JPH0916186A - Karaoke device - Google Patents

Abstract

PURPOSE: To provide the device through which a KARAOKE singer and other persons join in KARAOKE by taking charge of the KARAOKE performance. CONSTITUTION: The musical sound of the KARAOKE musical performance is generated by using a physical model sound source 19. The physical model sound source is driven with musical performance parameters of music data and some of them are made open to a user. The user inputs parameters by operating a controller 31. The physical model sound source puts the musical performance parameter and the user parameters inputted from the controller 31 together to parameters to be inputted to a physical model sound source main body (nonlienar part and linear part). The musical performance parameters of the physical model sound source are affected greatly by the timbre of the generated musical sound, so the timbre of the generated musical sound can be varied greatly. Consequently, a basic musical performance is done with the musical performance parameters, only the part of representation is made open to the user, and real representation can easily be produced.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a karaoke device in which a user can control the sound of karaoke performance.

[0002]

2. Description of the Related Art At present, a sound source karaoke device for driving a sound source device with music data to perform a karaoke performance is in practical use. The music data is sequence data in which tone colors, pitches, etc. are stored in time series, and a karaoke performance sound can be generated by driving the sound source device based on this data.

In the karaoke apparatus, a conventional sound source device has been a so-called PCM sound source. The PCM sound source forms a musical tone waveform signal by sampling a musical tone waveform of a natural musical instrument such as a piano or a drum, converting it into PCM data and storing it, and reading it out according to the input data. is there.

[0004]

However, in this way, P
Since the CM sound source forms a tone waveform signal by reading the waveform stored by sampling, it is difficult to change the waveform when the waveform signal is formed. For this reason, in the conventional karaoke apparatus, an effector having a filter function or the like is connected to a stage subsequent to the sound source apparatus, and the timbre is changed by processing the frequency characteristic of the waveform. However, even with this method, the waveforms basically formed are the same, so no matter what kind of processing is performed in the subsequent stage, it was not possible to realize such a large change in tone color.

On the other hand, in the karaoke apparatus, since a person other than the singer also participates in the karaoke, the part of the karaoke performance is opened to the user so that the person other than the singer can control it to participate in the karaoke. Is proposed. However, since it is impossible for an expert to fully take charge of playing one part, only a part of the playing is open to the user. However, there is a drawback in that the feeling of participating in the performance is low and the interest is lacking when the volume control is merely performed.

It is an object of the present invention to provide a karaoke device in which the tone color can be greatly changed by the operation of the user and the participation in karaoke is facilitated.

[0007]

SUMMARY OF THE INVENTION According to the present invention, a physical model sound source for forming a musical tone waveform signal by electrically simulating physical vibration of a vibrating medium, and a karaoke performance by driving the physical model sound source. A music data storage area for storing performance parameters to be performed in time series, a performance parameter supply means for supplying the performance parameters stored in the music data storage area to the physical model tone generator, an operator, and an operation of the operator. And a parameter control means for controlling a part of the performance parameters supplied to the physical model sound source according to the quantity.

[0008]

In the present invention, the physical model sound source forms a musical tone waveform signal of a karaoke performance. The physical model sound source is driven by performance parameters. The performance parameter is sequence data simulating a performance operation of a natural musical instrument, and is stored in time series so as to perform a karaoke performance. When simulating a single-lead wind instrument such as a saxophone, the performance parameters are embouchure, breath pressure, and the like, and by changing these, the timbre can be greatly changed.

Therefore, if the pitch or tempo is arbitrarily changed, the elements for which the karaoke performance is not established are executed based on the performance parameters, and the elements (for example, tone color and volume) which do not directly affect the karaoke performance even if changed are given to the user. By opening the door, the degree of user's participation can be increased and the function as karaoke can be improved.
According to the present invention, some of the performance parameters can be controlled according to the operation amount of the operator, so that the user can participate in the performance without disturbing the karaoke performance.

[0010]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS A karaoke apparatus which is an embodiment of the present invention will be described with reference to the drawings. FIG. 1 is a block diagram of the karaoke apparatus. 2, 3 and 4 are diagrams showing the configuration of a physical model sound source used in the karaoke apparatus.

This karaoke device is a sound source device which has a physical model sound source (V
OP sound source) is built in. The physical model sound source is a sound source that electrically simulates the pronunciation principle of a natural musical instrument such as a wind instrument or a stringed instrument, and a musical tone is calculated by calculation based on the shape data that defines the shape of the wind instrument or the stringed instrument and the performance parameters that represent the performance mode. A waveform signal is formed. The shape data has a data amount of about several kilobytes, and by changing this, the physical model sound source forms a tone waveform signal having a completely different tone color (waveform). The performance parameter is a parameter that expresses a performance operation during the performance of a natural musical instrument. For example, in the case of a physical model sound source that simulates a wind instrument, it indicates an Ambush player parameter that indicates the tightness of the reed and a breath pressure. It is a breath pressure parameter, etc., and is input in real time when a musical tone signal is formed.

Further, this karaoke apparatus is a so-called communication type karaoke apparatus, and music data can be downloaded from the center via a communication line. The downloaded music data is stored in the hard disk device (HDD) 15. The HDD 15 can store several thousand pieces of music data.

First, the physical model sound source 19 used in this karaoke apparatus will be described. FIG. 2 is a schematic configuration diagram of the physical model sound source 19. FIGS. 3B and 3C are diagrams schematically showing the shapes of a wind instrument and a stringed instrument simulated by this physical model sound source. The physical model sound source includes a non-linear unit 40 that inputs an excitation signal for exciting vibration and a linear unit 41 that resonates at a specific frequency by looping the vibration signal. Also,
Interface 4 for inputting various data to these
3, shape data storage unit 42, performance parameter register 4
4 and a combining unit 45 are provided. When simulating a wind instrument with the physical model sound source, the non-linear portion corresponds to the mouthpiece and the linear portion corresponds to the wind instrument. In FIG. 2, the non-linear section 40 and the linear section 41 are connected by a forward signal line and a backward signal line. The forward wave FD transmits the forward signal line, and the reflected wave FR transmits the backward signal line. The non-linear portion 40 is supplied with a non-linear table for realizing a non-linear characteristic with respect to the excitation signal and a shape parameter expressing the shape of the non-linear portion (such as a saxophone mouthpiece). Further, the linear portion 41 is supplied with shape parameters expressing its shape (the length of the wind instrument, the position and size of the tone hole, etc.). The non-linear table and the shape parameter are stored in the shape data storage unit 42. Further, performance parameters are supplied from the performance parameter register 44 to the non-linear section 40 and the linear section 41 via the synthesizing section 45. In the case of a single-lead wind instrument such as a sax, the non-linear portion 40 is supplied with PRES indicating breath pressure and EMBS indicating embsure (tightness of lead by the lips) as performance parameters, and the linear portion 41 fingering pattern data FING. Is supplied as a performance parameter.

Of these, some of the parameters are included in the synthesizing unit 45.
In (1), it is combined with the externally input user parameter and then input to the non-linear unit 40 or the linear unit 41. The non-linear unit 40 excites the wave signal based on the supplied parameters and transmits it to the linear unit 41. The linear portion 41 internally resonates the transmitted wave signal to form a musical tone waveform signal. The tone waveform signal is taken out from the end of the linear portion 41 opposite to the non-linear portion 40.

The user parameter input to the synthesizing unit 45 is a parameter input in real time by a karaoke singer or attendant operating the controller 31 described later. For example, when the EMBS is open to the user, when the user increases the EMBS, the pitch (pitch) slightly increases and becomes a solid tone,
Further, when EMBS is reduced, the pitch is slightly lowered and the tone becomes round. Furthermore, if the EMBS is extremely reduced, a sigh-like tone with a lot of noise is produced. As described above, by assigning the operation amount data of the controller 31 to a specific performance parameter and synthesizing the performance parameter and the user parameter in the synthesizing unit 45, the user can take charge of a part of the performance, and other than singing. In this part, the user can participate in karaoke, and the number of ways to enjoy karaoke can be increased. Even in this case, the user does not need to have very technical skill to handle all performance operations with minus one. Performance parameters are fixedly assigned to essential elements such as pitch and tempo. By allowing the user to control the elements related to expression such as subtle pitch up and down, the user can easily participate in full-scale performance expression.

The performance parameter registers 44 and C
The karaoke performance operation executed by the PU 10 corresponds to the performance parameter supply means of the present invention, and the synthesizing section 45 corresponds to the parameter control means of the present invention.

The physical model sound source for simulating a wind instrument will be described below. FIG. 3 is a diagram showing a configuration of a non-linear unit that simulates the principle of air vibration formation in a single reed instrument such as a saxophone. The breath pressure signal PRES supplied from the performance data storage unit 44 is input to the subtractor A4. This subtractor A4 has a linear section 41
The reflected wave signal FR returned from is also input. Subtractor A
In 4, the breath pressure signal PRES is subtracted from the reflected wave signal FR. The result of this subtraction is output as a differential pressure signal for causing the deformation of the leads. This differential pressure signal is supplied to the low pass filter L and the non-linear table T2.
The non-linear table T2 simulates that the flow velocity is saturated in the narrow air passage in the mouthpiece even if the pressure difference becomes large, and the pressure difference is not proportional to the flow velocity. The output characteristic data is stored.
The low-pass filter L removes the high frequency component of the differential pressure signal and outputs the result. This is because woodwind reeds do not respond to high frequency components. The output of the low-pass filter L is the adder A
3 is input. The embouchure signal EMBS is also input to the adder A3. The value obtained by adding these is input to the non-linear table T1. Non-linear table T
Reference numeral 1 simulates the amount of lead deformation with respect to a given pressure, and has input / output characteristics as shown in FIG. The output of the non-linear table T1 represents the passage area of air at the tip of the lead of the mouthpiece. The output of the non-linear table T1 is the multiplier M
3 is input. The output (corrected differential pressure) of the non-linear table T2 is also input to the multiplier M3. Thus, the multiplier M3 multiplies the differential pressure by the passage area to calculate the air flow velocity. This output is input to the multiplier M4. The multiplier M4 multiplies the data representing the flow velocity of the air by a coefficient k representing the impedance (air resistance) in the mouthpiece and outputs the product. The output data is output as a vibrating sound pressure signal (traveling wave) FD. The reason why the FD has an oscillating waveform is that the sound pressure signal does not simply increase even if PRES increases, but the sound pressure may rather decrease due to saturation of the flow velocity.

FIG. 4 is a diagram showing the configuration of the linear portion 41 configured to simulate the resonance state of the air column (columnar air group in the tube) of the tubular body of the woodwind instrument. The linear portion 41 includes a plurality of tone holes THn, a plurality of tube portions Dn connecting the tone holes, and a tip portion TRM of the tube. In this figure, one tone hole (TH1) and two tube parts (D1, D
Although only 2) is shown, in an actual wind instrument, 10 to 20 tone holes are arranged at predetermined intervals, so that the linear portion 41 has 10 to 20 tone holes and pipe portions corresponding to this. The configuration is such that they are alternately connected.
The traveling wave FD diffuses in the tone hole THn, and the pipe portion D
n is transmitted to reach TRM, where it is reflected and diffused again in the tone hole THn, transmitted through the pipe portion Dn and returned to the non-linear portion 40. The tube portion Dn is a delay circuit DFn, D
It is composed of Rn, and simulates a part of the tubular body (the distance between the tone holes). That is, the delay time in the delay circuits DFn and DRn corresponds to the traveling time FD and the reflected wave FR in the propagation time of the tube portion,
This expresses the length of the pipe section. THn simulates pressure wave scattering and forced nodal formation near the tone hole. That is, since the tone hole portion does not have a uniform tubular shape, the traveling wave FD and the reflected wave F
When R is disturbed, the traveling wave FD and the reflected wave FR interfere with each other, and when the tone hole is opened, the sound pressure is released through the tone hole, so this portion becomes a node compulsorily. . The interference is simulated by the subtracters A1 and A2 and the adder Aj, and opening and closing of the tone hole is performed by the multipliers M1 and M.
Simulate with 2. When the diameter of the tone hole is φ _n3 and the diameters of the front and rear _{sides of} the resonance tube are φ _n1 and φ _n2 , the coefficients a _n1 and a supplied to the multipliers M1 and M2 are given.
_n2 is a _n1 = 2φ _n1 ² / (φ _n1 ² + φ _n2 ² + φ _n3 ² ) a _n2 = 2φ _n2 ² / (φ _n1 ² + φ _n2 ² + φ _n3 ² ) when the tone hole is open. It is given by the formula, and when the tone hole is closed, it is given by the formula a _n1 = 2φ _n1 ² / (φ _n1 ² + φ _n2 ² ) a _n2 = ² φ _n2 ² / (φ _n1 ² + φ _n2 ² ). . Which coefficient is given depends on whether the tone hole is opened or closed by the fingering pattern parameter FING. The derivation of this parameter is described in detail in Japanese Patent Laid-Open No. 2-280197 by the present applicant. It is also possible to simulate the state where the tone hole is half open by increasing or decreasing the value of φ _n3 .

Further, in the TRM, the low-pass filter ML is for simulating a high-frequency attenuation due to reflection of air vibration, and is an inverting circuit (inverter) IV.
Simulates a 180 degree phase inversion in the case of reflection at the aperture edge.

In the physical model sound source having the above-mentioned configuration, the shape data includes the non-linear tables T1 and T2 and the coefficient k given to the non-linear section 40, and the delay coefficients DFn, DRn, φ _n1 given to the linear section 41,
φ _n2 , φ _n3 , LPF cutoff, etc., and the shape of the simulated musical instrument is defined by these shape data. For example, if the cutoff of the LPF is high, it is possible to simulate morning glory in which the shape of the morning glory at the tip of the wind instrument is wide and shallow, and if the cutoff of the LPF is low, deep morning glory can be simulated. That is, even if the shapes are almost the same, it is possible to form musical tones with slightly different tones by slightly changing the parameters.

Performance parameters are EMBS and PR.
ES and the opening / closing pattern parameter FING of each tone hole THn and the like. By adjusting these, not only the pitch and volume, but also the shape (tone color) of the tone waveform signal can be greatly changed in real time.
Note that the coefficient a of each tone hole THn is used instead of FING.
_{Alternatively} , _n1 and a _n2 may be directly supplied to the physical model sound source as performance parameters.

Other parameters that can be applied to the wind instrument type physical model sound source are vibrato parameters, tonguing parameters, amplitude parameters, scream parameters (parameters for controlling a rough tone color change), and breath noise parameters (breathing sound Control parameters), groll parameters (parameters that control periodic changes in volume and timbre), throat formant parameters (parameters that control throat pitch and timbre changes), dynamic filter parameters (filter control parameters), harmonic enhancer parameters (harmonic overtones). There are parameters such as control parameters), damping parameters (energy loss control parameters), and absorption parameters (parameters that control the loss during air transmission).

When the physical model sound source is configured to simulate a stringed instrument as shown in FIG. 2C,
A musical instrument is defined by shape data expressing the thickness of the strings, the shape of the body, etc., and the bow pressure parameter Tp, the bow speed parameter Ap,
The pitch and tone color of the musical tone to be generated are determined by the performance parameters such as the bow position parameter D and the string length parameter Z. Of these, the bow pressure parameter Tp and the bow speed parameter A
If p and the bow position parameter D are opened to the user, similar to the physical model sound source of the wind instrument, basic parts such as tempo and pitch proceed based on the music data, and only the expressive part such as timbre can be set by the user. You will have control.
However, in the case of a physical model sound source that simulates a stringed instrument, unless the relationship among the bow pressure parameter Tp, the bow speed parameter Ap, and the bow position parameter D is maintained within a predetermined range, the instrument will not sound, and sounding is more difficult than the wind instrument. Therefore, it is preferable for a user who is not accustomed to operating the physical model sound source to provide a limiter that limits the user's control range to this predetermined range.

Next, the overall structure will be described with reference to FIG. A CPU 11, which controls the operation of the entire apparatus, is provided with a ROM 11, a RAM 12, an HDD 15, an ISDN via a bus.
Controller 16, remote control receiver 17, display panel 1
3, a panel switch 14, sound source devices 19 and 20, a voice decoder 21, a DSP 22, a character display unit 23, an LD changer 24, a display control unit 25 and an interface 18 are connected.

The ROM 11 stores a system program, a loader, an application program, font data and the like. The system program is a program for controlling the basic operation of this device and the operation of peripheral devices. The loader is a program for downloading music data and preset shape data from the center. Peripheral device control programs, sequence programs, etc. are stored as application programs. The sequence program includes a main sequence program, a tone sequence program, a character sequence program, a voice sequence program, and a DSP control sequence program. During a karaoke performance, the CPU 10 processes each sequence program in parallel, reads out each track of the music data based on each program, and executes processing such as generation of musical sounds and reproduction of video. The font data is for displaying lyrics and song titles, and stores fonts of a plurality of character types, such as Mincho and Gothic. Also, R
In the AM 12, a work area such as an execution data storage area for reading and storing the data of the currently executed karaoke piece is set. The execution data storage area is HDD1.
This is an area in which the music data stored in No. 5 is preloaded when the music data is played.

An index file, a music data file, and a basic shape data file are set in the HDD 15 as shown in FIG. 5 (A). Thousands of music data are stored in the music data file. Each piece of music data is identified by a music code. The basic shape data file is a file that stores a plurality of types of basic shape data, which is data representing the shape of a general musical instrument that is used for general purposes.
These basic shape data are, for example, GM (Genral MID
The musical instrument may be selected by a number (program number) such as 1-128 in conformity with standards such as I). The tone color of the PCM sound source is also stored according to the GM standard, but the tone color of the PCM sound source and the tone color of the physical model sound source may be divided into banks such as a PCM bank and a VOP bank. Further, the index file stores the music code of each music data and the storage address of the data in association with each other.

The ISDN controller 16 is a controller for communicating with the center via the ISDN line. The music data and basic parameters are downloaded from the center. ISDN controller 16 is DM
It has a built-in A circuit and directly writes the downloaded music data to the HDD 15 without going through the CPU 10.

The remote control receiver 17 is a circuit that receives an infrared signal sent from the remote control 30 and restores the data. The remote controller 30 includes a music selection switch, a numeric keypad, and the like, and transmits an infrared signal in response to the switch-on. The display panel 13 is provided on the front of the karaoke apparatus, and displays a currently playing music code, the number of reserved music, and the like. The panel switch 14 is provided on the front operation section of the karaoke apparatus and includes a music code input switch and a key change switch.

The tone generators 19 and 20 form a tone signal based on the data read from the tone track of the music data. The sound source device 19 is a physical model sound source as described above, and the sound source device 20 is a PCM sound source which has been generally used in the past. These sound sources are selected for each track based on the sound source selection data recorded in the musical sound track of the music data. A controller 31 is connected to the interface 18. The controller 31 is a controller for controlling the performance parameters of the physical model sound source open to the user, and has three slide volumes as shown in the figure. Each slide volume corresponds to a different performance parameter. The operation amount data of the controller 31 is input to the physical model sound source 19 via the interface 18. The performance parameters open to the user are displayed on the monitor 28.

The audio decoder 21 inputs audio data which is ADPCM data and decodes it into an audio signal. The digital tone signals and audio signals output from the tone generators 19 and 20 and the audio decoder 21 are input to the DSP 22.
A microphone 27 is connected to the DSP 22. The signal from the microphone 27 is converted into a digital signal at the input unit. The DSP 22 gives effects such as reverb and echo to the musical tone signals and voice signals input from the sound source devices 19 and 20, the voice decoder 21 and the microphone 27. D
The type and degree of the effect provided by the SP 22 are controlled based on the DSP control data written in the effect track of the music data. The tone signal and audio signal to which the effect has been added are mixed, converted to analog, and then output to the amplifier / speaker 26. The amplifier / speaker 26 amplifies this signal and emits sound.

The character display unit 23 generates character patterns such as song titles and lyrics based on the event data input from the lyrics track of the music data, and when the performance parameters of the physical model sound source are released to the user. A display pattern of parameters and current manipulated variable data is generated. In addition, the LD changer 24 has about 5 laser disks built therein and can reproduce 120 kinds of background images. One background video is selected from among the input chapter numbers. The character pattern output from the character display unit 23 and the video data output from the LD changer 24 are input to the display control unit 25. The display controller 25 superimposes these data in superimposition and displays them on the monitor 28.

FIG. 5B is a diagram showing the structure of music data for a physical model sound source. The music data is composed of a header, a musical sound track, a lyrics track, a voice track, an effect track and a voice data section. The header is composed of various data (song code, song name, genre, release date, performance time, etc.) relating to this song data. Of these, the genre data is used as data for selecting a background image. For example, if the genre is "Winter Enka," select the scene of Snow Country, and the genre is "Pops."
In the case of, for example, select a foreign video.

The musical tone track is, as shown in FIG.
It consists of multiple part tracks such as melody track, various instrument tracks, and rhythm track. Sound source selection data indicating whether the track is a physical model sound source track or a PCM sound source track is written at the beginning of each track, and the main body of each track is between the event data and each event data. It is composed of duration data indicating a time interval. When executing the automatic performance, the CPU 10 outputs the event data to the tone generator 19 or the tone generator 20 when the event data is read from the track. When the duration data is read, it is counted down according to the tempo clock, and when the count value becomes 0, the next data is read.

When the musical sound track is for a PCM sound source, the event data is general MIDI data, and when it is for a physical model sound source, the performance data assigned to the control change data is written in the event data. Although it is possible to drive general-purpose MIDI data to drive a physical model sound source, direct driving with performance parameters enables finer performance expression.

The lyrics track is a sequence track which stores the lyrics displayed on the monitor 28, and is composed of the lyrics display data (event data) and the duration data indicating the time interval of continuous event data. Note that the lyrics track data is not general-purpose MIDI data, but in order to unify the implementation and facilitate the work process, all audio tracks and effect tracks including this track are described in MIDI format. . The lyrics display data includes character data of one line of lyrics, display time of the lyrics, and wipe sequence data. The wipe sequence data is sequence data for changing the display color of the lyrics in accordance with the progress of the song.

The voice track is sequence data for controlling the generation of human voice such as back chorus or harmony singing which is difficult to synthesize in the sound source section, and the generation timing of the ADPCM data stored in the voice data section. Event data for controlling the like is written together with the duration data.

The effect track is an effect device D.
It is composed of event data and duration data for controlling the function of SP22. The event data is data instructing what kind of effect is applied to the musical tone signal and to what extent. The flowchart of FIG. 6,
The operation of the karaoke apparatus will be described with reference to the parameter change curve of FIG.

FIG. 6A is a flow chart showing the operation at the start of karaoke performance. First, the selection of a karaoke piece (song data) is accepted in s1, and the piece of music data identified by the song code input by the singer is read (s2).
This reading operation is an operation of selecting the corresponding music data from the music data file of the HDD 15 and writing the data in the execution data storage area of the RAM 12. The beginning of the musical tone track of this music data is read to classify the PCM tone color track and the PCM tone color track. Here, in this music data, each track is in charge of one tone color (part) from the start to the end of the music. Of these tracks, the PCM tone color track is assigned to the PCM tone generator 20 (s3). Next, the tracks for the physical model sound source are searched, and the part names (tenor sax, strings, etc.) of each track are displayed on the monitor 28 (s4). The user, who may be the same as or different from the singer, sees this and decides which part to control. The user decides a part to be controlled and inputs data instructing the part (s5). This input may be performed from the remote controller 30 or the controller 31 may be operated. You can also choose not to control any part. Further, it is also possible to determine a specific part (for example, an obligato, a companion hand, a part in charge of soloing in an interlude, etc.) as an open part in the music data.

When the selection of a part is accepted, the parameters open to the user in this part are displayed on the monitor (s
6). Then, the controller 31 is assigned to the designated part (predetermined channel of the physical model sound source) (s7). As a result, the performance parameter input to that channel is corrected by the user parameter input from the controller 31, and then the non-linear unit 4
0, input to the linear unit 41.

FIG. 6B is a flow chart showing the timer interruption operation during karaoke performance. This operation is a scan operation of the controller 31. Predetermined time (eg 10
This operation is performed every ms). First, the operation amount data of the controller is fetched (s10). As shown in FIG. 1, since the controller 31 has three slide volumes, it is assumed that each value is individually fetched. The operation amount data of this controller is input to the assigned channel (s11). Next, the monitor 28
The manipulated variable is displayed on (s12).

In the physical model sound source 19, the parameters input to the non-linear section 40 and the linear section 41 are based on both the performance parameters read from the music data (musical sound track) and the user parameters input from the controller 31. Although it is created, the creation method is shown in Fig. 7.
There are methods as shown in (A) and (B). FIG. 9A shows a method of creating an input parameter by adding both parameters. According to this method, the expression of the user parameter can be superimposed on the expression of the performance parameter. The method of FIG. 7B is a method of creating an input parameter by taking an intermediate value (average value) of both parameters. According to this method, the expression of the user parameter can be added to the performance parameter.

In the above embodiment, the parameters to be input to the physical model tone generator are created by the method of synthesizing the user parameters with the performance parameters. However, the performance parameters may be canceled and the user parameters may be directly input to the physical model tone generator. .

Although the controller 31 is composed of three slide volumes in the above embodiment, the controller structure is not limited to this. For example, a controller imitating a simulated performance form of a natural musical instrument (a wind operation of a wind instrument, a bowing of a stringed instrument, etc.) may be provided. Further, the controller 31 and the microphone 27 may be integrated so that the singer can control while singing. Further, the remote controller 30 and the controller 31 may be integrated.

Further, a plurality of controllers may be provided so that the user can open a plurality of parts to enable the ensemble.

Further, if not only the performance parameters but also the delicate expansion / contraction control of the time axis of the specific part is enabled, rubert performance is also possible.

[0046]

As described above, according to the present invention, a part of the performance parameters (embouchure parameter, breath pressure parameter, etc.) is opened to the user by using the manipulator, and the user changes it. The timbre can be changed greatly. Further, in this case, since fixed elements such as pitch and tempo are executed based on the performance parameters, even a user who is not skilled in performance can not perform the performance. This allows
It is possible to easily perform full-scale performance expression, the degree of participation of the user in the karaoke performance is increased, and the function of the karaoke apparatus is improved.

[Brief description of the drawings]

FIG. 1 is a block diagram of a karaoke device that is an embodiment of the present invention.

FIG. 2 is a schematic configuration diagram of a physical model sound source used in the karaoke apparatus.

FIG. 3 is a diagram showing a configuration of a non-linear portion of the physical model sound source.

FIG. 4 is a diagram showing a configuration of a linear part of the physical model sound source.

FIG. 5 is a diagram for explaining the data content of the karaoke device.

FIG. 6 is a flowchart showing an operation of the karaoke device during karaoke performance.

FIG. 7 is a diagram explaining a parameter control system of the karaoke apparatus.

[Explanation of symbols]

19-physical model sound source, controller 31, 44-performance parameter register, 45-synthesis unit,

Claims (1)

[Claims] 1. A physical model sound source for forming a musical tone waveform signal by electrically simulating physical vibration of a vibrating medium, and performance parameters for driving the physical model sound source to perform a karaoke performance are stored in time series. Music data storage area, performance parameter supply means for supplying performance parameters stored in the music data storage area to the physical model sound source, an operator, and the physical model sound source according to an operation amount of the operator. A karaoke device comprising: parameter control means for controlling a part of the performance parameters supplied to the karaoke machine.