Classifications

• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
  • G10H7/008—Means for controlling the transition from one tone waveform to another
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
  • G10H2210/095—Inter-note articulation aspects, e.g. legato or staccato
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
  • G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
  • G10H2250/025—Envelope processing of music signals in, e.g. time domain, transform domain or cepstrum domain
  • G10H2250/035—Crossfade, i.e. time domain amplitude envelope control of the transition between musical sounds or melodies, obtained for musical purposes, e.g. for ADSR tone generation, articulations, medley, remix

Definitions

• the present invention relates to a musical tone synthesis apparatus and program for synthesizing a musical tone, a voice or any other sound based on waveform sample data stored in a waveform memory or the like.
• the present invention relates to a musical sound synthesizing apparatus and method for synthesizing musical sounds without causing any audible delay in the subsequent sound when connecting between sounds without interruption.
• AEM Article Element Modeling
• Body system performance module tail system module representing the falling edge of the sound (referred to as tail (or release)), or between consecutive sounds (or between sound parts)
• a combination of rendition modules corresponding to each section such as a joint section rendition module that represents a connection section (called a joint section) that connects the sound without interrupting the sound with any rendition such as legato.
• a series of music waveforms can be generated with high quality.
• the invention described in Patent Document 1 shown below is an example of the AEM technology as described above.
• the term “musical sound waveform” refers to a sound that is not limited to a musical sound waveform, but may include any other sound waveform, but may be used in a meaningful manner. .
• the waveform data of the first half of the module corresponding to the area where the pitch of the preceding first sound can be heard mainly compared to the second sound is called the pre-note part, and the preceding note The first pitch is higher than that of the second pitch, and so on.
• Patent Document 1 JP 2002-287759 A
• the present invention has been made in view of the above points, and when synthesizing the connected sounds of musical sounds, the power of synthesizing high-quality musical sounds that faithfully represent the timbre changes or the delay in pronunciation on hearing. It is an object of the present invention to provide a musical sound synthesizer and method capable of switching whether to synthesize a musical sound without generating it according to the player's selection, and capable of synthesizing a musical sound with good sound quality.
• the musical sound synthesizer includes a waveform data of the head corresponding to the rising period of the sound, a waveform data of the tail corresponding to the falling period of the sound, and two adjacent sounds.
• a storage unit that stores at least waveform data of a connection unit corresponding to a connection section that connects, a mode setting unit that sets either the pronunciation priority mode or the quality priority mode, an acquisition unit that acquires performance information, and the acquisition
• the storage unit power
• selecting the waveform data of the connection section and the set mode is the sound generation priority mode
• the waveform data of the head section and the waveform data of the tail section are selected from the storage section.
• the waveform data of the selected head unit and the waveform data of the tail unit are selected.
• a data processing unit that processes at least one of the pitch and the amplitude of the sound so that the sound smoothly transitions as a connection sound, and the waveform data read from the storage unit according to the selection by the data selection unit
• a tone synthesizer for synthesizing tones according to the processing in the data adding unit, and when the set mode is the pronunciation priority mode, the tone synthesizer reads from the storage unit.
• the musical sound of the falling section of the preceding sound that precedes in time among the two sounds that precede and follow is read from the storage part.
• the musical sounds in the rising period of the succeeding subsequent sound of the two sounds that follow each other are synthesized separately according to the processing by the data processing unit, and the falling edges of these synthesized preceding sounds are synthesized.
• the connection sound is realized by the combination of the musical sound of the section and the musical sound of the rising section of the subsequent sound.
• the connection for connecting two successive sounds according to the acquired performance information When sound is to be generated, either the sound generation priority mode or the quality priority mode can be set, and if the set mode is the quality priority mode, the waveform data of the connection section is selected to be used.
• the set mode is the sound generation priority mode
• the musical tone is synthesized by selecting to use the waveform data of the head portion and the waveform data of the tail portion.
• the waveform data of the connection part is data corresponding to a connection section connecting two adjacent sounds
• the waveform data of the head part is data corresponding to the rising section of the sound
• the waveform data of the tail part is sound data. Data corresponding to the falling interval.
• the waveform data of the specified head part and the waveform data of the tail part are read out, and the time of the two sounds that are in succession is read based on the read waveform data of the tail part.
• the musical sound in the falling section of the preceding preceding sound is waveformd in the rising section of the subsequent sound that follows in time out of the two adjacent sounds based on the read waveform data of the head.
• Each is synthesized separately according to the process.
• the pitch and Z or amplitude of each waveform data is processed so that the sound transitions smoothly as a connected sound.
• the waveform data of the tail part and the waveform data of the head part are synthesized in parallel, so there is no need to make fine adjustments at the waveform level of both waveform data. Since it is sufficient to process at least one of the pitch and amplitude so that both transition smoothly, the quality priority mode (when using waveform data at the connection part) is used in the connection section that connects the sounds without interruption. Compared to), the calculation of the system to connect the back sound to the previous sound that is already sounding, and the transition time of the pitch, etc. are not time consuming, thus causing a delay in the later sound pronunciation (latency). I will not let you. In addition, even if the pre-sound and the post-sound are synthesized separately, it is possible to synthesize a high-quality musical sound such as a legato playing method in which the sound transitions smoothly as a connected sound.
• the performer when synthesizing a musical tone in a connection section connecting at least two sounds that are generated in succession, the performer places importance on the sound quality (quality priority mode). ), You can select whether to place importance on the sound generation timing of the subsequent sound (pronounced priority mode) and synthesize music, and even if the sound generation timing of the subsequent sound is important, the sound quality will be greatly deteriorated. The effect of being able to synthesize musical sounds such as legato Is obtained.
• the present invention can be configured and implemented not only as an apparatus invention but also as a method invention.
• the present invention can be implemented in the form of a program of a processor such as a computer or DSP, and can also be implemented in the form of a storage medium storing such a program.
• FIG. 1 is a block diagram showing a hardware configuration example of an electronic musical instrument to which a musical tone synthesizer according to the present invention is applied.
• FIG. 2 is a functional block diagram for explaining a tone synthesis function.
• FIG. 3 is a conceptual diagram for explaining one embodiment of a rendition style module.
• FIG. 4 is a flowchart showing an example of joint part musical tone synthesis processing.
• FIG. 5A is a schematic diagram for schematically explaining processing of a waveform by changing a vector, and is a diagram showing an example of changing each vector in a normal tail module.
• FIG. 5B is a schematic diagram for schematically explaining the waveform processing by changing the vector, and is a diagram showing an example of changing each vector in the joint head module.
• FIG. 6 is a schematic diagram for schematically explaining the waveform processing by adjusting the arrangement time of the joint head module.
• FIG. 1 is a block diagram showing a hardware configuration example of an electronic musical instrument to which a musical tone synthesizer according to the present invention is applied.
• the electronic musical instrument shown here provides performance information (performance event data such as note-on information and note-off information, dynamics information, pitch information, etc.) that is supplied in real time according to the performance operation of the performance controller 5 by the performer.
• Performance event data such as note-on information and note-off information, dynamics information, pitch information, etc.
• Musical sound generation that automatically generates music while pre-reading data based on performance information that has been created in advance based on performance information that is supplied in the order of performance. It has a function.
• the waveform sample data to be used based on the performance information and the mode setting information in the connection section (joint portion) where the two sounds are continuously connected without interruption.
• waveform data Less than (Hereinafter simply referred to as waveform data), and synthesizing the musical sound according to the selected waveform data, it is possible to create legitimate sounds without causing any delay in audibility as a musical tone in the connected section.
• Musical sounds such as performance styles can be reproduced with high quality.
• the tone synthesis in such connection sections will be described later.
• the electronic musical instrument shown in this embodiment may have hardware other than that shown here, but here, a case where the minimum necessary resources are used will be described.
• a sound source for example, as waveform data corresponding to a specific performance method for various musical instruments, a part of one sound such as a head section, a tail section, a body section, or between two consecutive sounds is used.
• the connection section joint section
• AEM Article Element Modeling
• AEM Audio Element Modeling
• the electronic musical instrument shown in FIG. 1 is configured by using a computer, in which “musical tone synthesis processing” that realizes the musical tone synthesis function described above (however, in this embodiment, a joint of them) Only the processing related to the musical tone synthesis in the section will be described later (see Fig. 4).
• the computer executes a predetermined program (software) that realizes each processing.
• these processes can be implemented not only in the form of computer software but also in the form of a microprogram processed by a digital signal 'processor (DSP), and not only in the form of this kind of program but also in a discrete form.
• DSP digital signal 'processor
• the electronic musical instrument shown in this embodiment executes various processes under the control of a microcomputer comprising a microprocessor unit (CPU) 1, a read-only memory (ROM) 2, and a random access memory (RAM) 3. It has come to be.
• the CPU 1 controls the operation of the entire electronic musical instrument.
• a communication bus 1D for example, data and key ROM2, RAM3, external storage device 4, performance control 5, panel control 6, display 7, sound source 8, and interface 9 are connected via a dress bus.
• the CPU 1 is connected to a timer 1 A that measures interrupt times and various times in timer interrupt processing (interrupt processing).
• the timer 1 A generates a tempo clock pulse for counting the time interval or setting a performance tempo when playing a musical piece according to predetermined performance information.
• the frequency of the tempo clock pulse is adjusted by, for example, a tempo setting switch in the panel operator 6.
• Such a tempo clock pulse from the timer 1A is given to the CPU 1 as a processing timing command or to the CPU 1 as an interrupt command.
• CPU1 executes various processes according to these instructions.
• ROM2 is a program that is executed by CPU1 or waveform data that corresponds to the performance method specific to each instrument as a waveform memory (for example, waveforms with timbre changes such as legato performance or waveforms with straight timbre) It stores various data such as.
• the RAM 3 is used as a working memory for temporarily storing various data generated when the CPU 1 executes a predetermined program, or as a memory for storing a program currently being executed and related data.
• a predetermined address area in RAM3 is assigned to each function and used as a register, flag, table, memory, etc.
• the external storage device 4 includes various data such as performance information that is the basis for automatic performance and waveform data that corresponds to the performance method, and “joint part music synthesis processing” (see Fig.
• the various control programs are stored. If the control program is stored in the ROM 2, the control program is stored in the external storage device 4 (for example, a node disk) and read into the RAM 3 to store the control program in the ROM 2.
• CPU1 can be operated in the same way as when In this way, control programs can be easily added and upgraded.
• the external storage device 4 is not limited to a hard disk (HD), but a flexible disk (FD), a compact disk (CD-ROM 'CD-RAM), a magneto-optical disk (MO), a DVD (Digital Versatile Disk), etc. It is also possible to use a storage device that uses various types of external recording media that are detachable. Alternatively, a semiconductor memory or the like may be used.
• the performance operator 5 is provided with a plurality of keys for selecting the pitch of a musical tone, such as a keyboard, and has a key switch corresponding to each key.
• the controller 5 can be used not only for manual performance of musical sounds by the player's own playing, but also as input means for selecting performance information prepared for automatic performance. You can also.
• the performance operator 5 is not limited to the form of a keyboard or the like, and needless to say, it may be of any form such as a neck with a string for selecting the pitch of a musical tone. Yes.
• Panel controls (switches, etc.) 6 are, for example, performance information selection switches for selecting performance information to be automatically played, and high-quality musical sounds that faithfully represent timbre changes when synthesizing musical sound connection sections.
• ⁇ Quality priority mode '' for synthesizing sounds, or ⁇ Sounding priority mode '' for synthesizing musical sounds without causing audible delays in listening for selectively setting mode setting information in either mode
• It consists of various controls such as a mode selection switch.
• a mode selection switch to select, set, and control the pitch, timbre, effect, etc.
• a numeric keypad for numeric data input
• a keyboard for character data input
• pointers that specify the positions of various screens displayed on the display 7
• the display 7 is a display composed of a liquid crystal display panel (LCD) or CRT, for example, and displays various screens according to the switch operation as well as various performance information and waveform data. Information or CPU1 control status can also be displayed.
• the performer can easily perform setting of various performance parameters, mode setting or selection of automatic performance music used for performance. .
• the tone generator 8 can simultaneously generate music signals on a plurality of channels, inputs performance information given via the communication bus 1D, synthesizes musical sounds based on the performance information, and generates music signals. Is generated.
• the electronic musical instrument shown here when the corresponding waveform data is read out from the ROM 2 or the external storage device 4 based on the performance information, the read waveform data is given to the sound source 8 via the bus line. It is buffered as appropriate.
• the sound source 8 outputs the waveform data stored in the buffer according to a predetermined output sampling frequency.
• the musical sound signal generated from the sound source 8 is subjected to predetermined digital signal processing by an effect circuit (for example, DSP (Digital Signal Processor)) not shown, and the signal processing is performed.
• the generated musical sound signal is given to the sound system 8A to be sounded.
• the interface 9 is, for example, a MIDI interface or a communication interface for transmitting and receiving various kinds of information between the electronic musical instrument and an external performance information generating device (not shown).
• the MIDI interface supplies MIDI standard performance information from an external performance information generation device (in this case, other MIDI devices, etc.) to the electronic musical instrument, or transmits the electronic musical instrument power MIDI standard performance information to other electronic musical instruments.
• This is an interface for outputting to MIDI devices.
• Other MIDI devices can be any device that generates MIDI data in response to user operations, including keyboard, guitar, wind, percussion, and gesture types. It may be a device (or an operation form force).
• the communication interface is connected to, for example, a wired or wireless communication network (not shown) such as a LAN, the Internet, or a telephone line, and an external performance information generating device (in this case, via the general communication network).
• a wired or wireless communication network such as a LAN, the Internet, or a telephone line
• an external performance information generating device in this case, via the general communication network.
• the electronic musical instrument serving as a client transmits a command requesting downloading of various information such as a control program and performance information to the server computer via the communication interface and the communication network.
• the server computer distributes the requested various information to the electronic musical instrument via the communication network, and the electronic musical instrument receives the various information via the communication interface to receive
• the MIDI interface is not limited to using a dedicated MIDI interface, but RS-232C, USB (a universal 'serial' bus), IEEE1394, etc.
• a general-purpose interface may be used to configure the MIDI interface. In this case, data other than MIDI data may be sent and received simultaneously.
• other MIDI devices may be able to transmit and receive data other than MIDI data.
• the data format for performance information is limited to MIDI format data. In other cases, the MIDI interface and other MIDI devices should be configured accordingly.
• performance information generated in response to the operation of the performance operator 5 by the performer or performance information such as an SMF (Standard MIDI File) format prepared in advance (that is, ROM2 or It has a musical tone synthesis function that can continuously generate musical sounds based on performance information stored in the external storage device 4 or performance information input via the interface 9).
• SMF Standard MIDI File
• ROM2 Read Only Memory
• a musical tone synthesis function that can continuously generate musical sounds based on performance information stored in the external storage device 4 or performance information input via the interface 9.
• performance information that is sequentially supplied in real time according to the performance progress accompanying the operation of the performance operator 5 by the performer, or a pre-reading order in the order of the performance performance such as a sequencer (not shown).
• FIG. 2 is a functional block diagram for explaining the tone synthesis function of the electronic musical instrument.
• the arrows in the figure represent the flow of data.
• the performance information acquisition unit corresponds to a mechanism for detecting the operation of the performance operator 5 in the electronic musical instrument and a sequencer function built in the electronic musical instrument (performance information stored in the ROM 2 or the external storage device 4). For example, a function for reading out and automatically performing performance) or a function for receiving performance information supplied along with execution of automatic performance by an external sequencer via the interface 9.
• performance information is sequentially supplied from the input unit (performance information acquisition unit) J2 to the performance style synthesis unit J3 in the order of performance.
• the input unit J2 there are other input devices such as a performance operator 5 that appropriately generates performance information according to the performance operation by the performer, and a sequencer that supplies the performance information stored in the ROM 2 and the like in the order of performance.
• the performance information supplied from the input unit J2 includes at least performance event data such as note-on information and note-off information (collectively referred to as note information) and control data such as dynamics information and pitch information. .
• the performance composition unit J3 When the performance composition unit J3 receives performance event data, control data, etc., it specifies the head and joints according to the note-on information or the tail according to the note-off information. Or by converting the information received as control data, etc., to generate “playing style information” including various information necessary for synthesizing the musical sound. That is, the rendition style synthesis unit J3 selects a rendition style module corresponding to the input dynamics information and pitch information with reference to the data table in the database J 1 (waveform memory), and specifies the selected rendition style module. Add the information to the appropriate “playing style information”.
• the mode setting information stored in the parameter storage unit J5 is the “sound priority mode” that emphasizes the sound generation timing of the subsequent sound, or the “quality priority mode” V that emphasizes the sound quality.
• the mode setting information can be set appropriately by the performer using the input unit J2 (more specifically, the mode selection switch).
• the rendition style synthesizing unit J3 uses only the joint type rendition style module alone if the referenced mode setting information is “quality priority mode”, and if it is “sound priority mode”, For this reason, use the tail system module in combination with the head system module for the back sound of the joint.
• the tone synthesis unit J4 appropriately reads out the waveform data to be used from the database J1 based on the “playing method information” generated by the rendition style synthesis unit J3, processes the read waveform data as necessary, and then synthesizes the tone. By doing so, a musical tone is output. In other words, the musical tone synthesis unit J4 performs musical tone synthesis while switching waveform data and performing calorie according to the generated “playing style information”.
• Database J1 reproduces waveforms corresponding to various rendition styles for each instrument, and a large number of original rendition style waveform data and related data groups (referred to as rendition style parameters) as “replay style modules”.
• rendition style module is a unit of rendition style waveforms that can be processed as one unit in the rendition style waveform synthesis system.
• a rendition style module is a unit of rendition style waveforms that can be processed as one event.
• the rendition style modules stored in the database J 1 (waveform memory) described above are used. The process is briefly described with reference to FIG.
• FIG. 3 is a conceptual diagram for explaining an embodiment of the rendition style module. However, FIG. 3 shows an example of the waveform represented by the rendition style waveform data out of the “rendition style module” only by its envelope.
• the performance waveform data of various performance style modules includes a head part and a body part depending on the performance characteristics of the performance sound, for example! Some are defined corresponding to sections (head, body, and tail performance modules), and are defined corresponding to joints that are sections between sound and sound. Some (joint performance module).
• rendition style modules can be broadly classified into several types based on the characteristics of the rendition style or the time part or interval of the performance. For example, the following five types can be mentioned.
• Normal Head Module A head performance module that handles the rising section (from the silent state) of the sound (from the silent state).
• Normal tail module A tail-related performance module that handles the falling edge of the sound (to the silent state).
• Normal Joint Module A joint performance module that handles the connection section (joint part) that connects two sounds with a legato (slurry) (without going through a silent state).
• Normal body module A body-style performance module that handles the steady section (body part) of the sound from the beginning of the sound to the end of the sound, without the vibrato power.
• “Joint head module” Unlike the normal head module described above, this is a head performance module that handles the rising period of a sound that realizes the special playing technique, the tongue playing technique.
• the so-called tanging technique is a characteristic technique that appears characteristically when playing a wind instrument such as a saxophone, for example. It is a performance technique that changes the sound by changing it, and it is pronounced with the sound interrupted for a moment. Similar to this, there is a bow turning performed when playing a stringed instrument such as a violin. So, for such a bow return For the sake of convenience, this technique, including musical expressions that are pronounced so that the sound is interrupted for a moment, is referred to as a tanging technique.
• rendition style modules are also categorized by original sound source such as player, instrument type, performance genre, etc.
• one rendition style waveform data corresponding to one rendition style module is stored in the database as a set of a plurality of waveform components rather than being stored in the database as it is.
• This waveform component is hereinafter referred to as “solid (or vector)” data.
• vector types corresponding to one rendition style module include the following.
• the harmonic component and the non-harmonic component are defined by separating the original performance style waveform of interest into a waveform having a pitch harmonic component force and other remaining waveform components.
• Harmonic component waveform Extracts the characteristics of only the waveform shape with normalized pitch and amplitude from the harmonic component waveform components.
• Harmonic component amplitude vector Amplitude envelope characteristics (temporal amplitude fluctuation characteristics) extracted from harmonic component waveform components.
• Pitch vector Harmonic component waveform components extracted from the pitch characteristics (for example, showing temporal pitch fluctuation characteristics based on a certain reference pitch).
• Waveform of non-harmonic component (Timbre) vector Extracts the characteristics of only the waveform shape (noise waveform) with normalized amplitude from the non-harmonic component waveform components.
• Amplitude vector of non-harmonic component Amplitude envelope characteristics extracted from the waveform components of non-harmonic components.
• a time vector indicating the progress of the waveform time axis may be included, but the description thereof is omitted in this embodiment for the sake of convenience.
• a harmonic waveform vector is combined with a pitch corresponding to the harmonic pitch vector and its time variation characteristics, and with an amplitude corresponding to the harmonic amplitude vector and its time variation characteristics, the harmonic component waveform is synthesized,
• the non-harmonic waveform vector is combined with the amplitude and time-varying characteristics of the non-harmonic amplitude vector, synthesize the non-harmonic component waveform and add and synthesize the harmonic component waveform and the non-harmonic component waveform.
• a rendition style waveform that is, a musical sound waveform that shows a final predetermined rendition style characteristic.
• the tail system performance system when synthesizing musical tones in the joint section, if it is instructed to use the tail system performance module and the head system performance module without using the joint system performance module, the tail system performance system is used. By appropriately changing the vector data of the module and the head system performance module, the sound synthesis is performed after the waveform is processed! (Details will be described later).
• the rendition style parameters are parameters for controlling the time and level of the waveform related to the rendition style module, and may include one or more types of parameters that are appropriately different depending on the nature of each rendition style module. For example, “normal head module” and “joint head module” include various performance parameters such as absolute pitch and volume immediately after the start of sound generation.
• the rendition style parameters may be stored in advance in a waveform memory or the like, or may be input by a user input operation, or existing parameters can be appropriately changed by a user operation. May be.
• a performance style parameter is not given when playing a performance style waveform, a standard performance style parameter may be automatically added. Also, appropriate parameters may be automatically generated and added during the process.
• FIG. 4 is a flowchart showing one embodiment of the “joint part musical tone synthesis process”.
• the waveform of the head part and the body part of the previous sound has already been generated by a predetermined “musical tone synthesis process” (not shown). Therefore, by executing this processing following the musical tone synthesis of the head and body parts, the musical tone in the joint section that connects the pre- and post-sounds without the sound being interrupted continues to the body part of the pre-sound. Synthesized.
• step S1 it is determined whether or not note-on information has been acquired. This step S1 is repeated until note-on information is acquired (NO in step S1).
• note-on information is obtained (YES in step S1), the previous sound that is already sounding (immediate note) and the new sound that is instructed to start sounding based on the obtained note-on information (current note) )
• step S2 note-on information for instructing the start of pronunciation of the subsequent sound following the preceding sound is acquired after acquiring the note-off information for instructing the end of the preceding sound, and the preceding sound and the subsequent sound are temporally separated.
• step S3 in accordance with the above detection, it is determined whether or not the front sound and the rear sound are overlapped, that is, the legato performance method (step S3).
• Step S3 If the pre- and post-tones overlap and it is determined that it is not in a state, that is, a legato technique (NO in step S3), a single waveform that continuously connects the pre-sound and post-sound In order to synthesize the preceding and following sounds as independent waveforms, The rendition style information instructed to use the normal head module (or even the joint head module) is generated (step S8). Step S9 synthesizes a musical tone according to the generated performance information.
• the two sounds, the pre-sound and the post-sound are synthesized independently as usual.
• the normal head module or joint head module
• the normal head module is simply subjected to pitch shift processing based on the note-on information. If note-off information is received before reception of note-on information and the previous sound is processed using the tail module, the following will be described for each of the front sound tail module and the normal head module. Waveform processing (see Fig. 5 to Fig. 6 to be described later) is not performed, reflecting the pitch and amplitude of the leading and trailing sounds.
• the force to use the normal head module and whether to use the joint head module are determined by, for example, obtaining the length of time from the note-off time of the preceding sound to the note-on time of the succeeding sound, depending on the obtained time length. Let me judge automatically! ,.
• step S3 when it is determined that the pre-tone and the post-tone overlap, that is, the legato performance method (YES in step S3), the mode setting information stored in the parameter storage unit J5 is referred to. Whether or not the mode setting information is set to “pronunciation priority mode” is determined (step S4). When the mode setting information is set to “quality priority mode” instead of “pronunciation priority mode” (NO in step S4), rendition style information instructing to use (select) the normal joint module is generated. (Step S7). In step S9, a musical tone is synthesized according to the generated performance information (ie, the selected normal joint module).
• the “Quality Priority Mode” uses the normal joint module for synthesizing music in the joint section as before, so that high-quality music can be synthesized instead of sacrificing latency. If you are in the mode!
• step S4 When the mode setting information is set to “pronunciation priority mode” (YES in step S4), the normal tail module for ending the previous sound waveform is used for the previous sound ( While rendition style information instructing to select is generated, on the other hand, rendition style information instructing to use (select) the joint head module for starting the post-sound waveform is generated (step) S5). That is, in this case as well, the two sounds, the front and rear sounds, are synthesized as independent waveforms. However, in this case, the information related to the processing is generated so that the selected normal tail module and joint head module are processed with a waveform that reflects the pitch and amplitude of the front and rear sounds. For each playing style information, step by step (step S6). Step S9 synthesizes a musical tone according to the generated performance information (ie, the selected normal tail module and joint head module).
• the processing of the waveform refers to, for example, the selected normal tail module and the selected normal tail module according to the sound front-rear relationship between the front sound and the rear sound, such as a pitch difference or a volume difference between the front sound and the rear sound. It is possible to change the amplitude (Amp) vector, pitch (Pitch) vector, and wave (Timbre) vector of each joint head module, and adjust the placement time of each module (details will be described later). By doing so, the quality of the sound (synthesis quality) is prevented from deteriorating compared to the case where the normal joint module is used.
• ⁇ Sounding priority mode '' uses the normal tail module and joint head module instead of the normal joint module for synthesizing musical sounds in the joint section, and uses these modules as the front and rear sounds.
• This is an unprecedented mode in which musical sounds can be synthesized without sacrificing quality, in addition to improving latency by processing appropriately according to the context of the sound.
• the normal tail module and the joint head module are used together, it is possible to reuse these data and to suppress the increase in the storage capacity of the module in the database. is there.
• the subsequent sound is not affected by the sound of the previous sound, and is independently processed according to the sound of the joint head module (that is, the sound is already generated). No processing is required to connect the previous sound to be pronounced to the subsequent sound In comparison with the case of using the normal joint module, there is a delay in the sound of the aftertone (latency). ) Can be shortened. However, when synthesizing musical tones in the joint section using the normal tail module and the joint head module, the front and rear sounds are not combined as a single continuous wave of the front and rear sounds.
• the pitch transition from the pre-sound to the post-sound is abrupt compared to when the normal joint module is used, and the connection between the sound and sound is poor and difficult to hear as legato. . Therefore, in order to avoid such inconvenience and improve the connection of the pitch transition of the front sound to the rear sound so that it can be heard as a legato, the above-mentioned “joint part musical sound synthesis process” is connected to the selected normal tail module and joint.
• the sound of the head module is also synthesized by changing the waveform of each head module according to the sound's context, adjusting the time to arrange each module, and so on.
• waveform processing will be described.
• FIG. 5A and 5B are schematic diagrams for schematically explaining the waveform processing by changing the solids.
• Fig. 5A shows an example of changing the amplitude vector and pitch vector in the normal tail module
• Fig. 5B shows an example of changing the amplitude vector and pitch vector in the joint head module.
• the upper row shows before waveform processing
• the lower row shows after waveform processing.
• HA is the representative point value sequence of the harmonic component amplitude vector (for example, it consists of three points 0, 1, and 2)
• HP is the representative point value sequence of the harmonic component pitch vector
• HT is an example of a harmonic component waveform vector (however, the waveform is shown only by its envelope).
• FIG. 5 shows examples of vectors for harmonic components. Since the examples of vectors for non-harmonic components are the same as those for harmonic components, illustration and description are omitted. The representative point value sequence is not limited to that shown in the figure.
• the normal tail module and the joint head module are temporally overlapped to synthesize the musical sound, and the front sound and the rear sound are synthesized separately. Therefore, it is necessary to consider the influence on the musical sound by synthesizing the musical sound by overlapping the modules in time. Therefore, in the range where the pre-sound and the post-sound where the pre-sound and the post-sound are generated simultaneously, the amplitude of the pre-sound is faded out while the amplitude of the pre-sound is faded out.
• the amount of change in the amplitude vector is based on the pre-acquired and stored performance information of the previous sound and the acquired performance information of the subsequent sound, for example, reflecting the volume difference between the front sound and the rear sound. It is good to decide.
• the representative point in the amplitude vector of the normal tail module “: HA1” to “HA2” and the joint head module amplitude vector It is better to change the amplitude curve from ⁇ 0 'to ⁇ 1' so that the force is symmetrical with respect to a certain time axis.
• this is not restrictive.
• the pitch vector value of the representative point "HP2" is changed compared to before processing, and the representative points "HP1" to "HP2" The pitch curve is changed so that it rises to the right (if the pitch of the subsequent sound is higher than the pitch of the previous sound).
• the pitch vector value of the representative point ": HP0 '" is changed to move from the representative point "HP0'" to "HP1 '". Force Change the pitch curve so that it rises to the right.
• the pitch vector of each module is changed so that the pitch shifts from the pitch of the preceding sound to the pitch of the succeeding sound!
• the pre-sound performance previously acquired and stored is the same as the change of the amplitude vector.
• the performance information and the acquired performance information of the subsequent sound for example, it may be determined by reflecting the pitch difference between the previous sound and the subsequent sound.
• a part of the amplitude vector or pitch vector (playing style parameters) is changed and stored in advance according to the comparison of the performance information of the front and rear sounds such as pitch difference and volume difference.
• the degree of overlap between the front and rear sounds (specifically, the amplitude and pitch transition as described above) is adjusted. By doing this, the sound connection from the pre-sound to the post-sound is improved, and the sound in the range where the pre-sound and the back sound that are heard when these sounds are pronounced can be made to resemble a legato sound. become able to.
• FIG. 6 is a schematic diagram for schematically explaining the waveform processing by adjusting the arrangement time of the joint head module.
• the upper row shows before adjustment of the joint head module placement time
• the lower row shows after adjustment of the joint head module placement time.
• the waveform shown by the dotted line shows the waveform before processing by changing the amplitude vector
• the waveform shown by the solid line shows after processing the waveform by changing the amplitude vector.
• the joint head module used for the subsequent sound is arranged at a time position at which the synthesis is started almost simultaneously with the reception of the note-on information of the subsequent sound.
• a delay control unit is provided. By the action of this delay control unit, as shown in FIG.
• the delay control unit receives the note-on information of the subsequent sound for the joint head module used for the subsequent sound when a predetermined condition according to the pitch difference or volume difference between the previous sound and the subsequent sound is satisfied.
• the joint head module without being placed at the time position where the synthesis starts almost at the same time is timed by a predetermined delay time (time shift amount: At in the figure) than the reception of the note-on information of the subsequent sound.
• time shift amount At in the figure
• the delay time At may be a constant value or a variable value.
• the delay time At having a different value may be set and selected according to the degree of pitch difference or volume difference between the preceding sound and the succeeding sound.
• the normal tail module and the joint head module described above is not limited to the performance information of the sound as described above, but other sounds (pre-sound or back sound).
• the waveform may be processed with reference to the performance information.
• the vector change amount and time shift amount are determined in advance according to the pitch difference and volume difference between the pre-sound and post sound, and the normal tail module and the above-described normal tail module are determined according to the vector change amount and time shift amount. It is possible to change each vector of the joint head module and adjust the arrangement time of each module. Further, the user may be able to appropriately set the vector change amount and the time shift amount in accordance with the volume difference or pitch difference between the previous sound and the subsequent sound.
• the amplitude curve and pitch curve after the vector change are changed for each instrument, and each vector is changed in accordance with a predetermined change amount according to the type of the instrument. Good. Also, the amplitude curve and pitch curve may be changed by a predetermined change amount according to the key scale or the touch scale as well as the pitch difference or volume difference.
• the normal tail module In order to further improve the quality of sound (synthesis quality), the normal tail module
• the pre-note part of the normal joint module that realizes the legato performance can be stored as waveform vector data, and the post-note of the normal joint module that realizes the legato performance as the waveform vector data of the joint head module.
• the waveform data used in the present invention is not limited to the “playing style module” corresponding to the various playing styles as described above, but may be other types.
• the waveform data of each module may be generated by simply reading out waveform sample data in an appropriate encoding format such as PCM, DPCM, ADPCM stored in the memory, Alternatively, it goes without saying that various known musical sound waveform synthesis methods such as harmonic synthesis computation, FM computation, AM computation, filter computation, formant synthesis computation, physical model sound source, etc. may be adopted as appropriate. In other words, any sound signal generation method for 8 sound sources can be used.
• a waveform memory readout method that sequentially reads out musical tone waveform sample value data stored in the waveform memory in accordance with address data that changes in response to the pitch of the musical tone to be generated, or the address data is predetermined as phase angle parameter data.
• FM method that obtains musical tone waveform sample value data by executing frequency modulation calculation of the above
• AM method that obtains musical tone waveform sample value data by executing predetermined amplitude modulation computation using the above address data as phase angle parameter data, etc.
• a known method may be adopted as appropriate.
• the sound source circuit 8 method is a waveform memory method, FM method, physical model method, harmonic synthesis method, formant synthesis method, VCO + VCF + VCA analog synthesizer method, analog simulation method, etc.
• the tone generator 8 is not limited to the configuration using the dedicated hardware, and the tone generator circuit 8 may be configured by using a DSP and a microprogram or a CPU and software. Furthermore, it is possible to use a common circuit in a time-sharing manner to form multiple sound channels! /, And each sound channel may be composed of dedicated circuits. ,.
• the tone synthesis method may be a so-called playback method in which existing performance information is acquired in advance before the actual performance time arrives, and this is analyzed to synthesize the tone.
• a real-time throat that synthesizes musical sounds based on performance information supplied in real time. It may be that.
• the pre-tone and post-tone do not overlap, that is, the end of the pre-tone and the start of the post-tone are separated in time (the note-on of the post-tone before the note-off information of the pre-tone is acquired). (When information is acquired), even if each of them is synthesized independently, the amplitude vector and pitch vector of the head system performance module used for the subsequent sound are related to the previous sound. Process the waveform for the rising edge of the sound in the later sound by changing it appropriately.
• the electronic musical instrument is not limited to the form of a keyboard instrument, and may be any type of form such as a stringed instrument, a wind instrument, or a percussion instrument.
• the performance controls, indicators, sound sources, etc. are not limited to those built in one electronic musical instrument body, but each is configured separately, and each device is connected using communication means such as a MIDI interface or various networks. It can be said that it can be similarly applied to those configured in the above.
• the processing program may be supplied to a storage medium such as a magnetic disk, an optical disk or a semiconductor memory, or via a network. Good.
• the present invention may be applied to an automatic performance device such as a karaoke device or an automatic performance piano, a game device, or a portable communication terminal such as a mobile phone.
• an automatic performance device such as a karaoke device or an automatic performance piano
• a game device such as a game device
• a portable communication terminal such as a mobile phone.
• the predetermined function as a whole system composed of the terminal and the server computer is provided. May be realized. That is, by using the predetermined software or hardware according to the present invention, the rendition style module to be used for synthesizing the musical sound of the joint section can be switched appropriately according to the mode selection, and the “pronunciation priority mode” is set. If it is selected, any rendition style module can be processed according to the context of the sound to synthesize a musical tone. /.

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