JPH02181795A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To allow the synthesis of musical tones with high controllability by delaying the sound production start of the musical tone signal in one of 1st and 2nd musical tone signal generating means for the other and variably controlling the delay time thereof according to the pitch of the musical tones to be generated. CONSTITUTION:The musical tone signals corresponding to the common assigned pitch are generated from the 1st, 2nd musical tone signal generating means 20, 21, by which an ensemble effect is attained. The delay ensemble effect is obtd. by delaying the generation start of the musical tone signal of one of the 1st, 2nd musical tone signal generating means 20, 21 from the other by a delay key on and cross fade control circuit 22. The delay time of the production start of the musical tone signal is variably controlled according to the pitch of the musical tones to be generated by a time setting and key scaling means 29. Various kinds of the control to homogenize the delay feel according to the pitch and conversely to largely vary the delay feel according to the pitch are thus executed.

Description

DETAILED DESCRIPTION OF THE INVENTION [Field of Industrial Application] The present invention relates to an electronic musical instrument that is equipped with two musical tone signal generation circuits that use different musical tone signal generation methods, and that combines musical tone signals generated by both.

[Conventional technology]

It is equipped with two musical tone signal generation circuits with different musical tone signal generation methods, and generates musical tone signals from each of the musical tone signal generation circuits at a common pitch in response to the same nominal tone selected by a performer, etc. An electronic musical instrument that generates and combines picture frame sound signals is shown in Japanese Patent Laid-Open No. 102296/1983. Therefore, the first musical tone signal generation circuit includes a memory that stores musical waveforms of multiple periods corresponding to various tones, and generates musical tone signals by reading out the musical waveforms of multiple periods corresponding to the selected tone. do.

The second musical tone signal generation circuit generates a musical tone signal corresponding to the selected timbre by executing a frequency modulation type musical tone synthesis calculation. In the rising part of a sound where the musical sound waveform changes complexly, a musical tone signal is generated from the first musical tone signal generating circuit, and in the subsequent sustaining part, a musical tone signal is generated from the second musical tone signal generating circuit, and both of them are generated. By combining these, one musical tone signal is synthesized.

[Problem to be solved by the invention]

However, in the conventional method, the musical tone signal of the picture frame tone signal generation circuit was simply divided into the rising part and the sustaining part of the sound, so it lacked controllability in terms of musical sound synthesis.
The performance effect obtained was also monotonous.

This invention was made in view of the above points.

In an electronic musical instrument that synthesizes musical tones by combining the output musical tone signals of a plurality of musical tone signal generation circuits having different musical tone signal generation methods, it is possible to perform musical tone synthesis with rich controllability, and to
The purpose is to enrich performance effects.

Specifically, the present invention realizes a delayed overlap effect in which the start of the musical tone signal in one of the first and second musical tone signal generation means is delayed compared to the other, and the delay time is adjusted to the pitch of the musical tone to be generated. The purpose is to perform key scaling control that is variably controlled depending on the situation.

Further, in the present invention, one of the first and second musical tone signal generating means first generates a musical tone signal, and then switches to the other to generate the musical tone signal, and gradually attenuates the preceding musical tone signal during the switching period. At the same time as performing cross-fade control to gradually raise the following musical tone signal,
The purpose of the present invention is to perform key scaling control in which the time of the switching period is variably controlled in accordance with the pitch of the musical tone to be generated.

(Means for Achieving the Object) An electronic musical instrument according to the present invention has pitch specifying means for specifying the pitch of a musical tone to be generated, and a pitch corresponding to the pitch specified by the pitch specifying means. A first musical tone signal generation means for generating a musical tone signal, and a musical tone signal generation method different from the first musical tone signal generation means, which generates a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means. a second musical tone signal generation means that generates a musical tone signal according to the method; a delay means that delays the start of generation of the musical tone signal in one of the first and second musical tone signal generation means than the other; and a delay time in the delay means that should be generated. It is equipped with key scaling means that performs variable control according to the pitch of musical tones.

The electronic musical instrument according to the present invention further includes a pitch specifying means for specifying the pitch of a musical tone to be generated, and a first musical tone signal for generating a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means. and a second musical tone that generates a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means according to a musical tone signal generation method different from that of the first musical tone signal generating means. One of the signal generating means and the first and second musical tone signal generating means first generates a musical tone signal, and then switches to the other one to generate the musical tone signal,
A cross-fade control means for controlling a preceding musical tone signal to gradually attenuate and a following musical tone signal to gradually rise during a switching period; and key scaling means for variable control according to the pitch of the pitch.

[For production]

Musical tone signals corresponding to a common specified pitch are generated from the first and second musical tone signal generating means, thereby realizing a duet effect. In that case, the delay means
By delaying the start of sounding the musical tone signal in one of the second musical tone signal generation means than in the other, it is possible to realize a delayed overlap effect. The key scaling means variably controls the delay time in the delay means in accordance with the pitch of the musical tone to be generated, thereby making it possible to control the delay time in accordance with the pitch. This makes it possible to perform various types of control, such as making the sense of delay homogenized depending on the pitch, or conversely, making the sense of delay significantly different depending on the pitch.

On the other hand, by first generating a musical tone signal from one of the first and second musical tone signal generating means and then switching to the other to generate the musical tone signal, it is possible to share the musical tone signal according to the generation stage. In this case, smooth switching of musical tone signals is achieved by performing cross-fade control that gradually attenuates the preceding musical tone signal and gradually raises the following musical tone signal during the switching period. According to the present invention, key scaling control is performed in which the time of the switching period in cross-fade control, that is, the cross-fade time, is variably controlled in accordance with the pitch of a musical tone to be generated. Thereby, it is possible to homogenize the switching feeling of musical tone signals depending on the pitch, or to make the switching feeling greatly different depending on the pitch. Various controls can be performed.

〔Example〕

Hereinafter, embodiments of the present invention will be described in detail with reference to the accompanying drawings.

(Explanation of the overall configuration of the embodiment) In FIG. 1, a keyboard 10 is equipped with a plurality of keys for specifying the pitch of a musical tone to be generated, and a key switch circuit consisting of a key switch corresponding to each key is installed. include. The operation panel section 11 includes a timbre selector 12 for selecting and controlling timbres, and also includes various operators such as volume setting and control operators, pitch control operators, and effect selection operators.

In this embodiment, key depression/key release detection scanning processing for each key on the keyboard 10, on/off operation detection scanning processing for each operator, switch, selector, etc. on the operation panel section 11, sound generation assignment processing for pressed keys, etc. Various processes are executed according to software programs by a microcomputer. The microcomputer section includes a CPU (Central Processing Unit) 13, a program and data ROM (Read Only Memory) 14, and a data and working RA.
M (random access memory) 15 is included.

Various data based on the sound generation assignment processing results of the pressed keys and the on/off operation detection processing results of each operator, switch, selector, etc. on the operation panel section 11 are stored in the interface 1.
6 to the tone generator section 17. Examples of various data supplied to the tone generator section 17 via the interface 16 include a key code KC indicating the key assigned to each sound generation channel, and a key-on signal indicating whether or not the suppression of that key is sustained. KON, a key-on pulse KONP corresponding to the rise of the key-on signal KON (at the start of key depression), and the key-on signal KON.
Key-off pulse KOFP corresponding to the falling edge of (when key is released)
and various timbre end axes for realizing the selected timbre.

The tone generator section 17 includes a buffer register 18 for temporarily taking in various data provided via the interface 16, and a timing control circuit 19 for generating timing signals and clock pulses for controlling various operations.
, two musical tone signal generation circuits 20 and 21 with different musical tone signal generation methods, a delay key-on and cross-fade control circuit 22, an envelope generation section 23, multipliers 24 and 25 for applying an envelope, and a multiplier 1. 24
．． Both musical tone signal generation circuits 20.
The adder 26 adds the output musical tone signals of 21. The output of the adder 26 is converted into an analog signal by a digital/analog converter 27 and then provided to a sound system 28 .

The first and second musical tone signal generating circuits 20, 21 each digitally generate musical tone signals having a pitch corresponding to the key code KC given via the buffer register 18, with a tone corresponding to the tone color information. In general, each musical tone signal generation circuit 20, 21 nominally generates a musical tone signal of a common tone, but the actual tone varies depending on the difference in the musical tone signal generation method of both, and the time of the tone The presence or absence of the change and its mode may be determined as appropriate, and in any case, the quality of the generated sound is determined as appropriate between the two musical tone signal generation circuits 20 and 21. In addition, each musical tone signal generation circuit 20.2
1, each generates a musical tone signal having a pitch corresponding to a common designated pitch according to the key code KC, but between the picture frame tone signal generation circuits 20 and 21, an appropriate pitch deviation or pitch is generated as necessary. Alternatively, a scale shift may be applied. For example, tuning, transposition, vibrato, glide, pitch control, etc. may be controlled independently in each musical tone signal generating circuit 20, 21.

As an example, the musical tone signal generation method in the first musical tone signal generation circuit 20 includes a storage means that stores in advance waveform data of a plurality of musical waveforms corresponding to various tones, and the waveform of the musical sound waveform corresponding to the selected tone. Data is read from this storage means and a musical tone signal is generated based on the read waveform data, and this method is abbreviated as "rPCM method" for convenience. Further, the musical tone signal generation method in the second musical tone signal generation circuit 21 generates a musical tone signal by executing a frequency modulation type musical tone synthesis operation,
For convenience, this method is abbreviated as "rFM method."

The delay key-on and cross-fade control circuit 22 includes:
This is for performing "delay key-on" control and "cross-fade" control in accordance with the combination mode when performing musical tone synthesis by combining the musical tone signals generated by the musical tone signal generating circuits 20, 21.

"Delay key on" means that a musical tone signal corresponding to a specified pitch is transmitted to the first and second musical tone signal generation circuits 20 and 21.
When a duet effect is realized by delaying the start of sound generation of the musical tone signal in one of the first and second musical tone signal generation circuits 20.21 compared to the other, the duet effect is delayed and realized. It is to be.

"Cross-fade" refers to a case where one of the first and second musical tone signal generation circuits 20.21 first generates a musical tone signal, and then switches to the other one to generate the musical tone signal.
This "crossfade" is a control that gradually attenuates the preceding musical tone signal and gradually raises the following musical tone signal during the switching period, and is performed in combination with "delay key on". By performing "crossfade" after "key-on", musical tone signals can be smoothly switched at any stage of sound generation.

Dividing the circuit elements in the delay key-on and cross-fade control circuit 22 by function, the delay time in "delay key-on" and the time length of the switching period in "cross-fade" (this will be referred to as cross-fade time) are set. time setting and key scaling control unit 2 for performing key scaling control that variably controls these times according to the pitch of the generated sound.
9, a state control unit 30 for controlling states in delay key-on and cross-fade control, and a cross-fade waveform creation unit 31 for creating weighting waveforms for cross-fade.

In the embodiment described below, the functions of the one-hour setting and key scaling control section 29 are realized by partially sharing the hardware in the first musical tone signal generation circuit 20. For more information,
The time counting hardware circuit in the time setting and key scaling control section 29 is shared with the phase address counting hardware circuit in the first musical tone signal generation circuit 20.

The envelope generating section 23 includes each musical tone signal generating circuit 20.
Envelope signals PEG and FEG are generated to set the amplitude envelope of the musical tone signal outputted from 21. This envelope No. 471 PEG.

The FEG is a normal envelope signal that responds to key presses and key releases, and is weighted by the waveform for cross-fade generated from the cross-fade waveform creation section 31 of the delay key-on and cross-fade control circuit 22. be.

(Description of Sound Generation Modes) There are, for example, the following five combination modes, that is, sound generation modes when performing musical tone synthesis by combining the musical tone signals generated by the musical tone signal generation circuits 20 and 21. For ease of understanding, typical examples of envelope signals PEG and FEG of each tone signal generation circuit 20, 21 in each sound generation mode are shown in FIG. This envelope signal PEG,F
Picture frame sound signal generation circuit 20.21 at a ratio according to the shape of EG
musical tone signals are mixed.

1) Simple mixed mode (Figure 2a) In the simple mixed mode, the PCM tone signal generation circuit 20
This is a mode in which the musical tone signal generation circuit 21 and the FM musical tone signal generating circuit 21 generate musical tone signals almost simultaneously. Achieve a normal duet effect. The abbreviation for this mode is MIX.

2) FM delay key-on mode (Fig. 2b) In the FM delay key-on mode, the PCM musical tone signal generating circuit 20 starts generating sound first, and then the FM musical tone signal generating circuit 2 starts generating sound.
1 is a mode in which the sound starts to be produced later than that, and the sounds are produced repeatedly thereafter.

Achieve a delayed duet effect. Variable control of delay time is possible. The abbreviation for this mode is FMD. 3) PC: M
Delay key-on mode (Fig. 2 C) In the PCM delay key-on mode, the FM tone signal generation circuit 21 starts producing sound first, the PCM tone signal generation circuit 20 starts producing it later, and then repeats. This is the mode in which the sound is played. Achieve a delayed duet effect. Variable control of delay time is possible. The abbreviation for this mode is PCMD.

4) FM delay key-on & crossfade mode (Fig. 2 d) In this mode, the PCM musical tone signal generation circuit 20 starts producing the sound first, and the FM musical tone signal generation circuit 21 starts producing the sound later. Along with this control to gradually raise the musical tone signal of the following FM musical tone signal generating circuit 21, the preceding musical tone signal generating circuit 20 of the PCM system
By performing control to gradually attenuate the musical tone signal, the effect of switching the sound generation is realized. Variable control of the delay time and variable control of the switching period, that is, the cross-fade time is possible. The abbreviation for this mode is FMDX.

5) PCM daylay key on & crossfade mode (
Fig. 2e) In this mode, the FM musical tone signal generation circuit 21 starts generating the sound first, the PCM musical tone signal generating circuit 20 starts generating the sound later, and the subsequent PCM musical tone signal is generated. By performing control to gradually raise the musical tone signal of the generation circuit 20 and gradually attenuate the musical tone signal of the preceding FM type musical tone signal generation circuit 21,
Achieve the effect of switching pronunciation. Variable control of the delay time and variable control of the switching period, that is, the cross-fade time is possible. The abbreviation for this mode is PCMDI.

(Description of Tone Color Information) An example of tone color information corresponding to one selected tone color is shown in FIG. 3. Such timbre information is stored in the data ROM 14 for each timbre, for example.
A tone corresponding to one tone selected by the tone selector 12 is read from the ROM 14 and provided to the tone generator section 17. The data included in the tone color information corresponding to one tone color will be explained below.

The sound generation mode data is data that specifies a sound generation mode, and specifies one of the five modes MIX-PCMDX.

The delay rate data DRATE sets the delay time in "delay key on" control.

The crossfade rate data XRATE sets the crossfade time in "crossfade" control.

The delay rate key scaling data DKSD is “
This data specifies key scaling characteristics when variable control (key scaling control) is performed on the delay time in "delay key on" control according to pitch.

Crossfade rate key scaling data XKSD
is data specifying key scaling characteristics when the cross-fade time in "cross-fade" control is variable controlled (key scaling control) according to the pitch.

As an example, the key scaling characteristic is "0%".

Four types are prepared: "25%J, r50%j, l1oo%". Key scaling data DKSD and XKS
D specifies one of them.

As a sound source in the PCM musical tone signal generation circuit 20, a waveform memory is used in which waveform data of a plurality of musical waveforms corresponding to various tones are stored in advance.
It is assumed that the multi-cycle waveform of the rising part of the sound and the multi-cycle waveform of the sustain part of the sound are stored in consecutive addresses.

In the tone parameters for the PCM tone signal generation circuit 20, the start address data SAD is data indicating the first address of a multi-cycle waveform at the rising edge of a sound. The repetition address data RAD is data indicating the first address of the multi-cycle waveform of the continuation part. The end address data EAD is data indicating the last address of the multi-cycle waveform of the continuation part. In the PCM musical tone signal generation circuit 20, the multi-cycle waveform of the rising part of the sound starting from the start address is read once, and then,
A musical tone signal is generated by repeatedly reading out the multi-period waveform of the continuation part stored between the repeat address and the end address.

In the tone parameters for the FM musical tone signal generation circuit 21, the algorithm and parameter data FMP
contains data specifying the calculation algorithm for frequency modulation calculation for musical tone synthesis as well as calculation parameter data such as modulation index.

Envelope parameter data PENV, FENV are
This is data for setting the characteristics of the envelope waveform signal in each musical tone signal generation circuit 20, 21.

(Explanation of key scaling characteristics) Figure 4 shows four types of key scaling characteristics "0%".

Examples of "r25%J, r50%J, rloo%" are shown. The horizontal axis is pitch, and the vertical axis is time.

The time DL is a time determined by the delay rate data DRATE or the crossfade rate data XRATE itself, and indicates, so to speak, a non-scaling time.

"0%" indicates that the time is DL for any pitch, that is, that no key scaling is applied.

"100%" means twice or 1/1 octave.
A property that results in a key scaling of time of 2 (i.e., a key scaling property where going up an octave makes the time 172 and going down an octave doubles the time)
It is.

“50%” is a key scaling characteristic that exhibits a slope that is approximately 1/2 of the slope of the “100%” key scaling characteristic.

“25%” is a key scaling characteristic that exhibits a slope that is approximately 1/4 of the slope of the “100%” key scaling characteristic.

A predetermined pitch is determined as a reference pitch RKC, and at that reference pitch RKC, scaling is 0 in any key scaling characteristic, that is, the time DL is as per the delay rate data DRATE or crossfade rate data XRATE without scaling. Each key scaling characteristic is determined as shown in FIG.

(PCM type musical tone signal generation circuit 20) Figure 5 shows the PCM
2 shows a detailed example of the musical tone signal generating circuit 2o of the system. Note that to simplify the explanation, the number of pronunciation channels is set to 1.
An example is shown below.

The PCM tone signal generation circuit 20 shown in FIG. 5 employs a pitch synchronization method in which the pitch of the tone to be generated and the sampling frequency are synchronized. Here, in order to perform pitch-synchronized musical tone signal formation, information called "P number" is used as an example. The "P number" is a number indicating the number of sample points in one cycle of a musical sound waveform having a desired musical frequency.

The P number memory 32 stores in advance the above-mentioned "P numbers" corresponding to the names of 12 notes in a predetermined standard octave. Of the key codes KC given from the buffer register 18, the note code NG indicating the note name is given to the P number memory 32, and the P number corresponding to the note code NG is read out. The note clock generation circuit 33 inputs a P number from the P number memory 32 and performs a branching operation according to this P number, thereby generating a node clock pulse NCK having a frequency corresponding to the name of the musical tone to be generated. Occur.

Of the key codes KC, an octave code ○C indicating an octave is input to the decoder 34 and decoded for each octave. The output of the decoder 34 is applied to the selection control inputs 5A-8D of the selector 35, and selects the octave data rlJ, '2J+r4'', r84 applied to the data inputs A-D of the selector 35. This octave rate data is numerical data corresponding to an octave-related frequency ratio, and a larger value corresponds to a higher octave.

Octave data O output from selector 35
RD is input to gate 36. This gate 36 operates when the note clock pulse NCK given from the note clock generation circuit 33 is u 1 u (at the time of pulse generation).
is enabled and outputs octave data ORD. Therefore, from the gate 36, octave data OR consisting of a numerical value corresponding to the octave of the key code KC is output.
D is repeatedly output in synchronization with the generation timing of the note clock pulse NCK corresponding to the note name of the key code KC. A musical tone frequency corresponding to the pitch of the key code KC is established by the value of the octave rate data ORD and the repetition frequency synchronized with the generation timing of the note clock pulse NCK.

Octave rate data output from gate 36 OR
D is applied to the adder 39 of the counter 38 via the A input of the selector 37. Selector 37 receives timing signal T
When 1 is II 171, the A input is selected, and when it is 00'', the B input is selected.

The counter 38 includes an adder 39 and a two-stage shift register 40 whose shift is controlled by a clock pulse φ.
and a gate 41.

The output of the adder 39 is given to a shift register 40, and the output of the shift register 40 is sent to the adder 3 via a gate 41.
9 other inputs.

As shown in FIG. 6, the clock pulse φ has twice the frequency of the timing signal T1, and the clock pulse φ has a frequency twice that of the timing signal T1.
performs time-division operation in two time slots, and performs double operation as a counter with different functions. That is, in a time slot in which the timing signal T1 is '1', the octave rate data RD given through the A input of the selector 37 is repeatedly added (accumulated), and functions as a 'phase address counter'. In this case, the counter 38 outputs a phase address signal that changes at a rate depending on the pitch of the key code KC.

On the other hand, in the time slot in which the timing signal T1 is "011," it functions as a single r time counter that repeatedly adds (accumulates) the rate data ΔRD for time counting given via the B input of the selector 37. As will be described later, the function of the counter 38 as a "time counter" is used to count delay time in "delay key on" control and crossfade time in "crossfade" control.

The output of shift register 40 is given to latch circuit 42. The latch circuit 42 is configured so that the timing signal T1 is “L II
When this happens, the output of the shift register 40 is latched. Therefore, the counter 3 which functions as "r phase address counter"
The phase address signal generated at 8 is latched into latch circuit 42. The phase address signal latched by the latch circuit 42 is applied to an adder 43 as a relative phase address signal.

Start address data SA corresponding to the selected tone
D and repeated address data RAD are applied to the selector 44. Initially, the start address data SAD is selected by the selector 44 by the state signal ST1, and the adder 4
given to 3. The output of this adder 43 is the waveform memory 4
5 address input.

As mentioned above, the waveform memory 45 stores waveform data of a plurality of musical sound waveforms corresponding to various tones in advance, and continuously stores the multi-period waveform of the rising part and the multi-period waveform of the sustaining part of each tone. It is stored in the address. Initially, by adding the relative phase address signal generated by the counter 38 and the start address data SAD,
Data of a plurality of periodic waveforms at the rising edge of the sound are sequentially read out.

The waveform data read from the waveform memory 45 is
This signal is applied to a multiplier 24 (FIG. 1) as the output musical tone signal of the musical tone signal generating circuit 20 of the system.

On the other hand, the address signal AAD applied from the adder 43 to the address input of the waveform memory 45 is also applied to the state control section 3o and used to control the read state of the waveform memory 45.

(Control of waveform readout state) A detailed example of the state control unit 3o is shown in FIG.

In FIG. 7, the flip-flop 46 is connected to the waveform memory 4.
State signal STI for controlling the read state of 5
, ST2.

The key-on pulse KONP is applied to the set input S of the flip-flop 46 via the gate 47 and the OR circuit 48, and its set output Q becomes 111 II, so that the state signal STI becomes 111 II at first. Therefore, as described above, the selector 44 in FIG. 5 initially selects the start address data SAD and selects the waveform memory 44.
5, a multi-cycle waveform of the rising portion of the sound is read out.

Repeated address data R is input to the A and B inputs of the selector 49.
AD and end address data EAD are respectively given.

The selector 49 repeatedly selects the address data RAD when the state signal ST1 is "1", and selects the repeat address data RAD when the state signal ST1 is "1".
When 2 is 141 IT, end address data EAD is selected. Therefore, the repeat address data RAD is initially output from the selector 49. The output of the selector 49 is input to the comparator 51 via the A input of the selector 5o.

When the timing signal T1 is "1", that is, when the counter 38 (FIG. 5) is used for phase address counting, the selector 50 selects six inputs and inputs the repetitive address data RAD to the comparator 51. .

The output of the selector 52 is given to the other input of the comparator 51. The selector 52 inputs the address signal ADD from the adder 43 (FIG. 5), and inputs the timing signal T.
When 1 is "1", this is selected and output. Therefore,
In the comparator 51, when the timing signal T1 is "1",
That is, at the timing when the counter 38 (FIG. 5) is used for phase address counting, the current waveform read address and repeated address data RAD are compared. When they match, 111'' is output as a match signal EQ. This match signal EQ and timing signal T1 are input to an AND circuit 520, and the output of this AND circuit 520 is applied to the reset input R of the flip-flop 46.

Therefore, when reading out a multi-cycle waveform at the rising edge of a sound, that is, when the state signal STI is "1", when the waveform read address reaches the address of the repeat address data RAD, the flip-flop 46 is reset; The output state signal ST2 is II I
At It, the state signal ST1 switches to "0" (see FIG. 8).

In the selector 44 in FIG. 5, when the state signal ST2 becomes "1", the repeat address data RAD is selected, and the adder 43 selects the repeat address data RAD for the relative phase address signal given from the latch circuit 42. Add data RAD. On the other hand, the coincidence signal EQ and timing signal T1 are applied to the AND circuit 53 in FIG.
The output of this AND circuit 53 is inverted by a NOR circuit 54 and applied to the control input of the gate 41 of the counter 38.

Therefore, when the absolute address data added as offset address data by adder 43 is switched to repeat address data RAD, gate 41 is disabled and the previous relative phase address value in counter 38 is cleared. Thereafter, the counter 38 restarts counting the relative phase address from O.

In the selector 49 of FIG. 7, the state signal ST2 is "1".
", the end address data EAD is selected. Therefore, when the state signal ST2 is "1", the comparator 5 is selected at the phase address count timing.
In step 1, the current waveform read address and end address data EAD are compared. If both match, match signal E
Q becomes #/1 pp, and the relative phase address count value in counter 38 of FIG. 5 is cleared to O.

In this way, the waveform read address changes repeatedly from the address corresponding to the repeat address data RAD to the address corresponding to the end address data EAD, and the multi-cycle waveform of the continuous part of the sound is repeatedly read out (see FIG. 8).

(Time setting and key scaling control for delay key-on and cross-fade) A detailed example of the time setting and key scaling control section 29 is shown in FIG. The control unit 29 is originally equipped with a counter for counting time, but this is shown in FIG. 9 and is configured to share the counter 38 in FIG. 5.

In FIG. 9, the control section 29 sends octave rate data ORD' output from the gate 36 in FIG. 5 at the timing of the note clock pulse NCK to an adder via a line 55 as pitch data for key scaling. 56. Further, the multiplier 57 of the control unit 29 outputs rate data ΔRD for time counting, and this rate data ΔRD is applied to the B input of the selector 37 in FIG. 5, and the timing signal T1 is selected by the selector 37 and the counter 3
given to 8. Therefore, the counter 38 receives the rate data RT in the time slot when the timing signal T1 is "O11".
D, and functions as a counter for counting the delay time of the delay key-on or the cross-fade time.

Delay rate data DRA corresponding to the selected tone
TE and cross-fade rate data XRATE are input to the selector 58, and initially the delay state signal DS
The delay rate data DRATE is selected according to T, and when the delay time of "delay key on" ends, the crossfade rate data XRATE is selected according to the crossfade state signal XST. Basically, the output of the selector 58 is applied to the counter 38 (FIG. 5) as rate data ΔRD via multipliers 59 and 57. However, the multipliers 59 and 57 are given coefficient data for key scaling the delay time and crossfade time, and the output data (DRATE or XRATE) of the selector 58 is scaled by this coefficient data. becomes the rate data ΔRD.

Delay rate key scaling data DKSD and crossfade rate key scaling data XKSD corresponding to the selected timbre are applied to decoders 60 and 61 and decoded, respectively. The outputs of the decoders 60 and 61 are input to the selector 62, and the output of the decoder 60, that is, the data instructing the key scaling characteristic curve for "delay key on" is selected by the delay state signal DST, and the data indicating the key scaling characteristic curve for "delay key on" is selected by the delay state signal DST. The data indicating the key scaling characteristic curve for the output or "crossfade" is selected. Among the four decode outputs output from the selector 62, a signal instructing the key scaling characteristic of "0%" and a signal instructing the key scaling characteristic of "rloO%" are sent via the OR circuit 63 to A of the selector 64.65.
A signal instructing the key scaling characteristic of "50%" to the selection control manual SA is input to the B selection control input SB of the selector 64.65, and a signal instructing the key scaling characteristic of "25%" to the C input of the selector 64.65. To the selection control input SC,
each will be given.

The selector 64 selects the numerical value "1" when the key scaling characteristic of "0%" or "100%" is specified, selects the numerical value "1/2" when the key scaling characteristic is "50%", and selects the numerical value "25".
%", select the numerical value "rl/4". selector 65
If a key scaling characteristic of "0%" or "rloo%" is indicated, select the numerical value "o", and select "50%".
In the case of , select the numerical value "1", and in the case of "25%", select the numerical value "3". The output of selector 64 is input to multiplier 59. The output of selector 65 is input to adder 56 and added to octave data ORD' on line 55. The output of the adder 56 is given to the A input of the selector 66. A numerical value “1” is input to the B input of the selector 66. The selector 66 is selectively controlled by a signal output from the selector 62 that instructs the key scaling characteristic of "0%", and in the case of "0%", that is, when key scaling is not performed, the "B" input "1" is always selected, and in other cases, that is, when key scaling is performed, the output of the adder 56 of the A input is selected. The output of selector 66 is given to multiplier 57.

With the above configuration, the rate data ΔRD for each key scaling characteristic is determined according to the following formula. In addition,
The basic rate data RATE is DRATE or XRA
It is TE.

For "0%" ΔRD=IXIXRATE=RATE For "25%" ΔRD= (ORD' +3)Xi/4XRATE "5
0%'' case ARD= (ORD' +1)Xi/2XRATEMO
ΔRD=ORD'XIXRATE=ORD'XRATE
In addition, in the above formula, octave rate data ○RD' has a value corresponding to the octave at the pulse generation timing of node clock pulse NCK, and is "0" at other times.
It is.

In the above equation, it is assumed that the weight of the octave rate data ORD' is "1" at a predetermined reference octave.

In other words, the value of the octave rate data ORD used in the actual phase address count is "
1”, “2” in the second octave, “4” in the third octave.
", even if it is "8" in the fourth octave, the octave rate data used in key scaling ORD'
For example, if the reference octave is the second octave, then the first octave is "1/2", the second octave is "1", the third octave is "2", and the fourth octave is "4".
” is treated as a weight.

Further, as an example, it is assumed that note clock pulse NCK is always generated at each sampling timing at the reference pitch. For example, if the note name of the standard pitch is B,
The node clock pulse NCK of pitch name B becomes "1" at each sampling synchronization. In that case, the lower note names A#, A, G#.

The note clock pulses NCK of G...D, C#, and C are those whose pulses are appropriately thinned out.

In the case of the standard pitch, for example, pitch name B in the second octave,
The solution to the above equation is ORD' = 1.

In any case of "0%", "25%", "50% J, r100%", ΔRD=RATE, and the time DL will be as set by the basic rate data DRATE or XRATE (see Figure 4). ). In addition, for note names other than the reference pitch, due to a pulse omission of the note clock pulse NCK, the octave rate data ORD' is not added in the sampling period of the pulse omission, and the multiplication coefficient for the rate data RATE is not performed in the sampling period of the pulse omission. However, at "25%" it is 3/4. r50%” is 1
/2, "100%" is 0. In this way, the rate data Δ
Since the multiplication coefficient of RD is different and the probability is different depending on the note name, the change rate of the count value when the rate data ΔRD is cumulatively counted will be different for each pitch, and key scaling as shown in Figure 4 Control is achieved.

The key scaling controlled rate data ΔRD is applied to the B input of the selector 37 in FIG.
is given to the counter 38 at the timing of "O", and is cumulatively counted by the counter 38. The output of this counter 38 is given as time count data CNT to the B input of the selector 52 in FIG.
It is selectively outputted at the timing of iOPI and inputted to the comparator 51. The other input of the comparator 51 has a timing signal T1 of 1 (B of the selector 50 at the OI+ timing).
Maximum value data of all bits "1" is given via the input. Therefore, the time count data CN of the counter 38
When T reaches the maximum value, the match signal EQ of the comparator 51 becomes 11111. As is clear, the larger the value of the rate data ΔRD input to the counter 38, the faster the count data CNT increases, and the shorter the time it takes to reach the maximum value.

The state control of "delay key on" and "cross fade" is performed by the counter 67 shown in FIG. Counter 67 is reset by key-on pulse KONP. Decoder 68 decodes the output of counter 67,
When the count value is rOJ, delay state signal DST
When it is "1", it outputs the cross-fade state signal XST, and when it is "2", it outputs the hold state signal H8T.

When the hold state signal H8T is “O”, the AND circuit 69 is enabled, and the output of the AND circuit 70 is sent to the counter 6.
7 count input. The AND circuit 70 is supplied with the match signal EQ output from the comparator 51 and an inverted signal of the timing signal T1.

Therefore, when the key is pressed, the delay state signal DST becomes 1'' at first, and "delay key on" control is instructed (see FIG. 10). As a result, the selectors 58 and 62 in FIG. 9 select the delay rate data DRATE and the delay rate key scaling data DKSD, and the rate data ΔR for "delay key on" control is selected.
D is obtained according to the key scaling operation described above.

When the count value CNT of the counter 38 reaches the maximum value by repeatedly adding the rate data ΔRD for delay key-on, the coincidence signal EQ is generated as described above. 7th
The match signal EQ, the delay state signal DST, and the inverted signal of the timing signal T1 are input to the AND circuit 71 in the figure, and the count value CNT is input in the delay state.
When reaches the maximum value, the condition of the AND circuit 71 is satisfied and the delayed key-on pulse DKONP is generated (see FIG. 10). At the same time, the output of the AND circuit 70 is “1”
', and the counter 67 is counted up. At the same time, the output of the AND circuit 72 in FIG. is disabled, and the count value C of the counter 38
NT is cleared.

When the count value of the counter 67 becomes "1",
The delay state signal DST becomes 11011, and the crossfade state signal XST becomes 11" (10th
(see figure).

In this way, the "day-lay key-on" control ends, and the "cross-fade" control starts. The time during which the delay state signal DST is "1", that is, the time from when the normal key-on pulse KONP is generated until when the delayed key-on pulse DKONP is generated is "delay key-on".
This is the delay time in control. As described above, this delay time is basically set by the delay rate data DRATE, and key scaled by the delay rate key scaling data DKSD and the pitch of the generated sound.

In the "crossfade" control state, selector 5 in FIG.
At 8 and 62, crossfade rate data XRATE and crossfade rate key scaling data XKSD are selected, and rate data ΔRD for "crossfade" control is obtained according to the key scaling control described above.

When the count value CNT of the counter 38 reaches the maximum value by repeatedly adding the rate data ΔRD for cross-fade, the coincidence signal EQ is generated as described above. As a result, the counter 67 in FIG. 7 counts up, the cross-fade state signal XST becomes 1'OIT, and the hold state signal HST becomes '1' (see FIG. 10).

In this way, the "crossfade" control ends.

The time during which the crossfade state signal XST is "1" is the crossfade time. As described above, this crossfade time is basically set by the crossfade rate data XRATE, and key scaled by the crossfade key scaling data XKSD and the pitch of the generated sound.

(Creating a key-on pulse according to the sound generation mode) In FIG. FM key-on pulse FKONP to instruct the start of sound generation
It has a function to create according to the pronunciation mode.

A normal key-on pulse KONP generated in response to the start of key press is input to the gate 47;
The output of PcM key-on pulse P via the OR circuit 48
'KONP is output as well as applied to the set power S of the flip-flop 46 mentioned above. The control input of the gate 47 receives a simple mixed mode signal MIX or FM.
A delay key-on mode signal FMD or an FM delay key-on & crossfade mode signal FMDX is applied via an OR circuit 74. When these modes are selected as the sound generation mode, the PCM musical tone signal generation circuit 20 starts sound generation in response to the start of actual key depression (see Figure 2 a, b, d). , signals MIX, F indicating that these modes are selected.
Gate 47 when either MD or FMDX is "1'"
is opened, and the key-on pulse KONP is directly output as the PCM key-on pulse PKONP.

Further, the key-on pulse KONP is input to a gate 75, and the output of the gate 75 is fed to the F through an OR circuit 76.
It is output as M key-on pulse FKONP. Goo 8
When these modes are selected as the F5 sound generation mode, the FM tone signal generation circuit 21:
Since the sound starts in response to the start of the actual key press (second
(See Figure C2e), when any of the signals MIX, PCMD, and PCMDX (7)l indicating that these modes are selected is "1", the gate 75 is opened and the key-on pulse KONP is directly used as the FM key-on pulse FKONP. Output.

Further, the delay key-on pulse DKONP output from the AND circuit 71 when the delay time in "delay key-on" has elapsed is input to the gates 78 and 79.

A PCM delay key-on mode signal PCMD or a PCM delay key-on & crossfade mode signal PCMDX is applied to a control input of the gate 78 via an OR circuit 80. The output of the gate 78 is latched by a latch circuit 81 in synchronization with the timing signal T1, and is sent to the OR circuit 4.
8 as a PCM key-on pulse PKONP. PCM daylay key-on mode or PCM
In the case of the delay key-on & cross-fade mode, the PCM tone signal generation circuit 20 starts producing sound after the delay time has elapsed (see Figure 2 c, e), so if these modes are selected, the delay key-on Pulse DKONP (see FIG. 10) is output as PCM key-on pulse PKONP.

An FM delay key-on mode signal FMD or an FM delay key-on & crossfade mode signal FMDX is applied to the control input of the gate 79 via an OR circuit 82. The output of the gate 79 is latched by the latch circuit 83 in synchronization with the timing signal T1, and is outputted via the OR circuit 76 as the FM key-on pulse FKONP. F
In the case of the M daylay key-on mode or the FM dayley key-on & crossfade mode, the FM tone signal generation circuit 21 starts producing sound after the delay time has elapsed (see Figure 2 a, b, d). If selected, daylay key on pulse DKONP
(See FIG. 10) is output as an FM key-on pulse FKONP. Note that the latch circuits 81 and 83 are provided to match the timing of each key-on pulse PKONP and FKONP to the channel timing for generating musical tone signals.

The PCM key-on pulse PKONP is applied to the NOR circuit 54 (FIG. 5) to clear the contents of the counter 38 in the PCM tone signal generation circuit 20, and disables the gate 41 of the counter 38. Also, FM key-on pulse FKONP.

It joins the FM tone signal generation circuit 21 and similarly clears the contents of the 1-phase address counter.

Further, the two key-on pulses PKONP and FKONP are applied to the envelope generating section 23 to instruct generation of an envelope signal.

(FM-type musical tone signal generation circuit 21) FIG. 11 schematically shows an example of the FM-type musical tone signal generation circuit 21. Note that for the sake of simplicity, an example is shown in which the number of sound generation channels is one.

The F number memory 84 stores in advance an "F number" for each pitch, which is a numerical value proportional to the frequency of each pitch. In response to KC, the F number of the musical tone to be generated is read out.

The read F number is applied to an adder 86 of a one-phase address counter 85. The phase address counter 85 is
An adder 86, a one-stage shift register 87 whose shift is controlled by a timing signal T1, and a gate 88.
Contains. The output of adder 86 is sent to shift register 8
7 and the output of shift register 87 is applied to gate 88.
to the other input of adder 86 via . gate 8
8 is controlled by a signal obtained by inverting the FM key-on pulse FKONP, and once the contents of the phase address counter 85 are cleared at the start of sound generation. Thereafter, the F number is repeatedly added at each sampling period in the phase address counter 85, and a phase address signal is output from the counter 85.

The FM calculation circuit 89 is a circuit that executes frequency modulation calculations for musical tone synthesis, and receives the phase address signal from the counter 85 and algorithm and parameter data FMP, and executes frequency modulation calculations based on these. This FM
The musical tone signal synthesized by the arithmetic circuit 89 is sent to the multiplier 25 (first
) and is multiplied by the envelope signal FEG.

(Sound generation control according to sound generation mode) A detailed example of the cross-fade waveform generation section 31 and an example of the envelope generation section 23 are shown in FIG. The cross-fade waveform creation section 31 generates cross-fade waveform data for controlling the musical tone amplitude in the PCM musical tone signal generation circuit 20 and F according to the selected sound generation mode.
Cross-fade waveform data for musical tone amplitude control in the M-type musical tone signal generation circuit 21 is generated. The PCM cross-fade waveform data is output from the PCM selector 93, input to the multiplier 97 of the envelope generator 23, and multiplied by the PCM envelope signal generated from the PCM envelope generator 95. The FM crossfade waveform data is output from the FM selector 94, input to the multiplier 98 of the envelope generator 23, and multiplied by the FM envelope signal generated from the FM envelope generator 96. Multiplier 97
．． The output of 98 is output from the envelope generator 23 as envelope signals PEG and FEG that have been weighted by the cross-fade waveform, and is sent to the multipliers 24 and 25 in FIG.
each will be given.

The PCM envelope generator 95 is supplied with a PCM key-on pulse PKONP, a PCM envelope parameter PENV, a key-off pulse KOFP, and a PCM delay key-on & cross-fade mode signal PCMDX, and generates an envelope waveform signal based on these. The FM envelope generator 96 includes an FM key-on pulse FKONP and an FM envelope parameter F.
ENV, key-off pass/L/s KOFP, and FM delay key-on & crossfade mode signal FMDX are applied, and an envelope waveform signal is generated based on these.

In the example of FIG. 12, the cross-fade waveform creation section 31 uses the time count data CNT for cross-fade in the counter 38 of FIG. 5 as cross-fade waveform data. The characteristic of gradually raising the musical tone in cross-fade control is created by directly using the increasing curve of the count data CNT, and the characteristic of gradually decreasing the musical tone is created by inverting the binary value of the count data CNT and converting it into a decreasing curve. do.

Count data C output from counter 38 in FIG.
NT is applied to gate 90. Gate 90 is opened by crossfade state signal XST or hold state signal H8T applied via OR circuit 91. As a result, the count data CNT for "day-lay key-on" is blocked by the gate 90, and the "r-crossfade"
The count data CNT is passed through the gate 90.

The count data CNT output from the gate 90 is
It is given to the A input of the selector 93 for M, and the FM
is applied to the B input of the selector 94. Also, gate 9
The count data CNT output from o is sent to the inverting circuit 92.
Each bit is inverted, and the output is given to the B input of the PCM selector 93, and the FM selector
is given to the A input of The maximum value, that is, data of all bits 1111) is input to the C input of the selector 93, 94, and the minimum value, that is, data of all bits 110 II) is input to the D input.

The control inputs of the selectors 93 and 94 are signals MIX, PCMD, and PCMDX that instruct one sound generation mode.

FMD, FMDX and state signals DST, XST.

H8T is AND circuit 99-112 and OR circuit 113-
116.

The cross-fade waveform generation mode and sound generation control mode according to each sound generation mode are as follows.

1) Simple mixed mode (Figure 2a) When the simple mixed mode is selected, the signal MIX is 1'
I II, and the selectors 93 and 94 select the C input. As a result, the outputs of the selectors 93 and 94 are always all "1", and the outputs of the envelope generators 95 and 96 are output as they are as envelope signals PEG and FEG. Therefore, as shown in FIG. 2a, the PCM tone signal generation circuit 20 and the FM tone signal generation circuit 21 simultaneously generate musical tones.

2) FM daylight key-on mode (Fig. 2b) When the FM daylight key-on mode is selected, the signal FMD
becomes "11", and the selector 93 always selects the C input.The selector 94 selects the D input when the delay state signal DST is "1", and selects the C input when the delay state signal DST is "1". The outputs of the envelope generator 95 are always all "1"', and the output of the envelope generator 95 is directly output as the envelope signal PEG.

At this time, the PCM key-on pulse PKONP is generated in response to the normal key-on pulse KONP, and the envelope signal PEG rises with the key depression.

On the other hand, the selector 94 selects all 110 during the delay time.
Select PI, and after the delay time, select All II 17+. Further, the FM key-on pulse FKONP is generated in response to the delayed key-on pulse DKONP, and the envelope signal FEC rises at the end of the delay time. Therefore, as shown in FIG. 2, the PCM tone signal generation circuit 20 starts producing sounds first, the FM tone signal generation circuit 21 starts producing them later, and thereafter produces duplicated sounds. Control is exercised.

3) PCM daylay key-on mode (Fig. 2 C) PCM
If the delay key-on mode is selected, the signal PC
MD becomes 1'1''', and the selector 94 always selects the C input. When the delay state signal DST is #I It, the selector 93 selects the D input, and the II O
11, select C input. As a result, selector 9
The output of 4 is always all 11 in, and the output of the envelope generator 96 is directly used as the envelope signal FEG.
is output as At this time, FM key-on pulse FK
ONP is generated in response to a normal key-on pulse KONP, and the envelope signal FEG rises with the key press.

- On the other hand, the selector 93 selects all II O during the delay time.
II is selected, and after the delay time has elapsed, all II 1 # is selected. Furthermore, the PCM key-on pulse PKONP is generated in response to the delayed key-on pulse DKONP, and the envelope signal PEG rises at the end of the delay time.

Therefore, as shown in FIG. 2C, the FM tone signal generation circuit 21 starts producing sounds first, the PCM tone signal generation circuit 2o starts producing them later, and thereafter produces duplicate sounds. Control is exercised.

4) FM delay key-on & cross-fade mode (Fig. 2 d) When the FM delay key-on & cross-fade mode is selected, the signal FMDX becomes 111)l, and the selector 93 sets the delay state signal DST to "1". When the C input is selected, the crossfade state signal XS
When T is 1, the B input is selected, and when the hold state signal H8T is R117, the D input is selected. As a result, the PCM crossfade waveform data output from the selector 93 maintains all "1" during the delay time,
During the crossfade time, all “1” to all “Ol”
), and after the crossfade ends, all ItO11 is maintained. Further, the PCM key-on pulse PKONP is generated in response to the normal key-on pulse KONP, and the envelope signal PEG rises with the key press.

In the selector 94, the delay state signal DST is “1”.
'', the D input is selected, when the cross-fade state signal XST is "1", the B input is selected, and when the hold state signal H5T is tt 1 u, the C input is selected.

As a result, the FM crossfade waveform data output from the selector 94 is all II O during the delay time.
”, and gradually rises from all “10” to all “1” during the crossfade time, and after the crossfade ends, all “1” is maintained. DKO
Occurs in response to NP. In the FM envelope generator 96, when the FM delay key-on & cross-fade mode signal FMDX is 1", the key-on pulse FKO
It is assumed that an envelope waveform signal that immediately rises to the maximum level in response to NP is generated. As a result, the envelope signal FEG output from the multiplier 98 rises with a curve corresponding to the cross-fade rising waveform from the selector 94 after the delay time has elapsed.

Therefore, as shown in FIG. 2d, the PCM tone signal generation circuit 20 starts producing sounds first, the FM tone signal generation circuit 21 starts producing them later, and the subsequent FM tone signal generation circuit 21 starts producing sounds later. Control is performed to gradually raise the musical tone signal of the musical tone signal generating circuit 21, and to gradually attenuate the musical tone signal of the preceding PCM type musical tone signal generating circuit 20.

5) PCM daylay key on & crossfade mode (
Figure 2e) When the PCM delay key-on & crossfade mode is selected, the signal PCMDX becomes ((I IT,
In the selector 94, the delay state signal DST is “1”.
When the hold state signal H8T is '1', the C input is selected, the A input is selected when the crosshook state signal As a result, the FM crossfade waveform data output from the selector 94 is all "1" during the delay time.
and all 111 II during the crossfade time.
It gradually attenuates from OII to OII, and maintains Ou after the crossfade is completed. Further, the FM key-on pulse FKONP is generated in response to the normal key-on pulse KONP, and the envelope signal FEG rises with the key depression.

In the selector 93, the delay state signal DST is “1”.
When "", the D input is selected, when the cross-fade state signal XST is 1111+, the A input is selected, and when the hold state signal H8T is "1", the C input is selected.

As a result, the PCM crossfade waveform data output from the selector 93 is all 110 during the delay time.
” and gradually rises from all “0” to all “1” during the cross-fade time, and after the cross-fade ends, all “1” is maintained. Also, the PCM key-on pulse PKONP is a delayed key-on pulse. DKO
Occurs in response to NP. It is assumed that the PCM envelope generator 95 generates an envelope waveform signal that immediately rises to the maximum level in response to the key-on pulse PKONP when the PCM delay key-on & cross-fade mode signal PCMDI is "1". Due to this.

The envelope signal PEG output from the multiplier 97 is
After the delay time has elapsed, the waveform rises with a curve corresponding to the crossfade rising waveform from the selector 93.

Therefore, as shown in FIG. 2e, the FM tone signal generation circuit 21 starts producing sound first, the PCM tone signal generation circuit 20 starts producing the sound later, and the subsequent PCM tone signal generation circuit 20 starts producing sounds later. Control is performed to gradually raise the musical tone signal of the musical tone signal generating circuit 20, and control to gradually attenuate the musical tone signal of the preceding FM type musical tone signal generating circuit 21 is performed.

(Example of modification) In the above embodiment, the key scaling characteristics of the delay rate or crossfade rate are set according to the selected tone, but the present invention is not limited to this. It may be possible to select it arbitrarily.

Furthermore, although the basic value of the delay rate or crossfade rate is also set according to the selected tone in the above embodiment, the basic value is not limited to this, and can be arbitrarily selected using an appropriate rate selection means. You can also do this.

Further, although the sound generation mode is automatically set according to the selected tone color, the present invention is not limited to this, and it may be possible to arbitrarily select the sound generation mode using an appropriate selection means.

Counting of delay time or cross-fade time is not limited to counting of incremental value data, but may be counting of variable frequency clock pulses, or counting of a combination of variable frequency clock pulses and incremental value data. Alternatively, the number of cycles of the musical sound waveform may be counted.

In the above embodiment, key scaling of the delay rate or cross-fade rate is performed for each individual pitch, but it may be performed for each appropriate range. In this specification, performing key scaling according to the pitch includes performing key scaling in units of a predetermined range.

In addition, key scaling control of delay time or crossfade time is not limited to variable control of count rate.
The target value of the count value may be variably controlled according to the pitch.

Further, in the above embodiment, the rising cross-fade waveform and the falling cross-fade waveform have the same time length, but they may have different time lengths. Further, the change in the rising cross-fade waveform and the falling cross-fade waveform is not limited to linear, and may be an exponential or logarithmic characteristic, or may be other characteristics.

The sound source system or musical sound signal generation system in the first and second musical tone signal generation circuits 20 and 21 is not limited to the above-mentioned ones, and any type of system may be used.6 For example, the waveform memory of the first musical tone signal generation circuit 20 may be The waveform to be stored is not limited to a part of the waveform of the rising part and sustaining part of the sound, but may be the entire waveform from the rising part of the sound to the end of the sound generation. Furthermore, the encoding format of data stored in the waveform memory is not limited to PCM (pulse code modulation) format, but also DPCM (differential PCM), A
DPCM (Adaptive Differential PCM), DM (Delta Modulation)
, ADM (adaptive delta modulation), etc., and any algorithm for frequency modulation calculation in the second musical tone signal generation circuit 21 may be used. Furthermore, the modulation calculation for musical tone synthesis in the second musical tone signal generation circuit 21 is not limited to frequency modulation calculation, but may use any appropriate modulation calculation such as amplitude modulation calculation or amplitude modulation calculation using a time window function. Further, the second musical tone signal generation circuit 21
(It is also possible to use a tone synthesis method other than the modulation calculation type)
.

Furthermore, the pitches of the sounds generated by each musical tone signal generating circuit need not be the same, and may be shifted as appropriate. For example, transposition and pitch adjustment may be performed independently for each musical tone signal generation circuit, or musical tones shifted by an appropriate degree may be generated.

Further, the number of musical tone signal generation circuits is not limited to two, but may be more than two.

Furthermore, it goes without saying that the number of sound generation channels in each musical tone signal generation circuit is not limited to one, but may be plural.

〔Effect of the invention〕

As described above, according to the present invention, it is possible to realize a delay duplex effect in which the start of the musical tone signal in one of the first and second musical tone signal generation means is delayed compared to the other, and also to generate the delay time. It is possible to perform key scaling control, which is controlled variably according to the pitch of the desired musical tone, to homogenize the sense of delay depending on the pitch, or conversely, to make the sense of delay greatly different depending on the pitch. , etc., various controls can be performed.

Further, according to the present invention, one of the first and second musical tone signal generation means first generates a musical tone signal, and then switches to the other one to generate the musical tone signal, and the preceding musical tone signal is gradually generated during the switching period. By attenuating the tone signal and gradually raising the tone signal that follows, it is possible to smoothly switch the pronunciation, and the key scaling control that variably controls the switching time according to the pitch of the musical tone to be generated. Various types of control can be performed, such as homogenizing the switching feel of musical tone signals depending on the pitch, or conversely, making the switching feel significantly different depending on the pitch. .

Thus, according to the present invention, it is possible to perform musical tone synthesis with excellent controllability, and it is possible to produce a rich variety of performance effects, which is an excellent effect.

[Brief explanation of the drawing]

FIG. 1 is a block diagram schematically showing the overall configuration of an embodiment of an electronic musical instrument according to the present invention, FIG. 2 is an explanatory diagram showing a typical example of selectable sound generation modes in the embodiment, and FIG. FIG. 3 is a diagram illustrating the contents of various tone color information corresponding to one tone color in the embodiment. FIG. 4 is a graph illustrating key scaling characteristics of delay time or cross-fade time in the same embodiment. FIG. 5 shows the first musical tone signal generation circuit (PC
FIG. 6 is a timing chart showing an example of clock pulses and various operation timings in the same embodiment. FIG. 7 is a block diagram showing a detailed example of the state control section in FIG. 1. . FIG. 8 is a timing chart illustrating an example of waveform readout control in the first musical tone signal generation circuit. FIG. 9 is a block diagram showing a detailed example of the time setting and key scaling control section in FIG. 1. FIG. 10 is a timing chart showing an example of operation of delay key-on and cross-fade control. FIG. 11 shows the second musical tone signal generation circuit CF in FIG.
FIG. 12 is a block diagram showing an example of the cross-fade waveform generation section and envelope generation section in FIG. 1. Scaling control unit, 30... State control unit, 31...
・Crossfade waveform creation section. Patent applicant Yamaha Co., Ltd.

Claims (7)

[Claims] (1) pitch specifying means for specifying the pitch of a musical tone to be generated; first musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means; a second musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means according to a musical tone signal generation method different from that of the first musical tone signal generating means; and a delay means for delaying the start of sounding the musical tone signal in one of the second musical tone signal generation means compared to the other, and a key scaling means for variably controlling the delay time in the delay means in accordance with the pitch of the musical tone to be generated. An electronic musical instrument equipped with (2) The electronic musical instrument according to claim 1, wherein the key scaling characteristic in the key scaling means is selected from among a plurality of characteristics. (3) The electronic musical instrument according to claim 2, wherein the key scaling characteristic is selected depending on the tone color. (4) The delay means starts a counting operation from the time when the preceding musical tone starts producing, and when the count value reaches a predetermined value, starts producing the subsequent musical tone,
2. The electronic musical instrument according to claim 1, wherein the key scaling means variably controls the count rate in the counting operation according to the pitch. (5) pitch specifying means for specifying the pitch of a musical tone to be generated; first musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means; a second musical tone signal generating means for generating a musical tone signal having a pitch corresponding to the pitch specified by the pitch specifying means according to a musical tone signal generation method different from that of the first musical tone signal generating means; One of the second musical tone signal generation means first generates a musical tone signal, and then switches to the other one to generate the musical tone signal, and during the switching period, the preceding musical tone signal is gradually attenuated and the following musical tone signal is gradually attenuated. An electronic musical instrument comprising: crossfade control means for performing start-up control; and key scaling means for variably controlling the time of the switching period in the crossfade control means according to the pitch of a musical tone to be generated. (6) The electronic musical instrument according to claim 5, wherein the key scaling characteristic in the key scaling means is selected from a plurality of characteristics. (7) The electronic musical instrument according to claim 6, wherein the key scaling characteristic is selected depending on the tone color.