JPH03179398A - Musical sound signal generating device - Google Patents

Abstract

PURPOSE:To adjust the pitch of only a sampling source and make the best common pitch adjustment of both sampling sound source systems and an incorporated sound source system in play mode by selecting the common pitch adjustment of both sound source systems and the pitch adjustment of only the sampling sound source. CONSTITUTION:This device is equipped with a sampling sound source means 3 which generates a musical sound according to waveform sample data stored in a storage means 2 and an internal sound source means 4 which generates a specific musical sound signal. Then when a mode selecting means 6 selects a 1st mode, the pitch adjustment of both the sampling sound source means 3 and incorporated sound source 4 is performed according to the operation of a pitch adjusting operator means 5, but when a 2nd mode is selected, the pitch of only the sampling sound source means 3 is performed according to the operation of the pitch adjusting operator means 5. Consequently, the best pitch adjusting operation for both common pitch adjustments of both sampling sound source system and the incorporated sound source system and the pitch adjustment of only the sampling sound source becomes possible.

Description

[Detailed Description of the Invention] [Industrial Application Field] This invention samples a sound signal input from the outside and stores it in a memory, and then reads out the waveform sample data stored in this memory at an appropriate pitch. Regarding a sampling-type musical tone signal generation device that generates a musical tone signal using a built-in sound source, in particular, it has a built-in sound source, and when pitch adjustment operations such as transposition are performed, the pitch can be adjusted simultaneously with both the sampling sound source and the built-in sound source. This invention relates to making it possible to select whether to perform pitch adjustment using only the sampled sound source or to perform pitch adjustment using only the sampled sound source.

[Conventional technology]

Conventionally, as a sampling method electronic musical instrument, for example, Mochiko Sho 61-331'19 Publication and Special Publication Sho 61-47435
There are some that have been published in the publication. In such conventional sampling-based electronic musical instruments, external sound signals are sampled and stored in a memory. Externally sampled sounds stored in the memory can be read out and sounded at any pitch by changing the key presses or the like. In that case, if the pinch of the external sampled sound stored in memory does not correspond to the predetermined standard pinch,
Since it is not possible to reliably read out the pitch of the pressed key, it is necessary to add a pitch ill of a relatively large width, such as transposition, to the sound read out from the memory.

For this purpose, it is necessary to provide transposition means or pitch adjustment means in the six-source sequence of the sampling memory.

On the other hand, it is possible to provide a sound source series (built-in sound source) that is separate from the sampling sound source inside the electronic musical instrument, but the transposition means or pitch adjustment means for the built-in sound source series are naturally separate from those for the sampling sound source series. established in In that case, transposition or pitch adjustment of these two sound source series (transposition is also pitch adjustment in a broad sense, so
below.

(Pitch adjustment also includes transposition) must be performed separately.

[Problem to be solved by the invention]

Therefore, when attempting to perform common pitch adjustment between the built-in sound source series and the sampled sound source series, the pitch adjustment operation must be performed separately for each series, which was a problem for the government.

This invention was made in view of the above points, and when transposing or other pitch adjustment operations, pitch w4 adjustment is performed on both the sampling sound source series and the built-in sound source series, or the pitch w4 adjustment is performed using only the sampling memory. It is an object of the present invention to provide a musical tone signal generating device that allows a user to select whether or not to perform adjustment.

[Means to solve the problem]

A musical tone signal generation device according to the present invention includes a sound sampling means for sampling a sound signal input from the outside, and a storage means for storing waveform sample data corresponding to the sound signal sampled by the sound sampling means, sampling sound source means for generating a musical tone signal based on the waveform sample data stored in the storage means; built-in sound source means for generating a predetermined musical tone signal; pitch adjustment operator means; Mode selection means for selecting one of a first mode in which pitch adjustment is performed in both modes and a second mode in which pitch adjustment is performed only in IYi sampling sound source means;
When the ↓ mode is selected by the mode selection means, pitch adjustment is performed in both the sampling sound source means and the built-in sound source means in accordance with the operation of the pitch adjustment operator means, and the second mode is selected. When selected, a pinch adjustment control means is provided for adjusting the pitch only by the sampling sound source means in accordance with the operation of the pitch adjustment operator means.

This is illustrated in Figure 1, where l is a sound sampling means, 2 is a storage means, 3 is a sampling sound source means, 4 is a built-in sound source means, 5 is a pitch adjustment operator means, and 6 is a mode selection means. Means 7 is pitch adjustment control means.

[Effect]

When the first mode is selected by the mode selection means 6, pitch adjustment is performed on both the sampling sound source means 3 and the built-in sound source means 4 in accordance with the operation of the pitch adjustment operator means 5. On the other hand, if you select the second mode, the pitch,!
Pitch adjustment is performed only by the sampling sound source means 3 in accordance with the operation of the Il adjustment operator means 5. The pitch of the external sound stored in the sampling sound source means 3 is not necessarily the reference pitch.

The second mode is extremely effective when pitch adjustment is performed only on the sampling sound source means 3 in accordance with the operation of the pitch adjustment operator means 5 to perform necessary transposition. On the other hand, when transposing during performance, both the sampling sound source means 3 and the built-in sound source means 4 use the company's pitch @'111 (transfer w4) -
Since it is preferable to do both at the same time, it is best to select the first mode.

〔Example〕

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

FIG. 2 shows the hardware configuration of an embodiment of an electronic musical instrument to which the musical tone signal generating device according to the present invention is applied.
1. The operation and processing of each god is controlled by a microcomputer section including a program ROM (read only memory) 12 and a data and working RAM (random access memory) 13. The keyboard 14 includes a plurality of keys for specifying pitches of musical tones.

The operation panel section ↓5 is provided with divine operators and selectors for controlling the sampling of external or internal sound signals or for controlling musical sounds, and also for manually inputting sound signals from the outside. A microphone 16 is provided.

The allocation selector 17 is an operator for making selections or settings for allocating a sampled sound to one of a plurality of performance parts. For example, there are 3 performance parts: ``melody'', ``chord'', and ``r bass''.
Consists of parts. If this is classified into normal range parts and bass sound parts, the "melody" and "chord" parts correspond to the normal range parts, and the "bass" part corresponds to the bass sound part. - As an example, the allocation selector 17 selects four bushing switches 17a, 17b, 17c, 17d, and each switch 1
7a to 17d correspond to each part of "melody", "chord J, r bass", and "off", respectively. "Off" means that the sampled sound is not assigned to any performance part.

When storing waveform sample data in the data memory 28 in the tone generator section 24, the record selector 18 stores the externally inputted sound ε (external sound sampling mode) or uses the built-in sound source in this electronic musical instrument. This is for selecting whether to store the musical tone signal generated from the 1M tone generator 25 (internal sound sampling mode). Record selector 18
, the internal sound sampling switch FMSMPL is a switch for selecting whether the musical tone signal generated from the 1M tone generator 25, which is a built-in sound source, is to be stored in the data memory 28 (internal sound sampling mode), and the external sound sampling switch EXSMPL is a switch for selecting an input signal from the outside. This is a switch for selecting whether the recorded sound signal should be stored in the data memory 28 (external sound sampling mode).

The sampling sound editing operator group 19 is connected to the data memory 28
This is an operator for editing the sampled sound recorded in the internal memory. An example of the content of the sampling sound editing process is to overwrite the waveform sample data of a certain sound that has already been stored in the memory 28 with the waveform sample data of another sound without erasing the data. "override" processing, processing for carefully setting and controlling the envelope to be given to the waveform sample data read from the memory 28;
"Reverse" performs a performance by reading out the waveform sample data of the sampled sound stored in the memory 28 in the opposite direction.
processing, "U-turn" processing in which the waveform sample data stored in the memory 28 is read out in the forward direction and then turned back and read out in the reverse direction, "loop" processing in which the waveform sample data stored in the memory 28 is repeatedly read out, etc. There are other mechanical processes. A detailed example of such sampled sound editing processing is shown in, for example, Japanese Patent Application No. 1209/1983. In this specification, such sampling sound editing processing will not be explained in particular detail.

The timbre selector 20 is for selecting the timbre of a musical tone signal generated by a 1M tone generator 25, which is a built-in sound source within this electronic musical instrument.

The automatic performance selector 21 selects automatic bass chord performance (A
B C) Switches 21a and 21b, automatic rhythm selector 21c, and automatic rhythm start/stop switch 2
1d. ABC-ON switch 21a is for turning on automatic bass chord performance, A B C
-OF' The F switch 21b is used to turn off the automatic bass chord performance.The self 11j+rhythm selector 21c is used to select the automatic rhythm type. The automatic rhythm start/stop switch 21d is
It is used to control the start and stop of automatic rhythms.

Does the banknote operator group 22 control pitch or volume? These are for adjusting A, pitch switch PS, volume switch VS, and increase switch ING.

It includes a decrease switch DEC1, a transposition up switch UPS, and a transposition down switch DWS.

The pitch switch PS is for finely adjusting the pitch of the sampled sound read from the data memory 28.

Volume switch ■S is for adjusting the overall volume of musical tones. The increase switch INC is for increasing the pitch adjustment amount or the volume adjustment amount. Decrease switch DEC.

Pitch lll! This is to reduce the amount or Onryu FlliI domain. When pitch switch PS is turned on.

This is a mode in which the increase switch INC and decrease switch DEC are used for the pitch of the sampled sound, 1 [. In this case, for example, pitch 11 (tuning) can be performed in units of 1 cent within a range of ±50 cents. On the other hand, when the volume switch VS is turned on, the mode is switched to a mode in which the increase switch INC and the decrease switch DEC are used for adjusting the overall volume of musical tones.

As a special function, there is a "reference tone pronunciation tuning function." This function becomes effective when you operate the increase switch INC or decrease switch DEC while holding down the pitch switch PS. At the same time, the pitch-adjusted sampling sound (read sound from data memory 2B) is produced at a predetermined reference pitch (for example, the pitch of an A4 note) according to the operation of the 1M tone generator 25, which is a built-in sound source. Pitch l the musical tone of pitch (A4 note pitch)! l
A sound is produced at a normal pitch without a pitch, and this is used as a reference sound to listen and compare it with a pitch-adjusted sampled sound, which is useful for adjusting the pitch of the sampled sound.

The transposing up switch UPS and the transposing down switch DWS adjust the pitch of musical tones in semitone units within a range of ±1 octave, for example.
The pitch increases by operating the button.

The pitch is lowered by operating the down switch DWS.

If you operate the transposition up switch UPS or the transposition down switch DWS alone, the overall pitch of this instrument will be increased! 1
5I note, that is, transposition is performed. On the other hand, as a special function, it is possible to execute a "sampling sound transposing machine fMJ" that adjusts the pitch, that is, transposes only the sampled sound.

This "sampling sound transposition function" is the pitch switch P
This becomes effective when the up switch UPS or the down switch DWS is operated while holding down S. The reason why it is possible to perform pitch adjustment, or transposition, only on sampled sounds is that the pitch of the externally sampled f signal is not necessarily the standard pitch (for example, the pitch of an A4 note). This is to make it possible to match the pitch to the standard pitch.

The operation panel section 15 is also provided with a group of operators 23 for setting and controlling the musical tones of the gods.

The tone generator section 24 includes a 1M tone generator 25 as a built-in sound source and a data memory 28 for storing sampled digital waveform sample data.
A sampling tone generator 26 and a rhythm tone generator 27 are provided. When the external sound sampling mode is selected by the external sound sampling switch EXSMPL of the record selector 18, the tone generator section 24 samples a sound signal input from the outside via the microphone 6 provided on the operation panel section 15. and converts it into digital waveform sample data, which is written into the data memory 28.

Further, when the internal sound sampling mode is selected by the internal sound sampling switch FMSMPL of the record selector 18, a musical tone signal is generated from the 1M tone generator 25 as a built-in sound source, and the digital waveform sample data is written into the data memory 28.

In the performance mode, a musical tone signal is generated from the l-'M tone generator 25 in response to a key press on the keyboard 14, and the waveform sample data from the data memory 28 is read out, and based on this, the sampling tone generator 26 generates a musical tone signal. Generates a musical tone signal from. Also, automatic?
A rhythm tone signal is generated from the rhythm tone generator 27 according to the selection state of the iL performance selector 21. The tone generated from the tone generator section 24? ′? The signal is applied to the sound system 29 and is sounded.

The F'M tone generator 25 as a built-in sound source is
Musical tone signals are synthesized using the FM (frequency modulation) method. On the other hand, sampling tone generator 2
6, basically, a musical tone signal is generated by reading out the waveform sample data stored in the data memory 28.

A timer 30 is also provided in the tone generator section 24. This timer 30 starts sampling u, ? in the external sound sampling mode. If no external sound signal is input for a certain period of time, the mode is automatically switched to internal sound sampling mode, and this is to measure the certain period of time.

The data ROM 31 stores various types of data for forming and controlling musical tones. For example, timbre parameters (FM musical tone combining calculations) corresponding to each tone selectable by the timbre selector 20 tone parameter memo IJ 31 a, rhythm pattern memory 3↓b, chord pattern memory 31 c, bass pattern memory 31 d, sampling sound pattern memory 31
It consists of e, etc.

The rhythm pattern memory 31b is connected to the rhythm selector 21c.
Automatic rhythm sound (percussion sound) for each rhythm selectable in
It stores data on occurrence patterns.

The chord pattern memory 3'1c stores data on pronunciation patterns of automatic chord tones (accompaniment chords) for each rhythm selectable by the rhythm selector 21c.

The base pattern memory 31d is connected to the rhythm selector 21c.
It stores automatic bass tone pronunciation pattern data for each selectable rhythm.

As a special function, there is an "extra percussion function", and the sampling sound pattern memory 31e is provided for this purpose. The "extra percussion function" is a function that specifies the pitch and sound generation timing pattern of a musical sound (sampled sound) to be generated by the sampling tone generator 26 in accordance with the automatic rhythm, and generates one sound. In the sampling sound pattern memory 31e.

For each rhythm selectable by the rhythm selector 21c, data on the pitch and sound generation timing pattern of the musical tone (sampled tone) to be generated by the sampling tone generator 26 is stored.

The tempo clock generator 32 generates tempo clock pulses for automatic rhythm performance. This tempo clock pulse functions as an interwoven signal to the microcomputer section. On the microcomputer side, tempo clock pulses are counted by interwoven processing to establish beat timing. According to this beat timing data, that is, tempo clock count data, each pattern data is read out from the rhythm pattern memory 31b, chord pattern memory 31c, base pattern memory 31d, and sampling sound pattern memory 31e.

In this embodiment, the "extra percussion function" is set to switch 17c of allocation selector 17.
Even though the sampled sound is assigned to the "r bass" part by the operation of
It becomes valid when the ABC function is turned off by the operation 1b.

Even if the sampled sound was originally assigned to the "r bass" part, the sampled sound will not be produced due to the ABC function being turned off. However, this "extra percussion function" allows sampled sounds to be automatically generated according to the rhythm.

Key scanning and sound generation assignment processing for detecting key presses and key releases on the keyboard 14, scanning and other processing for detecting switch operations on the operation panel section 15, and sampling data writing and processing in the tone generator section 24. Processing in each building, such as read control, is executed by the microcomputer section.

Among the processes executed by the microcomputer unit, an example of a flowchart of processes related to the present invention is shown from FIG. 5 onwards. An example of data used in connection with this process and the contents stored in the working RAM 13 is shown in FIG.

ALOCT is an allocation register and stores data indicating the performance part to which the sampled sound is allocated. rlJ for the “melody” part, “chord”
"2" for part time, r3J for "pace" part,
"O" is stored when "r off".

FM TONE is a C tone color register and stores data indicating the tone selected by the tone selector 20.

RCODE is a rhythm register and stores data indicating the rhythm selected by the rhythm selector 21c.

RS T A RT is a rhythm start/stop register, and stores l l Il when the rhythm is on, and it O71 when the rhythm is off.

TPCTR is a tempo counter that counts tempo clock pulses generated from the tempo clock generator 32 and registers the count value. This counting establishes beat timing.

ABCRG is an ABC register, which stores 11111 when automatic bass chord play is on, and stores pa0'' when it is off.

5WST is an i11 adjustment state register, which is "1" when the increase switch INC and decrease switch DEC are used to adjust the pitch W4 of the sampled sound, and when it is used to adjust the overall volume' Store "0".

PVA, L is pitch adjustment value data, which indicates the pitch adjustment value of the sampled sound set according to the operation of the increase switch INC and the decrease switch DEC.

As mentioned above, for example, pitch adjustment (tuning) can be performed with a 1 cent single 41'l within a range of ±50 cents.

T I) S V A L is a sampling sound transposition 4/
f data, amplifier UPS and down switch DWS
This shows the transposition value of the sampled sound set according to the operation. As mentioned above, for example, pitch adjustment or transposition can be performed in semitone units within a range of ±1 octave.

TPFVAL is the FM timbre transfer chain F-T: A) J
, which shows the transposition value of FMfI (sound generated by the FM tone generator 25) set according to the operations of the up UPS and down switch DWS. Similar to the above, - for example, it is possible to perform pitch adjustment or transposition in semitone increments within a range of ±1 octave.

P'KON is the base tone sound tuning mode register, and is activated when the above-mentioned "standard tone sound tuning function" is on, that is, when the increase switch INC or decrease switch DEC is operated while holding down the pitch switch PS. , "Pa1" indicating that the mode is the reference tone pronunciation tuning mode, and "0" is stored otherwise.

NKC is the new key code register and is the key 14
The key code of the newly pressed key and the key code of the newly released key are stored.

Areas for registers or data as described above are provided in the data and working RAM 13. Also, in the data and working RAM 13, FM)-
- tone generator 25 and sampling tone generator 26 (TG in the figure is an abbreviation for tone generator)
a sound generation allocation memory area for storing the sound generation allocation state to each sound generation channel; an area for storing operation detection data of the sampling sound Ifa collection operator group 19 and other operation group 23 on the operation panel section 15; Other data and working areas are provided.

As an example, the number of sounding channels in the 1M tone generator 25 is "6", and the number of sounding channels in the sampling tone generator 26 is "4".

A detailed example of the tone generator section 24 is shown in FIG.

In the tone generator section 20 of FIG. 4, an interface 34 is provided to exchange data with the microcomputer section via the data and address bus 33. Interface 34 includes a buffer register.

Data provided from the microcomputer section is input to a predetermined circuit within the tone generator section 24 via the interface 34. In addition, the tone generator section 2
The FM sampling command signal FMST outputted from the timer circuit 30 in the microcomputer section 4 is applied to the microcomputer section via the data bus 33 as an interwoven command.

The main circuits within the tone generator section 24 will be briefly explained.

The 1M tone generator 25 as a built-in sound source is FM
(frequency modulation) method to synthesize musical tone signals. It is possible to generate six tones of musical tone signals simultaneously in six channels using the FM system. The timbre parameters of the musical tones to be generated by the 1M tone generator 25 are given from the microcomputer side, and these timbre parameters are input to the 1M tone generator 25 via the interface 34, and the 1M tone generator 25 is generated according to the timbre parameters. The timbre of the musical tone signal to be synthesized is determined. Further, when the microcomputer section decides to allocate sound to any channel in the FM tone generator 25, a channel number FCH indicating the channel to be allocated and a key code indicating the pitch of the musical tone to be allocated there are provided. FKC,
and key-on signal KON are given, and interface 3
Channel number FCH and key-on signal KO through 4
N is manually input to the 1M tone generator 25, and the key code FKC is further input to the 1M tone generator 25 via the transpose circuit 35. The 1M tone generator 25 generates the key code FKC corresponding to the sound generation channel designated by the channel number FCH.
and the key-on signal KON, and start generating musical tone signals based on these. 6. To end the sound generation, the microcomputer unit sends the channel number FCH indicating the channel where the sound generation should be ended and the key-off signal KOF via the interface 34. is given. Based on this, 1M
In the tone generator 25, the channel number FCH
The storage of the key-on signal KON in the sound generation channel designated by is canceled, and the decay of the musical tone signal in the sound generation channel is started.

The FM timbre transfer chain data TPFVAL is applied from the microcomputer section to the transpose circuit 35 via the interface 34. The transpose circuit 35 transposes the value of the key code FKC to FM tone &j data TPF.
Depending on VAL, it increases or decreases by a single semitone. For example, when the key code FKC specifies the A4 note,
If the M timbre transition chain TPFVAL is +1, it is converted to a key code of A#4 tone, which is a semitone higher, and output. The converted key code FKCI is sent from the transpose circuit 35 to 1
The signal is input to the M tone generator 25.

The FM h-tone generator 25 adds the digital musical tone signals generated in each channel, performs analog conversion, and outputs an analog musical tone signal. This analog musical tone signal is given to the sound system 29, and
It is given to the rOJ input of the selector 36.

The "1" input of the selector 36 receives an external sound signal picked up by the microphone 16 located above the operation knob 5. This selector 36 determines whether waveform sample data of a sound sampled from the outside should be written into the data memory 28 in the sampling tone generator 26, or whether b1 is waveform sample data of a musical tone signal generated from the 1M tone generator 25, which is a built-in sound source. The purpose is to make a selection as to which one should be written.

When writing waveform sample data of an externally sampled sound into the data memory 28 in the sampling tone generator 26, the external sound sampling signal E is used.
"1" is given as XSP from the microcomputer section via the interface 34. On the other hand, when writing the waveform sample data of the musical tone signal generated from the 1M tone generator 25, which is the built-in sound source, into the data memory 28 in the sampling tone generator 26,
PA1'' is given as the internal sound sampling signal FMSP from the microcomputer section via the interface 34.

The flip-flop 37 receives the external sound sampling signal EX.
SP is input to the set human power S, and the internal sound sampling signal FMSP is input to the reset human power R. The output Q of this flip-flop 37 is given to the control input of the selector 36. When the external sound sampling signal EXSP is "1", the output Q of the flip-flop 37 becomes ``1'', and the selector 36 selects the external sound signal from the microphone 16 to be added to the rlJ input. On the other hand, when the internal sound sampling signal FMSP is "1", the flip-flop 37
The output Q of is a O'', and the selector 36 selects the internal sound signal from the 1M tone generator 25 to be applied to the rOJ input.

The sound signal selected by the selector 36 is converted into a digital signal by an analog/digital converter 38.

The digitally converted waveform sample data is sent to gate 3.
9 to a data input terminal DTIN of a data memory 28 within sampling tone generator 26. Further, the waveform sample data output from the analog/digital converter 38 is provided to a rising edge detection circuit 40, and the rising edge of the sound is detected. A trigger pulse TRG is output in response to the detection of the rise of the sound. This trigger pulse T
RG is used as a signal to instruct the timing to start writing waveform sample data into the data memory 28.

The above-mentioned external sound sampling signal EXSP and internal sound sampling signal FMSP are input to the set signal S of the flip-flop 42 via the OR circuit 41, and when sampling external sound or sound from the built-in sound source to the data memory 28, The output Q of the flip-flop 42 is “1”
”.The output Q of this flip-flop 42
is applied to the gate 39 as a sampling enable signal 5PEN. The gate 39 opens when the sampling enable signal fff 5PEN is 111'', and inputs the waveform sample data of the sampling sound from the analog/digital converter 38 to the data input terminal DTIN of the data memory 28.

The sampling tone generator 26 generally includes a transpose circuit 43, a master clock generator 44, an address generator 45, and a data memory 28 . It includes an envelope applying circuit 46.

The address generator 45 generates a write address signal when writing a sampled sound into the data memory 28, and also generates a read address signal when reading a sampled sound from the data memory 28. The address signal generated from address generator 45 is applied to address input ADR8 of data memory 28.

The sampling tone generator 26 is capable of simultaneously generating four tones of musical tone signals in four channels. Therefore, the address generator 45 can generate address signals for four channels in a time-division manner.

When writing the sampled sound to the data memory 28,
A key code SKC of a pitch corresponding to the write rate is applied from the microcomputer section to the sampling tone generator 26 via the interface 34 and input to the address generator 45 via the transpose circuit 43. The pitch corresponding to the write rate is usually a predetermined standard pitch (for example, the pitch of an A4 note).At the same time, the channel number SCH indicating channel 1 is sent from the microcomputer section via the interface The signal is applied to sampling tone generator 26 and input to address generator 45 .

Further, a trigger pulse TRG that is output in response to the rise of the sampling sound is manually inputted from the rise detection circuit 40 to the address generator 45. In response to the input of the trigger pulse TRG, the address generator 45 starts generating a write address signal in channel 1 that changes in accordance with the write rate of 71 pitches.

1~Riga pulse TRG is also given to the set input of the flip-flop 48. “1” by trigger pulse TRG
The output signal of the flip-flop 48 set to `` is input to an AND circuit 49.

Other inputs of the AND circuit 49 include a sampling enable signal 5PEN from the flip-flop 42 and a timing signal TCH synchronized with the time division timing of channel 1.
1 is input. The output signal of the AND circuit 49 is given to the read/write control manual W/R of the data memory 28,
When the output signal of the AND circuit 49 is rr1'', the data memory 28 is placed in the write mode, and when it is LLO'', the data memory 28 is placed in the read mode. Therefore, during writing, the data memory 28 is put into the write mode at the timing of channel 1 when the write address signal is generated, and the selector 36, analog/digital converter 38 . Waveform sample data of the sampling sound inputted to the data input terminal DTIN via the gate 39 is sequentially written to the address of the data memory 28 specified by the write address (lt).

A write address range is determined according to the memory size for one sampling sound in the data memory 28, and the end address detection circuit 50 detects the final address in this write address range. That is, the write address signal generated from the address generator 45 is input to the end address detection circuit 50, and when it reaches the final address, 1117+ is outputted as the end detection signal END.

The end detection signal END is applied to the address generator 45, and ends the generation of the eight-by-one write address signal. In addition, the end detection 46 Ji+E N D is also given to the reset human power R of the flip-flop 42.48, and based on this, the sampling enable (No. 3 5 PEN is set to “
O'' and resets flip-flop 48 to exit the write mode.

When the insertion mode is finished, the output of the AND circuit 49 is always IIO71, and the data memory 28 is in the read mode.

Note that the external sound sampling signal EXSP is applied to the start trigger input ST of the timer 30, and when the external sound sampling mode is set, that is, when the external sound sampling signal EXSP rises from 110 I+ to "1", the timer 30 The timing operation starts. A trigger pulse TRG is applied to the manual reset of the timer 30. The operating interval of the timer 30 is, for example, about 10 seconds, and if the trigger pulse TRG is applied within this operating interval, the timer 30 is reset and no output is produced.

On the other hand, if 10 seconds of operation time elapses without the trigger pulse TRG being applied, the output signal of the timer 30 becomes "L".
This is given to the microcomputer unit as the FM sampling instruction fa number FMST via the data bus 33 as an interwoven instruction. The microcomputer section switches the mode to internal sound sampling mode when the FM sampling command signal FMST is applied. In this way, if no external sound signal is input for a certain period of time from the start of external sound sampling, the mode is automatically switched to the internal sound sampling mode.

As a result, even though external sound sampling has been instructed due to some reason (for example, an operational error during external sound sampling, a malfunction of the microphone, etc., forgetting to input external sound, or interruption of external sound sampling operation), If no external sound signal is sampled, it will automatically switch to internal sound sampling mode.
Internal sounds are sampled in data memory 28. This allows the sampling tone generator 26 to be used during performance.
can be used without any trouble.

The generation of musical tone signals from the sampling tone generator 26 is performed according to the pronunciation assignment in the microcomputer section. When the microcomputer section decides to allocate sound to one of the channels in the sampling tone generator 26, a channel number S C) indicating the channel to be allocated to 7ρ1 is generated.
and a key code SKC indicating the pitch of the musical tone to be assigned there.

and key-on (i'f number 5KON is given, the channel number SCH and key-on signal 5KON are input to the address generator 45 via the interface 34, and the key code SKC is further transposed [to generate an address via the I path 43). The signal is input to the device 45.

The address generator 45 stores the key code SKC and key-on signal 5KON corresponding to the sound generation channel designated by the channel number SCH, and based on these, a read address signal that changes at a rate corresponding to the pitch of the key code SKC. is generated at a time division timing corresponding to the channel designated by the channel number SCH.

Sampled tone open chain data TPSVAL is applied from the microcomputer section to the transpose@path 43 via the interface 34. Transpose circuit 43
Then, the value of the key code SKC is increased or decreased in semitone units according to the sampling tone open chain data TPSVAL. For example, when the key code SKC indicates A4 tone, the sampling tone open chain data TPSVAL
If is +1, it is converted to a key code of A#4 tone, which is a semitone higher, and output. The converted key code SKC umbrella is input from the transpose circuit 43 to the address generator 45.

Pitch adjustment value data PVAL is sent from the microcomputer section to the master clock generator 4 via the interface 34.
given to 4. The master clock generator 44 controls the frequency of the master clock pulse according to the pitch adjustment value data PVAL.

A frequency-controlled master clock pulse is applied to the address generator 45, and the basic timing of address No. 78 generated by the address generator 45 is set according to this master clock pulse. Therefore, by controlling the frequency of the master clock pulse in accordance with the pitch adjustment value data PVAL, the change rate of the address signal determined in accordance with the key code SKC is subtly variably controlled. Can make high adjustments.

Note that a sampling enable signal 5PEN is input to the master clock generator 44, and prohibits the frequency of the master clock pulse from being controlled during sampling. This is to ensure that the sampled waveform sample data is written into the data memory 28 at a constant rate corresponding to the regular pitch of the standard pitch (A4 note).

Further, various data SED for editing the sampled sound are given to the sampling tone generator 26 from the microcomputer section via the interface 34. These sampled sound editing data SED are input manually to an address generator 45 and an envelope adding circuit 46.

The address generator 45 performs the above-mentioned "reverse" and "U-turn" according to this sampled sound editing data SED.
, "loop" and the like can perform readout address control according to the sampling sound generation mode. Further, the envelope applying circuit 46 can perform special envelope control for "echo" or the like according to the sampled sound editing data SED.

The envelope providing circuit 46 generates a volume control envelope signal corresponding to the channel designated by the channel number SCH according to the channel number SCH and key-on signal 5KON given via the interface 34, and reads it from the data memory 28. A volume envelope is given to the output waveform sample data of the channel. The waveform sample data to which the volume envelope has been added is added for all channels in an accumulator 51, and then converted into an analog signal by a digital/analog converter 52 and provided to the sound system 29.

To end the sound generation, the microcomputer unit sends the channel number SCH indicating the channel where the sound generation should be ended and the key-off signal 5KOF via the interface 34.
is given. Based on this, the envelope applying circuit 4
At step 6, the decay of sound control envelope buoy No. a in the channel designated by the channel number SCH is started.

The rhythm tone generator 27 receives one sound generation timing signal from the microcomputer section via the interface 34 at the sound generation timing of each rhythm tone (percussion instrument sound). The rhythm tone generator 27 generates a rhythm sound (percussion instrument sound) sound signal given the nine-tone timing signal, and sends it to the sound system 29.

Next, refer to the flowcharts from FIG. 5 onwards.

The various movements of this electronic musical instrument will be explained.

In the main routine shown in Fig. 5, first of all,
The data and contents of each child register in the working RAM 13 are initialized.

In "allocation selector scan processing",
Each switch 17a to 17 of the allocation selector 17
d and executes a predetermined process depending on which switch is turned on. here.

When it is detected that any of the switches 17a to 17d has changed from off to on, the switch 17a to
17 d in Figures 6(a)-6(d)
Execute the Notion event routine.

In "Record Selector Scan Processing".

The status of each switch of the record selector 18 is scanned, and predetermined processing is executed depending on which switch is turned on. Here, when it is detected that the external sound sampling switch EXSMPL has changed from off to on, EXSMPL in FIG.
Execute the SMPL on-event routine. Also, when it is detected that the internal sound sampling switch FMSMPL has changed from off to on, F' M S in FIG.
Execute the MPL on event routine. Furthermore, when the above-mentioned FM sampling command signal FMST is given, the FM sampling command signal FMST shown in FIG.
Processing similar to the SMP L on-event routine is executed.

In the "tone selector scan process," the state of the tone selector 20 is scanned, and a predetermined process is executed by performing a tone selection operation. Here, when it is detected that an operation to select some tone color has been performed, the tone color selection event routine shown in FIG. 9 is executed.

In the "automatic performance selector scanning process", the operating state of the automatic performance selector 21 is detected, and a predetermined process is executed in response to this detection. Here, when it is detected that the ABC-ON switch 21a has changed from off to on, the ABC-ON event routine shown in FIG. 10 (,) is executed. Also, when it is detected that the ABC-〇FF switch 21b has changed from off to on, as shown in Fig. 10(b)
The ABC-OFF event routine is executed. Also.

When the automatic rhythm selector 21c detects that some rhythm selection operation has been performed, the rhythm selection event routine shown in FIG. 11 is executed.

Also, own 1f) + rhythm start/stop switch 2
When it is detected that 1d has changed from OFF to ON, the rhythm start/stop event routine shown in FIG. 2 is executed.

In the "adjustment operator scan process," the operating state of the adjustment operator group 22 is detected, and a predetermined process is executed in response to this detection. Here, when it is detected that the pitch switch PS has changed from off to on, the pitch switch on event routine shown in FIG. 13 is executed. Conversely, when it is detected that the pitch switch PS has changed from on to off, the pitch switch off event routine shown in FIG. 14 is executed. In addition, the volume 11 switch ■S
When it detects that the switch has changed from off to on, the 15th
Execute the volume switch-on event routine shown in the figure. In addition, when it is detected that the increase switch INC has changed from off to on, the increase switch ON event routine shown in FIG. 16 is executed.
When detecting that C changes from on to off, the first
Execute the incremental switchoff event routine of FIG.

A reduction switch on event routine (not shown) similar to that shown in FIG. 16 is also executed when the reduction switch DEC is detected to have changed from off to on. Also, a reduction switch-off event routine similar to FIG. 17 (not shown)
Execute. Further, when it is detected that the transposition amplifier switch UPS has changed from off to on, the transposition up switch on event routine shown in FIG. 18 is executed.

When it is detected that the transposition down switch DWS has changed from off to on, a transposition down switch on event routine (not shown) similar to that shown in FIG. 18 is executed.

In the "sampling sound editing operator scanning process", the operation state of each operator in the sampling sound editing operator group 19 is detected and scanned, and a predetermined process is executed according to the detected editing operation content. Based on this processing, the aforementioned sampled sound editing data SED is generated and sent to the tone generator section 24.

In the "other operator scan process", the operator group 2 for other musical tone settings and controls on the operation panel section 15 is
The operating state of each of the three operators is detected and scanned, and a predetermined process is executed according to the detected operation content.

In the "key press detection/pronunciation assignment processing", key presses and key releases on the keyboard 14 are detected, and processing is executed to assign the generation of musical tones corresponding to the pressed keys to appropriate sound generation channels and processing based on the key release detection. .

Here, when a new key press is detected, the new key on event routine shown in FIG. 19 is executed, and when a new key release is detected, the new key off event routine shown in FIG. 20 is executed.

Also, when a tempo clock signal is given from the tempo clock generator 32 during execution of the main routine, the 21st
Execute the tempo clock interwoven routine shown in the figure.

The 104 sampling performers can allocate sampled sounds to desired performance parts by operating the allocation selector 17.

If you want to allocate it to the "melody" part, turn on the switch 17a of the allocation selector 17. Then, the melody switch-on event routine shown in FIG. 6(a) is executed, and data ``1'' indicating that the melody has been allocated to the ``melody'' part is stored in the allocation register ALOCT.

If you want to allocate it to the "chord" part, turn on the switch 17b of the allocation selector 17. Then, the code switch-on event routine shown in FIG. 6(b) is executed, and data "2" indicating that the code has been allocated to the "code" part is stored in the allocation register ALOCT.

If you want to allocate it to the "bass" part, turn on the switch 17c of the allocation selector 17. Then, the base switch-on event routine shown in FIG. 6(c) is executed, and data "3" indicating that it has been allocated to the "base" Nokuto is stored in the allocation register ALOCT.

If you do not want to assign the sampled sound to any part,
Switch 17d of allocation selector 17 is turned on. Then, the off switch on event routine shown in FIG. 6(d) is executed, and the allocation register ALOC is
At T, data rOJ indicating that it is not allocated to any part is stored.

Sampling at your convenience If you want to sample a sound signal input from the outside into the data memory 28 in the tone generator section 24, use the external sound sampling switch EXS of the record selector king 8.
Turn on MPL. Then, the EXSMPL on-event routine shown in FIG. 7 is executed. Here, first, the key code S is sent to the sampling tone generator 26.
A key code of a predetermined reference pitch (for example, the pitch of an A4 note) is sent as KC, and data indicating channel 1 is sent as channel number <SCH (step 60). Next, an external sound sampling signal EXS I) is sent to the tone generator section 24 as a sampling start command (step 61).

As a result, the tone generator section 24 in FIG.
The selector 36 enters a state in which the external signal from the microphone 16 is selected, and the sampling enable signal S P E N becomes l'', opens the gate 39, and selects the external sound (a) selected by the selector 36 from the data memory. 28
Manually input data to the data input terminal DTIN. In addition, in the address generator 45, a predetermined reference pitch (A4
The write address (IJ number) is set to be generated at a rate corresponding to the pitch of the sound. Also, the timer 30 is started in response to the external sound sampling signal EXSP.

In this state, if an external sound signal is input from the microphone 16 before the 0 period of operation of the timer 30 elapses, a trigger pulse TRG is output from the rising edge detection circuit 40 in response to the rising edge of this external sound signal. This trigger pulse TRG
In response, the address generator 45 starts generating a write address signal on channel 1 at a rate corresponding to the reference pitch (A4). Further, the data memory 28 is set to the write mode at time-sharing timing on the channel, and the waveform sample data of the external sound signal input to the data input terminal DTIN via the gate 39 is written to the address specified by the write address signal. . On the other hand, the timer 30 is reset by the trigger pulse TRG before the operating time expires.

Sampling from built-in sound source When it is desired to sample the musical tone signal generated from the 1M tone generator 25, which is a built-in sound source, into the data memory 28 in the tone generator section 24, the internal sound sampling switch FMSMPL of the record selector 18 is turned on. Then, the FMSMPL on-event routine of FIG. 8 is executed. Here, first, a key code of a predetermined base pitch (A4 note) is sent to the sampling tone generator 26 as a key code SKC, and data indicating a channel is sent as a channel number SCH ( Step 62).

Next, it is checked whether the contents of the allocation register ALOCT are "3" indicating the "r base" part (step 63).

If the sampled sound is not assigned to the "r bass" part, that is, if it is assigned to a part in the common range of "melody" or "chord", go to step 64, and send it to the 1M tone generator 25. A key code of a predetermined reference pitch (A4 note) is sent as a key code FKC, and data indicating an arbitrary channel is sent as a channel number FCH.

On the other hand, if the sampled sound is assigned to the "bass" part, the process goes to step 65, and the pitch (A3 tone) is one octave lower than the predetermined reference pitch as the key code FKC to the 1M tone generator 25. The key code is sent out, and data indicating an arbitrary channel is sent out as a channel number FCH.

Next, the internal sound sampling signal FMSP is sent to the tone generator unit 24 as a sampling start command (step 66). Next, a key-on signal KON is sent out corresponding to the channel with the channel number FCH.

As a result, if the sampled sound is assigned to a "melody" or "chord" part in the normal range, the fourth
The 1M tone generator 25 shown in the figure generates a musical tone signal having a predetermined reference pitch (A4 tone). On the other hand, if the sampled sound is assigned to the "bass" part, the 1M tone generator 25 in FIG.
:, generates a musical tone signal having a pitch (A3 tone) that is one octave lower than the quasi-tone pitch. Further, the selector 36 enters a state in which the musical tone signal generated from the 1M tone generator 25 is selected in accordance with "1" of the internal sound sampling signal FMSP. Then, the gate 39 is opened and the musical tone signal from the FM generator 25 selected by the selector 36 is inputted to the data input terminal DTIN of the data memory 28. Further, the address generator 45 generates a write address signal on channel 1 at a rate corresponding to a predetermined base pitch (the pitch of an A4 note). In this way, the musical tone signal generated from the FM tone generator 25 is transmitted to the data memory 2.
8 is written.

In this way, the pitch of the musical tone signal from the built-in sound source sampled in the data memory 28 is different depending on whether it is assigned to the "bass" part or to the normal range part.
When assigned to the "bass" part, it is lowered by one octave. Then, at the time of reading, the pitch of the waveform sample data read from the data memory 28 at the same readout rate is higher for the pitch of the waveform sample data assigned to the bass tone part than for the part of the normal pitch. The pitch is one octave lower than in the case of a musical tone signal corresponding to waveform sample data allocated to . For example, if you want to read out the pitch rate of A4 note, the musical tone signal corresponding to the waveform sample data assigned to the par 1- part of the normal range will have the same pitch rate of A4 note, but it will be read out at the pitch rate of the bass note part. The musical tone signal corresponding to the waveform sample data has a pitch of A3 note, which is one octave lower than that. Therefore, for example, even if it is possible to specify pitches only up to the lowest note C3 on the keyboard 14, the musical tone signal corresponding to the waveform sample data assigned to the bass note part by specifying the pitch of C3 will be the note C2. Even if the structure of the keyboard 14 and address generator 45 is relatively simple and corresponds to a relatively narrow range, the bass sound part is generated in a sufficiently low range during readout and performance. This allows you to generate internally sampled sounds that are assigned to

Automatic sampling from the built-in sound source When external sound sampling is performed, the timer 30 is not activated without any external sound signal being input from the microphones 1-6, or without the rising edge of the external sound ('B) being detected by the rising edge detection circuit 40. elapses, the rising edge detection circuit 40
Since trigger pulses TR and G are not output from H2?, the operation time of the timer 30 ends H2? FM from the timer 30 to
A sampling command signal FMST is generated. Accordingly, the F of FIG.
Processing similar to the MSMPL on-event routine is executed.

Therefore, the musical tone signal generated from the FM tone generator 25 is stored in the data memory 28 by the same processing as described above. In this way, if there is no human input for external sound signals for a certain period of time from the start of external sound sampling, the mode is automatically switched to internal sound sampling mode 1-.

As a result, even if external sound sampling is instructed for some reason (for example, an operational error during external sound sampling, a malfunction of the microphone, etc., forgetting to input external sound, or interruption of external sound sampling operation, etc.), Regardless, if the external sound signal is not sampled, the mode is automatically switched to the internal sound sampling mode, and the musical sound signal generated from the FM tone generator 25 is sampled into the data memory 28.

1) The tone of the musical tone signal generated by the FM tone generator 25 is selected by the tone selector 20.

When a desired tone is selected using the tone color selector 20, the tone color selection event routine shown in FIG. 9 is executed. Here, first, a code signal indicating the selected tone is registered in the FM tone register MT○NE (
Step 68). Next, the M tone register FMTONE
The timbre parameter corresponding to the timbre code registered in the timbre code is read out from the timbre parameter memory 31a in the data R○M 31 and sent to the F'M)-- generator 25 (step 69). - The timbre of the musical tone signal generated by the tone generator 25 is set to the timbre selected by the timbre selector 20.

When performing an ABC-11 automatic bass chord performance, the ABC-ON switch 21a is turned on. When the ABC-ON switch 21a changes from off to on, A B C- in FIG. 10(a)
The ON event routine is executed. In this routine, the contents of the A B C register A B CRG are
Set to II.

When not performing automatic bass chord performance, press ABC-01.
Turn on the 'G' switch 21b. When the ABC-01 code switch 21b changes from off to on, the state shown in Fig. 10 (b
)'s A13C-OFF event routine is executed. In this routine, the contents of the ABC register CRG are reset to "Ou."

When a desired rhythm is selected using the automatic rhythm and start/stub automatic rhythm selectors 21c, the rhythm selection event routine shown in FIG. 11 is executed. Here, a code signal indicating the selected rhythm is registered in the rhythm register RCOD E.

When starting or starting automatic rhythm performance, the automatic rhythm start/stop switch 21d is turned on. Then, the rhythm t1 start/stop event routine shown in FIG. 12 is executed. Here, the contents of the rhythm start/stop register R3TART are inverted. Rhythm start/stop register R8TART
When the content is 111 II, it instructs to start automatic rhythm performance, and when it is II O11, it instructs to stop automatic rhythm performance. Therefore, each time the automatic rhythm start/stop switch 21d is turned on, the automatic rhythm performance is switched between start and stop.

Adjusting the pitch of the sampling sound When using the increase switch INC and the decrease switch DEC to adjust the pitch of the sampling sound, first turn on the pitch switch I)S. Then, the pitch switch-on event routine shown in FIG. 13 is executed. Here, the contents of the moisture status register 5WST are 111 II
is set to The content of moisture status register 5WST is I
When set to I1'', it indicates that the increase switch INC and decrease switch DEC are used for adjusting the pitch of the sampled sound.

On the other hand, when using the increase switch INC and decrease switch DEC to adjust the overall volume, turn on the volume switch VS. In this case, the volume switch-on event routine shown in FIG. 15 is executed, the contents of the adjustment status register 5WST are reset to "0", and the increase switch INC and decrease switch DEC are used for overall volume adjustment. .

When the increase switch NC is turned on, the increase switch on event routine of FIG. 16 is executed.

Here, first, the contents of the adjustment status register 5WST are “
1'' (step 70).

If it is "1", that is, the state in which the pitch adjustment of the sampling sound is to be performed, the process goes to step 71, and the pitch adjustment value data PVAL is
Increase by 1. Next, this pitch adjustment value data PVAL is sent to the sampling tone generator 26 (step 72). Next, it is checked whether the pitch switch PS continues to be turned on (step 73), and if it is not turned on, the process returns. Thus, the increase switch IN
Pitch adjustment value data PVAL in response to one ON operation of C
is increased by l.

When the reduction switch DEC is turned on, a reduction switch-on event routine (not shown) is executed. This decrease switch-on event routine is a routine that executes almost the same processing as the increase switch-on event routine shown in FIG. 16. The difference is that in this decrease switch-on event routine, the pitch adjustment value data PVAL is decreased by 1. This is the point. Thus, t of the reduction switch DEC
The pitch adjustment value data PVAL is decreased by l in accordance with the ON operation.

The pitch adjustment value data PVAL set to the desired value in this way is transferred to the sampling tone generator 2 in FIG.
The master clock generator 44 of No. 6 finely adjusts the pitch of the musical tone signal generated by the master clock generator 44 in units of 1 cent, as described above.

Note that when adjusting the overall volume W14, the content of the adjustment status register 5WST is 'O'', so step 70 in FIG. 16 is NO, and the process goes to step 77 to adjust the overall volume!
Perform processing to increase the adjustment value.

Reference: The sampling tone generator 26 generates the sampling tone whose pitch is being adjusted while the reference tone is generated by the 1M tone generator 25, and the user listens to the 8Y<@ sound and the pitch-adjusted sampling tone. To perform the "standard tone pronunciation tuning function" that allows you to compare the
Pitch switch P While holding down S, increase switch I
Operate NC or decrease switch DEC.

In this case, for example, if the increase switch INC is turned on while continuing to press the pitch switch PS, then step 73 in FIG. 16 becomes YES and the process proceeds to step 74. Here, the predetermined key code FKC for the 1M tone generator 25 is 1. It sends out a key code of type platform height (A4 sound), sends out data indicating the desired channel as a channel number FCH, and at the same time sends out a key-on signal KON corresponding to this channel.

Next, for the sampling tone generator No. 26, set the predetermined number as the key code SKC (type base height (A4 tone)).
Send the key code and channel number SCH
The key-on signal 5KON is sent out corresponding to this channel at the same time (step 75).

Next, the reference tone sound generation tuning mode register PKON
The content of is set to u 1'' (step 76), indicating that the fundamental w tone pronunciation tuning mode is set.

As a result, the 1M tone generator 25 in FIG. 4 generates a musical tone signal having a predetermined reference pitch (A4 tone),
This is sounded via the sound system 29. At the same time, the sampling tone generator 26 in FIG. 4 also generates a musical tone signal of the sampling tone at a predetermined reference pitch (A4 tone).

This is sounded via the sound system 29.

However, the pitch of the musical tone signal generated from the sampling tone generator 26 is tuned to pitch IIk (tuned) according to the pitch adjustment value data PVAL. In this way, the sampled sound being adjusted in pitch can be heard and compared with the standard pitched reference sound.

While holding down the pitch switch PS, press the decrease switch DE
When C is turned on, the same processing as steps 74 to 76 in FIG. 16 is executed by a decrease switch-on event routine (not shown).

The sampled sound during pitch adjustment and the rough wall sound of the regular pitch are
It is sounded only when the increase switch INC or decrease switch DEC is turned on.

When the increase switch INC that was on is turned off, the 17th
The illustrated incremental switchoff event routine is executed.

Here, it is checked whether the contents of the ggi status register 5WST and the K-type sound tuning mode register)) are It I I+, respectively (step 78).
79), if so, the key off key No.
At the same time, a key-off signal 5KOF is sent to the sampling tone generator 26 corresponding to the channel in which sound is being generated (step 80). As a result, the reference tone being generated by the 1M tone generator 25 and the sampling tone being generated by the sampling tone generator 26 and whose pitch is being adjusted are terminated.

Even when the reduction switch DEC that has been on is turned off, the same processing as steps 78 to 80 in FIG. 17 and FIG. 16 is executed by a reduction switch off event routine (not shown).

Further, the reference tone and sampled tone that are being generated are also terminated when the pitch switch PS is turned off. When the pitch switch PS changes from on to off, the pitch switch off event routine of FIG. 14 is executed.

Here, the contents of the adjustment status register 5WST and the reference tone sound generation tuning mode register PKON are
1'' (steps 81 and 82), and if so, set the reference tone sound tuning mode register PKON.
Step 83) Send the key-off signal KOF to the 1M tone generator 25 corresponding to the channel currently producing sound, and also to the sampling tone generator 26 corresponding to the channel currently producing the sound. Then, a key-off signal 5KOF is sent out (step 84). As a result, the reference tone being generated by the FM tone generator 25 and the sampling tone generator 26
The pitch during pronunciation? The sampled sound in IlIIgt is terminated.

Transposing the entire instrument When transposing the pitch of the entire instrument in semitone units, that is, transposing the pitch, the transposing up switch UPS or the transposing down switch DWS is operated alone. For example, when the transposition up switch UPS is turned on, the transposition up switch on event routine shown in FIG. 18 is executed. Here, first, it is checked whether the pitch switch PS is turned on at the same H or Te (step 85). If it is not turned on, the process goes to step 86, and the sampling sound vibration open chain data 1゛PSVAL and the FM tone tone are checked. Open-chain TPFVAI4)
Increase both values respectively. Next, the sampling tone wave chain data TPSVAL is sent to the sampling tone generator 26, and the FM tone tone wave chain data TPFVAL is sent to the FM tone generator 25 (step 87).

Furthermore, if the transposition down switch DWS is turned on alone, a transposition down switch on event routine (not shown) is executed. This transposition down switch-on event routine is a routine that executes almost the same processing as the transposition up switch-on event routine shown in FIG.
This is the point at which TPFVAL is decreased by l.

In this way, in response to a single ON operation of the transposing up switch UPS, the sampled sound vibration opening chain data TPSVA is
L and FM tone open chain data TPFVAL are each increased by 1, and sampling tone open chain data TPSVAL and FM tone tone open chain data TPFVAL are each decreased by 1 in response to a single ON operation of the transposition down switch DWS. .

The sampling sound vibration open chain data TPSVAL and the FM sound tone direct data TP set to the desired values in this way
FVAL is input to the transpose circuit 43 of the sampling tone generator 26 and the transpose circuit 35 of the C tone generator 25 in FIG. Adjust the high pitch in semitones.

When performing pitch adjustment or transposition in semitone units only for the sampling tone generator 26, the up switch UPS or the down switch DWS is operated while pressing the pitch switch PS. For example, if the transposition up switch UPS is turned on while pressing the pitch switch PS, the transposition up switch on event routine shown in FIG. 18 is executed. In step 85, it is checked whether the pitch switch PS is turned on at the same time. If it is turned on, the process goes to step 88, and the value of only the sampling tone straight data TPSVAL is increased by 1. Sampling sound vibration open chain data TPSVAL is sent out (step 89
).

While pressing the pitch switch PS, press the up switch UPS
Alternatively, if the down switch DWS is turned on, a transposition down switch on event routine (not shown) is executed, processing almost the same as steps 88 to 89 in FIG. 18 is executed, and the sampling sound vibration open chain data TPSVAL is decreased by 1. .

The sampling sound vibration open chain data TPSVAL set to a desired value in this way is input to the transpose circuit 43 of the sampling tone generator 26 shown in FIG.
The pitch of the musical tone signal generated in step 6 is adjusted in semitone units.

The reason why this "sampled sound transposition function" allows pitch adjustment, or transposition, to be performed only on sampled sounds is that the pitch of an externally sampled sound signal does not necessarily match the reference pitch of the writing rate ( A4 sound)
This is to make it possible to match this pitch to the reference pitch when reading out, since it is not necessarily the same as the reference pitch.

- 1jL difference - When playing the keyboard, depending on the automatic bass chord performance selection status and the allocation status of sampled sounds to the performance parts,
A keyboard 14 is divided into two key ranges (an upper key range UK and a lower key range LK), and a 1M tone generator 25 and a sampling tone generator 26 are used separately for each performance part. An example of this aspect is like a numerical table. In the table, the vertical axis represents the selection state of automatic bass perm C), and the horizontal axis represents the contents of the allocation register ALOCT, that is, the allocation state of sampled sounds to performance parts. F"M・'I' G is 1
SM-TG is an abbreviation for M tone generator 25 and sampling tone generator 26. 6CH, 4
CH, 3CH, ↓CH, etc. are the number of channels to be used, in other words, the number of 8 yen sounds that can be produced, and CH is the number of channels. An example of how to read a table is 1.For example, AB
If C is ON and the sampled sound is assigned to the melody part, rUK: SM-TG (4CH)
Jr L K: code; FM-TO (3CH) base; described as FM-TG (ICH)J. This assigns the pressed FF and keys in the upper key range UK to any of the four channels of the sampling tone generator 26, generates chord sounds and bass sounds according to the pressed keys in the 1,000-key range LK, and generates chord sounds. This indicates that the sound generation is assigned to any of the three channels of the 1M tone generator 25, and the bass tone is assigned to one channel of the 1M tone generator 25.

To give another example, if ABC is OFF and the sampled sound is assigned to the bass part, it will be written as "All keys: FM-TG (6CH) (extra percussion in SM/TG)". There is. This is keyboard 1
This indicates that the pressed keys in all the four key ranges are assigned to any of the six channels of the FM)--tone generator 25, and that the sampling tone generator 26 is used for the "extra percussion function."

The sound generation assignment process for assigning the sound of the pressed key on the first keyboard 14 to any channel is performed according to the table shown in Table 1 above, and this sound generation assignment process is performed using the new key on event routine shown in FIG. This is achieved by executing.

When a new key is pressed on the keyboard 14, the second knee on event routine of FIG. 19 is executed.

Here, first, a new key code for pressing FF and N is registered in the new key code register NKC (step 90). In the next step 91, the ABC register C
Check whether the content of RG is "'0".

If ABC is OFF, the process goes to step 92 to check the contents of the allocation register ALOCT. If ALOCT is "o" or "3", that is, if the sampled sound is to be assigned to the "bass" part or not to any part, step 9
Go to 3. Here, rABC in Table 1 above=○FFJ
and "sampling sound allocation=ON" or the intersection of rABc=OFFJ and "sampling sound allocation=Base". In other words, the process of assigning the pressed keys of the entire keyboard range of the keyboard 14 to the 1M tone generator 25 is performed. More specifically, the tone corresponding to the new key code register NKC is generated by any one of the six channels of the FM tone generator 25. The key code of the new key code register NKC is assigned as key code KC.
' Send it to the M tone generator 25, and at the same time, send the key-on signal KON corresponding to the channel number <FCH of the assigned channel and this channel to FM)-
-Sent to the engine generator 25.

If ALOCT is "1", that is, if you want to allocate the sampled sound to the "melody" part, step 9
Go to 4. Here, new key code register NKC
It is checked whether the key code belongs to the upper key range tJK. If so, the process goes to step 95 to assign the tone corresponding to the new key code register NKC to one of the four channels of the sampling tone generator 26. is sent to the sampling tone generator 26 as a key code SKC.

At the same time, the channel number SCH of the channel decided to be allocated and the key-on signal 5K corresponding to this channel.
ON is sent to the sampling tone generator 26. In this manner, when a sampled tone is assigned to a "melody" part, a musical tone signal corresponding to a pressed key in the upper key range UK is assigned to one of the channels of the sampling tone generator 26 and generated. On the other hand, if the pressed key falls within the lower key range LK, the process goes to step 93 from No in step 94, and the sound generation of the pressed key sound is assigned to the 1M tone generator 25. The processing here is rA in Table 1 above.
This corresponds to the assignment process of the intersection of BC=○FFJ and "sampled sound assignment=melody".

If ALOCT is "2", that is, if the sampled sound is to be allocated to the "chord" part, step 96
go to. Here, it is checked whether the key code in the new key code register NKC belongs to the lower key castle LK. If so, go to step 95 and perform the same processing as described above. Otherwise, the process goes to step 93 and the same process as described above is performed. In this way, when assigning a sampled sound to a "chord" part, the musical tone signal corresponding to the pressed key in the lower key range LK is assigned to any channel of the sampling tone generator 26 and produced, and the musical tone signal corresponding to the pressed key in the lower key range LK is generated. The musical tone signal corresponding to the key is assigned to the C tone generator 25 and generated. The processing here corresponds to the assignment processing at the intersection of rABC=OF'FJ and "allocation of sampling sound=code" in Table 1 above.

If ABC is ON, the process goes to step 97 from No in step 91, and it is checked whether the key code in the new key code register NKC conforms to the lower key range LK. If so, the routine proceeds to step 98 and subsequent steps, where an automatic bass tone and an automatic chord tone are formed based on the pressed keys that fall within the lower key range LK, and a predetermined sound generation assignment process is performed. If the key code in the new key code register NKC falls within the upper key range UK, the routine proceeds to step 99 and subsequent steps, and predetermined sound generation assignment processing is performed for the newly pressed key that falls within the upper key range UK.

In step 98, key codes for bass notes and chord notes are formed based on all the pressed keys belonging to the lower key range LK. For example, key codes for the bass note are one note and the chord notes are three notes. In the next step 100, the contents of the allocation register ALOCT are checked.

If ALOCT is rOJ or "1", that is,
If you want to allocate the sampled sound to the “melody” part or not allocate it to any part, step 1
Go to 01. Here, the bass tone formed in the previous step 98 is assigned to be produced to the 1M tone generator 25 channel, and the chord tone is assigned to the 3 channels of the 1M tone generator 25. Each key code is sent to the 1M tone generator 25 as a key code FKC, and at the same time, the channel number FC of each assigned channel is sent.
H is sent to the FM generator 25. The process here corresponds to the allocation process regarding LK at the intersection of rABC=○NJ and "sampling sound allocation=off" or "sampling sound allocation=melody" in Table 1 above.

If ALOC:T is "2", that is, if you want to assign the sampled sound to the "chord" part, step 1
Go to 02. Here, the bass tone formed in the previous step 98 is assigned to one channel of the 1M tone generator 25, and the key code of the assigned bass tone is sent to the 1M tone generator 25 as the key code FKC.
At the same time, the channel number FCH of the allocated channel is sent to the 1M tone generator 25. Next, go to step 103 and 11? - The three chord tones formed in step 98 are assigned to the three channels of the sampling tone generator 26, and each key code of the assigned chord a is sent as a key code SKC to the sampling tone generator 26, and , and sends the channel number SCH of each assigned channel to the sampling tone generator 26. The processing here is rA B C= O in Table Y above.
This corresponds to the allocation process regarding LK at the intersection of NJ and "allocation of sampling sound = code".

If ALOCT is "3", that is, if you want to allocate the sampled sound to the "bass" part, step 10
Go to 4. Here, the three chord tones formed in the previous step 98 are assigned to the three channels of the 1M tone generator 25, and each key code of the assigned chord tone is sent to the 1M tone generator 25 as a key code FKC. , simultaneously sends the channel number FCH of each channel for which one allocation has been determined to the 1M tone generator 25. Next, the process goes to step 105, in which the bass tone formed in the previous step 98 is assigned to one channel of the sampling tone generator 26, and the key code of the assigned bass tone is changed to the key code S.
It is sent to the sampling tone generator 26 as KC, and at the same time, the channel number SCH of the allocated channel is sent to the sampling tone generator 26. The process here is that rABC=ON in Table 1 above.
This corresponds to the assignment process regarding LK at the intersection of J and "allocation of sampling sound = base".

If the key code in the new key code register NKC belongs to the upper Ayu region UK, the process goes to step 99 to check the contents of the allocation register ALOCT.

If A L OCT is rOJ, that is, if the sampled sound is not assigned to any part, step 1
Go to 06. Here, new key code register NK
1M tone generator 25 produces the musical tone corresponding to C.
Perform processing to assign pronunciation to either of the two channels,
The key code of the new key code register NKC is sent to the 1M tone generator 25 as the key code F''KC, and at the same time, a key-on signal KON is sent to the 1M tone generator 25 in accordance with the channel number FCH of the assigned channel and this channel. The process here corresponds to the allocation process for UK at the intersection of rABC=ONJ and "sampling sound allocation=OFF" in the above-mentioned schedule.

If ALOCT is rlJ, that is, if you want to allocate the sampled sound to the "melody" part, step 1
Go to 07. Here, new key code register NK
The process of assigning the sound of the musical tone corresponding to C to any of the four channels of the sampling tone generator 26 is performed, and the key code of the new key code register NKC is sent to the sampling tone generator 26 as the key code SKC, and at the same time, the assignment is performed. A key-on signal 5KON corresponding to the channel number SCH of the determined channel and this channel is sent to the sampling tone generator 26. In this manner, when a sampled sound is assigned to a "melody" part, a musical tone signal corresponding to a pressed key in the upper Ayu area UK is assigned to one of the channels of the sampling tone generator 26 and generated. The processing here corresponds to the allocation processing for UK at the intersection of rABC=○N" and "sampling sound allocation=melody" in Table 1 above.

If ALOCT is "2", that is, if you want to allocate the sampled sound to the "chord j part", step 10
Go to 8. Here, new key code register NKC
1M tone generator 25 to any of the five channels of the 1M tone generator 25, and sends the key code in the new key code register NKC as a key code KC to the FM tone generator 25. Channel number F CH of the determined channel and key-on signal K corresponding to this channel
ON is sent to the 1M tone generator 25. The processing here corresponds to the allocation processing regarding UK at the intersection of "rABC=ON" and "sampling sound allocation=court" in Table 1 above.

If ALOCT is "3", that is, if you want to allocate the sampled sound to the "bass" part, step 10
Go to 9. Here, new key code register NKC
Pronunciation of musical tone corresponding to "F" M tone generator 2
5, the key code of the new key code register NKC is sent to the 1M tone generator 25 as a key coded KC, and at the same time, the channel number CH of the channel to which 1 allocation has been determined and this channel are assigned. Correspondingly, key-on signal K
ON is sent to the 1M tone generator 25. The processing here corresponds to the allocation processing regarding tJK at the intersection of rABC=ONJ and "sampling sound allocation=base" in Table 1 above.

When playing the keyboard, according to the pronunciation assignment process described above,
Based on a key depression on the keyboard 14, a musical tone signal is generated by an FM generator 25 and a sampling tone generator 26, and is outputted via a sound system 29.

When the key that has been pressed in Keyboard Worker 4 is released, the second
The new key off event routine of Figure 0 is executed.

Here, first, the key code of the newly released key is registered in the new key code register NKC (step E10). In the next step 111, it is checked whether the contents of the ABC register B CRG are 110 $1. investigate.

If ABC is OFF, go to step 112, compare the key code of the tone assigned to each channel of the 1M tone generator 25 and sampling tone generator 26 with the key code of the new key code register NKC, and release the new key. Detects the channel to which the specified key is assigned. Then, a key-off signal KOF or 5KOF is sent out corresponding to the detected channel.

If ABC is ON, go to step 113.

It is checked whether the key code in the new key code register NKC belongs to the upper key area UK. If so, go to step 112 and perform the same process as described above. If not, the key code in the new key code register NKC, that is, the newly released key, specifies the automatic bass note and automatic chord note. This is the key suppressed in the lower key range LK for
Since no R key processing is performed for this (because key release is not involved in creating automatic accompaniment sounds), the process goes to Return.

When a tempo clock pulse is generated from the automatic accompaniment tempo clock generator 32, the tempo clock interwoven routine shown in FIG. 21 is executed. here.

First, rhythm start/stop register R8TART
It is checked whether the content of is "1" (step 114), and only when the automatic rhythm is moving, the next step 115 is performed.
, and increment the contents of the tempo counter TPCTR by 1. In the next step 116, the rhythm register RCODE
The rhythm pattern data of the rhythm selected according to the rhythm code registered in the tempo counter TP
According to CTR's tempo clock count data.

It is read from the rhythm pattern memory 31b and sent to the rhythm tone generator 27. The rhythm tone generator 27 generates a rhythm sound signal (percussion instrument sound signal) according to the given rhythm pattern data.

In the next step E7, the contents of ABC register CRG are set to allocation register ALOC in it O11.
It is checked whether the content of T is "3", that is, whether the automatic bass chord performance function is turned off even though the sumbling note is assigned to the r bass part. If NO, go to step 118 and check whether the content of ABC register CRG is '↓''. If the automatic bass chord play function is on, go to step 119 and check whether the content of ABC register CRG is '↓'. The chord pattern data and bass pattern data of the rhythm selected according to the tempo counter TP
According to the tempo clock count data of the CTR, the chord pattern memory 31c and the base pattern memory 31
'l protrudes from cl.

Then, it is sent to the 1M tone generator 25 and the sampling tone generator 26 as a key-on signal KON or 5KON corresponding to the channel to which the automatic chord tone and automatic bass tone are assigned. In the sampling tone generator 26, musical tone signals of automatic chord tones and automatic bass tones are generated at sound generation timings indicated by the chord pattern and bass pattern that are 1:1 apart from the selected rhythm.

If the automatic bass chord performance function is turned off even though the extra percussion function sampling sound is assigned to the "bass" part, step 117 of the 21st @ is YES, and the process goes to step 120. Processing is done for extra percussion functions. Here, the sampling sound pattern data of the rhythm selected according to the rhythm code registered in the rhythm register RCODE is
The sampled sound pattern memory 31e is read in accordance with the tempo clock count data of the tempo counter TPCTR. This sampling sound pattern data specifies the pitch of the sampling sound to be generated using a key code, and is generated at the timing at which the sampling sound is to be generated. Then, in accordance with the sampling sound pattern data read out from the sampling sound pattern memory 31e, a key code SKC indicating the pitch of the sampling sound to be generated and a key-on signal 5KON are sent to a channel number specifying a predetermined channel of the sampling tone generator 26. SCH (which can be any channel) to the sampling tone generator 26.

In this manner, the sampling tone generator 26 generates a musical tone signal having a pitch and a sound generation timing according to the sampling tone pattern data read out from the sampling tone pattern memory 3↓C. Therefore, even if the sampled sound was originally assigned to the "r bass" part, the sampled sound would not be produced due to the ABC function being turned off. Sounds can be automatically pronounced.

An example of a sampled sound pattern using the "F extra percussion function" is to produce a sampled sound of A3 pitch at the timing of the bass drum sound. or,
For example, a sampled sound of an A4 pitch is produced at the timing of a snare drum's production, or a sampled sound whose pitch changes appropriately is produced at another suitable rhythmic sound production timing.

In the above embodiment, step 1 of the tempo clock interwoven routine is used for the automatic bass note and automatic chord note.
19, only the sound timing is controlled according to the pattern, and the pitch at each sound timing is not controlled by the pattern.However, like the commonly known walking bass and arpeggio, automatic bass notes and automatic chords are controlled. Of course, the pitch at each sound generation timing may be controlled according to a pattern. In that case, for example, automatic bass note and automatic chord note formation and pronunciation assignment processing similar to the processes in steps 98 to 105 in FIG. 19 are performed at step 119 in the tempo clock interwoven routine in FIG. Just do it like this.

In the above embodiment, when writing the waveform sample data of musical tone ff1 generated from the 1M tone generator 25, which is a built-in sound source, into the data memory as a sampling sound,
By changing the pitch of the musical tone signal generated from the FM tone generator 25 when this sampled sound is assigned to the normal range part and when it is assigned to the bass sound part, when the sampled sound is reproduced and produced, Compared to the sound range that can be produced by the sampled sound, the sound range of the readout control [(path) can be narrowed, thereby making the circuit configuration more compact. This can also be achieved by changing the write rate of the data memory 28 in the two cases described above without changing the pitch of the generated musical tone signal. In other words, when assigning to the part of ``Melody J'' or ``Chord J'', the standard writing rate (A4 which is the standard pitch)
When specifying a rate (corresponding to the pitch of a note) and assigning it to the "bass" part, a writing rate that is a certain pitch (for example, one octave) higher than the standard writing rate (a rate for an A5 note) must be assigned. Instruct. In either case, the 1M tone generator 25 generates a musical tone signal at the same reference pitch (for example, A4 tone). To do this, for example, steps 62 and 64 in FIG.
．． The process of 65 is changed as follows. That is, in step 62, a key code of the reference pitch (A4 tone) is sent as the key code FKC to a predetermined channel of the FMI generator 25, and in step 64 (when assigning the sampled sound to a part in the normal range), Key coat S to channel 1 of sampling tone generator 26
As KC) to I'<! ! A key code of pitch (A4 note) is sent, and in step 65 (when assigning the sampled sound to the bass part), a pitch one octave higher than the standard pitch is sent to channel 1 of the sampling tone generator 26 as the key code SKC. All you have to do is change it to send out the key code (A5 sound). In this case, when a sampled tone is assigned to the bass part, if reading is performed according to the key code SKC of note A3, the sampling tone generator 26 will generate a musical tone signal of note A3, which is one octave lower than the key code SKC. Ru.

A similar objective can also be achieved by combining both the control of the generated tone pitch from the 1M tone generator 25, which is a built-in sound source, and the control of the writing rate in the sampling tone generator 26.

In addition, regardless of which control method is adopted, the pitch of the musical tone signal written to the data memory 28 of the sampling tone generator 26 will vary depending on whether the sampling tone is assigned to the normal range part or the bass tone part. The pitch ax is not limited to one octave, but may be two or more octaves, or any other predetermined pitch.

Further, in the embodiments described above, the built-in sound source means synthesizes musical tone signals using the FM method, but the present invention is not limited to this, and the built-in sound source means may use any musical sound generation method.

Furthermore, in the above embodiment, the writing rate when sampling an external sound signal or a musical tone signal from the built-in sound source to the sampling tone generator is automatically set to a constant reference pitch (A4 tone). However, this may be set arbitrarily by the performer by specifying the pitch using a keyboard or the like.

In the example shown in FIG. 4, the analog musical tone signal generated by the 1M tone generator 25, which is a built-in sound source, is converted from analog to digital and sampled in the data memory 28. However, the present invention is not limited to this. The digital musical tone signal before digital/analog conversion is extracted internally and transferred to the data memory 2.
Alternatively, the musical tone signal generated from the 1M tone generator 25 may be inputted to the microphone 16 via the sound system 29.
The data may be picked up by the microphone 16 and input into the data memory 28 via a route from the microphone 16.

In the above embodiment, the bass sound part is automatically played as the automatic bass sound in the automatic bass chord performance, but the invention is not limited to this, and the bass sound part can also be played manually. (For example, the sound of a key pressed in a predetermined bass keyboard or key range is generated as the musical sound of the bass sound part).

Each persimmon operator on the operation panel section 15 is not limited to a button switch, and may have any shape and operation type.

Further, a display device may be provided to display the operating status of each of the 131 controls.

Further, in the above embodiment, each processing is performed by software processing using a microcomputer, but it may be performed using a dedicated hardware circuit.

When automatically switching to the internal sound sampling mode in the external sound sampling mode on the condition that no external sound signal has been input for a certain period of time or more, the operating time of the timer 30 that measures this certain period of time is as follows in the above embodiment. 10
seconds, but is not limited to this and may be determined as appropriate;
Instead of providing a timer circuit as a hardware circuit as in this embodiment, time may be measured by timer-interrupted processing using software.

In the above embodiment, the pitch adjustment (tuning) of the sampling sound is performed by controlling the generation frequency of the master clock generator 44 of the sampling tone generator 26, but the method is not limited to this. It may be possible to perform high adjustment, or the pitch may be finely adjusted to 11 Jl.
l! Jm is not limited to ↓ cents, but may be any appropriate value.

Regarding the concept of "standard tone pronunciation tuning function",
It is not necessary that the sound targeted for pitch adjustment (tuning) is a sampled sound.In short, when performing a pitch adjustment (tuning) operation, the pitch WR
The musical tone of the sound source being adjusted is produced at a predetermined pitch with the pitch adjusted.

At the same time, it is sufficient that a musical tone having a standard pitch and a standard pitch that is not pitch-adjusted is emitted.

In that case, the same sound source circuit is used in two channels in a time-division manner, with one channel producing a musical tone at a predetermined pitch with the pitch adjusted, and the other channel producing a musical tone at a standard pitch at a regular pitch. You may also do so. Furthermore, a musical tone of a standard pitch that is produced at a standard pitch and a musical tone of a predetermined pitch that is produced while the pitch has been adjusted do not necessarily have to be the same pitch (note name); -The octave may be different depending on the note name.

In the above embodiment, the "reference tone pronunciation tuning function" is
It is enabled by turning on the increase switch INC or decrease switch DEC while holding down the pitch switch PS, but is not limited to this.This reference tone pronunciation tuning function can be enabled by any operation method. For example, when the pitch switch PS is turned on after turning on the increase switch INC or the decrease switch DEC, the "standard tone production tuning function" may be enabled. The musical tones and the musical tones of a predetermined pitch that are generated in a pitch-adjusted state do not necessarily have to be generated completely at the same time, but may be generated alternately. Alternatively, while the pitch switch PS is pressed, a note of the standard pitch is produced, and when the pitch switch PS is released, only the pitch-adjusted note continues to be produced.

Furthermore, other dedicated switches may be used instead of the pitch switch PS, increase switch INC, and decrease switch DEC.

In the above example, pitch adjustment in semitone units for transposition is
This is done by changing the value of the key code using the transpose circuits 35 and 43, but it goes without saying that other methods may be used.

In FIG. 4, the sampling enable signal 5PE
N is input to the master clock generator 44 to disable fine pitch adjustment of the sampling tone generator 26 in the sampling mode.

The writing rate is set to the normal pitch of the standard pitch (A4 note). On the other hand, transpose circuit 3
5.43 is the sampling enable signal 5PEH
does not prohibit transposing operations.

However, the transpose circuits 35 and 43 may also be configured to perform transposition operations M and Ih when sampling sound is written by the sampling enable signal 5PEN.

Furthermore, in the above embodiment, only the sampling sound is transposed by turning on the up switch UPS or the down switch DWS while adjusting the pitch switch PS. Depending on the operating method, it may be possible to enable the transposition operation of only the Sambunong note, or other dedicated switches may be used instead of using the pitch switch PS, up switch UPS, and down switch DWS. .

In the above embodiment, the "extra percussion function",
In other words, the function that automatically produces sampled sounds with pitches and timing patterns that match the rhythm only works when automatic bass chord play is off and the sampled sound is assigned to the "bass" part. ing. but.

The present invention is not limited to this, and this function may be activated in accordance with any condition, mode, or switch operation. Further, when the sampled sound is automatically generated according to this function, the sampled sound may be simultaneously generated by the player's operation of a moving plate or the like.

〔Effect of the invention〕

As described above, according to the present invention, pitch 1 of transposition and other
When performing the 1iIII11 operation, you can select whether to adjust the pitch of both the sampling sound source series and the built-in sound source series, or only the sampling sound source, making it ideal for adjusting the pitch of a single sampling sound source. It also has the excellent effect of being optimal for common pitch adjustment of both series during performance. Furthermore, since the pitch adjustment operator is shared by both series, the configuration is simplified.

[Brief explanation of drawings]

FIG. 1 is a functional block diagram showing an overview of a musical tone signal generating device according to the present invention, and FIG. 952 is a hardware configuration diagram showing an embodiment of an electronic musical instrument to which the musical tone signal generating device according to the present invention is applied. 3 is a diagram showing an example of a memory map of data and working memory in the microcomputer section of FIG. 2; FIG. 4 is a block diagram showing a detailed example of the tone generator section of FIG. 2; FIG. 5 is a flowchart showing an example of a program executed in the microcomputer section of FIG. 2; The figure shows the main routine, FIGS. 6 to 20 show the event routines of each casing executed in the course of the main routine, and FIG. 21 shows the tempo crotter interaction routine. 1... Sound sampling means, 2... Storage means, 3.
...Sampling sound source means, 4...Built-in sound source means, 5
... pitch adjustment operator means, 6 ... mode selection means, 7 ... pitch adjustment control means, 14 ... keyboard, 15
...Operation panel section, 16...Microphone, 17
... Allocation selector, 18... Record selector, 20... Tone selector, 21... Automatic performance selector, 22... W14 adjustment operator, 24... Tone generator section, 25... 1M tone generator, 26... sampling tone generator, 28
...Data memory.

Claims (1)

[Scope of Claims] A sound sampling means for sampling a sound signal inputted from the outside; and a storage means for storing waveform sample data corresponding to the sound signal sampled by the sound sampling means; sampling sound source means that generates a musical tone signal based on stored waveform sample data; built-in sound source means that generates a predetermined musical tone signal; pitch adjustment operator means; and pitch adjustment using both the sampling sound source means and the built-in sound source means. mode selection means for selecting one of a first mode in which pitch adjustment is performed and a second mode in which pitch adjustment is performed only by the sampling sound source means; and when the first mode is selected by the mode selection means; , the pitch is adjusted in both the sampling sound source means and the built-in sound source means in response to the operation of the pitch adjustment operator means, and when the second mode is selected, the pitch adjustment is performed in accordance with the operation of the pitch adjustment operator means. Accordingly, a musical tone signal generating device comprising pitch adjustment control means for performing pitch adjustment only by the sampling sound source means.