical value, and the numerical value is incremented or decremented by 1 each time it is operated. Also, parameters other than numerical values can be changed.

FIG. 6 shows a screen for setting the correspondence between the tone color numbers and the MIDI receiving channels similar to FIG. This screen is used to set the reception channel corresponding to the timbre to be sounded by the sound source 8 by the MIDI signal. Reference numeral 60 is a tone color number, and 61 is a tone color name. Reference numeral 62 indicates a MIDI receiving channel corresponding to a tone color, and 63 indicates a key range setting that allows sound generation, and a key code between "low" and "high" is sounded in that tone color. Also, the cursor 64
Is indicated by a shaded display.

When the operator wants to change the tone color number,
Using the cursor key 52, the cursor 64 is moved to the position where the desired tone color number is displayed, and the numerical value change key 53 is operated to change the tone color number to the desired one. When the tone number is changed, the tone name is changed and displayed. When it is desired to change the MIDI receiving channel corresponding to the tone color, the cursor 64 is moved to the position of the MIDI receiving channel 62 of the tone color to be changed and changed. Referring to FIG. 6, the MIDI receiving channel corresponding to the timbres of the acoustic grand pianos 1, 2, and 3 having the timbre numbers 50, 51, and 52 is Ach. This means that the dummy channel is set, and the actual MID is set by the dummy channel setting described later.
The I receive channel is determined. The dummy channel can be set to three types, A, B, and C. Move the cursor 64 to the number of the MIDI receiving channel and press the "+" key of the numerical value change key to change the numerical value from 1 16, A, B, C.

Similarly, for setting the key range, the cursor 64 is moved to change it to a desired value. It should be noted that the screen of the LCD 50 shown in FIG. 6 can display only up to five timbres, but settings for more than that are set on another screen. When changing the screen, the screen change switches 34 and 35 are used. The information set on this screen is stored in the RAM 2 in the form as shown in FIG. FIG. 8 is called a reception channel (dummy channel) -tone color number conversion table. Reference numeral 80 indicates a receiving channel, 81 indicates a tone color number, 82 indicates a lower key range boundary value, and 83 indicates a higher key range boundary value.

FIG. 7 is a screen for setting which MIDI receiving channel the dummy channel corresponds to. On this screen, it is possible to set the number of MIDI receiving channels for the A, B and C channels. The information set on this screen is stored in the RAM 2 in the form as shown in FIG. FIG. 9 is called a dummy channel-received channel conversion table. In this figure, 90 is a receiving channel for the dummy channels A, B and C, 91
Is a dummy channel.

Next, the operation will be described. When the power is turned on, the CPU 1 executes the main routine shown in FIG.
After initializing each part in step s1, the panel process in step s2, the MIDI receiving process in step s3, and the MIDI transmitting process in step s4 are executed, and then step s2.
Then, the operations of steps s2 to s4 are repeated thereafter. When executing step s3, the subroutine shown in FIG. 11 is executed.

In step s10, it is judged whether or not there is a MIDI reception event, and if "yes", step s1.
If it is "no", the process returns to the main routine.
In step s11, it is determined whether the received MIDI signal is a channel message. When the determination is "yes", the channel information is extracted from the received MIDI signal (step s12), and the received channel-dummy channel conversion table shown in FIG. 9 is referred to using the extracted channel information ( Step s13). Looking at this table, if the channel is set as a dummy channel, the determination in step s14 is "yes."
s ”, the process proceeds to step s15, and a tone color number is obtained from the obtained dummy channel by referring to the reception channel (dummy channel) -tone color number conversion table shown in FIG. In this case, one or more tone color numbers are obtained. Processing is performed according to the obtained tone color number and the type of MIDI data (step s17), and the process returns to the main routine.

When the determination is "no" in step s14,
That is, when the channel of the received MIDI data is not set to the dummy channel, step s16
Then, the process proceeds to step 1 to obtain the tone color number by referring to the reception channel (dummy channel) -tone color number conversion table. After that, the process of step s17 is performed, and the process returns to the main routine. The MIDI data received in step s11 is the channel
If it is not a message, MIDI is sent in step s18.
Appropriate processing is performed according to the type of data, and the process returns to the main routine.

In this embodiment, when the MIDI channel message is received, the receiving channel-dummy channel conversion table is referred to and it is determined whether or not the receiving channel is set to the dummy channel. When it was set to the dummy channel, the receiving channel (dummy channel) -tone color number conversion table was referenced to obtain the tone color number set to the dummy channel, but the reference order of the above two tables was reversed. May be. That is, when a MIDI channel message is received, the receiving channel (dummy channel) -timbre number conversion table is first referenced, and if the corresponding receiving channel is not found in the table, the receiving channel-dummy channel conversion table is referenced. By checking whether the received MIDI channel is set as a dummy channel,
It is possible to know which timbre the received MIDI channel is assigned to.

[0027]

According to the present invention, when collectively changing the parameter settings of a plurality of tones, only one change is required,
This has the effect of being easy to operate.

[Brief description of drawings]

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

FIG. 2 is a diagram for explaining a conventional technique.

FIG. 3 is a diagram for explaining a conventional technique.

FIG. 4 is a diagram for explaining the outline of the embodiment.

FIG. 5 is a diagram illustrating a display unit 6.

FIG. 6 is a diagram showing a screen for setting correspondence between tone color numbers and MIDI receiving channels.

FIG. 7 is a diagram showing a screen for setting correspondence between dummy channels and MIDI receiving channels.

FIG. 8 is a diagram showing a reception channel (dummy channel) -tone color number conversion table.

FIG. 9 is a diagram showing a dummy channel-received channel conversion table.

FIG. 10 is a main flowchart.

FIG. 11 is a flowchart for executing a MIDI receiving process.

[Explanation of symbols]

1: CPU, 2: RAM (random-access-memory), 3: ROM (read-only memory), 4: MI
DI terminal, 5: MIDI I / F (interface),
6: Display section, 7: Panel section, 8: Sound source section, 9: DSP
(Digital-Signal-Processor), 10: DAC (Digital-Analog Converter), 11: Sound System, 12: Address / Data Bus

Claims (1)

[Claims] 1. A setting means for setting common identification data for a plurality of timbres, a storage means for storing a correspondence between the identification data and a MIDI receiving channel, and an identification data and a MIDI channel stored in the storage means. When the MIDI data having the MIDI reception channel corresponding to the identification data, which is stored in the storage unit, is received, the setting unit is set by the setting unit. The identification data is the corresponding M
An electronic musical instrument characterized by being processed as an IDI receiving channel.