JPS59116696A - Electronic musical instrument - Google Patents

Abstract

(57) [Summary] This bulletin contains application data before electronic filing, so abstract data is not recorded.

Description

DETAILED DESCRIPTION OF THE INVENTION (Field of the Invention) The present invention relates to an electronic musical instrument that automatically performs multitone performances such as duets and trios.

(Background of the Invention) An electronic musical instrument that produces one or more overtones related to the melody and chords played on the keyboard as additional tones to the melody and adds the effects of duet and trio performance is disclosed in Japanese Patent Application No. 56-100459 and Patent application 1987-1338
It is disclosed in the specification of No. 17.

By the way, in this prior application, the levels of the original melody sound, the first additional sound added as a duet sound, and the second additional sound added as a trio sound are the same, and the melody sound is buried in the additional sounds. There was an inconvenience in that it was not pleasing to the auditory sense.

(Object of the Invention) In view of the problems with the conventional type described above, the object of the present invention is to
Lower the level of the additional sound compared to the melody sound (e.g. 3d
B), and further lower the level of the second additional sound added as a trio (for example, by 6 dE) compared to the first additional sound.
), the aim is to perform effective automatic overtone addition that makes the melody stand out.

(Structure of the Invention) In order to achieve the above object, the present invention provides a melody playing keyboard, a chord playing keyboard, and mutually different first keys related to key depressions of the melody playing keyboard and the chord playing keyboard. and an electronic musical instrument comprising an additional sound forming circuit that forms second additional sound data, and a musical sound forming circuit that generates musical tones corresponding to these additional sound data and melody tones and chords played on the keyboard. A level control circuit is provided to separately control the levels of the melody sound, the first additional sound, and the second additional sound, and the levels of the melody sound, the first additional sound, and the second additional sound are made different. Features.

(Description of Examples) Hereinafter, the present invention will be described in detail using the drawings. The attached drawing shows a circuit configuration of an electronic musical instrument according to an embodiment of the present invention. In the figure, a keyboard 10 includes a melody performance keyboard 11, a chord performance keyboard 12, and key data UKKC and LK representing keys to be pressed for melody and chord performance.
Generates KC.

The melody playing keyboard]] and the chord playing keyboard 12 correspond to the upper keyboard and lower keyboard of a two-stage or multi-stage keyboard, but a single-stage keyboard may be divided into key ranges and used. In addition, when adopting the well-known single finger mode, the chord performance keyboard 12 includes a chord detection section and a key data creation section for the chord constituent notes, and the key data for all the chord constituent notes is time-divided or used as the key data LKKC. Generate as parallel data.

The automatically played musical score data memory 13 stores musical score data of a desired musical piece. The musical score data includes note data consisting of pitch data and note length data. The musical score data reading circuit 14 counts the tempo clock TCL output from the tempo oscillator 15, and reads pitch data while sequentially advancing the read address of the memory 13 every time the count value corresponding to the note length data is reached. This allows memory 13
From then on, the pitch data of the melody note and each chord constituent note, that is, the key data MU, is input at the timing corresponding to the note length data.
Generates KC and MLKC. A circuit for generating such key data for automatic performance is well known (e.g., Japanese Patent Laid-Open No. 57-5098), and detailed explanation thereof will be omitted in this specification.

When the automatic melody performance selection switch 17 is off (open), the melody key data output circuit 16 outputs the melody key data UKC to be produced by manual playing on the melody performance keyboard 11, and when the switch 17 is When on (closed), automatic performance melody key data MUKC is output from the musical score pig reading circuit. In other words, in this electronic musical instrument, switch 1
By opening and closing 7, you can select manual or automatic melody performance. Note that for both manual performance and automatic performance, the overtones are the melody key data UKC output from the melody key data output circuit 16.
It is added to the musical tone corresponding to the melody, that is, the melody tone.

The chord key data output circuit 18 also selects either manual performance or automatic performance by opening and closing the automatic chord performance selection switch 19, and depending on the selection by the switch 19, the chord key data output circuit 18 outputs the chord performance keyboard 12 or the chord key data LKC to be generated. Chord key data UKKC or MLKC from either of the musical score data reading circuits 14 is selectively output.

Melody key data MKC and chord key data LKC from these output circuits 16 and 18 are both provided to double tone data forming circuit 20.

In the double tone data forming circuit 20, the highest tone detection circuit 21
detects the key data of the highest note among the pressed keys on the melody performance keyboard 11. Normally, a melody performance is a single note performance, but if multiple melody notes are pressed at the same time on the keyboard 1, the key data for the highest note is detected, and the key data for the The first additional sound and the second additional sound for the trio are added. In addition,
In this way, when melody notes are pressed at the same time, the double note, or additional note, is not limited to the method of adding to the highest note as described above, but is added to the lowest note, or the key pressed first (later), i.e. (Later) You may ask Kiyone to join you. Of course, if only one key is pressed on the keyboard 1, the detection circuit 2J detects the key data. In this way, the key data MKC detected and output by the detection circuit 21 indicates the key data MKC of the melody sound to which a double tone is to be added.

The chord detection circuit 22 receives the chord key data LKC output from the chord key data output circuit 18, detects a chord based on this, and outputs the chord name data CD. The chord name data CD is composed of root note data RT and chord type data CK indicating whether the chord type is major, mica, sepnce, or the like.

In the following description, for convenience of explanation, it is assumed that each key data consists of a two-digit hexadecimal number in which the first digit is a note code indicating a pitch name, and the second digit is an octave code indicating an octave. In this case, the smallest unit of decimal numbers is [
1" corresponds to a semitone.

The subtracter 23 is a circuit for calculating the pitch of the melody note with respect to the root note using the number of semitones, and the number of semitones data obtained here will be referred to as relative note data RN of the melody note. The A input of this subtractor 23 receives the note code MMC portion indicating the note name of the melody tone key data MKC, and the B input receives the root note data RT. Then, the subtracter 23 outputs "A-B", that is, f' MNC-RT
A decimal operation of j is performed to obtain the number of semitones of the pitch of the melody note relative to the root note, that is, the relative note data RN. Note that if you simply perform the subtraction JMNC-RT J, there is an inconvenience that a negative value will be output when RT>MNC, so in the actual calculation, one octave is added to the upper digit of the melody note code MNC. A binary operation is performed by adding a code, and only the bits corresponding to the note code excluding the octave hood are outputted as the output RN. Note that an appropriate table may be used instead of the subtracter 23.

The double note difference data memory 24 includes double note difference data tables (consisting of a date table and a trio table) corresponding to each chord type, and one double note difference data table is selected according to the chord type data CK. , first double note difference data ΔDD for data and second double note difference data ΔTD for trio are read from the selected table according to the relative note data RN. These double tone difference data ΔDD, ΔTD are the first and second additional tones (duet tone and trio tone) for the melody tone indicated by the key data MKC.
This data indicates the pitch (distance from the melody note) in semitones.

Double tone difference data ΔDD and ΔTD read from memory 24 are applied to B inputs of subtracters 25 and 26, respectively. The melody tone key data MKC output from the highest note detection circuit 21 is input to the A inputs of the subtracters 25 and 26, respectively [A-BJ, that is, I'MKC-ΔDDJ
The subtractions "MKC-ΔTDJ" and "MKC-ΔTDJ" are executed by decimal operations, and these operation data are output on the condition that the output enable terminal En is 1 level. In this way, the unit performance selection switch 27 is turned on (closed).
In this case, the output enable terminal of the subtracter 25 becomes 1°' via the OR circuit 28, and the subtracter 25 outputs the first note which is a semitone number and is lower than the melody note by the first double tone difference data ΔDD. Additional sound (duet sound) key data DKC
is output, and a duet sound is automatically added to the melody sound. Well, when the trio selection switch 29 is turned on (closed), the output enable terminal of the subtracter 25 becomes ``'''' via the OR circuit 28 in the same way as above, and a duet sound is added, and the output of the subtracter 26 is When the output enable terminal becomes 1'', the subtracter 26 outputs the key data of the second additional tone (trio tone), which is a tone lower than the melody tone by the number of semitones indicated by the second double tone difference data ΔTD. T.K.
C is output. As a result, it is possible to perform an automatic trio performance in which a duet sound and a trio sound are added to the melody sound.

Based on the tempo clock TCL generated by the tempo oscillator 15, the accompaniment pattern generator 30 generates base pattern data BP consisting of bass tone generation timing (key-on) pulses and bass tone interval data indicating the interval from the chord root note, and chord timing. (Key-on) Noculus CPX and sound timing for each rhythm instrument type (Key-on)
The rhythm pattern pulses RP are generated sequentially.

The bass tone forming circuit 31 generates a bass tone that has an interval relationship (JrB - 13 degrees, 5 degrees, etc.) indicated by the bass tone interval data from the pattern generator 30 with respect to the root note data RT from the chord detection circuit 22. The key data BKC is output according to the bass sound generation timing from the pattern generator 30. This is done by using, for example, the interval between the root note and the base note expressed in semitones as the base note interval data, and the base note key data BKC is obtained by adding the base note interval data to the root note data RT. Note that the chord type turn CK is also input to the bass tone forming circuit 31, which means that, for example, even if the note is a third to the root note, a major chord has 4 semitones, and a Mylar chord has 3 semitones. This is because the number of semitones for the same pitch (degree) differs depending on the type of chord, so the base tone pitch data or the base tone key data BKC is reversely corrected by the chord type data CK.

Melody key data UKC (including the key-on signal) from the melody key data output circuit 16, chord key data LKC from the chord key data output circuit 18, double note key data DKC and tritone key data TKO from the double note data forming circuit 20. .

The bass tone key data (including the key-on signal) from the bass tone forming circuit 31 and the chord timing signal CP from the accompaniment/turn generator 30 are supplied to the sound generation assignment circuit 33 of the musical tone forming circuit 32. In the sound generation allocation circuit 33, a channel counter 34 forms nine time slots that are sequentially separated by nine channel timing signals that are sequentially generated in nine channels. The data are sampled, arranged in the above time slots, and time-division multiplexed.

Table 1 shows an example of key data assignment for each channel. Note that this assignment can be determined as appropriate, or in consideration of the timing when the chord constituent note key data assignment C etc. are time-divisionally output.

Finally, a key-on signal KON is added to each time-division multiplexed key data KC. This key-on signal KON
For melody sounds and bass sounds, each key data has Table 1 CHN KC 1 Bass note 2 Chord (root note) 3 Tori Double note 4
Chord (2nd note) 5 Arpeggio 6 Melody 7 Chord (3rd note) 8 Chord (4th note) 9 Daera!・Use the key-on signal accompanied by 8 +. Further, the key-on signal of the mouth key data is the chord timing key word CP. The key-on signal of the melody tone is used as the key-on signal of the double tone and the tritone.

The sound source waveform synthesis circuit 34 synthesizes the sound source waveform data of the timbre set in the timbre selection circuit 35 (for each channel). As this sound source waveform synthesis circuit, for example, one cycle (0 to
It is also possible to use a well-known method such as a waveform reading method in which sampling data of the waveform for one half cycle CO~π) is stored and this data is repeatedly read out.

The envelope format circuit 36 forms envelope data corresponding to the tone color set in the tone color selection circuit 35 (corresponding to the instrument name, etc.) based on the key-on signal of each channel.

The level control circuit 37 level-shifts the envelope data to control two levels of the volume of each tone to be generated, and is composed of, for example, a division circuit.

However, if only a 1/2 unit level shift such as OdB, -6 dB, -12 dB, -18 dB, etc. is to be performed, it may be configured with a Hahit shifter, and if a coarse level shift is required, it may be configured with a bit shifter and an adder/subtractor. It can also happen. This level control circuit 37 is 3dB and 6dB, respectively.
Built-in B level shifter reduces the sound level by 3 dB when J゛° is applied to the wide input, and reduces the sound level by 6 dB when '1' is applied to the B input. .Data selection switch 27 is on (
(closed), ']"' is applied to one input terminal of the AND circuit 38 via the OR circuit 28. That's naive, the channel counter 3 is applied to the other input terminal of the AND circuit 38.
Channel timing signals corresponding to channels 4 to 9 are provided. For this reason, the level control circuit 37
" ] " is given to the eight-person power in synchronization with the processing of the ninth channel in the tone forming circuit 32, and therefore the envelope 0 data of the date note assigned to the ninth channel, that is, the sound generation. The level is lowered by 3 dB. When the trio selection switch 29 is turned on, 1'' is applied to the A input of the level control circuit 37 only in the section of the 9th channel via the OR circuit 28 and the AND circuit 38, and the deet sound is reduced to 3 dB.
The level is lowered, and the channel timing signal corresponding to the third channel is applied to one input terminal of the AND circuit 39, and the input signal is input to the control circuit 370B via the AND circuit 39.
1" is boosted, and therefore the level of the trio sound assigned to the third channel is lowered by 6 dB.

The volume data output circuit 40 reads the setting data of each volume in the melody/accompaniment balance volume and the L/C volume volume volume 41, obtains melody volume data and accompaniment volume data based on this setting data, and outputs the channel from the channel counter 34. These volume data are synchronized with the first to ninth channels by a timing signal.

Accordingly, accompaniment volume data is transmitted in synchronization with channels 1, 2, 4, 5, 7, and 8, and melody volume data is transmitted in synchronization with channels 3, 6, and 9. The level control circuit 37 levels-shifts the bass tone, chord, and bass tone envelope data of the 1.2.4.5.7.8 channel based on the accompaniment volume data. 3.6. Level shift the envelope 0 data of the melody sound, date sound, and trio sound of the 9th channel based on the melody volume data. Therefore, the chiet double tone and trio tone are 3dB and 6dB respectively.
After being softened to the B level, it is further subjected to a level shift indicated by the melody volume data.

The envelope noise applying circuit 42 applies an envelope noise to the sound source waveform by multiplying the sound source waveform data from the sound source waveform synthesis circuit 34 and the envelope data level-softened in the level control circuit 37, for example. , melody case, duet sound, trio sound,
Musical sound data for each chord component note, bass note, and arpeggio note is stored in a time-sharing pot. A superimposed musical tone data SD is formed.

The rhythm sound generator 43 forms rhythm sound data RD according to the volume set in the rhythm sound volume 44 of the rhythm sound based on the rhythm pattern pulses generated by the accompaniment pattern generator 30.

In the D/A converter 45, the data for all channels included in the musical tone data SD from the musical tone forming circuit 32 and the rhythm tone data RD from the rhythm tone generator 43 in a time-divided manner are added to generate an acoustic signal. and then convert it to an analog signal. This analog signal is output as sound through a sound system 48 that includes an amplifier 46, a speaker 47, and the like.

(Effects of the Invention) As described above, according to the present invention, the volume level of the duet overtone is lowered compared to the melody sound, and the level of the trio sound is further lowered than the duet overtone. Since the levels are varied, it is possible to perform an effective double-tone performance with an outstanding melody sound by automatic double-tone addition.

[Brief explanation of the drawing]

The attached figure is a block configuration diagram showing the configuration of an electronic musical instrument according to an embodiment of the present invention. 11 Keyboard for playing nolodies, 12- Keyboard for playing chords, 2
0...Additional tone formation circuit, 32. Musical tone formation circuit, 37. Level control circuit.

Claims (1)

[Claims] a melody playing keyboard, a chord playing keyboard, and an additional sound forming circuit that forms mutually different first and second additional sound data in relation to key depressions of the melody playing keyboard and the chord playing keyboard; In an electronic musical instrument having musical tones corresponding to these additional sound data and a musical tone forming circuit that generates melody tones and chords played on the keyboard, the levels of the melody sound, the first additional sound, and the second additional sound. An electronic musical instrument comprising a level control circuit that separately controls the melody tones, the first additional tone, and the second additional tone.