JP3153354B2 - Performance data processor for electronic musical instruments - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a performance data processing apparatus for an electronic musical instrument, and more particularly, to performance data for an electronic musical instrument that electronically generates / mutes musical tones based on musical tones and vibrations generated by playing the musical instrument. It relates to a processing device.

[0002]

2. Description of the Related Art Conventionally, a so-called "guitar synthesizer" has been known as an electronic musical instrument for electronically generating / muting musical tones based on musical tones and vibrations generated by playing a musical instrument.

[0003] This guitar synthesizer electronically generates musical tones based on the string vibration of the strings of the guitar generated by the guitar playing of plucking the strings of the guitar, and in addition to the passage of time from the plucked strings. The musical tone is muted electronically based on the attenuation of the string vibration. At this time, the pitch of the musical sound to be generated is controlled based on the frequency of the string vibration.

In such electronic musical instruments such as a guitar synthesizer, a musical tone generated electronically as described above (hereinafter referred to as a synthesizer sound) and a musical tone generated by playing a musical instrument such as a guitar. (Hereinafter, referred to as raw musical tones).

[0005]

In an electronic musical instrument such as the above-described guitar synthesizer, the synthesizer sound is always synchronized with a vibration such as a raw musical tone or a string vibration generated based on the performance of the electronic musical instrument. , Sounding / muting is repeated. For this reason, when the live musical sound or vibration is attenuated, the synthesizer sound is muted, so that there is a problem that the sounding of the synthesizer sound cannot be continued as desired by the player.

[0006] Therefore, when a live musical tone and a synthesizer sound are mixed and played, the player cannot freely play the musical instrument while the synthesizer sound is sustained. It was not possible to freely enjoy the mixed performance of the music and the live musical tones of the performers.

For example, in a guitar synthesizer,
Based on the string vibration caused by the plucked string, the synthesizer sound is generated by the tone of "piano" at the same pitch as the pitch of the raw musical tone. In this case, when the open string of the first string is plucked, a raw musical tone having a pitch of “E” is generated, and a synthesizer sound of the same pitch is generated in the tone of “piano”. Become. That is, a string vibration is generated by plucking the open string of the first string, so that a raw musical tone and a synthesizer sound of a "piano" tone are generated.

When the string vibration is attenuated, the raw musical tone and the synthesizer sound of the tone of the "piano" are muted.

Therefore, irrespective of the attenuation of the string vibration, "E"
Since the synthesizer sound of the "piano" tone cannot be sustained at the pitch of "1", the synthesizer sound of the "piano" tone of the pitch "E" can be freely used as the raw musical tone played by the performer. Could not overlap.

[0010] Further, "E" is given by the plucking of the first open string.
When the third musical fret of the first string is pressed and plucked in a state where the raw musical tone of the pitch "p" and the synthesizer sound of the tone of "piano" are produced, the raw musical tone of the pitch "G" and A synthesizer sound having a tone of “piano” is generated.
At this time, in the synthesizer sound of the tone of “piano” having the pitch of “E”, the string vibration of the open string of the first string is rapidly attenuated, and the string shifts to the string vibration of the pitch of “G”. The sound will be muted.

Therefore, in the state where the synthesizer sound of the tone of "piano" having the pitch of "E" is produced, the first string cannot produce the raw musical tone of the pitch other than "E". .

The present invention has been made in view of the above-mentioned problems of the prior art, and an object of the present invention is to make it possible to arbitrarily maintain the generation of electronically generated musical tones. The performance of electronic musical instruments with an increased degree of freedom in performing by the performer by allowing any musical tone generated based on the performance of the musical instrument by the player to be arbitrarily superimposed on the electronically generated musical tone. It is intended to provide a data processing device.

[0013]

In order to achieve the above object, a performance data processing device for an electronic musical instrument according to the present invention provides a musical tone for electronically generating / muting a musical tone based on a musical tone generated by playing the musical instrument. Generating means, means for outputting a musical tone generated by the musical instrument performance, means for outputting a musical tone generated by the musical sound generating means, and designating one of a first performance mode and a second performance mode. When the first performance mode is designated by the mode designating means and the mode designating means, the tone generation by the tone generating means and the silencing of the tone being generated by the tone generating means are performed based on the tone generated by the musical instrument performance. The second tone generation mode is controlled so as to generate a new tone by the tone generating means based on the tone generated by playing the musical instrument when the second performance mode is designated. As well as prohibiting the mute of a musical tone in generation at the time specifying the second play mode is obtained by adapted and control means for controlling to output the musical tone generated by the musical instrument playing.

[0014]

The first performance mode and the second performance mode can be arbitrarily specified by the mode specifying means.

When the first performance mode is designated, the musical sound is generated / muted by the musical sound generating means based on the musical sound generated by the musical instrument.

Therefore, in the case of the first performance mode, the tone generated by the tone generating means is started to be generated when the tone is generated, and is muted in accordance with the attenuation thereof. Pronunciation is not sustained.

When the second performance mode is designated, a new tone is not generated by the tone generator based on the tone generated by the musical instrument. On the other hand, since the tone being generated by the tone generating means is not muted when the second performance mode is designated, the tone being generated by the tone generating means is maintained. .

[0018]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS A performance data processing apparatus for an electronic musical instrument according to the present invention will be described below in detail with reference to the drawings.

FIG. 1 is a block diagram of a guitar synthesizer provided with an electronic musical instrument performance data processing apparatus according to an embodiment of the present invention.

The guitar synthesizer 10 is configured to control the overall operation using a central processing unit (CPU) in the performance data processing unit 12.
The performance data processing unit 12 includes a CPU, a read-only memory (ROM) storing a predetermined program for controlling the entire operation, and a later-described program required for execution of the program by the CPU. A random access memory (RAM) is provided as a working area in which various register groups are set, and the operation is controlled by the CPU and signals are input / output.

The guitar synthesizer 10 has the first to sixth strings (hereinafter, strings are referred to as “channels”, and string numbers are referred to as “channel numbers”.
The first string is channel number 1. And a guitar section 14 for generating a string signal based on the plucking of each channel by the player.

The string signal output from the guitar section 14 is subjected to a trigger on (plucking off) / trigger off (attenuation) and a pitch for each channel in the performance detecting section 16 based on the magnitude or change. Is detected and processed in the performance data processing unit 12.

The performance data processing section 12 outputs to the tone generator section 18 the channel number of the channel that has been triggered on and the note number indicating the pitch when the trigger is on, and turns off the trigger when the trigger is off. The note number indicating the channel number and the pitch that has been output is output.
The tone generator 18 generates / stops a tone signal based on these data.

The tone signal generated in the tone generator 18 is mixed in the mixer 20 with a string signal based on the performance of the guitar 14, amplified via the amplifier 22, and based on the performance of the guitar 14. Raw music and sound source section 18
Is emitted from the speaker 24 into the space.

Further, a hold type indicating a type of hold, which will be described later, is set for the performance data processing unit 12 by operating an operation element provided on the setting unit 26, and an on / off operation of the hold pedal 28 is performed. By holding
On / hold off is set.

Here, "hold" means a state in which silencing of the synthesizer sound is prohibited and sound emission of the synthesizer sound is continued despite the trigger being turned off.

As the hold type, types 1 to 3 are set, and each type will be described below.

Type 1 does not mute the synthesizer sound based on the performance of the channel when the channel is triggered off when the channel is held on, but the channel is newly triggered on. Then, the synthesizer sound currently being sounded is muted, and a synthesizer sound is generated based on a new trigger-on.

In the type 2, when the hold pedal 28 is turned on, only the synthesizer sound of the channel being sounded is held. That is, the channel that was sounding at the moment when the hold pedal 28 was turned on is held at the pitch.

Further, after the hold pedal 28 is turned on and the hold pedal 28 is turned off, including the channel which was not sounding when the hold pedal 28 was turned on, even if the trigger is turned on, The synthesizer sound is not generated at all based on the trigger on.
That is, for all the channels, from the time the hold is turned on until the time the hold is turned off, even if the trigger is turned on, no synthesizer sound is generated based on the trigger on.

Accordingly, it is possible to hold a chord or a bass sound produced by the synthesizer sound and play a live musical tone with the chord or bass sound as a backing.

Type 3 is similar to type 2 in that the hold
When the pedal 28 is turned on, the hold is applied only to the synthesizer sound of the channel being sounded. That is, the channel that was sounding at the moment when the hold pedal 28 was turned on is held at the pitch.

The point that Type 3 differs from Type 2 is that the channel that was not held, that is, the hold pedal 2
When a trigger is turned on for a channel that was not sounding at the time when the switch 8 was turned on, a synthesizer sound is generated based on the trigger on even if the channel remains in the hold-on state.

Therefore, only the synthesizer sound of a specific channel is held, and the other channels are stored in the guitar unit 1.
Based on the trigger on / trigger off by the performance of No. 4, the synthesizer sound can be sounded / silenced.

The RAM in the performance data processing section 12 is provided with a register described in detail below. In addition,
In the following description, the contents (data and the like) of each register are represented by the same label name unless otherwise specified.

(1) type (hold type) This register is a register for storing a hold type set by operating an operation element provided in the setting unit 26.

When type 1 is set, "1" is stored. When type 2 is set, "2" is stored.
When type 3 is set, "3" is stored.

(2) hold_flg (hold flag) This register is a flag indicating a hold state for each channel. When "1" stands, the channel is held, and when "0", the channel is not held.

(3) on_flg (on flag) This register is a flag indicating a string vibration state for each channel. When "1" stands, it indicates the trigger on state of the channel (the state from the plucking to attenuation of the channel), and when it is "0", the trigger off state (state where the channel is attenuated). Is shown.

(4) on_No. (On number) This register indicates the pitch (note number) of the last note-on for each channel.

(5) off_No. (Off number) This register indicates the pitch (note number) of the last note-off in the hold state for each channel.

(6) ch (channel number) This register indicates the channel number of the channel that has been triggered on / off.

(7) note_No. (Note number) This register indicates the note number that has been triggered on / off.

In the above configuration, the operation and operation of the guitar synthesizer will be described with reference to the flowcharts shown in FIGS.

In this guitar synthesizer, the hold type is set by the setting unit 26 by a known technique, and the hold on / off operation is performed by operating the hold pedal 28 on / off.
Hold-off is set. When the hold pedal 28 is turned on, the hold pedal on routine shown in FIG. 2 is executed. When the hold pedal 28 is turned off, the hold pedal off shown in FIG. -The routine will be executed.

Further, the performance detecting section 16 is formed by a known technique.
Trigger on / off based on the performance of the guitar unit 14
Trigger off is detected. When the trigger on is detected, the trigger on routine shown in FIG. 4 is executed, and when the trigger off is detected, the trigger off routine shown in FIG. 5 is executed.

First, when the hold pedal 28 is turned on and the hold pedal-on routine shown in FIG. 2 is started, in step S202, the type of the hold type is determined by operating the setting unit 26. Is set. That is, the type set in the RAM of the performance data processing unit 12 is read to make a determination.

If the result of determination in step S202 is that the hold type is "type 1: type = 1" or "type 2: type = 2", the flow proceeds to step S204.

In step S204, hold_flg of all the channels is set to "1" to indicate that all the channels are held. When the processing in step S204 is completed, the hold pedal
The ON routine will end.

On the other hand, if the result of determination in step S202 is that the hold type is "type 3: type = 3", the flow proceeds to step S206.

In step S206, "1" is set to hold_flg of the channel in the trigger-on state. At this time, whether or not each channel is in the trigger-on state is determined by reading on_flg of each channel. That is, the channel in which on_flg is set to “1” is in the trigger on state,
Since the channel whose flg is set to “0” is in the trigger-off state, only the channel whose on_flg is set to “1” holds the hold_of the channel.
Set "1" to flg.

At this time, the channel in the trigger-on state is sounding, and the channel in the trigger-off state is non-sounding, so that only the sounding channel is held.

When the processing in step S206 is completed, the hold pedal-on routine ends.

Next, the hold pedal that was turned on
When the pedal 28 is turned off, the hold pedal off routine shown in FIG. 3 is started.

In the hold pedal off routine, first, in step S302, hold_flg of all channels is set to "0". When the process in step S302 ends, the process proceeds to step S304.

In step S304, "1" is set for the channel, and preparations are made for repeating the processing from step S306 on for all channels from channel 1 to channel 6. When the process of step S304 ends,
Proceed to step S306.

In step S306, o of each channel is
It is determined whether or not n_flg is “0”. This determination result is affirmative (Y), that is, on_
If flg is “0”, the process proceeds to step S308.

In step S308, step S306
Of the channel for which on_flg is determined to be “0” at off_No. Notes stored in
The synthesizer sound of the pitch indicated by the number is muted. That is, the synthesizer sound, which has been sounded even though the string vibration is attenuated during the hold-on and the trigger is turned off, is muted. Step S30
When the process of No. 8 is completed, the process proceeds to step S310.

The result of the determination in step S306 is negative (N), that is, "1" is set in on_flg of the channel.
Also jumps to step S310. In other words, when “1” is set in on_flg of the channel, the channel is in the trigger-on state, and thus silencing is prevented in step S308.

In step S310, step S306
Then, it is determined whether or not the channels subjected to the processing in step S308 are six channels. That is,
It is determined whether or not the channel is set to “ch = 6”.

If the determination result of step S310 is negative,
That is, if “ch = 6” is not set, the process proceeds to step S312, the channel is incremented by “1”, the process returns to step S306, and steps S306 to S310 are repeated. Thus, 1
The processes of steps S306 and S308 are performed on all the channels from channel 6 to channel 6, and the string vibration is attenuated during hold-on and the trigger
The synthesizer sounds of all the channels for which the sound is maintained despite being turned off are muted.

On the other hand, if the judgment result in the step S310 is affirmative, that is, if the channel is set to “ch = 6”, the steps S306 and S308 are performed for all the channels from the first channel to the sixth channel. Since the processing has been performed, the hold pedal off routine ends.

When the performance detection section 16 detects that the trigger is turned on based on the performance of the guitar section 14, FIG.
Is started. First, in step S402, the CPU of the performance data processing unit 12 reads the channel number and the note number that are turned on, and sets the channel number to ch. And note the note number
_No. Set to. When the process of step S402 ends, the process proceeds to step S404.

In step S404, it is determined whether "1" is set in hold_flg of the trigger-on channel. That is, it is determined whether or not the channel is in the hold state. If this determination result is negative, that is, “hold_flg = 0: not in the hold state”, the process proceeds to step S406.

The case where “hold_flg = 0: not in hold state” means that the hold pedal 28 is
When the switch is off (step S302), even if the hold pedal 28 is on, the hold
This corresponds to the case where type 3 is set as the type and there is a trigger-off channel when the pedal is on (step S206).

In step S406, it is determined whether or not "1" is set in on_flg of the channel. This judgment result is affirmative, that is, “on_flg = 1:
If it is "trigger on state", step S408
Proceed to.

In step S408, the on_No. Mute the synthesizer sound of the pitch indicated by the note number stored in. That is, for the channel, the synthesizer sound that was sounded before the trigger-on is muted, and preparation for sounding of a new synthesizer sound corresponding to the trigger-on is made. When the processing in step S408 ends, the process proceeds to step S410.

In step S410, note_No.
The synthesizer sound of the pitch indicated by the note number stored in the note is generated. Therefore, for the channel, after the synthesizer sound that was sounded before the trigger-on is muted, the synthesizer sound corresponding to the trigger-on is actually sounded. Upon completion of the process in the step S410, the process proceeds to a step S412.

In step S412, note_No.
The note number stored in the on_No. To memorize. Therefore, on_No. Is constantly updated to the note number of the synthesizer sound last pronounced for the channel. Step S
Upon completion of the process of S412, the process proceeds to Step S414.

In step S414, "1" is set to on_flg of the channel to indicate that the channel is in the trigger-on state, and the trigger-on routine ends.

Therefore, if the channel on which the trigger is turned on is not in the hold state, and the synthesizer sound is being sounded before the trigger is turned on, the synthesizer sound being sounded is muted and then the trigger is turned on. Will produce a new synthesizer sound based on.

On the other hand, when the result of the determination in step S406 is negative, that is, when "on_flg = 0: trigger off state" (when the hold pedal 28 is pedal-off (step S302)) and when the hold pedal 28 Is set as the hold type even if the pedal is turned on, and there is a trigger-off channel when the pedal is turned on (step S
In step 206)), the process jumps to step S410, and the processes in steps S408 to S414 are performed.

That is, if the channel is “on_flg =
0: trigger off state ", there is no need to mute the synthesizer sound of the channel. Therefore, the process jumps to step S410 without performing the process of step S408.

Therefore, when the hold pedal 28 is
Even if it is on, if type 3 is set as the hold type and there is a trigger-off channel when the pedal is on (step S206),
A new synthesizer sound is generated based on the trigger on. For this reason, one of the functions of type 3 is that "the channel which was not held, that is, the channel which was not sounding at the time when the hold pedal 28 was turned on, is turned on when the trigger is turned on. A synthesizer sound is generated based on the trigger-on state ".

Further, the result of the determination in step S404 is affirmative, that is, the channel concerned is "hold_flg = 1: 1:
If it is in the "hold state", the process proceeds to step S416.

The case of “hold_flg = 1: hold state” means that the hold pedal 28 is
When the switch is turned on and type 1 and type 2 are set as the hold type (step S204),
This corresponds to the case where the hold pedal 28 is turned on, the type 3 is set as the hold type, and there is a trigger-on channel when the pedal is turned on (step S206).

In step S 416, the type of the hold type is determined by operating the setting unit 26. That is, the RA of the performance data processing unit 12
The type set to M is read.

As a result of the determination in step S416, if the hold type is set to "type 1: type = 1", the process proceeds to step S408, and the process proceeds to step S408.
Steps 408 to S414 are performed.

That is, this state shows a case where the hold type is set to type 1 by the setting unit 26, and the hold pedal 28 is pedal-on and hold-on. Therefore, at this time, the synthesizer sound corresponding to the trigger-on is generated after the synthesizer sound generated before the trigger-on is muted for the channel whose trigger is turned on.

For this reason, one of the functions of the type 1 described above is that “when the channel is newly triggered on, the synthesizer sound currently being sounded is muted, and the synthesizer sound based on the new trigger on is generated. It pronounces. "

On the other hand, if the hold type is “type 2: type = 2” or “type 3: type = 3” as a result of the determination in step S 416,
Proceed to step S414. That is, the channel is on
_Flg is set to “1” and the channel is triggered.
This indicates only the ON state, and terminates this trigger-on routine.

Accordingly, the hold type is set to type 2 or type 3 by the setting section 26, and the hold type is set.
When the pedal 28 is pedal-on and hold-on, for the channel in the hold state,
Even if the trigger is turned on, a new synthesizer sound corresponding to the trigger on will not be sounded.

At this time, in the case of type 2, step S
At 204, when all the channels are set to "hold_flg = 1" when the hold pedal 28 is pedal-on, even if the trigger is turned on for all the channels, a new synthesizer sound corresponding to the trigger-on is generated. It will not be pronounced.

For this reason, in the type 2, one of the functions described above, including the channel that was not sounding at the time when the hold pedal 28 was turned on, including the channel that was not sounding until the hold pedal 28 was turned off, Does not produce any synthesizer sound based on the trigger on even if the trigger is turned on, that is, for all channels, from the time the hold is turned on until the time the hold is turned off, -Even if the trigger is turned on, the synthesizer sound will not be generated at all based on the trigger-on. "

On the other hand, in the case of type 3, step S2
At 06, only the channel whose trigger is on when the hold pedal 28 is on is "hold_fl".
g = 1 ”, so for such a trigger-on channel, even if the trigger is turned on,
A new synthesizer sound corresponding to the trigger-on will not be sounded. However, in step S206, for the channel that is in the trigger-off state when the hold pedal 28 is turned on, a new synthesizer sound corresponding to the trigger-on is generated in step S410 as described above. Become

For this reason, in the type 3, one of the above-mentioned functions, that is, “the channel not held,
That is, when a trigger is turned on for a channel that was not sounding at the time when the hold pedal 28 was turned on, a synthesizer sound is generated based on the trigger on even if the channel remains in the hold-on state. " The function can be realized.

Next, when the performance detector 16 detects that the trigger is turned off based on the performance of the guitar unit 14, FIG.
Is started. First, in step S502, the CPU of the performance data processing unit 12 reads the channel number and the note number whose trigger has been turned off, and sets the channel number to ch. And note the note number
_No. Set to. When the process in step S502 ends, the process proceeds to step S504.

In step S 504, it is determined whether “1” is set in hold_flg of the trigger-off channel of interest. That is, it is determined whether or not the channel is in the hold state. This determination result is negative, that is, the channel is “hold
_Flg = 0: not in hold state ”, the process proceeds to step S506.

The case where "hold_flg = 0: not in the hold state" means that the hold pedal 28 has been turned off as described above (step S30).
2) and the case where type 3 is set as the hold type even when the hold pedal 28 is on, and a note-off channel exists when the pedal is on (step S206). .

In step S506, note_No.
Will be silenced at the pitch indicated by the note number stored in the. That is, since the channel is not in the hold state, the synthesizer sound being generated is muted based on the trigger off without maintaining the synthesiser sound being generated in the channel.

When the processing in step S506 is completed, the flow advances to step S508.

In step S508, "0" is set to on_flg of the channel to indicate that the channel is not in the trigger-on state.
End the routine.

Therefore, when the channel whose trigger is turned off is not in the hold state (when the hold pedal 28 is turned off (step S302)), even if the hold pedal 28 is turned on, the hold Type 3 is set as the type and the pedal
If there is a channel in the trigger-off state at the time of turning on (step S206), the synthesizer sound being generated in the channel is muted based on the trigger-off without being continued.

On the other hand, the determination result of step S506 is affirmative, that is, the channel is “hold_flg = 1: 1”.
If the state is “hold state”, the process proceeds to step S510. In this case, as described above, the hold pedal 2
8 is turned on and type 1 and type 2 are set as hold types (step S
204) and the case where the hold pedal 28 is pedal-on, type 3 is set as the hold type, and there is a channel whose trigger is on when the pedal is on (step S206).

In step S510, the on_No. The note number stored in
No. To memorize. Thus, the hold pedal 28
When the pedal is turned off and hold off is set, preparations are made to mute the synthesizer sound that is sounding on the channel. That is, the synthesizer sound to be silenced when the hold-off is performed is stored. When the processing in step S510 ends, the process proceeds to step S508.

In step S508, "0" is set to on_flg of the channel to indicate that the channel is in the trigger off state.
End the routine.

Therefore, when the trigger-off channel is in the hold state (when the hold pedal 28 is turned on and the type 1 and type 2 are set as the hold type (step S204).
If the hold pedal 28 is turned on and the hold type is set to type 3 and there is a trigger-on channel when the pedal is turned on (step S206), Since the mute of the synthesizer sound being sounded is not performed, the synthesizer sound being sounded can be sustained and sounded in the channel regardless of the trigger off.

Therefore, when the "hold pedal 28" which is a function of the type 2 and the type 3 is turned on, the hold is applied only to the synthesizer sound of the channel being sounded. The channel that was sounding at the moment when it was turned on is held at that pitch. "

Note that the above-described embodiment has the following modifications.

(1) As a guitar playing method, there is a special playing method such as a chalking playing method or a tremolo arm playing method, as well as simply picking a string or plucking a string with a finger.

In the above embodiment, the processing corresponding to the frequency change of the string vibration after the string repelling by the special performance technique is not particularly described, but the processing corresponding to the frequency change of the string vibration due to the special performance technique is described. Alternatively, the pitch of the synthesized synthesizer sound may be changed.

In this case, especially when the hold type is the type 2 or the type 3 and the hold is turned on, the pitch of the synthesizer sound is not changed regardless of the change of the frequency of the string vibration. May be fixed.

(2) In the above embodiment, only one synthesizer sound is emitted corresponding to one string, but two or more synthesizer sounds may be emitted simultaneously.

At this time, especially when the hold type is type 2 or type 3, hold may be set for any of the synthesizer sounds, or selective for each synthesizer sound. May be set to hold.

In the case where the hold setting can be selectively performed for each synthesizer sound. For example, when two synthesizer sounds are generated simultaneously, one synthesizer sound is maintained. Thus, the performance by the other synthesizer sound can be repeated.

[0106]

Since the present invention is configured as described above, it has the following effects.

A musical tone generating means for electronically generating / muting a musical tone based on a musical tone generated by the musical instrument performance, a musical tone generated by the musical instrument performance, and a musical tone generated by the musical tone generating means are output. Means for designating one of the first performance mode and the second performance mode; and, when the first performance mode is designated by the mode designating means, musical instrument playing. Is controlled by the tone generator to generate a tone based on the tone generated by the tone generator and to mute the tone being generated, and when the second performance mode is designated,
The generation of a new musical tone by the musical tone generating means based on the musical tone generated by the musical instrument performance and the silencing of the musical tone being generated at the time when the second performance mode is designated are prohibited, and the musical tone generated by the musical instrument performance is suppressed. Since the control means for controlling the output is provided, the first performance mode and the second performance mode can be arbitrarily specified by the mode specifying means.

When the first performance mode is designated, the tone generation / generation means can generate / mute the tone based on the tone generated by the musical instrument performance.

Therefore, in the first performance mode, the tone generated by the tone generator is muted in accordance with the decay of the tone generated by playing the musical instrument, and the tone generation by the tone generator is continued. That is not done. For this reason, an effect similar to that of a conventional electronic musical instrument such as a guitar synthesizer can be obtained, and can be selected when there is no need to maintain the synthesizer sound.

When the second performance mode is designated, no new tone is generated by the tone generator based on the tone generated by the musical instrument. On the other hand, since the tone generation unit is configured not to mute the tone being generated by the tone generation unit when the second performance mode is designated, the tone generation unit can maintain the tone generation of the tone being generated.

[0111] Therefore, the synthesizer sound can be arbitrarily sustained, so that a live musical tone generated based on the performance of the musical instrument by the player can be arbitrarily superimposed on the synthesizer sound and played. Can greatly improve the degree of freedom of performance.

[Brief description of the drawings]

FIG. 1 is a block diagram showing a guitar synthesizer including a performance data processing device for an electronic musical instrument according to the present invention.

FIG. 2 is a flowchart showing a hold pedal on routine.

FIG. 3 is a flowchart showing a hold pedal off routine.

FIG. 4 is a flowchart showing a trigger-on routine.

FIG. 5 is a flowchart showing a trigger off routine.

[Explanation of symbols]

 Reference Signs List 10 guitar synthesizer 12 performance data processing section 14 guitar section 16 performance detection section 18 sound source section 20 mixing section 22 amplifier 24 speaker 26 setting section 28 hold pedal

──────────────────────────────────────────────────続 き Continuation of the front page (72) Yoshiomi Yamazaki, inventor Roland Co., Ltd. 3-7-1, Shinkitajima, Suminoe-ku, Osaka-shi, Osaka (56) Reference JP-A-63-239493 (JP, A) JP-A 63-137295 (JP, A) JP-A-2-297596 (JP, A) JP-A 2-179687 (JP, A) JP-A 63-109996 (JP, U) JP-A 1-164494 (JP, A) JP, U) (58) Fields investigated (Int. Cl. ⁷ , DB name) G10H 1/00 G10H 1/18 G10H 3/18

Claims (1)

(57) [Claims] A musical tone generating means for electronically generating / muting a musical tone based on a musical tone generated by playing a musical instrument; a musical tone generated by playing the musical instrument; and a musical tone generated by the musical tone generating means. Means for outputting any one of the first performance mode and the second performance mode; and, when the first performance mode is specified by the mode specification means, The musical tone is generated by the musical tone generating means on the basis of the musical tone generated by playing the musical instrument, and the generated musical tone is muted.If the second musical performance mode is designated, the musical tone is generated by the musical instrument. The generation of a new musical tone by the musical tone generating means and the silencing of the musical tone being generated at the time when the second performance mode is designated are prohibited, and Control means for controlling output of the generated musical sound.