JPS62184495A - Electronic musical apparatus with touch response - 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 relates to an electronic musical instrument with touch response that variably controls the characteristics of musical tones in accordance with differences in key pressing speed or key pressing pressure.

[Prior Art] Conventionally, such electronic musical instruments with touch response detect the switching time difference and pressure between two switches using two stepped switches or piezoelectric elements provided on each key of the wI board. In response to this, the level of the volume envelope waveform of the emitted musical sound and the rise of the attack portion of the envelope waveform are changed to obtain a touch response effect that variably controls the volume of the musical sound according to the key pressing speed or key pressing pressure. I was doing it.

[Problems with the prior art] However, with this type of device, only the sound volume can be affected by the sponse effect, and in actual musical instruments, the pitch and the pressure can be adjusted depending on the key pressing speed and key pressing pressure. The timbre components also change slightly, making it impossible to obtain a touch response effect that is close to that of an actual instrument.Also, the above method only changes the rise of the attack portion of the envelope waveform, so it is difficult to obtain a touch response effect that is close to that of an actual instrument. It was not possible to obtain a proper touch response effect.

[Object of the Invention] This invention was made in view of the above-mentioned circumstances, and its purpose is to provide an electronic device with touch response that can obtain a more natural and clear touch response effect that is closer to that of an actual musical instrument. We provide musical instruments.

[Summary of the Invention] In order to achieve the above-mentioned objects, the present invention provides a timbre envelope waveform for controlling the volume of musical tones, a harmonic component suppression envelope waveform for controlling harmonic components of musical tones, and a pitch for controlling the pitch of musical tones. For envelope waveforms, the arrival point and slope of each step of the attack part and other parts of each envelope waveform are controlled by displacement, and the arrival point and slope are controlled by displacement in different states of change. The main points are:

[Structure IIC of First Embodiment] Overall Schematic Structure> An embodiment of the present invention will be described below with reference to the drawings. Figure 1 shows the overall block circuit of an electronic musical instrument with touch response; 1 in the figure is a switch input section;
This switch input section 1 can set up to 20 types of tone data consisting of envelope data for volume, pitch, harmonic component suppression, and basic waveform data, and this tone data is transmitted by the CPU 2 via the interface IFI. It is written to tone RAM3. Each tone data written in this tone RAM 3 is also stored in the switch input section 1.
The tone color selected in the tone color selection switch 27 is set in the tone color register section 4 via the interface IF2.

Also, the key code corresponding to the operation key of 1Iffi5 is.

Interface IF3. The musical tone is supplied to the musical tone generator IIt section 6 via the IF 4, and a musical tone having a pitch corresponding to the key code is generated, and the generated tone is emitted from the speaker 8 via the amplifier 7. The key pressing speed or key pressing pressure of the operating keys of the keyboard 5 is detected by the touch detection section 9 and touch data is generated,
This touch data is given by the CPU 2 to the arithmetic unit IO via the interface IF2. Arithmetic unit lO
Then, the applied touch data is converted to displacement data, and based on this displacement data, calculations are performed to control the displacement of the volume, harmonic component suppression, and pitch envelope data from the tone register section 4, and as a result, the data is given to the musical sound creation section 6 as various change data such as volume change data, harmonic component change data, and frequency change data,
Changes in the volume, timbre component, and pitch of the emitted music sound are controlled according to the key pressing speed or key pressing pressure.

The register unit 11 is a register used by the CPU 2 to transfer new timbre data from the timbre RAM 3 to the timbre register unit 4 each time the timbre selection switch 27 of the switch input unit 1 is switched. ROM12
Programs necessary for the CPU 2 to execute various calculations and operations are stored in the RAM 13, and result data during processing is temporarily stored in the RAM 13.

Configuration of Switch Input Section 1> Next, the tone-related switches on the switch input section 1 will be explained with reference to FIG. First, we will explain each data of the 209 kinds of timbres preset in the timbre RAM 3.As can be seen from the memory structure of the timbre RAM 3 conceptually illustrated in FIG.
! ! It consists of similar envelope data and waveform data indicating the basic waveform. Volume envelope data is 10
It is possible to set 10 types of waveform envelope data, 10 types of beach envelope data, and 10 types of basic waveforms, and registers with corresponding capacities are prepared in the tone RAM 3.

So, returning to FIG. 2, the basic waveform selection switch 16 is
This is a switch for selecting waveform data of 10 types of basic waveforms, and the setting of this basic waveform is performed by the basic waveform generation switch 17.

The basic waveform generation switch 17 is a switch for specifying basic waveforms prepared in advance in 5N classes, and among these, the switch 17A (11, 21, 31, 41, 51) specifies one cycle of the first half.

The switch 17B (12, 22, 32, 42, 52) is a switch that specifies one period in the second half.

Here, among the numbers written on the switches 17A and 17B, the numbers in the 10s are the waveforms shown in FIG. 4(1), and the numbers in the 20s are the waveforms shown in FIG. 4(2).
The 30s have the waveform shown in Figure 4 (3), the 40s have the waveform shown in Figure 4 (4), and the 50s have the waveform shown in Figure 4 (4).
It represents the waveform shown in FIG. 4(5). The switch 17C is an octave modulation switch that alternately specifies the waveform specified in the first half and the waveform specified in the second half in one cycle. When this switch 17C is off, only the waveform specified in the first half is specified. The switch 16A is a write switch for assigning the contents set by the switch 17 to each of the basic waveform selection switches 16.

Figure 5 shows the data nitric acid of the waveform data of the basic waveform.The first half waveform data of the upper three bits is the 3-bit data set to the waveform in Figure 4, and the second half waveform data of the next three bits is also the fourth waveform data. The 3-bit data shown in the figure is set as a waveform of one cycle of the first half and the second half, respectively.The zero-order 1-bit data is data indicating the presence or absence of octave modulation.

Furthermore, one bit of LSH is not used and is invalid.

Returning to FIG. 2, the volume envelope selection switch 18,
The harmonic component suppression envelope selection switch 19 and the pitch envelope selection switch 20 are respectively connected to the timbre RAM.
This is a switch for selecting and specifying each envelope data of volume, harmonic component suppression, and pitch in 3. The actual operation is to first specify any one of the switches 18 to 20 for each envelope of volume, harmonic component suppression, and pitch, and then set each of the eight envelope switches 18 to 20 corresponding to the eight steps 0 to 7. Rate value designation slide switch 2 provided in each
1. Operate each step of the level value designation slide switch 22 and sustain point designation switch 23, and then press the write switch 24 or 25 that corresponds to the currently selected volume, harmonic component suppression, or pitch envelope. Or turn on 26.

FIG. 6 shows the waveforms of the volume, harmonic component suppression, and pitch envelopes. Eight broken lines are formed arbitrarily by operating the slide switches 21 and 23 according to the eight steps described above. It consists of parts. The height of the arrival point of the broken line part of the envelope (indicated by points A to H in the figure) is a level value, and the distance between each level value is expressed by a rate value (the slope of the broken line part).゛・ Figure 7 shows the data structure of the above envelope data. In Figure 1, A-H represents the data storage section corresponding to points A-H at the end of the envelope waveform in Figure 6, and each 18-bit It has a capacity of And the MS of the upper 8 bits
B stores 1-bit data indicating the direction of the rate (the direction of inclination of the broken line portion), and the direction is 2 when it is "0" and 1 when it is "1". The next 7 bits are rate value data, and the MSB of the lower 8 bits is 1-bit data that represents sustain information. The next 7-bit data indicates a level value. The direction of the rate (2, -) mentioned above is automatically determined from the change in the level value.

Figure 8 shows an example of an actual envelope, and Figure 9 shows an example of actual data for the envelope in Figure 8. In this example, point F becomes the sustain point, and the The envelope level is constant and the sound is produced.

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

Returning to FIG. 2 again, the timbre selection switch 27 is a switch that specifies the registers (registers 1 to 20 in FIG. 3) in the timbre RAM 4 that store data for the 20 types of timbres mentioned above, and is used in the timbre creation mode. At times, the four numbers corresponding to the basic waveform waveform data and each envelope data of volume, harmonic component suppression, and pitch of the tone data currently selected by any combination of the switches 16, 18 to 20 are displayed. When the write switch 28 is turned on, the data is written into the registers 1 to 20. In the normal performance mode, when any one of the timbre selection switches 27 is turned on, each of the four corresponding timbre data is read out from the registers 1 to 20, and then the timbre data is read out from the registers 1 to 20. Volume envelope 1 to lO1 harmonic component suppression envelope 1 to 10, pitch envelope 1 to 10. The data is read from each register of the basic waveform 1NlO and processed.

Next, the configuration of the calculation unit IO will be explained in detail with reference to FIG. Displacement data is created based on the touch data provided from the touch detection section 9 and is provided to the addition sections 61 and 62. As shown in Figure 11, the relationship between this displacement data and touch data is given by a proportional relationship for rate value and an exponential relationship for level variation, such that the larger the touch data, the larger the displacement data. It has become.

The adder 61 is given a level value indicating the height of each point of each envelope data of volume, harmonic component suppression, and pitch from the timbre register 4, and the value corresponding to the displacement data is added. It is output to the musical tone creation section 6.

The larger the level values are added, the larger the amplitude, and the larger the volume, harmonic components, and pitch. The other addition section 62 is given a rate value indicating the slope of each broken line part of each envelope data of volume, harmonic component suppression, and pitch from the tone register section 4, and the value corresponding to the displacement data is given. The above musical tone creation section 6
is output to. The higher the rate value is added, the greater the slope becomes, and the time the volume, harmonic components, and pitch change becomes faster.

The pitch will become louder. The adders 61 and 62 have arithmetic execution systems for three channels, and envelope data of volume, harmonic component suppression, and pitch are simultaneously displaced in parallel.

Structure of musical tone creation section 6> Next, musical tone creation is performed according to FIG. 12. In the figure, IF6 is an interface, and the volume envelope generation circuit 31.1!6 is connected via this interface IF6. A rate value that has been subjected to displacement processing by the above addition shown in FIG. 1θ for the harmonic component suppression envelope generation circuit 32 and the pitch envelope generation circuit 33, respectively;
Envelope data consisting of level values etc. is supplied.

As shown in FIG. 12, this envelope data is also called volume change data, harmonic component change data, and frequency change data, and each envelope circuit 3
1.32.33 calculates the current value from the rate value and level value and applies it to the corresponding exponential ROM 34, band limit circuit 35, and frequency ROM 36, respectively. Further, when the current value reaches the current rate value, each envelope circuit 31, 32, 33 generates an interwoven signal INT, and the interface IF6. I
It is sent to the CPU 2 via F4 to request output of volume change data, harmonic component change data, and frequency change data for the next steps θ to 7 (points A to H). However, in the case of the sustain point mentioned above, the interlaced signal IN
T is not output.

The frequency ROM 36 generates frequency information, ie, phase angle information FI, according to the output from the pitch envelope circuit 33 and supplies it to the band limit circuit 35 and the phase generator 37. This phase generator 37 accumulates the phase angle information FI and divides the resulting data into a dividing circuit 38.
give to Furthermore, the band limit circuit 35 operates based on the output from the waveform envelope circuit 32 and the phase angle information.
The occurrence of foldback based on the sampling theorem is prevented, and the output thereof is given to the division circuit 38. Furthermore, this division circuit 38 has
Interface I F6. C via the waveform generation circuit 39
Predetermined waveform type selection data sent out by PU2 is also given. The division circuit 38 then performs division processing on each output from the face generator 37, band limit circuit 35, and waveform generation circuit 39, and uses the resulting data to access the unique generator 40 to generate waveform data. and sends it to the multiplication circuit 41.

As for the specific structure of the division circuit 38, 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.

This multiplication circuit 41 also has an exponential RO
The control data read from M34 is input, and therefore the waveform data and control data are multiplied and the resulting data is provided to the accumulator circuit 42. Every time the accumulation circuit 42 accumulates the above result data for 8 channels, the accumulation circuit 42 transfers the accumulated data to the DA converter interface 43t-LD.
-A converter, and as a result, one synthesized musical tone is emitted from the speaker 8 via the amplifier.

Configuration of envelope circuit 31, 32, 33> Next, the first
The configurations of the volume, harmonic component suppression, and pitch envelope circuits 31, 32, and 33 will be specifically explained with reference to FIG. Note that since these circuits 31 to 33 have the same configuration, the circuit in FIG. 13 is assumed to be one, for example, the pitch envelope circuit 33.

In the figure, numeral 45 is a shift register group in which eight stages of shift registers each having an 8-bit capacity are connected in parallel, and a level value sent from the CPU 2 via a transfer gate 46 is input in parallel to the first stage. The shift register group 45 is constructed by connecting eight shift registers in parallel in order to correspond to the existence of a musical tone creation system for eight channels. The same applies to other shift register groups 50 and 55, which will be described later.

The level value inputted to the first stage of the shift register group 45 is sequentially shifted to the subsequent stage, outputted from 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 the CPU 2 via an inverter 49, and the transfer gate 47 is controlled to open and close by directly applying the preset signal. Note that this preset signal is at the "0" level only when a level value is sent.

On the other hand, the rate value is input to the shift register group 50 via the transfer gate 51, and when the rate value is output from the shift register group 50, it is returned to the shift register group 50 via the transfer gate 52, and the adder/subtracter 53 It is also given to the B input terminal of . The transfer gates 51 and 52 are controlled to open and close by being applied with the preset signal via the inverter 54 or directly.

Further, the current value, which is the output data from itself, is inputted 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 . And the result data AN of the adder/subtractor 53
S 1 is applied to the shift register group 55 via the transfer gate 57 and also to the A input terminal 48 of the comparator 48 . The MSH data of the rate value output from the shift register group 50 (data indicating the rate direction) is input as a subtraction command to the control terminal SUB of the adder/subtractor 53, and the subtraction command is "1".
”, the subtraction is performed, and the control terminal of the comparator 48 is the MS of the above rate value.
When data B is input as a comparison method selection command and this comparison method selection command is 1, the comparison result signal ANS2 of converter 4B is "1" if A≦B, and "0" if A>B.
”, on the other hand, when the comparison method selection command is “0”, A≧B
If so, the comparison result signal ANS2 is “t”, and if A<B, it is “0”
The comparison result signal ANS2 is applied directly to the transfer gates 56 and 57, respectively, or to the inverter 5.
8 to control opening and closing, and is also applied to one end of the Nandt gate 59. On the other hand, Nantes Gate 59
Sustain information, which is the MSB data of the level value output from the shift register group 45, is inverted input to the other end, and the output of the Nant gate 59 is sent to the CPU 2 as the interlat signal INT.

[Operation of first embodiment] Next, the operation of this embodiment will be explained.

Tone setting operation> First, after turning on the power switch of the electronic musical instrument, set the tone creation mode by operating a predetermined switch. First, set arbitrary basic waveforms in the basic waveform registers 1 to 10 of the tone RAM 3. Next, turn on the switch number l of the basic waveform selection switch 16, and then set the first half of the basic waveform generation switch 17. Turn on one switch 17A corresponding to the selected waveform in Figure 4 among numbers 11 to 51. Next, if you want to make the first half and second half of the basic waveform for two cycles different, turn on the octave switch 17C. Turn on the switch 17B, which is different from the first half of numbers 12 to 52, and finally turn on the write switch 16A.
Turn on. On the other hand, if only the first half of the waveform is to be designated, the octave switch 17C is not operated. Similarly, arbitrary basic waveforms are set for the switches 2 to 10 of the switches 16 and set in the corresponding registers.

Next, set the volume envelope to register 1-1 of tone RAM 3.
Preset to 0. In this case, first turn on the switch 18 number l, and also the rate value designation slide switch 21, the level value designation slide switch 22.
When the sustain point designation switch 23 is set to a desired state and the write switch 24 is turned on, the volume envelope data is set in the register 1.

The same holds true for volume envelope registers 2-10. 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.

As described above, the basic waveform, volume, harmonic component suppression,
Each envelope of pitches is preset into a corresponding register in the timbre RAM 3.

Next, the envelope data of the basic waveform, volume, harmonic component suppression, and pitch are set in each of the tone color registers 1 to 20 of the tone color RAM 3 in FIG. In this case, first, turn on the tone color memory selection switch 27, number 1, switch 16, for example, number 5, switch 18, number 1. After turning on the switch number 3 of the switch 19 and the number 7 of the switch 20, the write switch 28 is turned on. Therefore, the pointer 5, l,
3 and 7 are preset.

Desired data is preset for tone color registers 2 to 20 in exactly the same manner.

Tone color reading operation> When the presetting operation for the tone color registers 1 to 20 is completed as described above, the normal playing operation becomes possible from then on. That is,
Before starting the performance, turn on one of the switches 1 to 20 of the switches 27 for the desired tone, and when you press any key on the WI 15, the sound will change according to the pressing speed or pressure of the key. Touch data is sent to the CPU via interface IF3.
2. In addition, the tone color data currently being set is set in the tone color register section 4, and the level value and rate value of the volume, harmonic component suppression, and pitch envelope data of this tone data are determined by the adder 61 and the adder in the arithmetic section 10. 62. Further, the CPU 2 supplies the above-mentioned touch data to the converting sections 60A and 60B in the calculation section 10 through the interface IF2, whereby the displacement data, which increases in value as the key pressing speed or key pressing pressure increases, is added to the adding section 61. and is given to the adder 62. Then, the above-mentioned level value and rate value are added and displaced by the amount of displacement data and provided to the musical tone creation section 6.

Considering the additive displacement in this case with reference to FIG. 14, due to the additive displacement of the rate value and the level value, the slope of the envelope waveform becomes larger and the height of the arrival point becomes higher, which increases the volume.

Harmonic components and pitches increase rapidly in a short period of time.

Since the displacement data increases as the touch data increases and the key pressing speed or key pressing pressure increases, such displacement becomes more significant as the key pressing speed becomes faster or the key pressing force becomes stronger.

In this way, a touch response effect can be obtained in which the faster the key pressing speed or the stronger the key pressing pressure, the greater the volume, harmonic components, and pitch in a shorter fluctuation time. In this case, since the displacement data of rate value changes linearly and the displacement data of level value changes exponentially, the touch response effect is larger for level value due to changes in key pressing speed or key pressing pressure. is obtained.

[Second Embodiment] The second embodiment will be described with reference to FIGS. 15 to 17. In this embodiment, as shown in FIG. Decoder 63.6
4 is supplied with data in any one of stages θ to 9 from a sensitivity switch (not shown) of the switch input section 1, decoded, and supplied to multipliers 65 and 66, respectively, to output sensitivity data. The multipliers 65 and 66 include converters 60A and 60.
Displacement data from B is given, doubled to a value according to the sensitivity data, and given to adders 61 and 62, respectively.

The decoder 63 in this case has the characteristics shown in FIG. Further, the decoder 64 has the characteristics shown in FIG. On the other hand, the level value of each envelope waveform is input to one end of the adder 61, and the rate value of each envelope waveform is input to one end of the adder 62.

Here, the displacement data is multiplied by the sensitivity data as shown in FIG. 18, and the upper 8 bits of the multiplication result data are processed as new displacement data.

According to this embodiment, the sensitivity of the touch response effect can be changed by varying the displacement data using sensitivity data that can be set arbitrarily, and the sensitivity of the touch response effect can be set programmably instead of being fixed.

In the above embodiment, each envelope waveform root value and level value are added together, but they may be subtracted together, or only one of them may be subtracted. The conversion characteristics are not limited to the two characteristics shown in FIG. 11, and six displacement data having independent conversion characteristics for the level value and rate value of each envelope waveform may be created.

[Effects of the Invention] As described above in detail, the present invention provides a volume envelope waveform for controlling the volume of musical tones, a harmonic component suppression envelope waveform for controlling harmonic components of musical tones, and a pitch envelope for controlling the pitch of musical tones. For each waveform, the arrival point and slope of each step of the attack part and other parts of each envelope waveform are controlled by displacement, and the arrival point and slope are controlled by displacement in different states of change. , just like a real musical instrument, the pitch and timbre change slightly depending on the speed and pressure of the keys pressed, allowing you to obtain a more natural and clear touch response effect that is closer to that of a real musical instrument. It has the following effects.

[Brief explanation of drawings]

1 to 14 show a first embodiment of the present invention, and FIGS. 15 to 18 show a second embodiment. FIG. 1 is an overall circuit diagram of an electronic musical instrument with touch response, and FIG. 3 is a diagram showing the contents of tone data, FIG. 4 is a diagram showing types of basic waveforms, FIG. 5 is a data configuration diagram of waveform data of basic waveforms, and FIG. Figure 6 is an envelope waveform diagram, Figure 7 is its data configuration diagram, Figure 8 is a diagram showing a concrete example of the envelope waveform, Figure 9 is its data content diagram, and Figure 10 is a concrete circuit diagram of the calculation unit IO. , FIG. 11 is a diagram showing the conversion characteristics from evening data to displacement data,
FIG. 12 is a specific circuit diagram of the musical tone creation section 6, FIG. 13 is a circuit diagram of the envelope circuits 31 to 33, FIG. 14 is a diagram showing a state in which the envelope waveform is displaced, and FIG. 15 is a second embodiment. 16 is a diagram showing the relationship between the switching of the sensitivity switch for the harmonic component suppression envelope and the sensitivity data, and FIG. 17 is a diagram showing the relationship between the switching of the sensitivity switch for the pitch envelope and the sensitivity data. Another diagram showing the relationship, FIG. 18, is a diagram showing a process of multiplying and doubling displacement data based on sensitivity data. 1...Switch input section, 2...CPU
, 3... Tone RAM, 4... Tone register section, 5... Keyboard, 6... Musical tone creation section, 8... Speaker , 9...touch detection section, lO... calculation section, 60A, 60B...
. . . conversion section, 61.62 . . . addition section. Patent applicant Casio Computer Co., Ltd. i.1- Agent Patent attorney Machi 1) Masa Toshi, Ni1...
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Claims (4)

[Claims] (1) Touch detection means for generating touch data by detecting key pressing speed or key pressing pressure; Displacement data creation means for creating displacement data based on the touch data from this touch detection means; and controlling the volume of musical tones. A volume envelope waveform generation means for generating a volume envelope waveform for controlling the harmonic components of a musical tone, a harmonic component suppression envelope waveform generation means for generating a harmonic component suppression envelope waveform for controlling the harmonic components of a musical tone, and a pitch envelope for controlling the pitch of a musical tone. Based on the pitch envelope waveform generation means for generating a waveform and the displacement data from the displacement data creation means, the arrival point and slope at each step of at least one of the envelope waveforms from each of the envelope waveform generation means are determined. An electronic musical instrument with a touch response, comprising a displacement means for controlling displacement, and a musical sound generation means for creating and emitting a musical tone whose displacement is controlled by the displacement means. (2) The touch response according to claim 1, wherein the displacement data generating means includes means for further displacing the displacement data obtained based on the touch data from the touch data detecting means. Comes with an electronic musical instrument. (3) a touch detection means for generating touch data by detecting key pressing speed or pressure; and a displacement data creation means for creating a plurality of mutually different displacement data based on the touch data from the touch detection means. , a volume envelope waveform generation means for generating a volume envelope waveform for controlling the volume of the musical tone; a harmonic component suppression envelope waveform generation means for generating a harmonic component suppression envelope waveform for controlling the harmonic components of the musical tone; and the sound of the musical tone. Pitch envelope waveform generation means for generating a pitch envelope waveform for controlling pitch height, and each envelope waveform from each envelope waveform generation means based on at least two displacement data among the plurality of displacement data from the displacement data creation means. For at least one of the following, the method includes a displacement means for controlling the displacement of the reaching point and inclination at each step in different displacement states, and a musical sound generation means for generating and emitting a musical tone whose displacement is controlled by the displacement means. An electronic musical instrument with touch response. (4) The touch response according to claim 3, wherein the displacement data generating means includes means for further displacing the displacement data obtained based on the touch data from the touch data detecting means. Comes with an electronic musical instrument.