JPS6113294A - 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] [Technical Field of the Invention] The present invention is an electronic system that can independently program elements necessary for creating a musical tone for controlling volume, pitch, each envelope waveform for suppressing harmonic components, and fundamental waveform. Regarding musical instruments.

[Prior art]

BACKGROUND ART Conventionally, there is an electronic musical instrument in which signals for controlling musical tone elements can be programmed, and a musical tone is generated by multiplying predetermined waveform data by volume envelope data arbitrarily created by a performer to obtain a musical tone signal.

[Problems with conventional technology]

In conventional electronic musical instruments, the volume can be arbitrarily changed over time, but the timbre is uniquely determined, which is undesirable because the musical tones produced are monotonous.

[Purpose of the invention]

To provide an electronic musical instrument in which various tones can be easily created.

[Key points of the invention]

A volume envelope waveform that controls the volume of a musical tone, a pitch envelope waveform that controls the pitch of a musical tone, and a harmonic component suppression envelope waveform that controls the harmonic components of a musical tone can be created arbitrarily.1. A musical tone is created based on these created envelope waveforms.

〔Example〕

Hereinafter, one embodiment will be described with reference to the drawings. FIG. 1 is an overall block diagram of an electronic musical instrument. In the figure, 1 is OPU (
(central processing unit), and this 0pU1 has a pass line B.
ROM (read only memory) 2, RAM via US
(Random access memory) 6 Tone RAM 4 is connected to each other, and the keyboard 6 is connected to the interface 5, the switch input section 8 is connected to the interface □7, the register section 10 and the musical tone creation section 11 are connected to the interface 12 via the interface 9. The timbre register sections 16 are connected to each other. The tone register section 16 is connected to the tone generation section 11, and the tone generation section 11 is connected to the amplifier 1.
A speaker 15 is connected via 4.

The 0PU1 is a ROM 21; - a device that executes various operations such as arithmetic operations according to a stored control program. Further, the RAM 6 is a memory that temporarily stores intermediate result data and the like during processing by the 0PU1. Tone RAM
Reference numeral 4 denotes a memory for storing 20 types of tones arbitrarily set by various switches of the switch input section 8, which will be described later. In addition to switches for setting tone colors, this switch input section 8 also includes switches for adding effects and rhythm.

The register section 10 has various registers, and each time the tone memory selection switch (SW) described later is switched, these registers perform calculations to add the currently switched tone to a new on key after the switching operation. This is a register used by 0PU1 for processing.

On the other hand, the timbre register section 16 has a register that stores the contents of the timbre of the musical tone currently in use. Also, the musical tone creation section 11
For the musical tone creation system for 8 channels formed by the arithmetic operation using the time-sharing processing method of 0PU1, the keyboard 6
A musical tone signal for each operating key is created, and a synthesized musical tone is emitted through an amplifier 14 and a speaker 15. In that case, the musical tone creation section 11 receives data from the tone color register section 16 and adds a different tone to the musical tone of each operation key.

Next, the timbre-related switches on the switch input section 2 will be explained with reference to FIG. In the case of the electronic musical instrument of this embodiment, the timbre RAM 4 has 2 preset values in the timbre creation mode by the switch operation described below.
To explain each data of 0 kinds of timbres, as can be seen from the memory structure of the timbre RAM 4 conceptually illustrated in FIG. It consists of waveform data. In the memory configuration example of the tone RAM 4 in FIG. 3, there are 10 types of volume envelope data, 10 types of waveform envelope data, 10 types of pitch envelope data, and 10 types of basic waveforms.
There are registers with that much capacity. There are 120 types of timbres, and the register representing each timbre consists of a total of 4 pointers for each envelope data and waveform data of the note i, harmonic component suppression, pitch, and can be set arbitrarily by the switch operation described later. Selected and memorized.

Returning to FIG. 2, the basic waveform memory selection 5W16 is a switch for resetting and tossing the waveform data of 10 types of successive waveforms into the corresponding register 7 of the timbre RAM 4, and is also a switch for the basic waveform generation section. 17 is a switch for specifying one of five types of basic waveforms. Switch 17A (-, 11° 21.31, 41.51) specifies one period in the first half, and switch 17E (12, 22, 3
2,42°52) is a switch that specifies the second half of the cycle.

Here, among the numbers written on the switches 17A and 17B, the number 10 is the waveform shown in FIG. 4(1), and the number 20 is the waveform shown in FIG. 4(2).
The number 30 is the waveform shown in 41m (3), 40
The numbers represent the waveforms shown in FIG. 4 (4), and the 50s represent the waveforms shown in No. 4111 (5). The switch 170 is an octave modulation switch that alternately specifies the waveform specified in the first half and the waveform specified in the second half every cycle. When this switch 170 is off, only the waveforms specified in the first half are specified. The switch 16A is a write switch for writing the contents set by the switch 17 into the switch 16. .

FIG. 4 shows the waveform shape and data of the b'ffi type of the basic waveform. Figure 5 shows the data structure of the basic waveform data, and shows the top three
The bit WAVE'FORM consists of the 3-bit data set to the waveform shown in Figure 4, the next 3-bit OQT, and the MOD
UTjAT ON WAVlcIFORM also has 3-bit water amount data set in FIG. The next 1-bit data is data indicating whether OO'T or MODULAT is ON. Furthermore, 1 bit of the LSB is not used and is invalid.

Returning to Figure 2, volume envelope memory selection 5W18
, harmonic component, suppression envelope memory selection 5W19,
Each of the pitch envelope memory selection switches 20 is a switch for specifying a register in the tone RAM d that stores each envelope data of volume, harmonic component suppression, and pitch. Volume,
Harmonic component suppression, switch 1 for each pitch envelope
Specify any one of 8 to 19, and then select the rate variable nib specification slide 5W21, level value specification slide 5W22, and sustain point specification slide 5W26, which are provided 8 each corresponding to the 8 steps of 0 to 7. Operate the switch for each step, then adjust the currently selected volume,
Turn on the write 5W 24, 25, or 26 corresponding to any envelope of harmonic component suppression and pitch.

FIG. 6 shows the waveforms of the volume, harmonic component suppression, and pitch envelopes. Eight envelopes are arbitrarily formed by operating the slides 5W, 21, and 26 in accordance with the eight steps described above. It consists of a broken line part. The height of the end of the broken line part of the envelope (indicated by points A to H in the figure) is a level variny, and the interval between each level value is expressed by a rate burr (the slope of the broken line part).

FIG. 7 shows the data structure of the envelope data. In the figure, A-H represents data storage sections corresponding to points A-H at the end of the envelope waveform in FIG.
It has a capacity of bits. And M of the top 8 pits
SE stores 1-bit data indicating the direction of the rate (direction of inclination of the broken line portion), and the directions are 2 when it is '0' and 2 when it is 'pi'.

The next 7 bits are rate value data, and the MSB of the lower 8 bits is 1-bit data representing sustain information, and when '', it indicates that the sustain point has been reached. 0" indicates that it is not a sustain point.The next 7 bit data indicates the level value.The direction of the rate (), 5) mentioned above is automatically determined from the change in the level value. .

FIG. 8 shows an example of an actual envelope, and FIG. 9 shows an example of actual data of the envelope of i8[Δ. In this example, point F is the sustain point, and the output of this key is constant until the key is turned off.

At this time, the value of point G becomes irrelevant.

Returning to FIG. 2 again, the tone memory selection switch 27 is
Tone RAM d that stores data for the 20 types of tones mentioned above.
This is a switch for specifying the registers (registers 1 to 20 in FIG. 3) within the registers (registers 1 to 20 in FIG. 3), and in the tone creation mode, the data ( Four numbers for basic waveform waveform data, volume 1 harmonic component suppression, pitch envelope data) are written into the registers 1 to 20 when write 5w28 is turned on. In the normal performance mode, simply by turning on any one of the timbre memory selections 5W27, the four pointers of the corresponding timbre data are read out from the registers 1 to 20, and then based on these pointers, as shown in FIG. volume envelope 1-10,
The data is read out from each register of rise 1' i-wave component suppression envelopes 1-10, pitch envelopes 1-10, and basic waveforms 1-10 and processed.

Next, the specific configuration of the musical tone creation section 11 will be explained with reference to FIG. In the figure, 60 is an interface through which data is input/output with the apuj, and op'o1 is connected via this interface 60 to a volume envelope generation circuit 61, a harmonic component suppression envelope generation circuit 52, and a pitch envelope generation circuit 66. For each envelope data such as the rate value, level value, etc. shown in FIG.
1Fr8'lsR&mp). Each envelope circuit 31, 32, 33 calculates a current value from the rate variation and level variation and applies it to the corresponding KXP, (ex-bonenential) hoM 54, band limit circuit 65, and frequency ROM 36, respectively. 0 Also, when the current value reaches the current rate value, each envelope circuit 61, 32, 33 generates an interlaced signal NT, sends it to 0PU1 via the inter 7 ace 60, and sends it to the next step 0 to 7. Data AM for (point A NH)
P Ramps WAVE Ramps
Il'req.

Requests the output of Ramp (however, in the case of the above-mentioned sustain point, the interlaced signal engineer NT does not output).

Freq, ROM 56 generates frequency information (phase angle information) F according to the output from pitch envelope circuit 66 and provides it to band limit circuit 65 and phase generator 67 . This phase generator 37 accumulates the phase angle information P and divides the resulting data into a dividing circuit 68.
give to Further, the band limit circuit 65 operates based on the output of the waveform envelope circuit 62 and the phase angle information.
The generation of aliasing distortion based on the sampling theorem is prevented, and its output is given to the divider circuit 68. Furthermore, this division circuit 68 has
Opt through the interface 60 and the waveform generation circuit 39
Predetermined waveform type selection data sent by yl is also given. Then, the division circuit 68 performs division processing on each output from the phase generator 67, the pan limit circuit 65, and the waveform generation circuit 69, and uses the resulting data to access the unique generator 40 to generate waveform data. The signal is sent to the multiplication circuit 41. For the specific configuration of the division circuit 68, it is possible to use an implementation circuit already proposed by the present applicant, for example, described in the patent application specification of Japanese Patent Application No. 57-221266.

The multiplier circuit 41 also receives control data read from the lxp and ROM, and therefore multiplies the waveform data and control data and sends the resulting data to the accumulator circuit 4.
Give to 2. This accumulation circuit 42 stores the accumulated data in the DAO process every time it accumulates the result data for 8 channels.
D- via F (DA converter interface) 43
As a result, a synthesized musical tone is emitted from the speaker 15.

Next, the configuration of each of the volume, harmonic component suppression, and pitch envelope circuits 31, 62, and 33 will be specifically explained in accordance with [No. 111]. Incidentally, since these circuits 61 to 36 have the same configuration, the circuit shown in FIG. 11 is assumed to be, for example, the volume envelope circuit 61.

In the figure, 45 (or 8 stages of shift registers with a capacity of 8 bits,
It is a group of shift registers connected in parallel, and the level value sent from the optyl via the transfer gate 46 is completely input to the first stage.

It should be noted that the shift register group 45 constructed by connecting eight stages of shift registers in parallel corresponds to the existence of a musical tone creation system for eight channels. The same applies to other shift register groups to be described later.

The level value input to the first stage of the shift register group 45 is then shifted to the subsequent stage side, outputted to the eighth stage, returned to the first stage via the transfer gate 47, and applied to the B input terminal of the comparator 48. Further, the transfer gate 46 is controlled to open and close by applying a preset signal sent from oPvl to the gate via an inverter 49, and the transfer gate 47 is controlled to open and close by directly applying the preset signal to the gate. Note that this preset signal is at the "0" level only when the level burr is sent.

On the other hand, Transfer Game) 050 has Rate Barry-
is inputted through the transfer gate 51, and when outputted from the shift register group 50, it is returned to the shift register group 50 through the transfer gate 53, and is also applied to the B input terminal of the adder/subtractor 56. The transfer gates 51 and 52 are controlled to open and close by applying the preset signal to the gates via the inverter 54 or directly.

Furthermore, the output data (current value) from itself is input back to the shift register group 55 via the transfer gate 56 and is also applied to the A input terminal of the adder/subtractor 53 . Then, the result data ANS 1 of the adder/subtractor 56
is transferred to the shift register group 5 via the transfer gate 57.
5 and also to the A input terminal 48 of the comparator 48. The MSB data (data indicating the rate direction) of the rate value output from the shift register group 50 is input to the control terminal SUB of the adder/subtractor 56 as a subtraction command, and this subtraction command is "
When the value is 1'', subtraction is performed, and when it is 10'', addition is performed. Further, the data of the MSB of the rate value is inputted to the control terminal ≧ of the comparator 48 as a comparison method selection command, and if this comparison method selection command is "P", then the comparison result signal ANS2 of the comparator 48 is is “B, A>
If the comparison method selection command is "0", the comparison result signal A N3 'l is "1" if it is A.B.
", if A x B, then 0". and the comparison result signal A
NS2 is applied to the transfer gates 56 and 57, respectively, directly or via an inverter 58 to control opening and closing, and is also applied to one end of the Nantes gate 59. On the other hand, the MSB data (sustain information) of the level value output from the shift register group 45 is inverted input to the other end of the Nant gate 59, and the output of the Nant gate 59 is input to the
Sent as T to OPUl.

Next, a description will be given of the timbre setting operation, the timbre reading operation during performance, and the circuit operation in each case in the above embodiment.

First, after turning on the power switch of the electronic musical instrument, a tone creation mode is set by operating one predetermined switch. First, arbitrary basic waveforms are set in basic waveform registers 1 to 10 (FIG. 3), respectively.

First, turn on the switch number 1 of the basic waveform memory selection switch 16, and then select the selected waveform among the first half numbers 11 to 51 of the basic waveform generator switch 17 (see Fig. 4).
Turn on one switch 17h. Next, if you want to make the first half and the second half of the basic waveform for two periods different, turn on the octave switch 170, and then
2, which is different from the first half (switch 17B), is turned on, and finally, the write switch 16A is turned on.

On the other hand, if only the first half of the waveform is specified, the octave switch 170 is not operated.

Arbitrary basic waveforms are similarly set for the switches 2 to 10 of the switches 16, and set in the corresponding registers.

Next, the volume envelope is preset in registers 1-10 in FIG. In this case, first, switch number 1
) and also rate value indicator slide s w 2
1. Level value specified slide 5w22, sustain point specified 8W2! When l is set to a desired state and then write 5w24 is turned off, the volume envelope data is set in register 1.

The same applies to registers 2 to 10 of the phonetic envelope. Further, regarding the harmonic component suppression envelope and the pitch envelope, each envelope data is set by the same operation except for operating the write switch 25 or 26, respectively.

Note that FIG. 12 shows the envelope of the volume, harmonic component suppression, and pitch preset in this manner.

As described above, the basic waveform, volume, harmonic component suppression,
Once each pitch envelope is preset in the corresponding register in the timbre RAM 4 (Fig. 3), the basic waveform and note N , 7N, M-wave component suppression, and pitch envelope pointers are set. in this case,
First, the number 1 of the tone color memory selection 5W27 is turned on, and the switch 16, for example, number 5, the switch 18, number 1, the switch 19, number 6, and the switch 20, number 7 are turned on, and then the write 5W28 is turned on. Therefore, pointers 5, 1, 3, .
7 is preset.

Desired pointers are preset for tone color registers 2 to 20 in exactly the same manner.

After completing the presetting operations for the tone color registers 1 to 20 as described above, normal performance operations are possible from then on. That is,
Before starting the performance, one of the switches 1 to 20 of the switches 27 for a desired tone is turned on in advance. When the performance starts, the key output from the keyboard 6 is supplied to the interface 5 and the 0PU1 via the pass line BUS, the operation keys are assigned to predetermined channels, and the musical sound generation command is sent to the musical sound creation section 1.
1. Furthermore, the tone color data currently being set is set in the tone color register section 16. As a result, musical tone creation section 1
In step 1, a musical tone is created using the set tone color and is emitted from the speaker. Furthermore, during performance, the tone color can be easily changed by simply operating the switch 27.

In the above embodiment, the tone data arbitrarily set by the switches 16 to 26 is temporarily stored in the tone RAM 4 by operating the switches 27 and 28.
, switches 16.2-1~ except for switch 27.28
It may also be possible to immediately obtain any desired tone by simply setting 26.

〔Effect of the invention〕

As explained above, the present invention includes a volume envelope waveform generating means, a pitch envelope waveform generating means, a harmonic component suppressing envelope waveform generating means, and a means capable of controlling each of the various generating means to generate an arbitrary envelope waveform. and a means for creating musical tones based on each of the arbitrarily created envelope waveforms, so that various tones can be created extremely easily and performance effects can be extremely large. This is the result.

[Brief explanation of the drawing]

Fig. 1 is an overall circuit diagram of an electronic musical instrument according to an embodiment of the present invention, Fig. 2 is a switch configuration diagram of the key input unit 8, Fig. 3 is a memory configuration diagram of tone 1'tAM4, and Fig. 4 is a basic waveform. Figure 5 is a data configuration diagram of the basic waveform waveform data, Figure 6 is an envelope waveform diagram, Figure 7 is its data configuration diagram, Figure 8 is a diagram showing a specific example of the envelope waveform, and Figure 9 is a diagram showing a specific example of the envelope waveform. The figure is a data content diagram, FIG. 10 is a specific circuit IN of the musical tone creation section 11, and FIG. al1 is a circuit diagram of an envelope circuit. 1... aptr, 2... ROM, ro... RAM. 4... Tone RAM, 6... Keyboard, 8... Switch input section, 10... Register section, 11... Musical tone creation section,
14...Amplifier, 15...Speaker, 16...Basic waveform memory selection switch, 16A, 24, 25, 26
．． 28...Write switch, 17...Switch, 1
8...Volume envelope memory selection switch, 19.
・Waveform envelope memory selection switch, 20...
Pitch envelope memory selection switch, 21 rate value specification slide switch, 22...level value specification slide switch, 26...sustain point specification switch S27 tone memory selection switch. -n' Fig. 3 10 mouth Fig. 4 cl)ooo: fゝ\Jゝ\\\ ■00'l: f go fl go (5) 010 knee old - 1pan 11'' (4) too: 1. Nor r1111111. -1゛"Papa-・1111.)'12.011.I-''"Papa...
1. (5) +01: To J ( Figure 5 Figure 6 Figure 7 Figure 7 0゛/ 1,\ Figure 8 Key0+1Key01! 5%? Figure 9

Claims (1)

[Claims] In an electronic musical instrument in which elements constituting a musical tone can be arbitrarily set, a volume envelope waveform generating means generates a volume envelope waveform that controls the volume of the musical tone, and a pitch envelope waveform generates a pitch envelope waveform that controls the pitch of the musical tone. a harmonic component suppressing envelope waveform generating means for generating a harmonic component suppressing envelope waveform for controlling harmonic components of a musical tone; and a means capable of controlling each of the various generating means to generate an arbitrary envelope waveform, respectively;
An electronic musical instrument comprising means for creating musical tones based on each of the arbitrarily created envelope waveforms.