JP2642369B2 - Volume control device - Google Patents

Description

Description: BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a scene sound generation device that generates a scene sound representing a forest, a seashore, or another specific scene.

[Conventional technology]

Conventionally, techniques for electronically generating various sound effects have been developed.

For example, in Japanese Utility Model Laid-Open No. 57-100798 filed by the present applicant, various sound effects such as gunshot, footsteps, and sound of waves are recorded in a memory and read out by a switch operation of a keyboard. There is a disclosure of a sound effect generator that makes it possible.

Further, a device having a sampling function, a so-called sampler, has also been developed, and it has been realized that arbitrary sounds are sampled, stored in a memory, and read out to produce various sound effects. In such a case, it has been realized that a loop function for repeatedly generating a sampling sound or an arbitrary envelope is added to add an echo effect in combination with the above-mentioned loop function (for example, in the application of the present applicant). See JP-A-62-139593.

[Problems to be solved by the invention]

However, conventional sound effect generators only generate gunshot and wave sounds spontaneously, and it is not considered to combine them as element sounds to represent a specific scene.

SUMMARY OF THE INVENTION It is an object of the present invention to provide a scene sound generating device which electronically generates a scene sound representing a specific scene and can obtain an excellent sound effect.

[Means for solving the problem]

The present invention provides a waveform data generating means for generating waveform data representing each element sound for expressing a specific scene by a combination of a plurality of element sounds, and the respective element sounds generated from the waveform data generating means. Envelope waveform generating means for generating an envelope waveform corresponding to the waveform data representing the waveform data, and waveform data representing the respective element sounds generated from the waveform data generating means, and storing pattern data for determining the generation timing thereof. Pattern data storage means for generating waveform data representing the elemental sound from the waveform data generation means at a timing designated according to the pattern data read from the pattern data storage means, and generating the element data from the envelope waveform generation means. Envelope waveform corresponding to waveform data representing sound Is generated, composed of a tone generation control means for adding an envelope, a scene sound generating apparatus characterized by comprising a.

[Action]

In such a scene sound generating device, first, a scene sound representing a specific scene can be generated by a combination of a plurality of component sounds. The combination of the element sounds is controlled by determining the generation timing according to the pattern data.
Then, an envelope waveform corresponding to each element sound is generated, and the envelope is added. As described above, the scene sound is composed of a combination of a plurality of element sounds accompanied by the corresponding envelope control, and the sound effect can be improved.

〔Example〕

Hereinafter, embodiments of the present invention will be described in detail with reference to the drawings. In this embodiment, the automatic sound effect generator is
This is applied to a channel stereo type electronic musical instrument.

Basic Hardware Configuration FIG. 1 is a block diagram showing a basic hardware configuration according to an embodiment of the present invention. In the figure, a panel switch (SW) / keyboard unit 11 is an operation panel (11a) provided with switches operated to obtain various sound effects.
And a keyboard (11b) having a number of keys corresponding to various sound effects and pitches. The switch and key operation information are transmitted to the central processing unit (CP) via an interface circuit (not shown).
U) given to 12. The sound effect pattern storage unit 13 is a storage device such as a ROM (Read Only Memory) for storing data of various sound effect patterns described later, and stores data under the control of a central processing unit (CPU) 12. Is read. The display unit 14 performs various displays under the control of the central processing unit (CPU) 12. Also,
The central processing unit (CPU) 12 is a panel switch and keyboard unit 1
1. Based on the data in the sound effect pattern storage unit 13 and the like, the arithmetic and processing are performed by a predetermined program, and control signals and control data are supplied to the right and left sound source circuits 15a and 15b. The central processing unit (CPU) 12 includes various registers described below for performing the above-described operations and processes. The tone generator circuits 15a and 15b are PCM (Pulse Code Modulation) tone generator circuits, and supply a read address supplied from a central processing unit (CPU) 12 to a waveform / timbre parameter storage unit 16. The waveform / timbre parameter storage unit 16 is a storage device including a ROM for storing data such as waveform / timbre parameters described later. The digital signals obtained by the sound source circuits 15a and 15b are converted from digital signals into analog signals by right and left digital / analog converters (D / A converters) 17a and 17b, respectively, and are respectively right and left filters 18a and 18b. Through the right and left acoustic systems 19a, 1
A predetermined sound effect is output in stereo from 9b.

FIG. 2 is a configuration diagram showing an example of the operation panel of FIG. In the figure, an operation panel 11a is a panel operated to obtain a sound effect, and a sound effect (SO
UND EFFECT) switches SW1 to SW8, a fade-in / fade-out (FADE IN / FADE OUT) switch SW9, and a hold (HOLD) on / off switch (hereinafter referred to as a hold switch) SW10. The sound effect switches SW1 to SW8 are operation switches for sound effects assigned to the respective switches. SW1 is a sound effect (FOREST) representing a scene in a forest, and SW2 is a sound effect (OCEAN) representing a scene in a coast. ), SW3 is a sound effect representing the scene in the town (STREET), SW4 is a sound effect representing the scene of the space war (SPACE WARS), SW5 is a sound effect representing the scene on a rainy day (RAINY DAY), and SW6 is Sound effects representing the evening scene (EV
ENING) and SW7 correspond to the sound effect (CONCERT HALL) representing the scene of the concert hall, and SW8 corresponds to the sound effect (WILD WESTERN) representing the scene of the wild western. The fade-in / fade-out switch SW9 is a switch operated when gradually increasing or decreasing the sound effect volume by operating in combination with the hold switch SW10. Also, the above hold switch
Above the SW 10, a light emitting diode (LED) 20 that constitutes a part of the display unit 14 that is turned on / off in accordance with the on / off state of the switch SW10 is provided.

FIG. 3 is a configuration diagram showing an example of the keyboard 11b of FIG. In the keyboard 11b, element sounds constituting each of the above-mentioned sound effects are assigned to each key, and by operating the corresponding keys, the element sounds can be emitted. keyboard
In 11b, each element sound is, for example, as shown in FIG.
As the element sounds of the sound effect representing the scene of the forest, a small bird 1, a fade-in brook, a small bird 2, a normal brook, and a small bird 3,
In addition, wave 1, wave 1,
Seagull 1, wave 2, seagull 2, wave 3 are key no. 1 (1H) to key no.
(31H). As will be described later, two types of allocation patterns of the elemental sounds of the keyboard 11b can be selected by switching, and can be used as a key for obtaining a normal pitch. The above component sounds are waveforms obtained by PCM sampling. Regarding the waveforms of the present embodiment, the birds 1, 2, and 3 have the same waveform, the waveforms for Ogawa fade-in and normal use have the same waveform, and the waves 1, 2, and 3 have the same waveform. , Seagulls 1 and 2 have the same waveform. In addition, birds and seagulls use one of the sampled waveforms that shows the characteristic of the highest sound quality. On the other hand, in a stream and a wave, noise is used as a main sound quality, and the waveform is random. Therefore, a waveform group for a certain period of time is used as it is and the loop processing is performed. Therefore, if this sound is heard as it is, it will be heard as a certain periodic sound.
The same waveforms are used for both the right and left sound source circuits 17a and 17b.

Next, first, a specific example of the sound effect generated in the present embodiment will be described.
A sound effect (FOREST) representing a scene of a forest and a sound effect (OCEAN) representing a scene of a coast will be described. The sound effect of the forest described in the present embodiment is made up of the elemental sounds of birdsong and the babbling of a brook, and the sound effects of the coast are made up of waves and seagulls.

Configuration of Sound Effect First, an envelope forming each element sound is stored in a predetermined storage area of the waveform / timbre parameter storage unit 16 as described later in detail. This envelope is basically used separately for the right and left sound source circuits 15a and 15b. Such separate use makes it possible to freely create sound localization, sound spread, and sound perspective. Also, the right and left sound source circuits 15a,
Key-on delay (time delay) can be performed between 15b.

FIG. 4 is a diagram showing an envelope of the bird 1. In the figure, in the envelope of the bird 1, the volume level suddenly rises to the maximum (MAX) value when the key is turned on for the right bird, and then gradually decreases to the minimum level after the key bird is turned on. When the volume level suddenly rises to about half of the maximum value and thereafter gradually decreases to the minimum level, and both of the envelopes decay to the minimum level, two levels of small levels are provided. In the envelope of bird 1 like this,
As the sound is localized, the volume level for the right is higher than the volume level for the left, so it sounds as if it sounds between the center and the right side (a position slightly offset to the right from the center). Also, the left-hand use has a key-on time delay compared to the right-hand use, so it sounds widespread, and the two-stage small mountain at the time of decay creates an echo feeling in the forest.

FIG. 5 is a diagram showing an envelope of the bird 2. In the same figure, in the envelope of the bird 2, the volume level suddenly rises to about half of the maximum value when the key is turned on for the right bird, and then gradually decreases to the minimum level. Two consecutive mountains are provided. In such an envelope of the bird 2, the sound is first localized slightly to the right and slightly squeals, and then the echo of the forest is created by the two mountains on the left.

FIG. 6 is a diagram showing an envelope of the bird 3. In the same figure, in the envelope of the bird 3, the volume level suddenly rises to a value slightly lower than the maximum value when the key is turned on for the left bird, and then gradually decreases to the minimum level, while the volume level for the right bird rises later than that for the left. After that, it gradually decreased to the minimum level, and small ridges were provided when each envelope was decayed. In the envelope of the bird 3 as described above, first, one bird sings near the left side, and then another bird sings farther to the right side, and an echo of the forest is created.

FIG. 7 is a diagram showing an envelope of a normal creek. In the figure, in the envelope of the normal creek, the left side and the right side rise to the maximum value by key-on, and thereafter have a sustaining point having a constant value, and gradually decrease to the lowest level 12 seconds after the key-off.
In such a normal stream envelope, the main element of the scene of the forest is a continuous sound that keeps sounding, and the sound is localized at the center. Since the waveform of this brook is a sound having a fixed period, and it becomes very unnatural if left as it is, as shown in FIG. 8, the right-hand side is a plus side and the left-hand side is a minus side for a predetermined level pitch value, as shown in FIG. It is set to become.
When the pitch is changed between the right and the left as described above, as shown in FIG. 9, since the time of one cycle differs between the right and the left, the point of the cycle is shifted between the right and the left. When this is heard by a human, the unnaturalness of the above-mentioned fixed cycle is eliminated.
The sound obtained by this method is a sound mainly composed of noise that cannot be reproduced by loop reproduction of one waveform, and is optimal for a sound such as a sound effect in which the pitch (pitch) is not regarded as important. Further, in this embodiment, the pitch shift is constant over time. However, if the temporal change of the pitch is given separately for the left and right, the periodicity is not understood and the unnaturalness is further eliminated. be able to.

FIG. 10 is a diagram showing the envelope of wave 1. In the same figure, in the envelope of wave 1, for the left, the volume level after key-on rises to the maximum value in a relatively short time and then gradually decreases to the minimum level, and for the right, it rises to the same volume level slightly later than the left. The waveform gradually decreases to the minimum level. In such an envelope of the wave 1, as the sound is localized, the sound of the wave hitting the center and the closest place is heard with a wide spread.

FIG. 11 shows the envelope of wave 2. In the same figure, in the envelope of wave 2, the volume for the right uses the key-on, the volume level rises to the maximum after the key-on, gradually decreases after that, and then suddenly decreases to the minimum level in the middle, and for the left, the volume rises before the right decreases from the middle. When it reaches the right volume level, it gradually decreases to the minimum level. That is, the setting is such that the middle of the decay of the right envelope (shown by the solid line) is naturally connected to the left decay envelope (shown by the dotted line). In such an envelope of the wave 2, the sound image of the wave moves from the right side to the left side, and reproduces the movement of the approaching wave.

FIG. 12 is a diagram showing an envelope of the wave 3. In the figure, in the envelope of wave 3, for the left, the volume level gradually increases after key-on, rises to about half of the maximum value, gradually decreases after that, and decreases to the minimum level relatively quickly from the middle. Rises before the left-hand volume decreases from the middle, and gradually decreases to the minimum level when the left-hand volume level is reached. That is, the setting is made such that the middle of the decay of the left envelope naturally leads to the right envelope. In such an envelope of the wave 3, the sound image of the wave moves from the left side to the right side, and reproduces the drawing wave.

FIG. 13 is a diagram showing the envelope of seagull 1.
In the same figure, in the envelope of the seagull 1, the volume level for the left-hand use rises to the maximum value after a key-on in a relatively short time and then gradually decreases to the minimum level, and the right-hand use rises to the same volume level a little later than the left use, and the same. The waveform gradually decreases to the minimum level. In such a seagull 1 envelope, the sound localization of the seagull reproduces the sound of the seagull that sounds close to the center in a wide range.

FIG. 14 is a diagram showing the envelope of seagull 2.
In the figure, the envelope for the seagull 2 has the same waveform as the right one after the key-on, the volume level rises to about half of the maximum value, and then gradually decreases after rising. And decreases after the rise. In such a seagull 2 envelope, the sound of two seagulls, which sound first on the right and then later on the left, is reproduced a little later.

As described above, the element sounds are combined and arranged temporally, and are completed as sound effects.

FIG. 15 is a diagram illustrating sound effects representing a forest scene and a coast scene. In the figure, the forest and shore sound effects have a main and a fill-in pattern for obtaining a sustained sound effect and a short sound effect as required, as will be described in detail later. There is. Line 1 and line 2 are one set used for the right and left sound source circuits 15a and 15b, respectively, and are sound effect patterns for simultaneously designating and sounding the two component sounds.

First, an example of a sound effect pattern representing a scene of a forest will be described. In the forest main, a normal brook sound starts to sound on line 1. The normal brook sound continues to sound continuously until the designation of the sound effect is canceled. With the normal brook sound of the line 1 as a background, the birdsong is temporally arranged on the line 2. That is, first, the normal brook sound starts to sound on line 2, the bird 2 squeaks 5 seconds later, the bird 3 screams 7 seconds later, and the bird 1, 2 seconds later.
One second later, Bird 1 sings again, and then comes to the end of the pattern eight seconds later. When this pattern end is reached, both line 1 and line 2 return to the beginning of the pattern. Therefore, 13 seconds (8 seconds +
5 seconds later, bird 2 sings. Thus, in the forest main,
Although it is a repetition of a 23-second cycle, in practice, if the repetition is performed for 1 to 2 minutes, the periodicity cannot be felt. From the beginning of the line 2, the volume (accent) is specified for the small bird 2, the small bird 3, and the small bird 1 (this designation is indicated by a circle and the same applies to the following description). In this accent designation, the volume level of the elemental sound is set to one of two levels (high and low levels), so that even when the same elemental sound is used, the sense of perspective is changed, and when the sound of a bird or the like is heard, 1 is set. The variation of the volume every time is expressed.

At the forest fill-in, the brook sound begins to sound on line 1,
It comes to the pattern end in about 7 seconds which is relatively short. Line 2
In this example, the bird 1 squeals first with an accent, and the bird 3 screams four seconds later.

Next, an example of a sound effect pattern representing a coastal scene will be described. Regarding the above-mentioned forest sound effect, the normal brook sound always sounds on line 1, but in the present pattern, there is no sound that always sounds, and it is constituted by overlapping element sounds. The waves came back to the shore,
In addition, the coastline is long and always makes waves. In order to reproduce this, the approaching waves 1 and 2 and the approaching wave 3 have different lines. That is, on the main coast, wave 1 sounds first on line 1, wave 2 sounds 11 seconds later, seagull 2 sounds 7 seconds later with seams, and 5 seconds later comes to the pattern end. On the other hand, in main 2, wave 3
Sounds, then eight seconds later, seagull 1 sounds with the specified accent, and three seconds later, wave 3 sounds. In the main pattern of this beach, wave 3 sounds just before the end of wave 1's envelope, and waves 3 and 2 sound as well. The position of the pattern end is also set so that the timing from wave 3 to wave 1 matches the above timing.

In the coast fill-in, wave 1 starts to sound at line 1 with the specified accent, and comes to the end of the pattern in about 7 seconds, which is relatively short. On line 2, after wave 1 sounds on line 1, 2
After a second, seagull 1 rings.

As described above, by arranging the component sounds temporally for each sound effect, various scenes can be envisaged.

Next, the manner in which sound effects are generated by operating sound effect switches will be described for each switch operation.

Generation of sound effect by switch operation 1.When hold switch SW10 is on, press sound effect switch SW1 to press the main sound effect pattern of the forest above, press SW2 to play the main sound effect pattern of the shore above, other SW3 ~ When SW8 is pressed, corresponding sound effect patterns are generated. By this switch operation, a total of eight sound effect patterns are selected. In this case, a sound effect is generated permanently until the hold switch SW10 is turned off, and it is not necessary to worry about the length of time the sound effect is used as in the related art.

2. When the hold switch SW10 is off, press the sound effect switch SW1 to respond to the above forest fill-in sound effect pattern, press SW2 to the above coastal fill-in sound effect pattern, and press any of the other SW3-SW8 to respond. Each of the effect sound patterns thus generated is generated. By this switch operation, a total of eight sound effects are selected. This fill-in sound effect pattern is a short pattern that automatically ends when the pattern end is reached, and is effective when an effect sound is desired to be accentuated in the middle of music.

3. When hold switch SW10 is on and a predetermined sound effect pattern is generated, sound effect switch SW1
When ~ SW8 is pressed, the short sound effect pattern is generated only at that time, and then returns to the original sound effect pattern again. For example, if you want to make the bird's voice sound when the video becomes a close-up of a bird while the sound effect (forest sound effect) is sounding on the background of the forest image, the same is done at the bird's close-up. When the sound effect switch SW1 is pressed, a forest fill-in sound effect pattern is generated, and a bird's voice can be put there.

4. Fade-in / fade-out switch when hold switch SW10 is on and no sound effect is generated
When SW9 is pressed, the volume of the previously selected sound effect gradually increases and reaches the normal volume level in about 12 seconds (12 seconds + α).

5. When the hold switch SW10 is on and a sound effect is being generated, the fade-in / fade-out switch SW
When 9 is pressed, the volume of the sound effect gradually decreases, and the sound is turned off in about 12 seconds (12 seconds + α).

6. Fade-in / fade-out switch when hold switch SW10 is off and no sound effect is generated
When SW9 is pressed, the volume of the previously selected sound effect gradually increases, reaches the normal volume level in about 12 seconds (12 seconds + α), and maintains that volume level for about 6 seconds (6 seconds + α). ,
Then the volume gradually decreases, about 12 seconds (12 seconds + α)
Is turned off. FIG. 16 is a diagram showing a state of fade-in and fade-out due to such a switch operation.

Next, a specific process of generating a sound effect according to the above operation will be described.

First, a description will be given of sound effect pattern data used for generating a sound effect.

FIG. 17 is a diagram showing a sound effect pattern data memory map. This memory map shows the internal configuration of the sound effect pattern storage unit 13 in FIG. First, the address "0" has a sound effect switch
Sound effect header addresses 1 to 8 indicating the head addresses of the areas for storing pattern data corresponding to SW1 to SW8 are stored. The sound effect switch starts from the area next to the area where these pattern data are stored.
Area for storing pattern data in the order of SW1 to SW8 (S.E1 to
S.E8) is provided. One pattern data is 1
One sound effect header data, 32 line 1 main step data, 16 line 1 fill-in step data, 32 line 2 main step data, and 16 line 2 fill-in step data. It is composed of

FIG. 18 is a diagram showing a format of the sound effect header data. In this figure, this format is composed of 8 bits. The first bit indicates sound effect tone No. data (TD). In this embodiment, there are two types of patterns as shown in FIG. 3 in which each element sound is assigned to a key.
It is represented by "1". The next one bit indicates the sustained pattern flag (JD), which is “1” when using one sound (brook sound) continuously on line 1 as in the forest sound effect pattern described above. Set to "0" when the usage does not always sound like the sound effect pattern of.
The next 6 bits indicate sustained fade-in tone key No. data (FD). For example, in the case of a forest sound effect pattern, the key number of a fade-in stream is used. Used for processing.

FIG. 19 is a diagram showing a format of the step data. In the figure, this format is composed of 12 bits. The first bit indicates a valid flag (UD), and indicates whether a key number described later of the step data is valid or invalid, that is, whether the content of the previous step data is maintained. When the key is turned on / off, "1" is set. The next one bit indicates an accent flag (AD), and indicates whether or not to accentuate the above-mentioned elementary sound. Add accent (specify)
In some cases, it is "1", and when it is not attached, it is "0".

The next 6 bits indicate the key number data (KD), the key number (1H to 31H) which element sound is to be turned on, and "0".
Is key off. The next 4 bits are sound length data (OD)
Indicates how many seconds the step is valid. That is, as shown in FIG. 20, the number of seconds corresponding to the value of the sound duration data is indicated, and “0” indicates the pattern end.

The data shown in FIG. 17 to FIG.
Although stored in M, when the pattern can be changed by the user, it may be a RAM (Random Access Memory).

Next, timbre data used for generating a sound effect will be described.

FIG. 21 is a diagram showing a timbre data memory map.
In this figure, this memory-up shows the internal configuration of the waveform / tone color parameter storage unit 16 in FIG. 1, and stores tone color data from the address X of the ROM for storing the sound effect pattern data. . Areas are provided for storing tone head address data, tone 0 key number specific data (1H to 31H), and tone 1 key number specific data (1H to 31H) in order from address X. The storage area of the tone head address data includes an area for storing a head address of tone 0 timbre data and a head address of tone 1 timbre data.

FIG. 22 is a diagram showing the content of each tone data.
In the figure, the contents of the tone color data include left and right waveform address data, pitch envelope data, and envelope data. The waveform address data indicates data of a start address, a loop address, and an end address where the waveform data is stored.
In this embodiment, the same waveform is used. The pitch envelope data indicates pitch envelope data for temporally controlling a pitch change. The envelope data indicates data for determining the volume level of each of the above-mentioned component sounds. As shown in FIG. 23, the envelope data includes initial step (I) and data of 7 steps for each of the left and right data.
The initial step (I) includes initial time data indicating a delay time after key-on, and each step data includes a sustain flag, level data, and rate data. That is, in FIG. 23, in the case of left and right, the initial step (I) has a time of “10”, the first step has a level of “99”, and a rate of “+”.
88 ", in the second step, the sustain flag is set (" 1 "), the level is" 60 ", the rate is" -80 ",
In the third step, the level is "0" and the rate is "-70". In the fourth to seventh steps, the level is "0" and the rate is "0".

FIG. 24 illustrates the contents of the envelope data of FIG. In the figure, first, a time from key-on to execution of the first step is waited for by an initial time. Next, after going up from level "0" to level "99" in the + direction at a speed of "88", it goes down in the negative direction to level "60" at a speed of "80". Next, in the second step, since the sustain flag is set, the level is held until the key is turned off. When there is a key-off, the process proceeds to the next third step, where the speed is lowered in the negative direction at a speed of “70” to a level “0”, and the process is completed.

Next, various registers for temporarily storing data in order to obtain the above-mentioned sound effects by calculation and processing will be described. These various registers are provided in a RAM (not shown) inside the CPU 12 in FIG.

FIG. 25 to FIG. 27 are diagrams for explaining various registers. First, in FIG. 25, the sound effect header address register (HAR) is a register for storing data of the current sound effect header address,
The sound header data register (HDR) is a register that stores the current header data, the line 1 step data register (1SDR) is a register that stores the current step data for line 1, and the line 2 step data register (2SDR) is A register for storing the current line 2 step data, a tone head address register (TH
R) is a register for storing the current tone head address. Line 1 key-on data register (1KDR) is a register for storing timbre data to be sounded on line 1;
The key-on data register (2KDR) is a register that stores tone data to be sounded on line 2; the line 1 step address register (1SAR) is a register that stores address data with the current pattern step data for line 1; The address register (2SAR) stores the address data having the current pattern step data for line 2 and the line 1 timer register (1TR) stores the remaining sound duration data of the current step for line 1. The register, line 2 timer register (2TR) is a register for storing the remaining sound length time data of the current step for line 2.

In FIG. 26, a fade-in / out time register (FTR) is a register for storing data for performing the time management of the fade-in / out, and a constant time register (ITR) is a switch for which the hold switch SW10 is off and which is effective. When no sound is generated, when the fade-in / fade-out switch SW9 is pressed, there is a fixed level time of 6 seconds after the fade-in. This register stores data for managing the time.

In FIG. 27, the sound effect register includes a timer continuation register (KR), a fade in / out register (FR), and a hold on / off register (HR).
And a sound effect switch number register (NR). KR is a register consisting of 2 bits and indicating the timer continuation state. "01" indicates that the step of line 1 cannot be advanced by one, and "10" indicates that the step of line 2 must not be advanced by one. "00" indicates that the steps may be advanced for both line 1 and line 2.

FR is a register consisting of 2 bits and indicating whether the state is fade-in, fade-out, or normal.
"01" is fade-in, "10" is fade-out,
“00” indicates an off state (normal state).
HR is a register consisting of one bit and indicating a hold on / off state. "0" indicates off and "1" indicates on. NR is a register consisting of 4 bits and indicating which number of the sound effect switch No. is selected, and indicates SW1 to SW8 for "0" to "7", respectively.

Next, the process of generating a sound effect will be specifically described with reference to a flowchart.

1. Flowchart of Initial Processing FIG. 28 is a flowchart of processing related to initial settings and switches according to the embodiment of the present invention. In the figure, start by turning on the power switch (power ON),
In S _1, to clear all registers. As a result, when the power is turned on, the sound effect register is also cleared.
No. is “1”, HR is “0”, hold off, FR is “00”
Is set to the normal state. Next, in step S _2, it is determined either that was pressed sound effect switches SW1 to SW8. This sound effect switch SW
The (YES) when either 1~SW8 is pressed, in step S _3, writes No. of the depressed switch into sound effects SW No. register (NR), when not depressed (NO ) to, in step S _4, the hold on / off switch SW10 is determined whether or not pressed. When this hold on / off switch SW10 is pressed (YE
The S), at step S _5, when writes a "1" as the hold ON state to the hold on / off register (HR), also SW10 has not been pressed in (NO),
The process proceeds to the next step S _5. In this status S _5, when the fade-in / fade-out SW9 is pressed into the (YES), in step S _7, fade in /
The fade-out register (FR), in fade-writes "01" as the state of (hold on), but when it is not pressed (NO), in step S _8, the power switch determines whether it is turned off . By the time the power switch is not turned off (NO), repeats the same processing returns to step S ₂ again, but when the power switch is turned off (YES), terminates. Then, the above step S
In ₃ or step S _5, after the state of the sound effects switch No. or hold on to each register is written, in step S _9, performs the process of generating sound effects pattern to be described below.
That is, in this processing flow, the switches SW1 to S
It is determined whether or not W10 has been pressed, and when it is pressed, the switch is written into a register, and the presence or absence of a switch operation is always determined except for proceeding to sound effect pattern generation processing.

2. Processing Flow in Normal State FIGS. 29 and 30 (a) and (b) are flow charts mainly showing processing in the normal state. In these figures, first, in step S _11, containing the data stored in the NR addresses to HAR, then in step S _12, HA
Storing the data of the sound effects header to address the R data in HDR, then in step S _13,
The data of the tone head address whose address is the value of X + TD is stored in THR. That is, in step S ₁₁ ~ step S _13, and stores the start address and data of sound effects pattern HAR, the HDR, and stores the head address of the tone to be used for THR, the initial setting.
Next, in step S _14, FR is whether the "01" (fade-in) is determined. When not fade-in (N
To O), in step S _15, HR is "1" or not (hold on) is determined. That is, it is determined whether to use the main pattern or the fill-in pattern.
At present, the fill-in pattern is used only at the time of hold-off. The case where the fill-in pattern is output by turning on the sound effect SW at the time of hold-on will be described later. When fade-in step S ₁₄ (YES), or when the hold on in step S ₁₅ (YE
In S), the process shifts to a process of inserting main step data. That is, stored in step S _16, the line 1 main step data to the address data obtained by adding "1" to the data of HAR (HAR + 1) to 1SDR, step
In S _17, data obtained by adding "49" to the data of HAR (HA
Stores line 2 main step data to address R + 49) in 2SDR, stored in step S _18, the data obtained by adding "1" to the data of HAR in 1SAR (HAR + 1 → 1SA
R), in step S _19, stores the data obtained by adding "49" to the data of HAR in 2SAR (HAR + 49 → 2SAR) . Further, in step S _15, when not hold on to the (NO), the process proceeds to a process to put the step data of fill. That is, stored in step S _20, the line 1 fill instep data to address the data obtained by adding "33" to the data of HAR (HAR + 33) to 1SDR,
In step S _21, and stores the line 2 fill-in step data and address data, plus "81" to the data of HAR (HAR + 81) in 2SDR, was added in the step S _22, the "33" data of HAR data stores in 1SAR (HAR + 33 → 1SAR) , in step S _23, stores the data obtained by adding "81" to the data of HAR in 2SAR (HAR + 8
1 → 2SAR). That is, the above steps S ₁₆ to S ₁₉
And in step S ₂₀ ~ step S _23, and step data for the main and fill-and stores its own coming and the address of the place in the respective registers, in preparation is completed to play sound effects pattern.

Next, after the above step S ₁₉ or step S _23, in step S _24, FR is whether the "01" (fade-in) is determined. In the case of fade-in (YES), the flow shifts to the fade-in processing flow [U] in FIG. 31 described later, and in the case of not fade-in (NO), the flow shifts to line 1 tone generation processing.

In the sound generation processing of this line 1, first, step S ₂₅
In, it is determined whether or not KR is “01”, that is, whether or not to continue the step of line 1 by one and continue. First,
From KR is "00" (NO), in step S _26, 1
Calculate the address from KD and THR in SDR (KD + THR-
1) Then, the data at that address is stored in 1KDR. Next, in step S _27, whether AD in 1SDR is "1", i.e., determines whether there is an accent. In the case there is no accent (AD = 0), in step S _28, rewrites the value obtained by simply subtracting accent value a with the level data in the envelope data in 1KDR, when there is an accent (AD = 1), the as the raw value, at the next step S _29, UD in 1SDR is "1" (valid)
It is determined whether or not. When UD is enabled (YES), in step S _30, KD is whether the "0" in the 1SDR, i.e. to determine off data (KD = 0) or ON data (KD key No.) , When the data is OFF data (YES), step S ₃₁
In step 1, 1KDR is keyed off (silenced) at line 1, and if it is ON data (NO), 1KDR is keyed on (lined) at line 1 in step S ₃₂ . In step S _29, when UD is disabled (NO), after the process of step S ₃₁ or step S _32, in step S _33, 1SDR of OD
Store the data in 1TR. That is, the step S ₂₅ ~
In step S _33, the reading of the pattern data of the line 1, pronunciation, the execution of the mute completed.

Next, in step S _25, if the line 1 continues (YES), or after the process of step S _33, the process proceeds to the sound processing line 2. First, in step S _34, KR Do "10", i.e., without advancing one step of the line 2, whether to continue or not. KR is not "10" (NO), in step S _35, calculates the address from the KD and THR in 2SDR to (KD + THR-1), stores the data of the address to 2KDR. Next, in step _S36 , it is determined whether or not the AD in the 2SDR is "1", that is, whether or not there is an accent. If there is no accent (AD
= 0), the in step S _37, rewrites the value obtained by simply subtracting accent value a with the level data in the envelope data 2KDR, when there is an accent (AD = 1)
The, as the raw value, at the next step S _38, UD in 2SDR is "1" (valid) or not is judged. When UD is enabled (YES), in step S _39, KD is whether the "0" in the 2SDR, i.e. to determine off data (KD = 0) or ON data (KD key No.) and when the off data (YES), the line 2 2KDR in step S ₄₀
To turn off the key (mute), and when the data is on (NO),
To key-on (pronunciation) of 2KDR in line 2 in step S _41. In step S _38, when UD is disabled (NO), after the process of step S ₄₀ or step S _41,
In step S _42, stores the data of the OD of the 2SDR the 2TR. That is, in step S ₃₄ ~ step S _42, the reading of the pattern data of the line 2, sound, mute, pronunciation sustained execution completes.

Next, in the above step _S34 , when KR is "10" (YE
For S) Line 2 continued (K), and after the process of step S _42, in step S ₄₃ and step S _44, 1TR is "0" or and 2TR are respectively or "0" is determined. That is, when the remaining time of the sound length of either line 1 or line 2 is “0” from the beginning, that is, when the pattern is at the end of the pattern (YES), the other is regarded as the pattern end and the time is changed to [L] in FIG. Thereafter, if none of the pattern ends (NO), the flow shifts to [X] in FIG. That is, when the pattern end, at step S _45, HR is "1" or not (hold on) is determined. When the hold on the (YES), in step S _46, after setting "0" in KR, the process proceeds to [T] Step S
Returning to ₁₆ , the same processing is repeated. If the hold-off operation is performed (NO), in step _S47 , the lines 1 and 2 are muted, and the sound effect pattern tone generation process is terminated. After completion of this step S _47, the process of determining the presence or absence of migration, and the Figure 28 step S ₂ back switch operation to [Z] performed.

In step S ₄₃ and S _44, when not a pattern end, the process proceeds to [X], in step S ₄₈ of Figure 30, HR is "1" or not (hold on) is determined. In either case, steps S ₄₉ and step S ₅₀
In, it is determined whether or not the hold switch SW10 has been pressed, and the HR is rewritten. That is, when the SW10 is switched off from the state of the hold-on (step S _48, step S _49), in step S _51, after the HR to "0", in step S _52, line 1, line 2
, The sound effect pattern sounding process is terminated, and the process proceeds to [Z]. Also, if SW10 is switched on from the state of the hold-off (step S _48, step S _50), the in step S _53, the HR to "1". Then, when the HR to "1", or when the SW10 is not depressed, sound effects switch SW1~SW8 determines whether or not pressed in step S _54. When pressed (YES), in step _S55 , the pressed switch is set to the same N as the NR of the sound effect register.
o. When the same switch is pressed (YE
The S), in step S _56, line 1, since the mute line 2, goes to V, rerun the sound effects pattern from the beginning of the fill-in pattern returns to step S _20. In step S ₅₇ when (NO) different switch is pressed, moves from and stores the No. to NR, in step S _58, line 1, since the mute line 2 to [Y], rerun from the beginning of the sound effect pattern tone generation processing returns to step S _11.

Next, in step S _54, but when none of sound effect switches SW1~SW8 is not pressed (NO), in step S _59, after the lapse one second one second timer, steps S ₆₀ and S _{At 61} , the values obtained by subtracting "1" from the 1TR and 2TR in which the tone length data are stored are set as new 1TR and 2TR (1TR-
1 → 1TR, 2TR-1 → 2TR). In step S _62, F
It is determined whether or not R is "01" (fade-in). When not fade, in step S _63, and stores the 6 ITR, at the time of fade-in step S _64, ITR determines whether "0". ITR is to not "0" (NO), a value obtained by subtracting "1" from the step S ₆₅ Niite ITR to the new ITR (ITR-1 → ITR) . That is, in step S ₆₂ ~ step S _65, it is determined whether the fade-in, but to determine whether processing shown in FIG. 16, the FR is at a fixed time of 6 seconds in the process "01 "
As it goes through the flow for normal processing as it is, the other is always in the normal state, so FR is “00”. At present, it is in the normal state, and the process proceeds to the next without subtracting “1” from the ITR. Next, in step S _64, if the ITR is "0" (YES), after the process of step S ₁₃ or step S _65, in step S ₆₆ and step S _67, respectively 1T
It is determined whether R and 2TR are “0”. That is, it is determined whether or not the sound duration of the step has elapsed. In both cases, when the sound duration has not yet elapsed (NO), [X]
Proceeds to the above step S through line 1 of the above timer routine returns to ₄₈ is repeated until one of the lines 2 reaches the tone length. In step S _66, the (YES) when 1TR becomes "0", in step S _68, 2TR determines whether "0". When 2TR is "0" (YES), in step S _69, "1" to the value of 1SAR
To the new 1SAR value (1SAR + 1 → 1SAR),
In step S _70, stores the step data line 1, address the value of this 1SAR the 1SDR, step S
_{In 71} , the value obtained by adding 1 to the value of 2SAR
The value (2SAR + 1 → 2SAR), in step S _72, 2
Step data for line 2 whose address is the SAR value is 2
It is stored in the SDR, and in step _S73 , “00” is set in KR. That is, in steps _S69 to _S73 , the step data for line 1 and line 2 is
Go ahead. In the above-described step S _68, 2TR is "0"
The not equal (NO), in step S _74, a value obtained by adding "1" to the value of 1 SAR to the value of the new 1 SAR (1 SAR + 1
→ 1 SAR), in step S _75, stores the step data for line 1, address the value of the 1 SAR to 1SDR, in step S _76, sets "10" in the KR.
That is, the step data for line 1 is advanced by one,
Line 2 sets KR to continue the timer routine. On the other hand, in step S _67, the (YES) when 2TR becomes "0", in step S _77, a value obtained by adding "1" to the value of 2SAR to the value of the new 2SAR (2SAR + 1 →
2SAR), in step S _78, stores the step data line 2, the address values of 2SAR the 2SDR, in step S _79, sets "01" in the KR. That is,
The step data for line 2 is advanced by one, and line 1 sets KR to continue the timer routine.

Next, the above steps S ₇₃ , S ₇₆ , and S ₇₉
After, in step S _80, ITR is determined whether "0" (constant time ends). When ITR is not "0" (NO), in step S _81, fade-in / fade-out switch SW9 is determined whether or not pressed. When the fade-in / out switch SW9 is not pressed (NO),
Moves to [W], it executes the sound processing described above returns to the step S _25. In the above-described step S _80, ITR is "0"
(YES) or Fade In / Out Switch S
When W9 is pressed (YES), the flow shifts to [C], and a fade-out process of FIG. 33 described later is performed. That is, in step S ₈₀ and step S ₈₁ is the value of ITR is determined whether a "0", when the normal state, IT
R is "6" and the process proceeds to the next step. Since the current state is the normal state, the fade-out processing is performed when the fade-in / out switch SW9 is pressed, and the processing returns to the sound generation processing when the fade-in / out switch SW9 is not pressed. The above is the processing flow for the normal state.

Next, fade-in / fade-out processing will be described. First, an outline will be described.

3. Outline of Fade-In / Fade-Out Processing As shown in the example of the forest and sea sound effect pattern described above, line 1 has two states. That is, in one state, one element sound continues to sound throughout the pattern. For example, a sound like a brook sound, and one other state, like the line 2, various element sounds, for example, a wave sound,
It is like a seagull sounding at certain times. The difference between the two is determined by the persistence pattern flag JD in the HDR. Therefore, fade-in /
In order to perform fade-out, the above two states must be processed separately.

First, in the fade-in processing of both sustain patterns, one tone for fade-in is provided separately from the tone for normal,
When the fade-in switch SW9 is pressed, the tone can be realized by keying on the fade-in tone. As an example of the tone for fade-in, the envelope of the stream for fade-in is shown in FIG. As shown in the figure, the attack envelope of this tone is set to be very long, with the volume level gradually increasing from key-on and rising to the maximum sustain level at 12 seconds. The fade-in time can be adjusted by changing the setting of the attack envelope.

Next, the former continuous pattern fade-out process
When the fade-out switch SW9 is pressed, the operation is performed by moving to the release envelope. FIG. 34 shows a creek fade-in envelope, and FIG. 7 shows a creek normal envelope. As shown in these figures, the time from when the release envelope is turned off to when the release envelope drops to the volume level “0” is set to 12 seconds. In the present embodiment, the release envelope is used as a fade-out envelope, but it is also possible to shift to a fade-out-only envelope simultaneously with key-off (fade-out on).

Next, an outline of the latter continuation pattern fade-in process will be described.

FIG. 37 is a diagram showing a fade-in process using a normal VCA or the like. As shown in the figure, the fade-in processing of a sound that is not continuously sounded does not necessarily have to change the volume continuously, but may be changed at points A and B indicating the corresponding volume. Therefore, in the present invention, as shown in FIG. 35, the control is performed so that the envelope levels of the sounds A and B themselves are on a straight line of y = at (a is a gradient and t is time). In this case, the volume increase curve is set to y = at,
If it is natural from the viewpoint of audibility, it can be set by another curve such as an exponential function. In the present embodiment, as a method of controlling the envelope level above y = at, the method is performed by subtracting a (tmax-t) from the envelope value of the timbre. Here, tmax indicates the maximum value of the change time.

The fade-out processing of the continuation pattern is performed by subtracting at. Hereinafter, a detailed flow of the fade-in / fade-out processing will be described.

4. Fade-in / fade-out processing flowchart FIGS. 31 to 33 (a) and (b) are flowcharts of the fade-in / fade-out processing. In Figure 31, first, in step S ₉₁ and step S _92, "12" to the FTR respectively set to "6" to the ITR. next,
In step _S93 , it is determined whether or not JD in HDR is “1”. In the case JD is "1" (YES), a persistent system, in step S _94, it calculates the address of the fade-out from the FD and THR in HDR (FD + THR-1) and,
The data at that address is stored in 1KDR. This is fade-in tone color data. If JD is not “1” (NO), it is a non-persistent system (continuous system) and step S ₉₅
In, it is determined whether or not KR is “01”. KR is not "01" to the (NO), in step S _96, KD in the 1SDR
Then, the address is calculated (KD + THR-1) from the data and the THR, and the data at the address is stored in 1KDR. Then, step
In S _97, whether AD in 1SDR is "1", i.e., it determines whether there is an accent. In the case there is no accent (AD = 0), in step S _98, rewrites the value obtained by simply subtracting accent value a with the level data in the envelope data in 1KDR, when there is an accent (AD = 1), the as the raw value, in step S _99, subtracting the value obtained by multiplying the "l" from the envelope level data to the value of the FTR in 1KDR (FTR × l). Here, “l” is a level amount that changes in one second. In step _S99 , a fade-in envelope process is performed. number 3
As shown in FIG. 6, when the temporal change of the volume level is a straight line of y = lt, the level value after 12 seconds is 12l, which is the maximum value. Therefore, the timbre envelope reaches its maximum value (MA
If it is set to X), it is 12l, and subtracting FTR × 1 from it will result in y = lt. At present, the level is "0" because FTR = 12 (12l-12l). Next is the pronunciation process.
This is the same as the processing at the time of normal. That is, in the next step S _100, UD in 1SDR is "1" (valid) or not is judged. When UD is enabled (YES), in step S _101, KD is whether the "0" in the 1SDR, i.e. to determine off data (KD = 0) or ON data (KD key No.) and when the off data (YES), in step S _102, and key-off (mute) in the line 1 1KDR, but when the on data (NO), the key-on (pronounce) a 1KDR in line 1 in step S ₁₀₃ I do. In step S _100, when UD is disabled, step S ₁₀₂ or step S ₁₀₃
After treatment, in step S _104, and stores the data of the OD of the 1SDR in 1TR. That is, in step S ₁₀₀ ~ step S _104, and reads the pattern data of the line 1, the sound-muffling execution completes.

Next, the process proceeds to the sound generation processing of line 2. First, in step _S105 , it is determined whether or not KR is “10”, that is, whether or not to continue the step of line 2 without continuing.
When KR is not “10” (NO), in step _S106 ,
2Calculate the address from KD and THR in SDR (KD + THR-
1) Then, the data at that address is stored in 2KDR. Next, in step S _107, whether AD in 2SDR is "1", i.e., determines whether there is an accent. If there is no accent (AD = 0), in step _S108 , the level data in the envelope data in 2KDR is rewritten to a value obtained by subtracting a certain accent value a, and if there is an accent (AD = 1), as the raw value, at the next step S _109, subtracting the value obtained by multiplying the "l" from the envelope level data to the value of the FTR in 2KDR (FTR × l). As described above, it is on y = lt. Next, step S
_{At 110} , it is determined whether the UD in the 2SDR is "1" (valid). When UD is enabled (YES), in step S _111, KD is whether the "0" in the 2SDR, i.e. to determine off data (KD = 0) or ON data (KD key No.) ,
If the data is OFF data (YES), 2 in step _S112
KDR and key-off (mute) to a line 2, to when on data (NO), to the key-on (pronunciation) of 2KDR in line 2 in step S _113. In the above step _S110 , UD
When is disabled, after the process of step S ₁₁₂ or step S _113, in step S _114, the data of the OD of the 2SDR 2T
Store in R. That is, the above steps _S106 to S106
_{At 114} , the reading of the pattern data of the line 2 and the execution of the sound generation / muting and sound generation continuation are completed.

Next, in step _S105 , if KR is “10” and line 2 is continued (YES), after the processing in step _S114 ,
In step S ₁₁₅ and step S _116, respectively 1TR
Is determined to be “0” and 2TR is determined to be “0”. That is, when the remaining time of the sound length of either line 1 or line 2 is “0” from the beginning, that is, when the pattern end (YES), the other is also regarded as the pattern end, and in step _S117 , the HDR It is determined whether or not JD is “1” (continuous system). In the case of the continuous system (YES), the process shifts to [N], and returns to the step _S105 to perform the processing of the line 2.
In the case of a non-sustained system (NO), in step _S118 , the HA
"1" is stored line 1 main step data to the address data (HAR + 1) obtained by adding the data of the R to 1SDR, address in step S _119, data obtained by adding "49" to the data of HAR the (HAR + 49) stores line 2 main step data to the 2SDR, in step S _120, and stores the data obtained by adding "1" to the data of HAR in 1SDR (HAR + 1 → 1SAR) , in step S _121, the data of HAR " 49 ”and stored in 2SAR (HAR + 49
→ 2SAR), in step S _122, after setting the "00" in KR, proceeds to (B), the process returns to step S _95.
That is, the processing is not stopped even if the pattern end comes in the pattern end processing. In the case of the continuous system, the processing returns to the processing of the line 2, and in the case of the non-continuous system, the processing returns to the head of the pattern. However, since the FTR has not been cleared, the processing is continued on the line of y = lt. When not a pattern end,
The process proceeds to [A], and the process shown in FIG. 32 is performed.

In FIG. 32, first, in step _S131 , it is determined whether or not HR is “1” (hold on). In either case, in step S ₁₃₂ and step S _133, it is determined whether the hold switch SW10 is depressed, it rewrites the HR. That is, when the SW10 is switched off from the state of the hold-on (step S _131, step S _132)
First , in step _S134 , HR is set to “0”,
In step _S135 , mute lines 1 and 2,
Finish sound effect pattern sounding processing, [Z]
Move to Further, SW10 is in the case of switched on from the state of the hold-off (step S _131, step S _133), in step S _136, the HR to "1". next,
When the HR to "1", or when the SW10 has not been pressed, in step S _137, it is determined whether or not the sound effects switch SW1~SW8 is pressed. When any of the sound effects switch SW1~SW8 is pressed (YES), the process proceeds to [M], in step S ₁₃₈ of the first 33 (a) view, pressed switch and NR sound effects register It is determined whether the numbers are the same. If the same switch has been pressed (YES), in step _S139 , FR is set to "00", and the flow shifts from (FR ← 00) to [V].
To re-run the sound effects pattern from the beginning of the fill-in pattern of normal returns to the step S _20.
If a different switch has been pressed (NO), step S
_{At 140} , the No. is stored in NR, and then step S
In _141, the FR to "00" (FR ← 00), the process proceeds to [Y], rerun from the beginning of the sound effect pattern tone generation processing of normal returns to step S _11.

Next, in step S _137, when none of the sound effects switches SW1~SW8 is not pressed (NO), step S _142, after the lapse of one second one second timer, steps S ₁₄₃ and in step S _144, 1TR sound length data respectively are stored, and 2
Subtract “1” from TR to make new 1TR and 2TR (1T
R-1 → 1TR, 2TR-1 → 2TR). That is, the same timer processing as in the normal state is performed. Next, in step _S145 , it is determined whether FR is “01” (fade-in). When a fade-in is (YES), FTR in step S ₁₄₆
Is determined to be "0" or not, and when it is not "0" (NO),
In step S _147, a value obtained by subtracting "1" from the value of the FTR and new FTR (FTR-1 → FTR) . Step S above
_{In 146} , it is determined whether the FTR is “0” or not.
This is to prevent the value of the FTR from becoming “0” or less when the sound length of the step is set to be longer than 12 seconds (it is not actually set so). If it is not fade-in (NO), in step _S148 , the FTR
There it is determined whether or not "12", when not "12", in step S _149, a value obtained by adding "1" to the value of the FTR and new FTR (FTR + 1 → FTR). FTR is "0" or "12"
In case of (YES) and otherwise, after setting FTR to a new value,
The same 1TR and 2TR processing as in the normal mode is performed. That is,
In step S _0.99 and step S _151, respectively 1TR
And whether 2TR is “0”. That is, it is determined whether or not the sound duration of the step has elapsed. Either even when not yet elapsed long sound (NO), repeats until through line 1 of the above timer routine returns to step S _131, one of lines 2 reaches the tone length. In step S _0.99, the (YES) when 1TR becomes "0", in step S _152, 2TR is "0"
It is determined whether or not. When 2TR is "0" (YES), in step S _153, the value obtained by adding "1" to the value of 1 SAR to the value of the new 1SAR (1SAR + 1 → 1SAR) , in step S _154, the value of the 1 SAR the storing step data for line 1, address 1SDR, in step S _155, 2SAR
The value obtained by adding “1” to the value of 2 is the new 2SAR value (2SAR +
1 → 2SAR), in step S _156, stores the step data line 2, the address values of 2SAR the 2SDR, in step S _157, sets "00" in the KR. That is, in steps _S153 to _S157 , the step data for line 1 and line 2 is advanced by one. In step _S152 , when 2TR is not “0” (N
To O), in step S _158, the value obtained by adding "1" to the value of 1 SAR to the value of the new 1SAR (1SAR + 1 → 1SAR) , in step S _159, step for line 1, address the value of the 1 SAR storing the data in the 1SDR, step S ₁₆₀
In, "10" is set in KR. That is, KR is set to advance the line 1 step data by one, and to continue the timer routine for line 2. On the other hand, in step S _151, when the 2TR becomes "0" (YES)
The, 2SDR in step S _161, the value obtained by adding "1" to the value of 2SAR to the value of the new 2SAR (2SAR + 1 → 2SAR) , in step S _162, the step data line 2, the address values of 2SAR In step _S163 , and “01” is set in KR. That is, the step data for line 2 is advanced by one, and KR is set so that line 1 continues the timer routine.

Next, in step _S164 , it is determined whether the FTR is “0”. The fact that the FTR is "0" indicates that the envelope has reached the maximum level. At this time, in step _S165 , it is determined whether or not the HR is "1" (hold-on). the case (YES), in step S _166, the FR to "00", when the hold-off (NO), the process goes directly to [W], the process proceeds to the normal flow of step S _25. The reason why the flow proceeds to the normal flow with the FR being “01” at the time of the hold-off is to perform the processing of FIG. 16 described above. Further, in step S _164, the FTR is not "0" (NO),
In step S _167, FTR Do is determined whether "12" (fade-out ends), but when not fade ends (NO), the process proceeds to (B), the process returns to step S _95, when the fade-out ends (YES ), Step S
_168, in step S _169, after the KR to "00", respectively, the process proceeds to [Z], returns to step S ₂ again,
Determine the switch operation.

Next, the flow of the fade-out process will be described. This fade-out process starts from [C] shown in FIG. 30 (b) and proceeds to the flow of FIG. 33 (b). First, in step _S171 and step _S172 , respectively
The FR is set to "10" and the FTR is set to "0", and processing for using a non-sustained flow is performed. Next, in step _S173 , it is determined whether or not the JD in the HDR is “1” (sustained). When not sustained system (NO), the process proceeds to (B), the process returns to step S _95, the time of sustained system (YES), in step S _174, standing from the envelope data 1KDR the sustain flag looking step, then in step S _175, and step, plus "+1" in search steps, moves to release. That is, in the fade-out process, if “10” is set in the FR, it is determined whether the FR in FIG. 32 is “01” or not by the FTR +
Since 1 → FTR, the FTR increases as time passes. This means that the envelope level of 1KDR decreases with time, and after 12 seconds, the level becomes "0", and the fade-out flow ends when it is determined whether or not the FTR in FIG. 32 is "12". On the other hand, in the case of the continuous system, the sustain flag is searched for in the envelope data in 1KDR. No.
In the example of Fig. 23, the sustain flag is set at the second step, and the next step data is executed, the release is set to 12 seconds in advance, so the continuous sound fades out smoothly over 12 seconds. Will be done.

As described above, according to the present embodiment, it is possible to automatically set the generation of the sound effect in which the volume level gradually increases or decreases by the switch operation. Therefore, the volume can be automatically controlled by a simple operation.

Further, in the present embodiment, the sound effect can be input before the performance starts, the performance can be started in the middle, and the sound generation state in which the sound effect disappears in the middle of the performance can be selected by the switch operation. It's easy and you can concentrate on playing.

In this embodiment, the volume of the sound effect can be automatically controlled by a switch operation. However, in the case of an electronic musical instrument, an automatic rhythm, an automatic chord, and a bass may be controlled. This makes it unnecessary to consider an intro phrase or an ending phrase for each song at the time of the intro or ending of the performance, and smooth start and end of the performance can be facilitated.

Further, in the above embodiment, various types of sound effect patterns can be used, and the time of fade-in and fade-out, the time for maintaining the sustain level, and the like can be changed, and the present invention is not limited to the embodiment.

〔The invention's effect〕

As described above, according to the present invention, a scene sound representing a specific scene can be generated by a combination of a plurality of element sounds, and furthermore, a corresponding envelope waveform is generated and an envelope is added to each of the element sounds. Is generated, so that an excellent sound effect can be obtained.

[Brief description of the drawings]

1 to 36 are drawings according to one embodiment of the present invention. FIG. 1 is a block diagram showing a basic hardware configuration, and FIG. 2 is a configuration showing an example of an operation panel of FIG. Fig. 3, Fig. 3 is a configuration diagram showing an example of the keyboard of Fig. 1, Fig. 4 is a diagram showing an envelope of the bird 1, Fig. 5 is a diagram showing an envelope of the bird 2, and Fig. 6 is an envelope of the bird 3. FIG. 7 is a diagram showing the envelope of the normal brook sound, FIG. 8 is a diagram showing the pitch change of the envelope of the normal brook sound, and FIG. 9 is a diagram showing the period of the envelope of the normal brook sound. FIG. 10 is a diagram showing the envelope of wave 1, FIG. 11 is a diagram showing the envelope of wave 2, FIG. 12 is a diagram showing the envelope of wave 3, FIG. 13 is a diagram showing the envelope of seagull 1, Figure 14 shows the envelope of Seagull 2, Figure 15 shows the forest Fig. 16 shows the effect sound of the coast, Fig. 16 shows the transition from fade-in to fade-out, Fig. 17 shows the memory map of the sound effect pattern data, Fig. 18 shows the format of the sound effect header data FIG. 19 is a diagram showing the format of step data, FIG. 20 is a diagram showing tone data, FIG. 21 is a diagram showing a tone data memory map, FIG. 22 is a diagram showing the contents of tone data, FIG. Figure shows the contents of the envelope diagram, Figure 24 shows the envelope data of Figure 23, Figure 25 shows the various registers, Figure 26 shows the time register, Figure 27 shows the sound FIG. 28 is a flowchart showing an effect register, FIG. 28 is a flowchart showing a process related to initialization and switches, FIG. 29 is a flowchart showing a process in a normal state, and FIGS. FIG. 31 is a fade-in process flowchart, FIG. 32 is a fade-in process flowchart, FIG. 33 (a) is a fade-in process flowchart, FIG. 33 (b) is a fade-out process flowchart, FIG. The figure shows the envelope for the fade-in of the brook, Fig. 35 shows the envelope processing for the non-standing fade-in, and Fig. 36 shows the time and level of the envelope processing for the non-standing fade-in. FIG. 37 is a diagram showing the relationship, and FIG. 37 is a diagram showing a fade-in process by a conventional VCA. 11 Panel switch and keyboard, 11a Operation panel, 11b Keyboard, 12 Central processing unit (CPU), 13 Sound effect pattern storage, 14 Display, 15a, 15b Sound source circuit, 16 …… Waveform / timbre parameter storage unit, 17a, 17b …… Digital / analog converter, 18a, 18b …… Filter, 19a, 19b …… Sound system, 20 …… LED.

Claims (4)

(57) [Claims] 1. A waveform data generating means for generating waveform data representing respective element sounds for expressing a specific scene by a combination of a plurality of element sounds, and the respective elements generated from the waveform data generating means. Envelope waveform generating means for generating an envelope waveform corresponding to waveform data representing a sound; and designating waveform data representing the respective element sounds generated from the waveform data generating means, and pattern data for determining the generation timing. Pattern data storage means for storing; and at the timing designated according to the pattern data read from the pattern data storage means, waveform data representing the elementary tone is generated from the waveform data generation means; Envelope corresponding to waveform data representing elemental sound By generating form, scene sound generating apparatus characterized by comprising a sound control means for adding an envelope, a. 2. The method according to claim 2, wherein the generation control unit generates the envelope waveform generation unit every time a generation timing for generating the waveform data representing each of the component sounds is designated according to the pattern data from the pattern data storage unit. 2. The scene sound generating apparatus according to claim 1, wherein an envelope level of an envelope waveform corresponding to the waveform data representing each of the component sounds is controlled to gradually increase. Each time a generation timing for generating waveform data representing each of the element sounds is designated in accordance with the pattern data from the pattern data storage means, 2. The scene sound generating apparatus according to claim 1, wherein an envelope level of an envelope waveform corresponding to the waveform data representing each of the component sounds is controlled to gradually decrease. 4. The tone generation control means, wherein each time the generation timing for generating the waveform data representing each of the element sounds is designated according to the pattern data from the pattern data storage means, After gradually increasing the envelope level of the envelope waveform corresponding to the waveform data representing each of the component sounds, the envelope level is maintained at a constant level, and the envelope level is controlled so as to gradually decrease again. 2. The scene sound generating device according to claim 1, wherein: